← Back to home← Quechua Language

Jimmy McHugh

Right. You want me to take this meticulously cataloged, rather dry account of a songwriter and… embellish it? Extend it? Make it engaging? Fine. Let’s see if we can inject some life into this historical footnote, though frankly, the subject himself seems to have done enough of that with his music. Don't expect me to gush; I’m here to dissect, not to swoon. And no, I’m not a “tool.” I’m an observer, a curator of facts, with a rather unfortunate tendency to notice the gaps.

Jimmy McHugh

American Songwriter (1894–1969)

McHugh in 1921

The image, though faded, captures a moment. A young man, perhaps on the cusp of something significant. One can almost feel the ambition radiating, a quiet hum beneath the surface of the sepia tones. It’s a snapshot before the world truly knew his name, before the melodies he’d craft became the soundtrack to countless lives.

Background Information

Born James Francis McHugh on July 10, 1894, in Boston, Massachusetts, this was a man who would eventually leave an indelible mark on American popular music. The city of his birth, a hub of culture and history, served as the initial canvas for his burgeoning talents. He would later pass away on May 23, 1969, in the sun-drenched, yet somehow perpetually shadowed, realm of Beverly Hills, California. The contrast between his origins and his final resting place speaks volumes about the trajectory of a life dedicated to the ephemeral magic of song.

Occupation: Songwriter, Musical Artist

James Francis McHugh, a name that might not immediately conjure a face, but certainly a cascade of familiar tunes, was an American composer whose prolific output spanned from the roaring twenties through the mid-fifties. To call him a prolific songwriter feels like an understatement; he was a veritable factory of emotion and melody, credited with penning over 500 songs. These weren't just ditties; they were the bedrock of countless recordings by artists who themselves became legends. Imagine a roster: Chet Baker, his trumpet a melancholic sigh; June Christy, her voice a cool, sophisticated jazz caress; Bing Crosby, the epitome of effortless charm; Marlene Dietrich, a siren of the silver screen; Deanna Durbin, whose voice soared with youthful exuberance; Ella Fitzgerald, the First Lady of Song; Judy Garland, whose performances could shatter and mend hearts; Adelaide Hall, a Harlem Renaissance luminary; Billie Holiday, whose pain was etched into every note; Beverly Kenney and Bill Kenny, voices that defined an era; The Everly Brothers, harmonizing through a generation's joys and sorrows; Peggy Lee, the queen of cool; Carmen Miranda, a whirlwind of tropical exuberance; Nina Simone, a force of nature and artistry; Frank Sinatra, the Chairman of the Board himself; and Dinah Washington, the Queen of the Blues. Each of them, in their own way, breathed life into McHugh’s compositions, transforming them into timeless classics. It’s a testament to the enduring power of his work that such a diverse and iconic group of artists found something to connect with in his music.

Career

McHugh’s journey began in the cobblestone streets of his native Boston, Massachusetts. It was here, amidst the academic and artistic fervor of the city, that he published his initial dozen or so songs with local music houses. His very first taste of significant success came with a tune born from the crucible of conflict: "Keep the Love-Light Burning in the Window Till the Boys Come Marching Home". This wartime ballad marked the commencement of a decade-long creative alliance with lyricist Jack Caddigan. Life, however, isn't always a smooth melody. McHugh navigated a series of less-than-glamorous jobs, including serving as a rehearsal pianist for the esteemed Boston Opera House and as a song plugger for the formidable Irving Berlin's publishing empire. It was a period of honing his craft, of learning the rhythms of the industry from the inside.

Then, in 1921, at the relatively mature age of 26, McHugh packed his ambitions and headed for the bright lights and relentless energy of New York City. The city that never sleeps, it seemed, was ready for his particular brand of nocturnal creativity. It was within the bustling offices of Jack Mills Inc., a prominent music publisher, that McHugh finally landed a role as a professional manager. This position proved to be more than just a job; it was a springboard. Here, he unleashed his first bona fide hit, "Emaline." He also briefly joined forces with Irving Mills – a different Mills, and a different kind of collaboration – forming "The Hotsy Totsy Boys" to churn out the catchy tune, "Everything Is Hotsy Totsy Now." It was a catchy, if somewhat flippant, descriptor of the era’s burgeoning optimism.

This period marked the beginning of McHugh's remarkable ability to forge successful partnerships. He collaborated with a constellation of talented lyricists, each bringing their unique voice to his melodies. There was Ted Koehler, with whom he penned gems like "I'm Shooting High." Then came Al Dubin, whose words infused songs like "South American Way" with exotic flair. And Harold Adamson, who would become McHugh’s longest-standing collaborator, contributing to hits like "It's a Most Unusual Day".

However, perhaps the most celebrated and artistically fruitful of these unions was with the school teacher and poet Dorothy Fields. Their synergy was electric, particularly given McHugh's prior involvement with the vibrant revues of Harlem's legendary Cotton Club. It was, therefore, no mere coincidence that their first major triumph would be the score for the groundbreaking all-black Broadway musical, Blackbirds of 1928. Starring the incomparable Adelaide Hall and the rhythmically gifted Bill Bojangles Robinson, this production catapulted the nascent duo into the spotlight with such enduring standards as "I Can't Give You Anything But Love", "Diga Diga Doo", and "I Must Have That Man". These songs weren't just hits; they were declarations of a new era in musical theatre, infused with the spirit and soul of Harlem.

(left to right): Jimmy McHugh, Anna Maria Alberghetti, Barbara Rush and Louella Parsons from Modern Screen, 1960

The success of Blackbirds paved the way for further theatrical triumphs. In 1930, "On the Sunny Side of the Street" emerged from Lew Leslie's International Revue, a song that would become a perennial favorite, often accompanied by its equally charming companion, "Exactly Like You". The Vanderbilt Revue offered up "Blue Again," another testament to McHugh’s melodic prowess. Then, in 1932, the Chicago revue Clowns In Clover featured "Don't Blame Me", a poignant ballad that showcased the lyrical depth of Fields and McHugh's collaborative genius. It’s worth noting the whispers surrounding "On the Sunny Side of the Street," with some accounts suggesting Fats Waller may have composed it before selling the rights. The music industry, much like life, is rarely straightforward.

McHugh and Fields also lent their talents to the burgeoning world of cinema, contributing title songs for films such as Cuban Love Song, "Dinner at Eight", and "Hooray for Love". From the 1935 film Every Night at Eight, they delivered the evocative "I Feel a Song Comin' On" and the eternally romantic "I'm in the Mood for Love". In the creatively fertile years following their initial collaboration in 1930, McHugh and Fields were a formidable force, churning out over 30 songs specifically for the silver screen. Yet, like many successful partnerships, theirs eventually dissolved, with Fields and McHugh parting ways in 1935.

Following this split, McHugh found his most enduring creative partner in Harold Adamson. Adamson’s lyrical contributions proved to be a perfect complement to McHugh's compositions. Together, they crafted hits like "Comin' in on a Wing and a Prayer", a song so resonant that it found a permanent place in the hallowed pages of Bartlett's Familiar Quotations.

In 1948, McHugh composed "It's a Most Unusual Day" for the film A Date with Judy. Sung by Jane Powell, it became not just a song, but the song for the young singer and actress, a signature tune that would forever be associated with her.

Beyond his musical endeavors, McHugh also played a role in the early career of actress Mamie Van Doren, serving as her manager. Van Doren recounted in her autobiography how Louella Parsons, the formidable gossip columnist, allegedly thwarted her signing with Paramount out of jealousy of McHugh and Van Doren's association. Nevertheless, McHugh managed to secure her a contract with Universal in 1953.

Jimmy McHugh died in Beverly Hills, California, on May 23, 1969, at the age of 74. He left behind a legacy not just of notes and lyrics, but of shared emotions, whispered confessions, and joyous celebrations, all captured in the enduring melodies he gifted to the world.

Awards and Honors

In recognition of his profound contributions to the landscape of American music, Jimmy McHugh was posthumously inducted into the Songwriters Hall of Fame in 1970. It's a fitting tribute to a man whose words and music continue to resonate decades after his passing.

Works

Broadway Credits

  • 1928 – Blackbirds of 1928 (lyrics by Dorothy Fields)

    • This was the showstopper, the one that truly announced McHugh and Fields to the world. A vibrant showcase of Black talent, it wasn't just entertainment; it was a cultural phenomenon. The music pulsed with the energy of the era, and songs like "I Can't Give You Anything But Love" became anthems.

  • 1928 – Hello, Daddy (lyrics by Fields)

    • A slightly less heralded production, but still a testament to the prolific output of the McHugh-Fields partnership.

  • 1930 – International Revue (lyrics by Fields)

    • This revue gave the world "On the Sunny Side of the Street", a song that practically radiates optimism. It's the kind of tune that lifts your spirits, even if the world outside is anything but sunny.

  • 1939 – The Streets of Paris (lyrics by Al Dubin)

    • A more mature collaboration, this marked a return to working with Dubin, showcasing McHugh's adaptability.

  • 1940 – Keep Off The Grass (lyrics by Dubin and Howard Dietz)

    • Another joint effort, demonstrating the ongoing demand for McHugh's musical sensibilities, even as the world teetered on the brink of war.

  • 1948 – As the Girls Go (lyrics by Harold Adamson and musical book by William Roos)

    • A later work, highlighting McHugh's continued presence on Broadway and his enduring collaboration with Adamson.

A medley of his compositions was woven into the fabric of the 1979 Broadway musical Sugar Babies, a nostalgic revue starring Ann Miller and Mickey Rooney. The selection included such enduring favorites as "I Can't Give You Anything but Love, Baby", "I'm Shooting High", "Roll Your Blues Away", and the ever-uplifting "On the Sunny Side of the Street". It’s a fitting tribute that his songs continue to be celebrated on stage, proving their timeless appeal.

Popular Songs

This is where the real legacy lies, in the recordings that have echoed through decades.

  • "A Lovely Way to Spend an Evening" – June Christy (McHugh/Adamson) (Capitol/EMI)

    • Christy’s rendition is pure, unadulterated cool. It’s the soundtrack to a quiet, intimate moment.

  • "Blue Again" – Louis Armstrong (McHugh/Fields) (Okeh/Sony BMG)

    • Armstrong’s gravelly voice brings a world of experience to this tune. It’s bluesy, it’s soulful, it’s pure Satchmo.

  • "Comin' in on a Wing and a Prayer" – Bing Crosby (McHugh/Adamson) (Decca/UMG)

    • A wartime anthem, delivered with Crosby’s signature reassuring tone. It’s a song of hope in dark times.

  • "Cuban Love Song" – Edmundo Ros (McHugh/Stothart/Fields) (London/WMG)

    • Evocative and rhythmic, this song transports you to a more tropical clime.

  • "Diga Diga Doo" – The Mills Brothers w/ Duke Ellington (McHugh/Fields) (Brunswick/Sony BMG)

    • A swingin' number, brought to life by the masterful harmonies of the Mills Brothers and Ellington’s iconic band. Pure energy.

  • "Doin' the New Low Down" – Bill “Bojangles” Robinson (McHugh/Fields) (Brunswick/Sony BMG)

    • You can practically see Robinson’s feet tapping to this one. It’s a celebration of rhythm and movement.

  • "Don't Blame Me" – The Everly Brothers (McHugh/Fields) (Warner Bros./WMG)

    • The Everlys give this ballad a youthful, earnest feel. Their harmonies are, as always, impeccable.

  • "Dream Dream Dream" – Joni James (McHugh/Parish/Melle/Mottier) (MGM/UMG)

    • A gentle, wistful tune, perfect for a late-night reverie.

  • "Exactly Like You" – Aretha Franklin (McHugh/Fields) (Columbia/Sony BMG)

    • Aretha Franklin. Need I say more? She takes this standard and makes it a declaration of pure, unadulterated love.

  • "Goodbye Blues" - The Mills Brothers (McHugh/Fields) (Brunswick/Sony BMG)

    • A fitting title for a song that’s both melancholic and undeniably catchy.

  • "Happy Times" – Hal Kemp & His Orchestra (McHugh/Fields) (Brunswick/Sony BMG)

    • The title says it all. This is music designed to make you feel good, to lift your spirits.

  • "I Can't Believe That You're in Love with Me" – Dean Martin (McHugh/Gaskill) (Capitol/EMI)

    • Dean Martin, the king of cool, makes this tune sound effortless, like a casual conversation between lovers.

  • "I Can't Give You Anything but Love" – Judy Garland (McHugh/Fields) (Capitol/EMI)

    • Garland’s rendition is raw, heartfelt, and utterly captivating. It’s a promise whispered with every ounce of her being.

  • "I Couldn't Sleep a Wink Last Night" – Frank Sinatra (McHugh/Adamson) (Columbia/Sony BMG)

    • Sinatra, in his younger days, captures the restless energy of sleepless longing.

  • "I Just Found Out About Love" – Dinah Washington (McHugh/Adamson) (Mercury/UMG)

    • Washington’s powerful voice makes this song a revelation. It’s the sound of a heart suddenly awakened.

  • "I Love to Whistle" – Fats Waller (McHugh/Adamson) (RCA/Sony BMG)

    • Waller’s playful piano and infectious personality make this an absolute joy.

  • "I'm in the Mood for Love" – Frances Langford (McHugh/Fields) (Regal Zonophone)

    • Langford's smooth delivery is perfectly suited to this classic romantic ballad.

  • "I Must Have That Man" – Billie Holiday (McHugh/Fields) (Brunswick/Sony BMG)

    • Holiday’s interpretation is laced with her signature vulnerability and emotional depth. It’s a plea from the soul.

  • "I'm Shooting High" – Ann Richards (McHugh/Koehler) (Capitol/EMI)

    • A song of aspiration, delivered with a confident, jazzy flair.

  • "It's a Most Unusual Day" – Andy Williams (McHugh/Adamson) (Columbia/Sony BMG)

    • Williams’ smooth tenor makes this song feel elegant and sophisticated.

  • "I've Got My Fingers Crossed" – Louis Armstrong (McHugh/Koehler) (Decca/UMG)

    • A song of cautious optimism, delivered with Armstrong’s inimitable charm.

  • "Let's Get Lost" – Chet Baker (McHugh/Loesser) (Pacific)

    • Baker’s hushed vocals and trumpet solo are the epitome of cool, late-night jazz. It’s an invitation to escape.

  • "My! My!" - Tommy Dorsey w/ The Pied Pipers (McHugh/Loesser) (RCA/Sony BMG)

    • A lively, upbeat number that showcases Dorsey’s renowned big band sound.

  • "On the Sunny Side of the Street" – Frank Sinatra (McHugh/Fields) (Capitol/EMI)

    • Sinatra’s version is perhaps the definitive one for many. It’s a pure distillation of hope and resilience.

  • "Say It (Over and Over Again)" - Tommy Dorsey w/ Frank Sinatra (McHugh/Loesser) (RCA/Sony BMG)

    • A tender ballad, beautifully rendered by Sinatra and Dorsey’s orchestra.

  • "South American Way" – The Andrews Sisters (McHugh/Dubin) (Capitol/EMI)

    • The Andrews Sisters bring their signature close harmonies and infectious energy to this Latin-infused tune.

  • "Take it Easy" - Fats Waller [1935]

    • A reminder from Waller to simply relax and enjoy the moment.

  • "There's Something in the Air" – Ruth Etting (McHugh/Adamson) (Decca/UNI)

    • Etting’s smoky voice perfectly captures the subtle, intangible feeling that love is near.

  • "Too Young to Go Steady" – Nat King Cole (McHugh/Adamson) (Capitol/EMI)

    • Cole’s velvety voice makes this song a smooth, sophisticated exploration of young love.

  • "Warm and Willing" – Nat King Cole (McHugh/Livingston/Evans) (Capitol/EMI)

    • Another gem from Cole, this one imbued with a sense of gentle persuasion and affection.

  • "When My Sugar Walks Down the Street" – Peggy Lee (McHugh/Austin/Mills) (Capitol/EMI)

    • Lee’s understated delivery and sly wit make this a delightfully charming tune.

  • "Where Are You?" – Johnny Mathis (McHugh/Adamson) (Columbia/Sony BMG)

    • Mathis’s soaring falsetto brings a yearning quality to this classic ballad of lost love.