6), Ralph Flanagan & His Orchestra, and Mitch Miller's Orchestra. Other charting versions in 1950 were recorded by Vic Damone (Billboard pos. The original English lyrics, written by Mitchell Parish, were greatly altered in the version recorded by the Weavers. The presiding judge also dismissed Cromwell's claim that the melody was based on a traditional folk song and was thus in the public domain. Mills Music, Inc., Miron's publisher, sued Cromwell and won. In reality this turned out to be a fictitious persona constructed to hide the melody's true authorship. They alleged the music to have been composed by a person named Spencer Ross. Ĭromwell Music Inc., a subsidiary of Richmond/TRO, claimed the rights to the song, and had licensed the Decca release. 2 on the Billboard magazine charts in 1950 while the flip side, " Goodnight Irene," reached No. The Jenkins/Weavers version, released by Decca Records under catalog number 27077, was one side of a two-sided hit, reaching No. After hearing Pete Seeger performing Tzena, with The Weavers as backing, Gordon Jenkins made an arrangement of the song for the Weavers with English lyrics. Julius Grossman, who did not know who composed the song, wrote the so-called third part of "Tzena" circa November 1946. The song became popular in Palestine and was played on the Kol Yisrael radio service. In 1941, while serving in the Jewish Brigade of the British forces, he composed the melody for lyrics written by Chagiz. Miron, born in 1919, left Poland at the age of 19 in the late 1930s, thus avoiding the Holocaust. Stefan Michrovsky), a Polish emigrant in what was then the British Mandate of Palestine (now Israel), and the lyrics are by Yechiel Chagiz. " Tzena, Tzena, Tzena" ( Hebrew: צאנה צאנה צאנה, "Come Out, Come Out"), sometimes " Tzena, Tzena", is a song, written in 1941 in Hebrew. Listen to more Johnny Cash classic songs by visiting our website on Country Thang Daily.Issachar Miron, Julius Grossman, Spencer Ross, Gordon Jenkins Have a share of Cash’s vocals on “Goodnight, Irene”. However, although The Weavers’ version had a massive hit with “Goodnight, Irene” in 1950, Johnny Cash’s gave it the country sound it deserves. Our Favorite Versionĭue to the record’s reputation, The Weavers’ lyrics are the ones commonly used today. “Goodnight, Irene” became his signature song in his performances until his death in 1949. They labeled him the “homicidal harmonizer” and the “murderous minstrel”. As his eminence spread, some journalists took a loud curiosity in his story. However, the growth of this song’s family tree started to spread everywhere. They perhaps knew it as “Irene, Good Night”, written in 1886 by one of Tin Pan Alley’s first black songwriters, Gussie Lord Davis. The song is about a walking cry of a married man gone off track.Lead Belly first heard the song sung by his uncles as a child. “Goodnight, Irene” was the first song Lead Belly recorded for the Lomaxes. Later on, the Lomaxes used their new handy recording machine to immortalize the voice and 12-string guitar-playing of the man known to his fellow prisoners and to following age group of music lovers, as Lead Belly. Struck by Ledbetter’s resounding tenor voice, and by what Alan Lomax later called his “panther-like grace and his extraordinary good looks”. He was caught in a knife fight, when the folklorists John Lomax and his son, Alan, visited the institution. However, in 1934, he was back inside the cell, in Angola prison, Louisiana. Inside, he used a ballad song specially composed to charm the prison governor into granting him early release. In 1918, he was imprisoned for killing a man in a fight over a woman. Huddie Ledbetter was a known as a man with an uncontrolled anger. You will surely hear he did own it as well. Our “Man in Black”, Johnny Cash, also had a version of the song. However, wherever the song came from, Huddie Ledbetter took ownership of it and adapted it. There are accounts of the touring musician in shows performing a song called “Irene, Goodnight” in the 1880s, while American folklorists in the early twentieth century familiarized a verse in East Tennessee that turned up in “Goodnight, Irene”, a song about having the idea to “jump in the river and drown”. It would be impossible to tell the story of “Goodnight, Irene”without telling the tale of Huddie Ledbetter.
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