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Don't Blame Me (1932)

Origin and Chart Information
“Guest vocalist Cassandra Wilson starts this one off smoky and sensual, but as the song progresses, so does the tempo.”

- Ben Maycock

Rank 38
Music

Jimmy McHugh

Lyrics Dorothy Fields

During the 1932 musical revue, Clowns in Clover, Walter Woolf King introduced “Don’t Blame Me” at Chicago’s Apollo Theater. Originally opening in 1927 at the Adelphi Theater in London, Clowns in Clover starred the husband and wife musical comedy team of Jack Hulbert and Cicely Courtneidge. The London engagement enjoyed great success and ran for 500 performances. While Noel Gay wrote the original score for Clowns in Clover, Dorothy Fields and Jimmy McHugh added songs such as “Don’t Blame Me” for the Chicago run.

 

Walter Woolf King used both Walter Woolf and Walter King as a performer but eventually combined all three names. He (more...)

The year after its Chicago debut Fields and McHugh recycled “Don’t Blame Me” into the score of the popular 1933 film Dinner at Eight. As a result, that film is often credited as the composition’s origin. The songwriting team also wrote a promotional title song for the film that was sung by Frances Langford at the premier and became a hit for Ben Selvin and His Orchestra with vocalist Helen Rowland.

 

Dorothy Fields came from a prominent show business family and became a brilliant lyricist in a male-dominated (more...)

 

Jimmy Mchugh was a prolific composer. His songs have appeared in hundreds of films (and counting), and many have (more...)

Guy Lombardo was the first to have a hit recording with “Don’t Blame Me,” entering the pop charts in July of 1932 and rising to number nine. The best remembered recording of that era, however, was by Ethel Waters, accompanied by members of the Dorsey Brothers orchestra.

All told, the major hit recordings of “Don’t Blame Me” were:

  • Guy Lombardo and His Royal Canadians (1933, Carmen Lombardo, vocal, #9)
  • Ethel Waters (1933, with Bunny Berigan, Tommy and Jimmy Dorsey, #6)
  • Charles Agnew and His Stevens Hotel Orchestra (1933, #13)
  • Nat “King” Cole (1948, a re-release from a 1944 Nat “King” Cole Trio recording, #21)
  • The Everly Brothers (1960, #20)

 

Chart information used by permission from
Joel Whitburn's Pop Memories 1890-1954

“Don’t Blame Me” has long been a favorite of musicians and music fans, jazz or otherwise. Paul McCartney says of John Lennon,

One of John’s favorite songs was “Don’t Blame Me.” People think of John Lennon as a peacenik, or a crazy man, or a great man, but they never associate him with the kinds of songs his mum taught him. His mum was a musical lady. She taught him banjo chords. I had to change him to guitar chords. We used to love “Little White Lies” and “Don’t Blame Me.”

And Leslie Uggams says,

[It was] on the movie set of Two Weeks in Another Town. The movie starred Kirk Douglas; I sang his favorite song in it. The song was “Don’t Blame Me.” Liza got me the movie. Her dad, Vincent Minnelli, directed it. What a friend!

Dorothy Fields and Jimmy McHugh wrote “Don’t Blame Me” during their transition from Broadway shows to Hollywood films. Their stage contributions produced such hits as “I Can’t Give You Anything But Love” (1929), “Diga Diga Doo” (1928), “In A Great Big Way” (1929), “On the Sunny Side of the Street” (1930), “Exactly Like You” (1930), and “Blue Again” (1931). Fields and McHugh’s success continued with Hollywood scores producing “I Feel A Song Coming On,” “I’m in the Mood for Love,” and “Hooray for Love,” all in 1935.

Music and Lyrics Analysis

“Don’t Blame Me” is written in A1-A2-B-A2 form, and the title phrase is used to open the song and close the A sections. Putting a twist on the phrase “Don’t Blame Me,” Fields’ lyrics profess love and passion, saying in short, “Don’t blame me for falling in love with you”; instead, “blame all your charms that melt in my arms.”

In his book The Poets of Tin Pan Alley: A History of America's Great Lyricists, Philip Furia comments on the lyrics of “Don’t Blame Me,” saying the song “… marks the shift to a more languorously erotic style.” He goes on to say that each of the three words in the phrase, “Don’t Blame Me” offers “…a different open vowel — o, a, e, — to provide a perfect vehicle for the torchiest of singers.” -JW

Musical analysis of “Don't Blame Me”

Original Key C major
Form A1 – A2 – B – A2
Tonality Primarily major
Movement “A” consists of upward skips alternating with step-wise descents. “B” rises chromatically before a skip upward; the downward leap of a seventh then arpeggiates up before a final chromatic descent into the last “A”.

Comments     (assumed background)

A number of chord substitutions and delayed resolutions keep this tune interesting. Many of the melody tones are the “color” tones or harmonic extensions of the underlying chords. Of special interest are the chromatic “lower neighbor tones” occurring in the first two measures of “B”. In the first measure of this section, this seemingly creates tension between the minor iv and its parallel major. Functionally, however, the entire measure is really major. If the clashing between the minor third of the melody and the major third of the chord causes confusion, the accompanist might consider using common-tone diminished chords on beats one and three in the measure (or omit the third). The second measure of “B” is different; the melody alternates between the flatted and the natural fifth. In this context, the flatted fifth (Bb) cannot be anything other than a color tone. The bass should be confined to the root and third here.
K. J. McElrath - Musicologist for JazzStandards.com

Check out K. J. McElrath's book of Jazz Standards Guide Tone Lines at his web site (www.bardicle.com).
Musician's Comments
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Soundtrack Information
Don't Blame Me” was included in these films:
  • Dinner at Eight (1933)
  • Freddie Steps Out (1946, Freddie Steward) Freddy Slack, Charlie Barnet and His Orchestra
  • The Big City (1948, Betty Garrett, George Murphy)
  • The Strip (1951, Vic Damone)
  • The Bad and the Beautiful (1952, conflicting information)
  • Bring Your Smile Along (1955, Constance Towers)
  • Two Weeks in Another Town (1962, Leslie Uggams)
  • Shoot the Moon (1982, Helen Slayton-Hughes)
  • Thelonious Monk - Straight, No Chaser (1989, Thelonious Monk)
  • The Tic Code (1999, Thelonious Monk)
And on stage:
  • Clowns in Clover (1933, Jeanette Loff) Chicago revue
  • Sugar Babies (1979, Ann Miller) Broadway
  • Clue: The Musical (1997, Cast) Off-Broadway
  • Lucky in the Rain (1997) Connecticut
Also on This Page...

Music & Lyrics Analysis
Musician's Comments
Soundtracks

Jazz History Notes
Also by the Same Writers...
Reading & Research

CD Recommendations for This Tune
Click on a CD for more details at Amazon.com
Thelonious Monk

Criss-Cross
2003, Sony
Original recording, 1963, Legacy
Monk is alone at his piano on this passionate reading of “Don’t Blame Me.” The mood is somber and the playing, dissonant, and Monk compellingly takes possession of yet another standard.

Joe Lovano

I’m All For You
2004, Blue Note 91950
Saxophonist Lovano is joined by Hank Jones on piano, George Mraz on bass, and Paul Motian behind the drum kit for this unhurried rendition of the song. Lovano astounds with heavy invention without detracting from the romantic nature of the song.

Terence Blanchard

Let’s Get Lost: The Songs of Jimmy McHugh
2001, Sony
Guest vocalist Cassandra Wilson starts this one off smoky and sensual, but as the song progresses, so does the tempo. Blanchard’s red-hot trumpet fills all the space with some fantastic runs.

Ben Webster

1944-1946
1999, Melodie Jazz Classics 1017
The tone is warm and relaxed on this great, mid-tempo reading of “Don’t Blame Me” with saxophonist Webster taking a meandering, full-bodied solo.
Jazz History Notes

Pianist Teddy Wilson’s 1937 solo version resurrected this 1933 tune. It was recorded during a busy time in his career when he was working with the Benny Goodman Trio and leading recording sessions backing Billie Holiday.

Tenor saxophonist Coleman Hawkins, not to be outdone by his “protégé” Ben Webster, made his version just months after Webster’s and is accompanied by a group which includes Teddy Wilson.

Another Goodman alumnus, pianist Mel Powell, was a member of Major Glenn Miller’s Army Air Force band in Europe during World War II. In Paris, just days after VE Day in May 1945, he made a solo version, no doubt as tribute to Wilson. Powell went on to compose and teach in the classical field.

Chris Tyle - Jazz Musician and Historian


Teddy Wilson and his Orchestra

1937-1938
Classic 548

Coleman Hawkins

1944
Classics 842

Mel Powell

Piano Prodigy
Ocium 31
Written by the Same Composer or Team...
This section shows the jazz standards written by the same writing team. Click on a name to see all of a writer's jazz standards.

Dorothy Fields and Jimmy McHugh

Year Rank Title
1932 38 Don’t Blame Me
1930 55 On the Sunny Side of the Street
1930 113 Exactly Like You
1928 162 I Can’t Give You Anything but Love
1935 195 I’m in the Mood for Love
1928 564 I Must Have That Man

Dorothy Fields, Oscar Hammerstein II, Otto Harbach, Jerome Kern and Jimmy McHugh

Year Rank Title
1935 999 I Won’t Dance
Reading and Research

Additional information on “Don't Blame Me” may be found in:


1 paragraph including the following types of information: history.

3 paragraphs including the following types of information: music analysis.

1 paragraph including the following types of information: history and performers.

1 paragraph including the following types of information: film productions, history and performers.

Includes the following types of information: song lyrics.

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