Yes Indeed
Dorsey Tommy Lyrics
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[Chorus:]
Yes, indeed!
Yes, indeed!
You'll shout when it hits you
Yes indeed
Yes yes
Yes you'll shout when it hits you
Yes indeed
When the spirit moves you you'll shout hallelujah
I mean
When it it hits you you'll holler
Yes indeed
Yes yes
It comes out if it's in you, yes indeed
Yes indeed
Makes you shout, Jack, it sends you
Yes indeed
Well let me hit you
When the jive starts jumping you'll shout
Let me in there
Well all right now
When it hits you you'll holler
Yes indeed
Yes indeed
The lyrics of Tommy Dorsey’s song “Yes Indeed” are simple and repetitive, but they evoke a feeling of joy and exuberance. The main theme of the song is the power of music to move people and make them shout and dance. The chorus repeats the phrase “Yes indeed” several times, creating a sense of excitement and affirmation.
The song begins with an invitation to “get to making with the jive,” which means to start dancing or playing music with feeling and energy. The lyrics suggest that when the music hits you, you can’t help but shout and dance along. The repetition of “Yes indeed” drives home the idea that music is a universal language that can bring people together and inspire them to lose themselves in the moment.
As the song progresses, the lyrics suggest that the joy and energy of the music is irresistible and contagious. When the jive starts jumping, you’ll shout and want to join in. This idea is underscored by phrases like “let me in there” and “well all right now,” which suggest that the music is creating a sense of community and shared experience.
Overall, the lyrics of “Yes Indeed” celebrate the power of music to move us and bring us together. The song is a tribute to the joy and energy of jazz music and the way it transcends boundaries and unites people across cultures and backgrounds.
Line by Line Meaning
Yes, indeed!
The singer expresses agreement and enthusiasm towards something.
Yes, indeed!
The singer reaffirms their previous statement.
Yes, indeed!
The singer reiterates an agreement in a joyful manner.
Get to making with the jive, boy
Start making a lively and upbeat sound.
You'll shout when it hits you
You will vocalize your impression of the music once it resonates with you.
Yes indeed
Expressing agreement and enthusiasm once again.
Yes yes
Agreeing twice for emphasis.
Yes you'll shout when it hits you
Reiterating the idea that the music will evoke a vocal reaction.
When the spirit moves you you'll shout hallelujah
The passion of the music will inspire you to celebrate.
I mean
Indicating that the next statement is further clarification.
When it it hits you you'll holler
Once you connect with the music, you will loudly express your appreciation.
Yes indeed
Another agreement.
Yes yes
Another agreement but with emphasis.
It comes out if it's in you, yes indeed
When you truly feel the music, it will manifest in your outward expression. Another agreement.
Makes you shout, Jack, it sends you
The music resonates so strongly that it causes you to shout with excitement.
Yes indeed
Yet another agreement.
Well let me hit you
Now let me show you how good the music is.
When the jive starts jumping you'll shout
The fast tempo and lively beat will inspire you to celebrate.
Let me in there
I want to be a part of the lively atmosphere.
Well all right now
Expressing approval of the lively sound.
When it hits you you'll holler
Reiterating the idea that the music will evoke a vocal reaction.
Yes indeed
Another agreement.
Lyrics © Sony/ATV Music Publishing LLC
Written by: MARY C BROCKERT
Lyrics Licensed & Provided by LyricFind
@Trombonology
Trumpeter, vocalist, composer, and my favorite arranger, the great Sy Oliver, came up with this righteous quasi-spiritual while still in the employ of Jimmie Lunceford. Surprisingly, perhaps, the bandleader stuffily refused to record the song, finding it "sacrilegious." Later, when Sy had moved on to the Tommy Dorsey aggregation (lured from his dream of chucking orchestra work and studying law by the trombonist's promise of $5000/year more than Lunceford paid him -- remember, Sy joined TD in '39!), the bespectacled bandleader asked his star arranger to come up with something for his, Tommy's, pal, Bing, to record. Sy dug out "Yes Indeed!" which was duly executed, in September of '40, by frequent duet partners, Crosby and Connee Boswell, and brother Bob's band-within-a-band, The Bob Cats. It didn't end there, though: the Dorsey crew would take its whack, in its own way, at Oliver's glorious ode to salvation through music. The chart originally called for the entire instrumental ensemble to participate with Sy in the vocal chorus, but when he wasn't getting the feel he wanted from the band, he enlisted the services of The Pied Pipers' lead singer, Jo Stafford, who, Sy later related, immediately understood what he was after, and, with the arrangement revamped on the spot, the band pulled this one off in one take. Recorded February 17, 1941, in the arranger's trademark 2/4 time, at a session which also produced memorable treatments of Sy's charts for "Swanee River," Deep River" and Oliver original, "Swing High," this jubilant side is historic in being possibly the first interracial duet in pop music -- if anyone is aware of another such instance that precedes this one, please let me know. The also extremely fetching "Let Me Off Uptown," recorded by Gene Krupa's orchestra, with the fantastic Anita O'Day-Roy Eldridge duet, was waxed approximately three months after Dorsey's "Yes Indeed!" Sy's soft, amiable tone and Jo's clarion, bluesy notes, and the pair's hip delivery, are irresistible. Listen, too, for Buddy Rich's impeccable drumming and pianist Joe Bushkin's beautiful comping in the vocal chorus. ... Let me in there!
@iamfelixthecat7233
One of my favorite cats. 😎
@paulbrewer2374
Great comments. Thank you!
@theprophylacticprotectagai2069
Great comment & insight tho couldnt give a fark about the racial sjw BS... look at The Young QUEEN Ella Mae Morse that even today Black people first listen claim is Black... etc etc Great Music is Great Music
@Trombonology
@The Prophylactic Protect against MSM Thank you. ... Please identify where in my comment that I presented it as either fact or opinion that this side's being possibly a first instance of an interracial pop music duet in any way enhances the inherent quality of the music. It was, like other portions of my statement, background information. It seems to me that your characterization of "racial sjw BS" reveals far more about your, dare I say, "agenda" than my initial comment does about mine.
@alonzochurch3194
Pop music is a fluid term. Hoagy Carmichael and Louis Armstrong duet on a version of Rocking Chair way back in 1929. That may not meet your definition.
@shrinebox
Now this number has got some SOUL.
@jonhester8909
DJ Quads - Cruise Around brought me here. Great song.
@Joemiles27
When I worked at rca in the 40s ,I use to sneak up to bldg. 10 on the seventh floor just to watch them press a lot of my favorite records.
@jeffdawson2786
A colossal sheet of sound. When Tommy’s band sunk their teeth into a tune, they swung hard and lovely.