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"In the Mood"
Single by Glenn Miller and His Orchestra
B-side"I Want to Be Happy"
PublishedNovember 27, 1939 (1939-11-27) Shapiro, Bernstein & Co., Inc., New York[1]
ReleasedSeptember 15, 1939
RecordedAugust 1, 1939
StudioRCA Victor, New York City
GenreBig band, swing
Length3:40
LabelBluebird (US), His Master's Voice (UK)
SongwritersWingy Manone (c), Andy Razaf (w), Joe Garland (a)
"In the Mood"
Single by Ernie Fields
B-side"Christopher Columbus"
ReleasedJune 1959
GenreJazz, instrumental
Length2:29
LabelRendezvous
SongwritersWingy Manone (c), Andy Razaf (w), Joe Garland (a)
Ernie Fields singles chronology
"In the Mood"
(1959) 		"Begin the Beguine"
(1960)

"In the Mood" is a popular big band-era jazz standard recorded by American bandleader Glenn Miller. "In the Mood" is based on the composition "Tar Paper Stomp" by Wingy Manone. The first recording under the name "In the Mood" was released by Edgar Hayes & His Orchestra in 1938.

In 1983, the Glenn Miller recording from 1939 was inducted into the Grammy Hall of Fame. In 2004, the recording was inducted into the Library of Congress National Recording Registry which consists of recordings that are "culturally, historically, or aesthetically significant."

In 1999, National Public Radio (NPR) included the 1939 Glenn Miller recording in its list of "The 100 most important American musical works of the 20th century".[2][3]

Miller's "In the Mood", with "I Want to Be Happy" on the B-side, became the best-selling swing instrumental.[4][5]

Arrangement

[edit]

"In the Mood" starts with a saxophone section theme based on repeated arpeggios that are rhythmically displaced; trumpets and trombones add accent riffs. The arrangement has two solo sections: a "tenor fight" or chase solo—in one recording between Tex Beneke and Al Klink—and a 16-bar trumpet solo by Clyde Hurley.[6] At the end of the song, a coda climbs triumphantly, then sounds a sustained unison tonic pitch with a rim shot.[4]

History

[edit]

"In the Mood" was an arrangement by Joe Garland based on an existing melody. Lyrics were added by Andy Razaf. The main theme with repeated arpeggios rhythmically displaced appeared under the title "Tar Paper Stomp" and was credited to trumpeter Wingy Manone.[7] Manone recorded "Tar Paper Stomp" on August 28, 1930, in Richmond, Indiana, and released it as a 78 single for Champion Records under the name Barbecue Joe and his Hot Dogs. It was re-released in 1935 by Wingy Manone's Orchestra.[8]

Horace Henderson used the same riff in "Hot and Anxious", which was recorded by his brother Fletcher Henderson on March 19, 1931, for Columbia under the name the Baltimore Bell Hops. Don Redman recorded "Hot and Anxious" for Brunswick in 1932.

Under copyright laws, a tune that had not been written down and registered with the copyright office could be appropriated by any musician with a good ear. Manone raised the similarity between "Tar Paper Stomp" and "In the Mood" to Joe Garland and to the publisher Shapiro, Bernstein, and Company of New York.[9] Manone also discussed the issue in DownBeat magazine.

"Tar Paper Stomp" was copyrighted on November 6, 1941, as a pianoforte version by Peer International.[10]

The first recording of Joe Garland's version of "In the Mood" was made by Edgar Hayes and his Orchestra in 1938 with Garland participating. It was released as a B side to their recording of "Stardust" for Decca. On this recording there was a baritone saxophone duet rather than a tenor saxophone battle. The riff had appeared in a 1935 recording by the Mills Blue Rhythm Band entitled "There's Rhythm in Harlem", which had been composed and arranged by Garland. Before offering it to Miller, Garland sold it in 1938 to Artie Shaw, who chose not to record it because the original arrangement was too long, but he did perform it in concert.[11]

Artie Shaw's version was over six minutes long and met a lackluster audience response.[9] Jerry Gray arranged Shaw's version. The band later performed a shorter version. The Hayes recording was over three minutes in length to fit on one side of a 78 record.

The song was sold in 1939 to Glenn Miller, who experimented with the arrangement. The author of the final arrangement is unknown. One possibility is Eddie Durham because he wrote other arrangements on the same day that "In the Mood" was recorded. Other possibilities include pianist Chummy MacGregor, who was Miller's chief arranger, John Chalmers, and Miller himself. According to an account by MacGregor, "all they used of the original arrangement were the two front saxophone strains and another part that occurred later on in the arrangement."[12] Both MacGregor and Miller were involved in creating the final arrangement: "MacGregor mentioned that additional solos were added to the original arrangement and he wrote the finishing coda. Miller probably edited some of the arrangement along with MacGregor."[12][13] In its final form, it is an example of Hemiola rhythm.

Two copyrights were filed by Joseph Copeland Garland on June 8 and November 26, 1938,[14] before the song was published by Lewis Music Pub. Co., Inc. on October 31, 1939, with Joe Garland the lone songwriter.[15] Then on November 27, a copyright was filed with both Garland and Razaf by Shapiro, Bernstein & Co., Inc. of New York. A final copyright was filed by Shapiro, Bernstein on December 11, 1939, worded as follows: "In the mood; fox-trot, Andy Razaf & Joe Garland, arr. Joe Garland as suggested by Glenn Miller; orch. pts., with w."[16]

Two editions of the sheet music are in circulation. The 1939 publication credited to Garland and Razaf is in A♭ and has lyrics beginning: "Mister What-cha-call-em, what-cha doin' tonight?" These lyrics were used in the 1952 recording by the Andrews Sisters, which is perhaps the best-known vocal version of the number. The 1960 reprint credited only to Garland (with piano arrangement by Robert C. Haring) is in G and has lyrics beginning: "Who's the livin' dolly with the beautiful eyes?"

On August 1, 1939, Miller's version was recorded at the RCA Victor Studios at 155 East 24th Street in New York City. The personnel on Miller's recording included Al Mastren and Paul Tanner on trombone; Clyde Hurley, Legh Knowles, and Dale McMickle on trumpet; Wilbur Schwartz on clarinet; Hal McIntyre on alto saxophone; Tex Beneke, Al Klink, and Harold Tennyson on tenor saxophone; Chummy MacGregor on piano; Richard Fisher on guitar; Rowland Bundock on double bass; and Moe Purtill on drums.[17]

Other versions

[edit]
1939 sheet music cover, "Introduced by Glenn Miller", Shapiro, Bernstein, and Co., New York

Miller and band perform a version of the song in the 1941 film Sun Valley Serenade.

In February 1944, the Glenn Miller RCA Victor Bluebird 1939 studio recording of "In the Mood" was released as a V-Disc, one of a series of recordings sent free by the U.S. War Department to overseas military personnel during World War II. A second version recorded by Glenn Miller's Overseas Band in 1945, was released in May 1948. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces (AEF) was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour.[18]

This piece of music was not new in Europe. The first Swiss record of "In the Mood" were released in April 1940 by Teddy Stauffer und seine Original Teddies in Zurich.[19] Another interpretation was made by Ernst van 't Hoff in February 1941 in Berlin.[20]

In 1951 a Ferranti Mark 1 computer at the University of Manchester played "In the Mood", one of the first songs to be played by a computer, and the oldest known recording of digitally generated music.[21]

In December 1959, the rendition of "In the Mood" that Ernie Fields and his Orchestra recorded peaked at number 4 by means of the Billboard popular hit parade and number 7 by means of both the Rhythm and Blues[22] and the Cash Box hit parades.

Bette Midler covered the song on her album "The Divine Miss M" in 1973, with additional lyrics by herself and Barry Manilow. It was released as a single in 1974 and reached #51 on the Billboard Hot 100 chart.[citation needed]

Jonathan King, under the name Sound 9418 released his version in 1976 which reached No. 46 on the UK Singles Chart.[23]

In the winter of 1977, a novelty version by the Henhouse Five Plus Too (a Ray Stevens project) employing the sounds of clucking chickens entered the U.S. Pop Top 40: (Billboard No. 40,[24] Cash Box #37[25]).

John Lee Hooker said that "In the Mood" was the inspiration for his song "I'm in the Mood" which became a No. 1 hit on the R&B Singles chart.[26]

In 2025, Pentatonix covered the song as a mashup with "Run Rudolph Run" entitled "Moody Rudy" for their Christmas album Christmas in the City.

V-Disc release.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

In the Mood

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from Grokipedia
"In the Mood" is a and instrumental composed by Joe Garland in 1938, most famously recorded by on August 1, 1939. The track features a distinctive twelve-bar riff and a call-and-response between tenor saxophonists and Al Klink, embodying the energetic swing style of the era. Released by RCA Victor in September 1939 as Bluebird B-10416-A, it became Miller's signature hit, topping the Best Sellers in Radio and Jukebox charts for 13 non-consecutive weeks in 1940 and selling over one million copies by 1940. The song's origins trace back to earlier musical riffs, including Wingy Manone's "Tar Paper Stomp" (1930) and Fletcher Henderson's "Hot and Anxious" (1931), which Garland incorporated into his composition. Lyrics were later added by Andy Razaf, though Miller's version remained instrumental. Prior to Miller, it was recorded by the Edgar Hayes Orchestra for Decca in February 1938 and performed in a radio broadcast by Artie Shaw later that year, but neither achieved widespread commercial success. The arrangement, possibly influenced by Eddie Durham, propelled In the Mood to cultural prominence, featuring in the 1941 film Sun Valley Serenade and becoming a staple for jitterbug dancing during World War II. In the Mood has endured as a symbol of the era, influencing swing revivals and appearing in numerous covers, including Ernie Fields' 1959 instrumental that reached number four on the and ' 1977 novelty version peaking at number 40. It was inducted into the in 2004 for its cultural, historical, and aesthetic significance, and has been referenced in media from the 1954 biopic to modern television like . The song's catchy riff even appeared in the orchestral outro of The Beatles' 1967 track "All You Need Is Love," arranged by .

Composition and Origins

Melody Development

The core melody of "In the Mood" traces its origins to several earlier jazz riffs, including Wingy Manone's 1930 instrumental recording "Tar Paper Stomp," which employed a 12-bar blues structure infused with an improvised, energetic feel. This track featured prominent saxophone riffs and brass motifs that established the foundational elements of the tune's iconic riff. Other precursors include Fletcher Henderson's "Hot and Anxious" (recorded March 19, 1931, by the Fletcher Henderson Orchestra, Columbia 2449-D) and the Mills Blue Rhythm Band's "There's Rhythm in Harlem" (recorded July 9, 1935, Columbia 3071-D, arranged by Joe Garland), both incorporating similar riff patterns. Recorded on August 28, 1930, in Richmond, Indiana, by Manone's group under the pseudonym Barbecue Joe and His Hot Dogs, it was released on Champion Records as the A-side of 16153, with matrix number G16951. During the , the from " Stomp" and related motifs evolved within circles, influencing similar motifs in other compositions and arrangements, though Manone's version remained a for the and brass patterns that defined the melody's character. historians regard this circulation as key to the 's development into a recognizable swing-era staple. By the late , Joe Garland formalized an arrangement based on these precursors. The first full instrumental recording under the title "In the Mood" was made by Edgar Hayes and His Orchestra on February 17, 1938, for , with matrix number 63297-A and released as the B-side of Decca 1882, paired with "Star Dust." Clocking in at approximately 3 minutes, the track opened with a piano-driven introduction led by Hayes himself and proceeded as a straightforward instrumental, lacking the extended solos that would later become signature features of subsequent versions. Later that year, and His Orchestra performed the tune in a radio broadcast, though it was not commercially recorded due to its length.

Lyrics and Arrangement

Joe Garland, a saxophonist and arranger for the Mills Blue Rhythm Band, developed the foundational arrangement of "In the Mood" in the mid-1930s, building on earlier melodic riffs from precursors like "Tar Paper Stomp." By 1937, Garland had expanded these elements into a full format tailored for his group's style, emphasizing energetic ensemble playing without individual solos. This version was first recorded by Edgar Hayes and His on February 17, 1938, capturing Garland's blueprint as a lively instrumental chart released on Decca 1882-B. The arrangement's structure adheres to the classic 32-bar AABA form, common in swing-era standards, where the A sections repeat a catchy, driving motif and the B section provides contrast before resolving back to the A. Garland incorporated call-and-response patterns between and reed sections, creating dynamic interplay that propels the piece forward through repeated riffs and a gradual build-up in intensity. The composition culminates in a climactic ending with layered ensemble swells, maintaining a tight, riff-based momentum without extended improvisational breaks in the original Hayes recording. Around 1937–1938, lyricist Andy Razaf added words to Garland's instrumental arrangement, transforming it into a vocal-friendly tune while preserving its upbeat swing foundation. Razaf's lyrics adopt a romantic yet playful tone suited to the era's lighthearted dance music, with flirtatious queries like "Who's the liveliest girl in the world?" and "Who's the sweetest girl in town?" evoking a sense of joyful courtship and rhythmic invitation. Lines such as "Hope you're in the mood, 'cause I'm feelin' just right" underscore the song's infectious energy, blending whimsy with subtle sensuality to complement the arrangement's lively pulse. The first recording with lyrics was by The Four King Sisters with Alvino Rey's Orchestra on December 29, 1939.

Glenn Miller's Version

Musical Arrangement

Glenn Miller's arrangement of "In the Mood" prominently featured his signature clarinet-led reed section, which provided a smooth, unified sound that contrasted with the band's brassier elements and became a hallmark of his style. The reeds opened with unison arpeggios in an eight-bar introduction, setting a riff-based foundation that emphasized dynamic contrasts and propelled the swing forward. This emphasis on the reed section, including clarinets doubling on saxophones, created a light, danceable texture ideal for the era. A key highlight was the famous "tenor fight," where tenor saxophonists and Al Klink traded two-bar bursts in a call-and-response , with Beneke's bright, edgy tone contrasting Klink's bigger, broader sound to build excitement midway through the chart. Following this, trumpeter Clyde Hurley delivered a swaggering 16-bar solo with a fat tone and strong swing feel, showcasing the band's improvisational flair. The trombones contributed with pedal tones and riffs that grounded the arrangement, adding depth during quieter segments before escalating to fortissimo peaks. Clocking in at approximately 3:40, the arrangement built progressively through verses and choruses, culminating in a dramatic coda that ended with a signature rim shot for emphatic closure. himself edited the score, refining Joe Garland's foundational arrangement to fit his orchestra's capabilities, while arrangers and contributed to the closing sequence and explosive ending, respectively, enhancing the smooth, medium-tempo 4/4 swing rhythm derived from Basie-influenced styles. This collaborative adaptation trimmed contrasting riffs from earlier versions, focusing on a streamlined, high-energy flow that defined the track's iconic drive.

Recording and Release

Glenn Miller and his Orchestra recorded "In the Mood" on August 1, 1939, during a session at RCA Victor Studio #2 in . The ensemble featured directing from the trombone section alongside Al Mastren and Paul Tanner on trombones; trumpeters Dale McMickle, Legh Knowles, Joe Gray, and Marion Evans; alto saxophonists Hal McIntyre and Wilbur Schwartz; tenor saxophonists and Al Klink; pianist ; guitarist Richard Fisher; bassist Rolly Bundock; and drummer Maurice Purtill. Although the band included vocalist , who participated in vocal takes during the session for other tracks, the selected recording of "In the Mood" was an instrumental performance, capturing the group's signature reed-heavy arrangement with Beneke's prominent solo. The session yielded matrix number BS-038170-1, which became the master take issued by RCA's label. Released on , 1939, as the A-side of Bluebird 78 RPM disc B-10416, it was coupled with "I Want to Be Happy," also recorded that day. The 10-inch record exemplified the era's standard format for releases, pressed for jukeboxes, radio stations, and home phonographs. Prior to the commercial release, "In the Mood" received its initial radio exposure through a live broadcast by Miller's orchestra on July 26, 1939, during a sustaining remote from Glen Island Casino over NBC's Blue Network. This performance helped build early buzz for the track among swing enthusiasts before its studio version hit the market.

Reception and Recognition

Chart Performance

Glenn Miller's recording of "In the Mood," released by RCA Victor's Bluebird label in 1939, achieved significant commercial success in the United States, topping the Billboard Record Buying Guide (a jukebox popularity chart) for 13 weeks starting in early 1940 and remaining on various Billboard charts for a total of 30 weeks. This performance marked it as the biggest instrumental hit of the swing era and propelled Miller to the forefront of bandleaders, with his orchestra securing 11 top-10 Billboard entries in 1940. The single sold over one million copies through its original 1939 release and subsequent reissues by 1940, contributing substantially to RCA Victor's dominance in recordings during the swing era's commercial peak. As one of the era's top selections, it generated high play counts in public venues, reflecting its appeal amid recovering at the tail end of the , when affordable entertainment like 78 rpm records and coin-operated machines became cultural staples. Internationally, "In the Mood" saw reissues that placed it on reconstructed charts in 1940, reaching positions as high as number 22 on period-specific lists and aiding RCA Victor's expansion of exports to . Regarding royalties, initially earned just $175 under his RCA contract for the recording session, though ASCAP performance fees from radio airplay and jukebox usage later supported renegotiated terms for his estate, underscoring the track's enduring revenue stream in an era when broadcast and mechanical rights were pivotal to artists' earnings.

Awards and Honors

Glenn Miller's 1939 recording of "In the Mood" was inducted into the in 1983 by , an honor that recognizes recordings of enduring historical significance. This accolade underscores the track's pivotal role in defining the big band swing era and its lasting influence on . In 2004, the same recording was added to the by the , which preserves sound recordings deemed of cultural, artistic, or historic importance to the nation. The selection highlights "In the Mood" as a symbol of the 1940s big band era, its innovative arrangement blending earlier jazz influences, and its widespread use in films and broadcasts that cemented its place in American cultural history. The song's prominence was further affirmed in 2000 when included the 1939 version in its list of the 100 Most Important American Musical Works of the 20th Century. Critics praised its representation of the , with musicologist David Ulansey noting its simple yet memorable : "'In the Mood' is built on a very simple, understandable little . It's exquisite, but it's simple. Someone can listen to it once and they can remember that ." Similarly, former trombonist Paul Tanner emphasized its rhythmic impact, observing that "today's dancers seem to have that arrangement internalized in their feet," reflecting its enduring appeal in dance culture.

Covers and Legacy

Notable Cover Versions

One of the earliest notable post-Miller reinterpretations came in 1959 with saxophonist Ernie Fields and his orchestra's instrumental version on Rendezvous Records, which infused the swing classic with R&B elements and a prominent horn section for a more energetic, rock-tinged sound. The track, clocking in at 2:29, peaked at number 4 on the Billboard Hot 100 and number 7 on the R&B chart, marking a successful revival that bridged big band traditions with emerging rhythm and blues influences. In 1973, offered a vocal rendition on her self-titled second studio album, transforming the instrumental staple into a playful, lyric-driven performance that highlighted her cabaret-style delivery and appealed to adult contemporary listeners. Running 2:41 in length, the cover was released as a single in 1974 and reached number 51 on the , introducing the song's scat-like lyrics to a new generation through Midler's theatrical flair. In 1977, released a novelty version credited to Henhouse Five Plus Too, featuring chicken clucking sounds in place of the , which peaked at number 40 on the Hot 100. More recently, in 2025, group reimagined "In the Mood" as part of a mashup titled "Moody " on their holiday album Christmas in the City, blending the original's with Chuck Berry's "" and incorporating modern pop harmonies for a festive, upbeat twist. The 2:42 track, performed entirely vocally, quickly gained viral traction on streaming platforms like and following its October 24 release and debuted in the top 10 on the , showcasing the group's innovative approach to holiday classics.

Cultural Significance

"In the Mood" gained significant prominence through its inclusion in the 1941 film , where the performed it during a memorable dance sequence featuring the , highlighting the song's energetic appeal in early Hollywood musicals. This cinematic exposure helped cement its status as a swing classic, reaching wide audiences amid the pre-war entertainment boom. Additionally, in 1944, the original 1939 recording was issued as a by the U.S. War Department, distributed to American troops overseas to elevate morale during ; these special 12-inch records, produced specifically for military personnel, underscored the song's role in providing comfort and familiarity in wartime settings. The song's enduring legacy was further amplified in postwar media, notably in the 1954 biopic , starring as the bandleader, which portrayed "In the Mood" as a pivotal hit that propelled Miller's career and evoked nostalgia for the . This film, directed by , romanticized Miller's rise during the Great Depression's tail end and his contributions to American music, reinforcing the tune's association with optimism and cultural unity. Live performances by successor groups, such as the under Ray McKinley on in 1957, continued to showcase the song on national television, introducing it to new generations and maintaining its vitality in mid-century popular entertainment. "In the Mood" also influenced subsequent artists across genres, most notably inspiring blues musician John Lee Hooker's 1951 R&B chart-topper "I'm in the Mood," where Hooker acknowledged the hit as a direct muse for his own composition, bridging swing and blues traditions. As a defining anthem of the , the song symbolized joy and resilience, capturing the exuberance of economic recovery in the late and providing uplift during , much like other works that dominated charts and radio during that period. Its pervasive presence in media and military efforts made it an emblem of American spirit amid adversity.

References

  1. https://www.loc.gov/static/programs/national-recording-preservation-board/documents/in%20the%20mood%20essay.pdf
  2. https://www.npr.org/2000/07/29/1080105/npr-100-glenn-millers-in-the-mood
  3. https://www.discogs.com/release/5475028-Glenn-Miller-And-His-Orch-In-The-Mood-I-Want-To-Be-Happy
  4. https://www.songfacts.com/facts/glenn-miller/in-the-mood
  5. https://www.colorado.edu/amrc/sites/default/files/attached-files/THE%20STORY%20OF%20IN%20THE%20MOOD.pdf
  6. https://thedocumentrecordsstore.com/the-origins-of-in-the-mood/
  7. https://www.loc.gov/static/programs/national-recording-preservation-board/documents/InTheMood_Spragg.pdf
  8. https://swingandbeyond.com/2018/07/07/in-the-mood-1938-edgar-hayes-and-1939-glenn-miller/
  9. https://secondhandsongs.com/work/98303/all
  10. https://eng410wwiilit.commons.gc.cuny.edu/2017/11/29/in-the-mood-glenn-miller-his-orchestra/
  11. https://www.last.fm/music/Glenn%2BMiller/_/In%2Bthe%2BMood/%2Bwiki
  12. https://www.colorado.edu/amrc/sites/default/files/attached-files/glenn_miller_top_10_study.pdf
  13. https://www.colorado.edu/amrc/sites/default/files/attached-files/THE%2520STORY%2520OF%2520IN%2520THE%2520MOOD.pdf
  14. http://hitsofalldecades.com/chart_hits/index.php?option=com_content&task=view&id=2561&Itemid=52
  15. https://grammy.com/awards/hall-of-fame-award
  16. https://www.loc.gov/static/programs/national-recording-preservation-board/documents/IN%20THE%20MOOD-FINAL.pdf
  17. https://www.discogs.com/release/6430300-Ernie-Fields-And-His-Orchestra-In-The-Mood
  18. https://www.goldminemag.com/music-history/top-instrumental-songs-from-1950s-and-1960s
  19. https://pophits.org/songs/ernie-fields-orch-in-the-mood
  20. https://pophits.org/songs/bette-midler-in-the-mood
  21. https://pophits.org/songs/henhouse-five-plus-too-in-the-mood
  22. https://music.apple.com/us/album/christmas-in-the-city/1841523275
  23. https://www.youtube.com/watch?v=UgXClBZOOLs
  24. https://www.billboard.com/music/chart-beat/pentatonix-christmas-in-the-city-top-10-billboard-charts-1236107331/
  25. https://www.imdb.com/title/tt0034241/soundtrack/
  26. https://historyhub.history.gov/military-records/army-and-air-force-records/f/army-air-force-records-forum/36175/v-discs---music-for-the-troops-in-ww2
  27. https://www.discogs.com/release/16245392-Glenn-Miller-V-Disc-A-Musical-Contribution-By-Americas-Best-For-Our-Armed-Forces-Overseas
  28. https://www.tcm.com/tcmdb/title/76497/the-glenn-miller-story
  29. https://www.youtube.com/watch?v=tUXfZaQyE6U
  30. https://michiganrockandrolllegends.com/hall-of-fame/artists/342-john-lee-hooker
  31. https://blogs.loc.gov/nls-music-notes/2018/03/immortal-swing-the-music-of-glenn-miller/
  32. https://clickamericana.com/media/music/glenn-miller-in-the-mood-1940
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