Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

After 7 years of minimal success living and working in New York City as half of the Livingston & Evans songwriting team, Jay Livingston and his songwriting partner Ray Evans were given the opportunity to try their luck in Hollywood.

L&E’s only New York success during this period came from a song written on assignment in 1941 on behalf of the Olsen & Johnson Broadway Show, Hellzapoppin. Hear the song, G’Bye Now, below. One version is the original recording by Horace Heidt & His Orchestra. The second version is a re-mix of the Horace Heidt recording as recorded recently by Swing Republic.

Horace Heidt & His Orchestra

Swing Republic

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

In 1944, Livingston & Evans were offered the opportunity to go to Hollywood by Ole Olsen, half of the famous comedy team of Olsen & Johnson. Seems Olsen wanted Livingston & Evans to drive his car to Los Angeles. After only having one hit in NYC, “G’Bye Now”, L&E thought it might be time to try their luck in the film capital of the world. L&E’s first assignment and paying gig in Hollywood was on behalf of Producers Releasing Corp. PRC was a small independent film production company that produced a film from beginning to end in one week.

L&E were brought on to write and arrange songs for a total of four films in 1944 and 1945. The first film was titled WHY GIRLS LEAVE HOME. L&E wrote and arranged ‘What Am I Sayin’?, “Call Me”, and “The Cat and The Canary”. To everyone’s surprise, especially Livingston & Evans, “The Cat and The Canary” was nominated for an Academy Award! SWING HOSTESS starring Martha Tilton was the second film L&E were brought on to write and arrange for. Martha was also a terrific singer and Capitol Records recording artist. L&E wrote 6 songs for this film, “Let’s Capture This Moment”, “I’ve Got An Invitation”, “Music To My Ears”, “Say It With Love”, “I’ll Eat My Hat”, and “Highway Polka”. Martha performed a couple of these songs in the film. During this time, because Martha and L&E had become close friends and she was beginning her new record for Capitol Records, Martha presented some of L&E’s songs to the head of Capitol Records and hit songwriter, Johnny Mercer. Mercer did not end up recording any of these songs, however, Livingston & Evans now had entrée to him. Shortly thereafter Mercer, who had a nightly national radio show, began to perform Livingston & Evans songs “The Cat and The Canary”, “Band Baby”, and “Highway Polka”. Three cute little numbers that fit Mercer’s Southern style and rhythm.

See how this new relationship between the great Johnny Mercer and the two new young west coast arrivals, Livingston & Evans, turned into Gold in Hollywood.

Band Baby

The Highway Polka

The Cat And The Canary

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

Now that Livingston & Evans were pounding the streets of Hollywood and had the recognition and support of non-other than one of the greatest lyricists of all time, Johnny Mercer, it was only time before lady luck knocked. In June 1945, Louis Lipstone, head of the Paramount Pictures Music Department, asked Johnny Mercer if he knew any young songwriters who would write a song on spec. (speculation) for an upcoming Betty Hutton film. Johnny suggested the two new West Coast transplants, Livingston & Evans. Subsequently, Livingston & Evans wrote three songs for this shot, as this was their first assignment (all be it on spec.) from a major film studio and they didn’t want to blow it. But Lipstone told L&E they could only play one song; the only one Lipstone liked called “The Betty Hutton Blues” for Buddy DeSylva, another great songwriter plus being a prominent Paramount Pictures producer (and a notoriously great audience).

DeSylva laughed at every punch line, often pounding the table in delight, then when Jay finished performing the song DeSylva said “I don’t like it”. Thud…welcome to show business. Needless to say Jay & Ray were crestfallen. Louis Lipstone asked the boys to wait in the outer office while he went over some other business with DeSylva. L&E could see and hear what was going on in DeSylva’s office. At some point, Lipstone said to DeSylva, “Buddy, they had another song that I didn’t like, but maybe you should listen to it”. Buddy looked at his watch and said “too early for lunch, O.K. send ’em in for one more”. This was the turning point for Livingston & Evans.

The song Buddy DeSylva chose instead of an early lunch was called “A Square In The Social Circle.” It ended up not only being sung by Betty Hutton in “The Stork Club”, she also recorded it for Capitol Records.

A few weeks later, Louis Lipstone called Livingston & Evans into his office and asked if they would like to work at Paramount Pictures, writing songs on assignment for the musical short subjects. Lipstone said Paramount could only afford to pay them $200 a week, but that, if they did well, maybe Paramount could improve upon that. Jay & Ray had never seen $200 at one time, but they played it cool, saying that would be O.K. On their way out, Jay turned to Ray and asked, “Is that $200 apiece or $200 for both of us?” Ray said, “I was afraid to ask”. When Livingston & Evans got their first checks, they each held $200, which felt like a million to two young songwriters in 1945.

Because Livingston & Evans became staff songwriters for Famous Music on behalf of Paramount Pictures from 1945 until 1956 Famous Music continues to control “A Square In The Social Circle” outside of the US. Because so many other songs written during this period continue to be controlled by Sony ATV/Harmony on behalf of Famous Music we will also be sending along songs contained in Jay Livingston Music that were written after L&E departed their tenure at Paramount. We hope you enjoy the history of Livingston & Evans. We will try and give you a cohesive timeline of their career while including pertinent music from the catalogue of Jay Livingston Music, Inc. for your review.

Attached is “Banana Boat” another L&E song that is controlled by Jay Livingston Music, Inc. worldwide and also recorded by the bombastic Betty Hutton.

Betty Hutton / Banana Boat

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

After Buddy DeSylva picked up the Livingston & Evans song “A Square In The Social Circle” for Betty Hutton to perform in The Stork Club, Louis Lipstone invited Jay & Ray to join the music department at Paramount Pictures. Being new staff songwriters in 1945 L&E were given the job of writing music and songs for the short subject films produced by Paramount to be shown between their feature films at theatres. This lasted for approximately one year.

In 1946 as fate would have it once again lady luck would smile down on Jay & Ray. It seems none of the established songwriters that were under contract to Paramount, including Victor Young, wanted to try their hand at writing a theme song for a new film with a title that was based on a phrase that at the time was unknown. It was customary for most new films to have a theme song written using the title of the film so the studios could use the recording to help promote the new films via radio. In this case the title of the film was TO EACH HIS OWN. This title was taken from an obscure poem written by John Donne. Paramount hated the title, however, the producer, Charles Brackett, insisted on it. Livingston & Evans jumped at the assignment to write the best song they could with this title. Years later Jay said “at that point of our career we would have written Come To Jesus in e flat.” L&E simply wanted to show what they could do. Wanting to prove their worth, L&E put much time and effort into writing this song to make sure it was the best it could be.

The result of their effort paid off. “To Each His Own” ended up becoming the most successful song of 1946. At one point for three solid weeks, five of the Top Ten Records according to Billboard Magazine were “To Each His Own”, as recorded by; Eddy Howard, Tony Martin, Freddy Martin, The Ink Spots, and The Modernaires. “To Each His Own” not only became a huge hit recording, it also became one of the most successful sheet music sellers in history. Need we say, it has also since become part of the English vernacular.

Eddy Howard (To Each His Own)

Audre Cooper (Strange Little Girl)

* “To Each His Own” is published by Famous Music.
* “Strange Little Girl” Jay Livingston Music, Inc. not only controls 50% of the Composition for the world, we also control 100% of the Master Recording.

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

After the great success of “To Each His Own” Paramount moved Livingston & Evans up from writing music for the short subject films to the higher visibility projects.

L&E were brought in to write three songs for the 1946 Bob Hope film “MONSIEUR BEAUCAIRE”, as well as songs for the 1947 Ray Milland, Anthony Quinn film IMPERFECT LADY, the 1947 Bob Hope film MY FAVORITE BRUNETTE, and the 1947 Marlene Dietrich, Ray Milland film GOLDEN EARRINGS.

When the Paramount suits came to L&E to write the theme for the film GOLDEN EARRINGS, Victor Young, who was writing the score for the film, played the boys his recurring music score. Jay liked what he heard and asked Victor if he minded if they wrote words to his music. The result was a beautiful haunting ballad that many artists, including Peggy Lee, Frank Sinatra, Bobby Darin, Bing Crosby, and Willie Nelson have recorded over the years.

Golden Earrings/Peggy Lee

*This Composition is published by Sony ATV Harmony

An interesting footnote to this story is that, after Livingston & Evans and Victor Young played their new song for the studio, the censors said they would require a change in one of the lines of the song. So, after much complaining, L&E changed the original line from “So let this pair of Golden Earrings make you mine tonight”, to “So let this pair of Golden Earrings cast their spell tonight.” By today’s standards this seems ridiculous. However, the censors in 1947 thought the original line was too provocative and insisted it be changed.

Speaking of provocative, have a listen to another Jay Livingston Music song that we hope you enjoy. It is called “Femininity”. “Femininity” was written by Livingston & Evans for the 1959 Broadway show OH, CAPTAIN! We are attaching the Leonard Feather, Dick Hyman and His All Stars version.

Leonard Feather, Dick Hyman and His All-Stars/Femininity

Enjoy!

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

Even though 1948 ended up becoming a very good year for the songwriting team of Jay Livingston & Ray Evans, it began as a roll up your shirtsleeves and work your ass off kind of time.

After coming off of the most successful song of 1946, “To Each His Own”, Livingston & Evans were now on a mission to continue their newfound success by coming up with another major hit song. What the boys would soon find out however was, once they became hit song makers, the front office depended upon them to come up with hit after hit on a moments notice.

Paramount called upon Livingston & Evans to write songs for numerous projects, including the theme for the classic film noir piece THE BIG CLOCK starring Ray Milland and Charles Laughton; five songs for the Pearl Bailey, Veronica Lake, Mona Freeman ISN’T IT ROMANTIC production; two songs for L&E’s old friend Betty Hutton’s film DREAM GIRL; the theme for the Melvyn Douglas, Wanda Hendrix film MY OWN TRUE LOVE and songs for two Alan Ladd films: first the theme for BEYOND GLORY, and then the second for a western classic called WHISPERING SMITH.

You can imagine how difficult it was for this relatively novice songwriting team to now pull lightning out of a bottle time after time. Remember, not only was it important for L&E to write the best song possible (that hopefully could eventually become a radio hit that would help promote the film) it was most important for the director’s needs that the L&E songs help move the storyline along. Doing both in many instances were challenging to say the least. However, one of the classic Livingston & Evans, Paramount stories is from the 1948 Bob Hope, Jane Russell film THE PALEFACE.

Norman Z. McLeod, the director, called L&E to his office and requested a song be written for a scene in the film where Bob Hope’s bumbling character, Paleface Potter, leads the wagon train accidentally astray into an Indian ambush while singing a song to the beautiful sharpshooting damsel, Jane Russell. Jay & Ray went back to their office in the Bing Crosby Building after researching Indian language in the Paramount library and knocked out a little ditty called SKOOKUM. A funny song about “everything gonna be SKOOKUM, everything gonna be good!” Well after Jay & Ray played SKOOKUM for the director he said something to the effect “Are you nuts?. This is a serious mistake Hope’s character has made, he has led the entire wagon train into an ambush. This is not supposed to be funny”! Naturally, Livingston & Evans immediately tried to argue that having Hope’s character, a funny guy, do a funny song is in character. Norman McLeod wanted no part of it and demanded they go back and write a new song.

The result of McLeod’s forceful demand and Livingston & Evans reluctant acquiescence ended up winning the boys their first Academy Award for Best Song from a motion picture for the year 1948. The song “BUTTONS AND BOWS”. This song continues to be published by Paramount via Sony ATV/Harmony.

Dinah Shore / Buttons And Bows

Also included out of the Jay Livingston Music catalogue is “SATINS AND SPURS”. Jay & Ray wrote this song on behalf of one of the first TV Specials in America starring their old friend Betty Hutton.

Betty Hutton / Satins And Spurs

If you have the time (1:18) and inclination, you are welcome to watch the entire Special here. All of the songs included in the Special SATINS AND SPURS were written by Livingston & Evans and are included in the Jay Livingston Music catalogue.

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

Coming off their first Academy Award winning song in 1948, “Buttons and Bows”, you can imagine how this catapulted Livingston & Evans stature as the go to songsmiths at Paramount Pictures. As busy as the boys were prior to this, their career went into hyper-drive after.

In 1948 Jay & Ray were assigned to write 13 songs on behalf of 7 Paramount films. Besides THE PALEFACE, Livingston & Evans were assigned to write songs for: THE BIG CLOCK (starring Ray Milland & Charles Laughton), ISN’T IT ROMANTIC (starring Pearl Bailey and Veronica Lake), DREAM GIRL (starring Betty Hutton), MY OWN TRUE LOVE (starring Melvyn Douglas), and two Alan Ladd films, BEYOND GLORY and WHISPERING SMITH.

In 1949 Jay & Ray were assigned to write 12 songs on behalf of 8 Paramount films: DEAR WIFE, and STREETS OF LAREDO (both starring William Holden), SORROWFUL JONES (starring Bob Hope and Lucille Ball), THE GREAT LOVER (starring Bob Hope and Rhonda Fleming), SONG OF SURRENDER (starring Claude Rains), THE HEIRESS, (starring Olivia DeHaviland and Montgomery Clift), MY FRIEND IRMA (starring Dean Martin & Jerry Lewis), and SAMSON & DELILAH (starring Victor Mature & Hedy Lamarr).

1950 brought 10 Livingston & Evans song assignments on behalf of 7 Paramount films: COPPER CANYON (starring Ray Milland & Hedy Lamarr), PAID IN FULL (starring Lizabeth Scott & Robert Cummings), FANCY PANTS (starring Bob Hope & Lucille Ball), MY FRIEND IRMA GOES WEST (starring Dean Martin & Jerry Lewis), THE FURIES (starring Walter Huston & Barbara Stanwyck), THE REDHEAD AND THE COWBOY (starring Rhonda Fleming & Edmund O’Brien), and a seemingly inconsequential Alan Ladd film assignment that presented Livingston & Evans with many twists and turns that ultimately would garner the boys their second Academy Award for BEST SONG of the year!

Director, Mitchell Leisen, called on Jay & Ray to write a song for his new Alan Ladd WWII era film titled O.S.S. that could be used in a scene in which the local Italian partisan resistance could be warned when the Nazi’s were coming into their small village. Leisen requested Jay & Ray to write a song that could be played by a street accordion player that would be the tip-off so the resistance could hide their radio equipment before the Nazi’s arrived. At first Jay, the music writer of the Livingston & Evans team, suggested a very dramatic melody. However, Leisen thought a sinister sounding melody could also tip off the Nazi’s and preferred something less dramatic. Unfortunately, as Jay explained afterwards, coming up with something for such an inconsequential scene in the film ended up becoming more of a challenge than he expected.

However, a few days later while on his way to work, as Jay sat at the steering wheel of his car at a stop sign in front of the Beverly Hills Hotel, a melody came into his head. Jay said as he sat at the stop light this beautiful melody appeared out of the blue. After arriving at Paramount a few minutes later, Jay hurriedly made his way to his office piano to write down the melody. As Ray questioned Jay what he was doing, Jay said, “don’t say a word”. Ray knew when Jay was onto something and left him alone until ready. When Jay had completed the melody and played it, Ray asked, “what is this?”

Jay explained that, rather than try and write something obviously sinister as a warning signal, that he thought it might be interesting to use a beautiful melody for the accordion player to play as a warning. Jay called director Leisen and explained his idea, then played him his new melody. Leisen liked the idea and agreed to use it as the warning music in the scene. Even though all that was needed for the purpose of the scene in the film was music, the Paramount suits subsequently decided because the film title O.S.S. was too obscure that the film would now be called AFTER MIDNIGHT and therefore it would be necessary for Livingston & Evans to write words to their beautiful new melody and turn it into a marketing tool as a theme song as well as having it played by the street musician in the film. A few days later, while at Ray’s house, Ray’s wife Wyn walked in when Jay was playing “After Midnight” and suggested that because the scene from the film took place in Italy a more appropriate title and lyric for this beautiful melody should be “Mona Lisa”. Even though Jay & Ray liked this idea they explained that this was an assignment from the suits at Paramount and therefore they must do as ordered and leave it as “After Midnight”. However, on a lark, because they both liked the idea so much, Jay & Ray decided to go ahead and write a “Mona Lisa” lyric for themselves. They re-wrote the lyric on top of the same melody that became “Mona Lisa”, a love song likening the singer’s lover to the famous Leonardo daVinci painting Mona Lisa.

A few days after Jay & Ray had gone into the recording studio at Paramount and recorded the music for the film, Jay opened Variety magazine and read where the new Alan Ladd film that originally was titled O.S.S. and then had been changed to AFTER MIDNIGHT had once again been re-titled, this time to CAPTAIN CAREY U.S.A. Jay immediately called the director and the suits at Paramount to say because the title of the film was now CAPTAIN CAREY U.S.A. and a title theme as such would be impossible, could they please use their new song “Mona Lisa” instead of “After Midnight”?

The suits said, for financial reasons, it would be impossible to go back into the studio to do another recording. Jay then explained to the suits that the day of the recording session Livingston & Evans had the Paramount Studio orchestra record both versions of their songs, “After Midnight” and “Mona Lisa”. Therefore, it was already recorded. The suits relinquished and after numerous acts of fate, and persistence, “Mona Lisa” became Livingston & Evans second Academy Award winning song. “Mona Lisa” also became one of Nat ‘King’ Cole’s signature songs, and has become a timeless classic standard recorded by numerous artists over the years besides being included in numerous films.

Another Livingston & Evans love-themed ballad that also contains a beautiful melody is “I Waited So Long”. This song assignment was originally written by Livingston & Evans on behalf of Universal Pictures for the film ISTANBUL. ISTANBUL starred Errol Flynn, and Nat ‘King’ Cole. At the last moment it was cut from the film, however, Universal Pictures ended up including it in another of their films titled THE BIG BEAT.

Nat “King” Cole / Mona Lisa

At this writing “Mona Lisa” is published by Sony/ATV Harmony

Nat “King” Cole / I Waited So Long

“I Waited So Long” is published by Jay Livingston Music, Inc., and Wixen Music Publishing on behalf of St. Angelo Music

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

Coming off of their second Academy Award with Mona Lisa, Livingston & Evans were flying high. The boys had proven to themselves and everyone else they weren’t just one- hit wonders when it came to writing songs for both motion pictures or for the popular record market. Not only was Nat ‘King’ Cole’s version of Mona Lisa a bonafide smash hit record, numerous artists recorded it as well. Nat’s version of Mona Lisa has become his most famous recording. It has become his theme song.

But in this business you’re only as hot as your last three minutes, so Livingston & Evans were back on the job in 1951 writing 15 songs for 10 motion pictures that included: a Dean Martin & Jerry Lewis film titled THAT’S MY BOY, two songs for a Ray Milland, Jan Sterling film titled RHUBARB, a title song for the Sci-fi Thriller WHEN WORLDS COLLIDE, one song for a Bob Hope, Hedy Lamarr film titled MY FAVORITE SPY, another title song for the Rhonda Fleming, John Payne film CROSSWINDS, another title song for the Elizabeth Taylor, Montgomery Clift, Shelley Winters film A PLACE IN THE SUN, three songs for the Bing Crosby, Jane Wyman film HERE COMES THE GROOM, one song for the famous film noir classic ACE IN THE HOLE starring Kirk Douglas and another film title song for the John Lund, Thelma Ritter, Gene Tierney film THE MATING SEASON. But none of these could compare to the film assignment that was about to come knocking on their door.

Bob Hope and director Sidney Lanfield came to the boys and asked them to write a couple of songs for their new film THE LEMON-DROP KID. This version was adapted from the Damon Runyon story which portrays Hope as a racetrack tout who owes big money to gangsters and must pay or else.

Jay & Ray did what they were asked and all was fine with the two songs as they pertained to the film and Hope’s character. However, at the last minute the suits came a-knocking again. This time they decided that the film needed something with which to end the film. So, as sometimes happens, fate raised its head and Jay & Ray were asked to write a Christmas song to help Hope complete the final scene in the film. Because by this time Livingston & Evans were the most successful songwriters on the Paramount Pictures lot, they decided to refuse the assignment. Their reasoning was that there hadn’t been a new hit Christmas song written in many years. Because every year the same old Christmas songs were recorded and played why should they write a new Christmas song? When the suits came back to Jay & Ray and said “you either write us a new Christmas song or else,” Jay & Ray grudgingly went to their office and wrote what they thought was a nice new Christmas song. However, before turning the song into the suits and to Hope and the director, Jay & Ray thought they would sit on it a day or two. That night when Jay went home his wife asked “what did you do in school today?” Jay responded that he and Ray had written a Christmas song for the new Bob Hope film. She asked what they titled it? Jay said “Tinkle Bells”. My mother in-law said “Tinkle Bells?, Don’t you know what Tinkle means to most people?” Jay said he did not. Their meaning was meant to accentuate the tinkling of the Salvation Army bells being rung by Hope and others in the film. Again Jay’s wife said “well you need to change the title.”

So, the next day, Jay mentioned what his wife had said about the title of their new Christmas song to Ray and they immediately threw the “Tinkle Bells” song in the trash. They then begun to write a new song, however, because they liked the melody of the verse they kept that. Then they began again on the chorus and found they liked that as well. Then they began again on the words and found they liked them as well. So after throwing away the original song “Tinkle Bells” they decided to keep everything except “Tinkle”. They changed “Tinkle” to “Silver”, which was the color of the tinkley bells Hope was using in the film. Silver Bells has been in the top 10 Christmas songs since its release in 1951. In the days of record sales it sold half a billion records. It has become a Christmas standard.

Jay & Ray always marveled at the fact that they almost gave that assignment away. They did not think a new hit Christmas song could be written.To their pleasure Silver Bells has become a very substantial annuity for their catalog.

Silver Bells is published by Sony/ATV Harmony. However, another Livingston & Evans song that was not from a film but has been recorded by Bing Crosby, the first person to record Silver Bells, is ’Round and ‘Round The Christmas Tree, published by Jay Livingston Music, Inc.

Please give a listen to ’Round and ‘Round The Christmas Tree and see if this song fits any of your upcoming new Christmas song requests.

Bing Crosby / ‘Round and ‘Round The Christmas Tree (Jay Livingston Music, Inc.)

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

1952 began with Livingston & Evans working with many of their Paramount colleagues and friends once again. First up was another Bob Hope film which was a sequel to THE PALEFACE, called THE SON OF PALEFACE. Once again Jane Russell was the female lead. Paramount decided this time to have a real cowboy in the sequel and brought in Roy Rogers. Jay & Ray wrote three very catchy songs for the film. One of which, “California Rose”, was performed by Roy Rogers. The other two songs, “What A Dirty Shame”, and “Wing Ding Tonight” were so good the director decided to have them choreographed and added to the script.

Next came Betty Hutton, whom Jay & Ray had to thank for the opportunity to join the staff at Paramount because she requested the boys to write three songs for her film SOMEBODY LOVES ME. Jay & Ray wrote “Love Him”, “Honey, Oh My Honey”, and “Thanks To You”.

Later in 1952 came a film starring Jose Ferrer called ANYTHING CAN HAPPEN. Not only did L&E write a song for this film, “Love Laughs At Kings”, but they began a lifelong friendship with Jose that would later manifest itself in the collaboration on the Broadway Show, OH, CAPTAIN!

One of the most demanding film assignments Jay & Ray had while at Paramount came with a film titled AARON SLICK FROM PUNKIN CRICK. This film starred Dinah Shore, Robert Merrill, and Alan Young. Dinah had already had great commercial success with the Livingston & Evans song “Buttons and Bows” a couple of years earlier. This time out Livingston & Evans were assigned to write 14 new songs for this assignment. Besides the number of songs needed, the fact the songs would need to be written mostly in a countrified, downhome way, L&E, being from the East, had their work cut out for them. Luckily Jay’s wife came from Oklahoma and her parents and family had great country sayings and ways of expressing their views occasionally as euphemisms. Out of this assignment came the following countrified songs from two Easterners: “Chores”, “My Beloved”, The Spider and The Fly”, “Saturday Night In Punkin Crick”, “General Store”, “Marshmallow Moon”, “Soda Shop”, “ Will You Be At Home In Heaven?”, “Step Right Up”, “Why Should I Believe In Love”, “Still Water”, “Purt Nigh But Not Plumb”, “Life Is A Beautiful Thing”, “I’d Like To Baby You”.

Next, Paramount assigned Livingston & Evans to 20th Century Fox to write two songs (“All My Love, All My Life” and “You and Me Together”) for the James Cagney, Dan Dailey film WHAT PRICE GLORY.

1953 brought Livingston & Evans back to Paramount with an Alan Ladd, Deborah Kerr film assignment called THUNDER IN THE EAST. Jay & Ray wrote a song called “The Ruby and The Pearl”. Jay & Ray told the story of after performing their new song “The Ruby and The Pearl” for the director, a man in the corner wearing a turban and a silk robe walked over and said, “In our culture someone would not say “The Ruby and The Pearl”, they would say “The Ruby and The Cockatoo”. When Jay asked “Who is this guy?” The director said “He is the consultant the front office hired to make sure we are true to the Eastern culture.” Jay then remarked that not only does Pearl roll off the tongue better than Cockatoo, but, to his understanding, pearls are part of the Eastern culture. The director agreed and the consultant walked off of the stage never to be heard from again.

A Tony Curtis film titled HOUDINI was next up for Livingston & Evans. They wrote a beautiful song titled “The Golden Years” for this assignment.

Next came another Bob Hope film, OFF LIMITS, co-starring Marilyn Maxwell and Mickey Rooney. The songs L&E wrote are “Right Or Wrong”, “All About Love”, “The Military Policeman”, and “Off Limits”.

Next, the title song for a Fernando Lamas, Arlene Dahl film titled SANGAREE. Also another Bob Hope film co-starring Tony Martin, Arlene Dahl, and Rosemary Clooney called HERE COME THE GIRLS followed. L&E songs included “When You Love Someone”,“Ali Baba”, “Girls!”, “It’s Torment”, “Never So Beautiful”, “Heavenly Days”, “Ya Got Class”, and “See The Circus”.

Finally in 1953, L&E wrote “Haven’t Got A Worry”, “Lovely Weather For Ducks”, “I Do!, I Do!, I Do!”, “My Kind O’Day”, and “My Heart Is Home” for the film THE STARS ARE SINGING starring Rosemary Clooney, Anna Maria Alberghetti, and Lauritz Melchior.

These two years 1952 and ’53 did not see any Academy Award nominations, however Jay & Ray developed wonderful relationships with many of the film stars they worked with such as Rosemary Clooney, Mickey Rooney, Tony Martin, Jose Ferrer, Dinah Shore, and Alan Young. These two years were also important for continuing their relationships with Bob Hope and Betty Hutton. All of these relationships begun at Paramount in the 40’s and 50’s continued for the rest of their lives. Not only had Livingston & Evans written an Academy Award winning song for Bob Hope’s film THE PALEFACE in 1948 they continued to write songs for his films, TV shows, and special appearances until Jay Livingston’s death in 2001. Jay was 86 years old when he passed. Bob Hope died two years later at age 100. Ray Evans passed away in 2007 at the age of 92.

Jay & Ray were friends with and admired Rosemary Clooney. They adored her wonderful vocal qualities. We are including three Livingston & Evans songs that Rosie recorded for your review. These songs are published by Jay Livingston Music.

Keep It Simple (Rosemary Clooney)

Calcutta (Rosemary Clooney and Bing Crosby)

You’re So Right For Me (Rosemary Clooney and Jose Ferrer)

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

1954 saw Livingston & Evans working once again with Paramount Pictures stars Dean Martin & Jerry Lewis, Rosemary Clooney and Bob Hope, among others, on a film called THREE RING CIRCUS. The first project placed Martin & Lewis as entertainers in a madcap circus setting, needing a song to entertain the crowd. Jay & Ray wrote a song called “Hey, Punchinello”.

Next, Paramount came to Livingston & Evans to write an entire film’s worth of songs for a film that was so far ahead of itself that it has only recently received the accolades deserved for not only being experimentally forward thinking, but for being a trend setter for film makers looking to erase the blurred lines between stage and screen. RED GARTERS, by traditional measures, should have been a musical stage show. The film was very stylized and driven by the musical numbers written by Livingston & Evans. Out of the 11 songs written we are attaching a clip of “BRAVE MAN” as performed by Rosemary Clooney, and “A DIME AND A DOLLAR” as performed by Guy Mitchell.

Brave Man/Rosemary Clooney

A Dime And A Dollar/Guy Mitchell

Rounding out 1954 Livingston & Evans were asked to write a song, “Pretty Mandolin”, for Bob Hope’s film CASANOVA’S BIG NIGHT co-starring Joan Fontaine.

1955 saw only one assignment for Livingston & Evans from Paramount. That came as a song for the Charleton Heston, Jane Wyman film LUCY GALLANT. The song was “How Can I Tell Her?” Paramount did lend Livingston & Evans out to Universal to write a title theme for a B-movie titled THE SECOND GREATEST SEX starring Kitty Kallen and Bert Lahr.

By this time in the mid-50’s a new form of music was taking hold in America called rock-n-roll. Elvis Presley had begun turning the youth market on with his new style of music. Paramount Pictures realized early on that Elvis was a major star and signed him to a film deal that lasted for many years. With the advent of Elvis and this new youth oriented market Livingston & Evans were not as important to Paramount as they had been.

1956 saw the 10-year exclusive relationship between Paramount Pictures and Livingston & Evans come to an end. Jay & Ray felt very fortunate to have been a part of the Paramount Pictures team from 1945 through 1955. They had met so many wonderful actors, directors, producers, singers, dancers, musicians, arrangers, songwriters, engineers, publicists, over the period from the end of WWII. Having had great success themselves accepting two Academy Awards and numerous hit records it was time to move on.

Not to lose momentum for long, Jay & Ray decided to sell their services to whomever needed great songs. Not since the days in New York City had Livingston & Evans had to sell their own services. They rolled up their shirtsleeves and dove in. It took about a month for their first project to appear. It came in the form of an assignment from Universal International Pictures for an Errol Flynn, Nat ‘King’ Cole film titled ISTANBUL. Seems a song was needed for Nat to sing. The song was “I Was A Little Too Lonely (And You Were A Little Too Late)”. We are enclosing Nat’s version of this song for review. Please note this song is published by Jay Livingston Music, Inc.

I Was A Little Too Lonely (And You Were A Little Too Late)/Nat King Cole

The next assignment for Livingston & Evans came from none other than L& E’s alma mater, Paramount Pictures. Paramount needed a song for who else, Nat ‘King’ Cole to sing in a film titled THE SCARLET HOUR. That song, “Never Let Me Go”, turned out to be one of Jay’s favorite songs he had ever written. “Never Let Me Go” has become a jazz standard. It is published by Sony ATV Harmony.

Never Let Me Go/Nancy Wilson

The next song assignment for Livingston & Evans came from an agent by the name of Lew Wasserman at MCA. Years later, Jay & Ray would say “this was the first and only job assignment they had ever received from an agent.”

It seems Wasserman represented, among others, James Stewart and Doris Day. Wasserman was approached by the great director Alfred Hitchcock to hire James Stewart for his remake of THE MAN WHO KNEW TOO MUCH. Being the wily dealmaker he was, Wasserman said the only way Hitchcock could have Stewart for his film was if he also hired Doris Day to play Stewart’s wife in the film. Hitchcock agreed and, as the final demand, Wasserman said that because Doris Day was also a successful singer Hitchcock would need to hire Livingston & Evans to write a song or two for Ms Day to sing in the film. Other than having Bernard Hermann include his wonderful scores, Hitchcock was not a fan of music in his films, certainly not songs. Because Wasserman drove a hard bargain and Hitchcock wanted James Stewart so badly, Hitchcock needed to figure out how he could make this happen. Grudgingly Hitchcock agreed. Wasserman set up a meeting between Livingston & Evans and Hitchcock. At this meeting Hitchcock explained the situation to Jay & Ray that he really did not know what type of song he needed for his film and for Ms Day to sing, however, James Stewart’s character is a foreign ambassador and he could see making his wife a singer. These two characters have a child they are traveling with so the title could be foreign and it could be something the mother would sing to her child. Jay & Ray sat dutifully listening to Hitchcock’s explanation not saying a word. On the way out Jay turned to Ray and said, “I think the song we wrote last week could be the song we can use for this assignment”.

Jay had seen a movie a few days before starring Humphrey Bogart, Ava Gardner, and Rossano Brazzi titled THE BAREFOOT CONTESSA. In one scene, where Rossano Brazzi takes Ava Gardner to meet at his parents home in Italy, inscribed on the wall is the family crest “CHE SERA.” Always looking for good titles, Jay wrote down this interesting title in his little black book and brought it out a few days later at a writing session with Ray. Because they felt it necessary to keep their chops fresh, Livingston & Evans wrote 5 days a week for over 64 years whether they had an assignment or not. Because of this Livingston & Evans are considered the longest running songwriting team in history. To continue our story…Jay & Ray waited a couple of weeks before calling Mr. Hitchcock for their next meeting. When they did meet with Hitch and played their song, Hitchcock said “ gentleman, I told you I did not know what type of song I wanted for my film…That is the type of song I want for my film.” He shook their hands and asked for a demo of the song. Livingston & Evans obliged. Hitchcock re-wrote his script to accommodate this song. It became the focal point for the ending of the film. The song “Que Sera, Sera (Whatever Will Be, Will Be)” won Livingston & Evans their third Academy Award, and became Doris Day’s signature song. Below is a clip of this scene from THE MAN WHO KNEW TOO MUCH with Doris Day singing. Jay Livingston Music, Inc. publishes.

Whatever Will Be, Will Be (Que Sera, Sera)/Doris Day

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

1956 saw Livingston & Evans called upon to write songs by two of the major film companies; first, WB Pictures needed a WWII south-seas influenced song for a film titled MISTER ROBERTS, starring Henry Fonda, James Cagney, Jack Lemmon, and William Powell. The song Livingston & Evans and Napoleon A. Tuiteleleapaga came up with was “Let Me Hear You Whisper”. This song is published by Jay Livingston Music, Inc. and this version is recorded by Jo Stafford.

Let Me Hear You Whisper / Jo Stafford

Livingston & Evans next assignment came from Universal International Pictures for a title theme for the now classic Sci-Fi film THE MOLE PEOPLE starring John Agar, Hugh Beaumont, and Cynthia Patrick. You might wonder, how could anyone write a song with the title “The Mole People”? Well, take a listen to how Livingston & Evans took this very unusual assignment and turned it into one of their most requested songs. This version of “The Mole People” is recorded by Michael Feinstein. Jay Livingston Music, Inc. publishes this title.

The Mole People / Michael Feinstein

1957 turned out to be a very successful year for Livingston & Evans. Jay & Ray were called upon by three different film studios to supply material for their productions. First up was Paramount. The film, OMAR KHAYYAM, needed a couple of songs to cement the love story between Cornel Wilde’s character and Debra Paget’s. The songs Livingston & Evans came up with were “Loves of Omar Khayyam” and “Tell My Love”. Both songs are published by Famous Music.

The second film assignment was from WB Pictures. The film, THE JAMES DEAN STORY was a documentary film based on the iconic life and death of James Dean. The poignant song that Livingston & Evans created for James Dean was “Let Me Be Loved”. This is the classic Chet Baker version. Jay Livingston Music, Inc. publishes this song.

Let Me Be Loved / Chet Baker

The third assignment for Livingston & Evans in 1957 came from Universal International Pictures for a small film titled TAMMY AND THE BACHELOR, starring Debbie Reynolds, Leslie Nielsen, and Walter Brennan. Once again Livingston & Evans were called upon to write a title song to help promote the film. In this case the song “Tammy”, as recorded by Debbie Reynolds, became such a huge success that the film, having initially failed at the box-office, was re-released and became so successful two sequels were produced and released around the Tammy character.

The song “Tammy” became the top selling song of 1957 and became Debbie Reynolds’ signature song. “Tammy” became Livingston & Evans 6th Academy Award nominated song. “Tammy” is published by Jay Livingston Music, Inc.

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”

Livingston & Evans: The Last Of The Great Songwriters From The Golden-Age Of Hollywood

1958 was not only a good year for automobiles, it was a good year for Livingston & Evans.

In all, Livingston & Evans wrote songs for eight feature films in 1958. The first was the theme song for a Universal International film titled ONCE UPON A HORSE starring Dan Rowan and Dick Martin. An oddball Western spoof co-starring; Martha Hyer, Leif Erickson, Bob Steele, & Kermit Maynard. “Once Upon A Horse” is published by Jay Livingston Music, Inc.

Next up saw Paramount Pictures coming to Livingston & Evans to write a Theme song for the film ANOTHER TIME, ANOTHER PLACE starring Lana Turner, Barry Sullivan, Glynis Johns, and Sean Connery. Lana Turner suffers a nervous breakdown when her lover is killed during WW2. Patti Page recorded a beautiful version of this song. This song is published by Famous Music Sony ATV.

Patti Page/Another Time, Another Place

Next was an MGM film titled SADDLE THE WIND. Livingston & Evans wrote this Theme song and the co-star of the film Julie London performed it. This was a well- written and well-acted Western of turned-good rancher Robert Taylor fated to shoot it out with brother John Cassavetes. Rod Serling wrote this script. “Saddle The Wind” is published by EMI Publishing Co.

Julie London/Saddle The Wind

Universal International once again came back to their successful 1957 collaboration between Debbie Reynolds and Livingston & Evans, this time with a request for a title theme for the Blake Edwards directed film THIS HAPPY FEELING. Ms Reynolds is enthralled by actor Curt Jurgens, but sparked by suitor John Saxon. Also starring in the film is Alexis Smith, Estelle Winwood, and Mary Astor. “This Happy Feeling” is published by Jay Livingston Music, Inc.

Debbie Reynolds/This Happy Feeling

Because of the huge success Livingston & Evans brought to Debbie Reynolds and to Universal International via “Tammy” in 1957, Universal International came back to Livingston & Evans once again, this time for a film titled RAW WIND IN EDEN starring Ester Williams and Jeff Chandler. Plane carrying a rich couple on way to yachting party crashes on an isolated island. Film is mixed with romance and jealousy. “Raw Wind In Eden” is a sexy instrumental piece published by Jay Livingston Music, Inc. and recorded by Bill Snyder on Decca Records.

To complete 1958 on behalf of Universal International and Livingston & Evans, a film centered around the music business titled THE BIG BEAT was up next. Livingston & Evans wrote two songs for the film, “I Waited So Long” and “As I Love You”. Over the years, numerous artists have recorded “As I Love You”,  including Dame Shirley Bassey who took this song to the Top of the UK charts. This film also starred; Rose Marie, Hans Conried, The Del Vikings, Fats Domino, The Diamonds, The Four Aces, Harry James, and The Mills Brothers. Both “I Waited So Long” and “As I Love You” are published by Jay Livingston Music, Inc.

Nat ‘King’ Cole/I Waited So Long

Shirley Bassey/As I Love You

After the tremendous success Alfred Hitchcock experienced with Livingston & Evans winning an Academy Award for “Que Sera, Sera (Whatever Will Be, Will Be)” from his film THE MAN WHO KNEW TOO MUCH in 1956, Livingston & Evans were invited to write a title song to help promote the Paramount film VERTIGO. “Vertigo” is published by Famous Music/Sony ATV.

To finish out 1958 Livingston & Evans were brought on board at Paramount to compose two songs for the Cary Grant, Sophia Loren film HOUSEBOAT. The first song, “Bing! Bang! Bong! is a cute song that Sophia Loren sings at a dance in front of a crowd of onlookers. The second song, “Almost In Your Arms” is a song Cary Grant specifically requested Livingston & Evans to write. When Cary Grant met with Livingston & Evans he mentioned that when he was in the South of France the year earlier at the film festival he and Grace Kelly were being harassed by the paparazzi and in retaliation he asked her to dance so they could get away from the flashing bulbs. Cary said, “between holding Grace Kelly in my arms, the music, and the atmosphere, I felt myself falling in love while dancing with her.” Cary said we need a very seductive song to be written for this scene where my character and Sophia Loren’s character slowly fall in love while dancing together cheek to cheek.” The result of Cary Grant’s request is “Almost In Your Arms”, which won Livingston and Evans their sixth Academy Awards nomination. Famous Music / Sony ATV publishes these two songs.

Sophia Loren/Bing! Bang! Bong!

Johnny Nash/Almost In Your Arms

Sophia Loren and Cary Grant from Houseboat (volume may be quite low; please adjust)

Next session will find Livingston & Evans working with Burt Lancaster’s production company, United Artists, and 20th Century Fox.

Stay tuned to find out how Jay Livingston & Ray Evans made their way to Hollywood to become “The Last Of The Great Songwriters From The Golden-Age of Hollywood.”