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Irving Gordon

Irving Gordon (February 14, 1915 – December 1, 1996) was an American lyricist and composer renowned for his contributions to mid-20th-century , most famously the enduring "Unforgettable", which became a signature hit for in 1951. Born Goldener in , , to a Jewish family, he later adopted the name Irving Gordon and studied the as a child before discovering his passion for songwriting. His career spanned decades, yielding hits recorded by luminaries such as , , , and , and he joined the American Society of Composers, Authors and Publishers (ASCAP) in 1939. Gordon's early breakthrough came in the late through a contract with Mills Music, where he penned for great , including the romantic ballad "Prelude to a Kiss" (1938) and contributed to the 1937 revue. Other notable early works included "What Will I Tell My Heart?" (1937, popularized by ) and "Me, Myself and I" (1937, a hit for ). In 1944, he relocated to , continuing his prolific output with songs like "Be Anything (But Don't Be Mine)", "Mister and ", "" (a 1946 chart-topper), and "" (1956, recorded by and later inspiring a 1987 film title). Though the rock era diminished opportunities for his style of songcraft in the , Gordon adapted by working as a professional while occasionally composing. His legacy endured through revivals, particularly "Unforgettable", which earned him a posthumous Grammy Award for Song of the Year in after Natalie Cole's duet version with her father topped the charts. Over his lifetime, Gordon composed thousands of songs, cementing his place as a key figure in American popular song.

Early life

Birth and family background

Irving Gordon was born Israel Goldener on February 14, 1915, in , , to a Jewish family. The family resided in the working-class neighborhoods of , where many Jewish families of Eastern European descent settled in the early , facing the economic and social challenges of urban immigrant life during the era. These communities were characterized by tight-knit support networks, Yiddish-speaking enclaves, and efforts to balance cultural traditions with American opportunities amid rising and labor struggles. The Goldener family later moved to the area of , a vibrant seaside neighborhood that offered a mix of amusement and residential life for working families. Gordon's father worked in New York's garment district, a common occupation among Jewish immigrants providing steady but modest income in the garment trade-dominated borough. He had at least one , a brother named , who outlived him. He later changed his name to Irving Gordon, adopting an Anglicized identity that reflected the broader trends among second-generation Jewish Americans seeking to integrate into mainstream society. This period marked the family's navigation of Brooklyn's diverse ethnic landscape, where Jewish immigrants from contributed to the area's cultural and economic fabric through small businesses and community institutions.

Childhood and education

Irving Gordon grew up in , , during the early , in a Jewish immigrant family of and Austrian heritage. His father worked in 's garment district, while his mother, an enthusiast of , encouraged his early exposure to . As a child, Gordon studied the at his mother's insistence, though he found himself more drawn to the popular songs of the era than to classical repertoire. The family's apartment was located near , immersing him in the lively, amusement-filled environment of the neighborhood during his formative years. His teenage period in the 1920s and 1930s coincided with the , a time of economic hardship that affected working-class families like his own in . Gordon attended local schools in , completing high school but forgoing further formal education to enter the workforce. In his youth, he began informal musical experiments, humming melodies inspired by hits and carrying tune ideas with him, fostering an early passion for song creation that contrasted with his violin training. Jewish cultural traditions from his family provided additional subtle influences on his developing sensibilities.

Career

Entry into the music industry

Gordon's entry into the music industry began during his summers in , when he worked at resort hotels in the and started writing parody lyrics for performers in hotel shows. His childhood study of the had laid a foundational understanding of , which informed his early compositional efforts. In 1939, Gordon formally established himself as a professional songwriter by joining the American Society of Composers, Authors and Publishers (ASCAP). By the late , his budding work caught the attention of music publisher , leading to employment at Mills Music, Inc., in , where he wrote lyrics under contract for the firm's artists. This role, which paid him $50 per week starting in 1937, involved contributing to projects like Duke Ellington's material while he continued pitching his own compositions in the competitive songwriting environment. The firm's offices were located in the at 1619 Broadway in , the epicenter of Tin Pan Alley's publishing activity by the early 1940s.

Major songwriting successes

Irving Gordon achieved his greatest songwriting successes during the and , a period when his romantic ballads and jazz-inflected compositions gained widespread popularity through radio broadcasts, recordings, and sales amid the cultural shifts of and the postwar era. Working initially in and later in after 1944, Gordon contributed to the vibrant and scenes, where his tunes were performed by leading artists and became staples on airwaves and jukeboxes. One of Gordon's earliest breakthroughs came in 1938 with "Prelude to a Kiss," for which he co-wrote the with to Duke Ellington's music; the song was introduced by Ellington's orchestra featuring saxophonist and quickly established itself as a sophisticated through its elegant phrasing and emotional depth. In , "What Will I Tell My Heart," composed by Gordon with Jack Lawrence and Peter Tinturin, marked an early commercial hit, reaching No. 9 on U.S. charts via Hal Kemp and His Orchestra's recording, bolstered by extensive radio play that highlighted its melancholic introspection. Similarly, Gordon's composition "Me, Myself and I (Are All in Love with You)," with by Allan Roberts and Alvin S. Kaufman, saw significant airtime and demand during the late and into the wartime , notably through Holiday's evocative Vocalion recording that captured its playful yet poignant self-reflective theme. These prewar successes laid the groundwork for Gordon's wartime output, as his songs resonated with audiences seeking escapism, contributing to robust sales and frequent radio features on programs like those hosted by big bands. Gordon's pinnacle arrived in 1951 with "Unforgettable," a self-penned originally titled "Uncomparable," which he wrote and published that year; Nat King Cole's recording, arranged by , propelled it to No. 12 on the , cementing its status as a timeless and pop standard through its lush orchestration and heartfelt lyrics evoking enduring romance. The song's immediate impact was amplified by radio saturation and placements, reflecting the era's demand for sentimental tunes, while its circulated widely among vocalists and instrumentalists. During this peak decade, Gordon's works, including additional hits like "Mr. and ," further demonstrated his versatility in blending narrative storytelling with melodic accessibility, driving commercial viability through diverse recordings and broadcasts.

Later works and collaborations

In the , Irving Gordon continued to craft narrative-driven songs that blended pop with emerging and influences, moving away from his earlier jazz-oriented standards. One such example was "Mister and ," a poignant he wrote in 1951 that evoked themes of wanderlust and Southern Americana, first recorded by and later popularized by Eddy Arnold's 1959 album rendition. Similarly, "Allentown Jail," composed in 1951 as a -style about and , gained international reach through a adaptation titled "Les Prisons du Roi," co-credited to Gordon and lyricist Michel Rivegauche, and performed by in 1958 during her concerts. Gordon's output in the mid-1950s further showcased his versatility in sentimental storytelling. "Mama from the Train (A Kiss, A Kiss)," published in 1956, captured nostalgic farewells with its rhythmic, train-inspired refrain and was notably recorded by that year, peaking at number 11 on the pop chart. By the early , his work increasingly incorporated humor and regional flavor, as seen in "Delaware," a playful 1960 listing U.S. states in punning fashion, which became a hit for , reaching number 22 on the and exemplifying Gordon's pivot toward lighthearted folk-country hybrids. During the and , Gordon shifted emphasis toward Americana-rooted songs that highlighted everyday and regional lore, often prioritizing lyrical narratives over complex melodies amid the rise of , a genre he openly disdained for lacking melodic substance. This period saw him collaborate less frequently with major pop artists but focus on self-contained works that resonated in and circles, building on the narrative style of his earlier hits like "Mister and Mississippi." Toward the end of his career, Gordon ventured into theatrical writing, attempting projects that reflected his ambitious storytelling instincts. In the late and into the , he worked on an unfinished musical biography of , envisioned as a dramatic exploration of the psychoanalyst's life, though it remained unproduced at his death in 1996. These efforts underscored his enduring interest in character-driven narratives beyond standalone songs.

Personal life

Marriage and family

Irving Gordon married in the 1940s after meeting her in , where she worked as a secretary for and he contributed songs to the bandleader's repertoire. The couple had two sons, William P. Gordon, who earned a Ph.D. and pursued a professional career in , and Richard Eliot Gordon. Their marriage ended in divorce, after which Claire remarried twice. Gordon relocated to the area in 1944, where he resided until his death. His sons also established lives in the state, with William in Los Altos and Richard later in . Gordon maintained close ties with his family, including a grandson, Jonathan Paul Gordon, and his songwriting royalties ensured financial stability to support them amid his professional commitments.

Hobbies and pursuits

In the 1960s, as the music industry shifted away from the standards he favored, Irving Gordon transitioned into a professional instructor, teaching at clubs in to support himself during a period of reduced songwriting opportunities. This role not only provided but also aligned with his personal passion for the , which he pursued seriously to maintain a trim physique well into his later years. His residence in facilitated these pursuits, immersing him in a conducive to outdoor activities. Gordon expressed a strong preference for big band music and timeless standards, viewing the rise of rock 'n' roll in the as a decline in quality that rendered much of the era's output "crap" and incompatible with his lyrical style. This disdain influenced his deliberate avoidance of contemporary pop trends, allowing him to focus on interests outside his professional frustrations. Among these were avid reading of profound , which he carried to set himself apart from peers in the songwriting world and nurture his intellectual side. Throughout his life, Gordon emphasized through , crediting the sport with keeping him active and healthy into old age, while his hobbies reflected a balanced retreat from the music industry's volatility.

Death and legacy

Final years and illness

In the mid-1990s, Irving Gordon was diagnosed with , a form of blood cancer that he battled until his death. Residing in , during his later years, Gordon continued light creative endeavors despite his declining health. He spent this period developing an ambitious musical based on the life of , a project that remained unfinished at the time of his passing. Gordon received support from his family, including his sons William and Richard, as he confronted his illness. His lifelong passion for , which he had pursued as both a recreational activity and briefly as a profession, waned significantly due to the effects of his health struggles. Gordon died on December 1, 1996, at age 81 in .

Awards and recognition

Irving Gordon received the Grammy Award for Song of the Year at the in 1992 for "Unforgettable," honoring the duet version recorded by with archival vocals from her father, . This accolade, presented four decades after the song's original 1951 release, marked a late-career highlight for Gordon, who was in his mid-70s at the time. As a longtime member of the American Society of Composers, Authors and Publishers (ASCAP) since 1939, Gordon's catalog earned ongoing performance royalties, reflecting the sustained popularity of his works in broadcasting and live performances. His songs, particularly "Unforgettable," have become enduring standards in the , frequently interpreted by jazz and pop vocalists for their emotional depth and melodic elegance. Posthumously, following Gordon's death in 1996, "Unforgettable" continued to inspire covers by contemporary artists, including Sia's 2016 rendition for the Finding Dory soundtrack, Michael Bublé's 2018 version on his album , a 2019 duet by and on , and Kelly Clarkson's 2023 rendition on . These interpretations, alongside uses in films and television, underscore the song's timeless appeal across genres. Gordon's influence extended to narrative songwriting in Americana and folk traditions, exemplified by his 1951 composition "Two Brothers," a poignant ballad depicting fraternal division that has been covered by artists like and featured in Disney's attraction The American Adventure. This work highlighted his skill in weaving historical storytelling into accessible lyrics, contributing to the evolution of character-driven in country and .

Selected songs

Hit singles and standards

Irving Gordon's songwriting prowess shone through in several hit singles and enduring standards that captured widespread commercial success and lasting cultural resonance. Among his most celebrated works is "Unforgettable," which he composed both the music and lyrics for in 1951. Nat King Cole's 1951 recording, arranged by , became a signature hit, peaking at number 12 on the Best Sellers in Stores chart in 1952 and establishing the song as a timeless romantic ballad with over a million copies sold. Its cultural staying power is evident in its frequent covers by artists like and , as well as its 1991 Grammy-winning posthumous duet version by Cole and his daughter Natalie, which reached number 14 on the Hot 100. Another cornerstone of Gordon's catalog is the jazz standard "Prelude to a Kiss," co-written in 1938 with providing the music and sharing lyric credit. First recorded by Ellington and His Orchestra on August 9, 1938, for , the ballad's sophisticated harmonies and evocative lyrics made it a staple in the repertoire. Major vocalists including (on her 1956 album ), (in her 1957 Ella Fitzgerald Sings the Duke Ellington Song Book), and (on her 1954 Mercury recording) delivered iconic interpretations, cementing its status as a beloved standard performed across decades. Gordon's flair for whimsical, pun-laden tunes produced the 1960 Top 40 hit "," which he wrote solo and published in 1959. Perry Como's lighthearted rendition, backed by Mitchell Ayres and His Orchestra, playfully riffed on state names in a riddle-style narrative, reaching number 22 on the and spending 12 weeks on the chart. The song's humorous style resonated with audiences, marking one of Como's final significant pop successes in a career spanning decades. In the genre, Gordon achieved notable chart success with "Mister and Mississippi," penned in 1951. Tennessee Ernie Ford's version, released on , climbed to number 2 on the Country & Western Best Sellers chart that year, blending heartfelt storytelling with Ford's signature style to appeal to both country and pop listeners. The track's evocative of longing contributed to its enduring appeal in mid-century American music. Gordon also contributed to holiday music with "Christmas Dreaming (A Little Early This Year)," co-written with Lester Lee in 1947 for the film Christmas Eve. Frank Sinatra's initial recording that year peaked at number 26 on the , capturing a wistful anticipation of the season with its gentle melody and lyrics. The song evolved into a holiday standard through subsequent covers by artists like and , maintaining its place in festive playlists for its nostalgic charm.

Film and theater contributions

In the mid-1940s, Irving Gordon transitioned much of his songwriting focus to Hollywood, relocating to Los Angeles in 1944 to pursue opportunities in film composition amid the booming demand for popular music in motion pictures. Gordon's direct contributions to film soundtracks included the title song for the 1955 Western The Kentuckian, directed by and starring Burt Lancaster; the folk-style ballad captured the film's frontier spirit and Americana themes. His 1956 composition "Mama from the Train (A Kiss, a Kiss)" later influenced media adaptations, most notably inspiring the title of the 1987 black comedy Throw Momma from the Train, directed by Danny DeVito; Gordon successfully sued Orion Pictures and was awarded $100,000 for infringement on his song title. Similarly, his 1952 song "Allentown Jail," a narrative ballad about imprisonment and hardship, received an international adaptation as "Les Prisons du Roi" by French chanteuse Édith Piaf in 1958; Piaf's version, translated by Michel Rivgauche, became a staple in her repertoire during her active film career, appearing in live recordings and performances tied to her cinematic roles in French productions. Although Gordon's primary successes were in popular recordings, he made efforts to contribute to theater, particularly , where he developed an original musical in the early complete with and 20 new songs, though the project remained unproduced. His compositions later appeared in the 1997 Broadway Play On!, a loose adaptation of Shakespeare's that incorporated several of Gordon's standards, including lyrical contributions to pieces like "Prelude to a Kiss," highlighting his influence on stage revues and musical theater. Post-1950s, Gordon's enduring standards found prominent placements in films and documentaries, often evoking and emotional depth. For instance, "Unforgettable" featured in Martin Scorsese's 1995 crime epic , where Dinah Washington's version underscored key scenes; these usages, alongside occasional inclusions in revues and archival documentaries on American music, extended Gordon's legacy into visual media long after his initial hits.

References

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    Below is a merged response summarizing all the notable covers of "Unforgettable" by Irving Gordon released after 1996, based on the provided segments. To retain all information in a dense and organized format, I’ll use a table in CSV format, which includes the artist(s), release year, specific release date (where available), and useful URLs for reference. The table will consolidate all 25 unique covers mentioned across the segments, avoiding duplicates and ensuring completeness.
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