Jones was born in Coalton, Ohio, to a musical and mining family, and grew up in Saginaw, Michigan, where he started his first band. In 1911 one of Jones' earliest compositions "On The Alamo" was published by Tell Taylor Inc. (Taylor had just formed a publishing company the year before when his song "Down By The Old Mill Stream" became a big hit.)
In 1915 Isham Jones moved to Chicago, Illinois, which remained his home base until 1932, when he reestablished himself in New York City. Jones also toured England with his orchestra in 1925.
The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s. He led one of the most popular dance bands in the 1920s and 1930s. His first successful recording, Wabash Blues written by Dave Ringle and Fred Meinken, was recorded in 1921 by Isham Jones and his Orchestra. This million-seller stayed twelve weeks in the U.S. charts, six at No. 1. Noted musicians who played in Jones' band included Louis Panico, Benny Goodman (although he did not make any records during the short time he was with them), Woody Herman, Walt Yoder, and Roy Bargy. Reed virtuoso Al Gallodoro appeared briefly with Jones in 1933, taking part in a record date October 3.
Jones was reportedly a strict taskmaster and was known for being rather cold and distant. His lushly romantic compositions seem at odds with his reported personality.
From the start, his Brunswick records were extremely popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization.
From 1929 to 1932, his Brunswick recordings became even more sophisticated with often very unusual arrangements (by Gordon Jenkins and others; Jones was his own arranger early on, but cultivated others for offbeat arrangements). During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. His other vocalists included Frank Sylvano, Billy Scott, Arthur Jarrett and Stone beginning in 1929 and in 1932, he added Joe Martin, another of the band's violinists, as a frequent vocalist. In April that year, young Bing Crosby recorded two sessions with Jones' group which included "Sweet Georgia Brown". Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "crooner" style.
In August 1932, Jones signed with Victor, and these records are generally considered among the very best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was especially suited to Jones' band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio. They recorded "experimental" songs for RCA Victor which Jones began to fuse jazz and early swing music. They recorded "Where, I Wonder Where?" and "What Would Happen To Me If Something Happened To You." His Victor releases had an almost symphonic sound, often with a strong use of tuba. He stayed with Victor until July 1934, when he signed with Decca. (Jones' recordings during this period rivaled Paul Whiteman and other dance orchestras as examples of the very best and most popular dance music of the era.)
Jones' Decca recordings are often unfavoribly compared to his Victor recordings. He continued the same high standard of fine arrangements and well chosen songs (as well as bunch of rerecordings of his Victor hits), but Decca's flat recording technique made his Decca's sound like it was a smaller band, which it wasn't. After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Jones started a new band in 1937-38 and recorded a handful of sessions under the ARC labels: Melotone, Perfect and Banner.
In the 1940s, Jones resided on his poultry farm in Colorado, which he occasionally left for short tours with pickup bands. He later resided in Los Angeles. He moved to Hollywood, Florida in 1955, and died there of cancer in 1956. (He is interred at Forest Lawn Cemetery in Los Angeles, and perhaps for that reason is often erroneously listed as having died in Hollywood, California.)
His great-nephew is the noted jazz drummer Rusty Jones.
Isham Jones' compositions (he wrote the music, Charles Newman and Gus Kahn were among his lyricists ) included:
"You gave me your Heart" Brunswick 2350-A
"The Sneak!" Brunswick 2350-B
"Dog on the Piano" Brunswick 2646-A
"Mahsi" Brunswick 2646-B
"Meet Me In Bubble Land" 1919
"On the Alamo" recorded 1922 (composed & published in 1911)
"Swingin' Down The Lane" 1923
"I'll See You in My Dreams" 1924
"The One I Love (Belongs to Somebody Else)" 1924
"It Had To Be You" 1924
"Spain" 1924
"Song Of The Blues" (1929)
"Not A Cloud In The Sky" 1929
"What's The Use?" 1930
"Feeling That Way" 1930
"You're Just A Dream Come True" (his theme song) 1931
"I Wouldn't Change You For The World" 1931
"Let That Be A Lesson To You" 1932
"I Can't Believe It's True" 1932
"One Little Word Led To Another" 1932
"The Wooden Soldier And The China Doll" 1932 ["Calvacade of Vitaphone Shorts Volume 1: Swing, Swing Swing:1931-1944"(Cat. #ML103928) 1934]
"I'll Never Have To Dream Again" 1932
"Pretending You Care" 1932
"There's Nothing Left To Do But Say Goodbye" 1932
"Why Can't This Night Go On Forever?" (another theme song) 1932
"You've Got Me Crying Again" 1933
"Honestly" 1933
"Old Lace" 1933
"Something Seems To Tell Me" 1933
"You're Welcome" 1933
"Bubbles In The Wine" 1933
"All Mine, Almost" 1934
"There Is No Greater Love" 1936
During the 1920s, Isham Jones had several number one records on the pop charts in the U.S.:
"Wabash Blues" was number one for six weeks in 1921;
"On the Alamo" was number one for four weeks in 1922;
"Swinging Down the Lane" was number one for six weeks in 1923;
"Spain" was number one for two weeks and "It Had To Be You" was number one for five weeks in 1924; and,
"I'll See You in My Dreams" was number one for seven weeks and "Remember" was number one for one week in 1925.
His 1930 version of "Star Dust" was one of the best selling versions. Jones commissioned Victor Young to write a ballad instrumental of the mid-tempo tune and it was this arrangement (with Victor Young's violin solo) which became such a hit. Mitchell Parish wrote lyrics for the song at this time.
In 1989, Isham Jones was inducted into the Big Band and Jazz Hall of Fame. He was also inducted into the Songwriters Hall of Fame.
In 2005, "California, Here I Come", recorded by Al Jolson With The Isham Jones Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.
In 2007, "It Had To Be You", recorded by Isham Jones and His Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.
It Had to Be You
Isham Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Why must I just, give you your way
Why do I sigh, why don't I try to forget
It must have been,
That something lovers call fate
Kept me saying, "I have to wait"
I saw them all,
It had to be you, it had to be you
I wandered around, and finally found
The somebody who
Could make me be true,
And could make me be blue
And even be glad, just to be sad
Thinking of you
Some others I've seen,
Might never be mean
Might never be cross,
Or try to be boss
But they wouldn't do
For nobody else, gave me a thrill
With all your faults, I
Love you still
It had to be you, wonderful you
It had to be you
The Isham Jones Orchestra's song It Had To Be You is a romantic ballad, featuring lyrics that describe the overpowering feelings of love that can draw two people together. The opening lyrics question why the singer continuously succumbs to the wishes of their love interest, sighs when they could try to forget them, and feels an intense need to wait for them. These questions lead into the chorus, where the singer exclaims that it had to be this particular person who they fell in love with. They "wandered around" until they finally found someone who could make them feel true emotions, both happy and sad. They acknowledge that other people may be good-natured, but no one else would be able to give them the same thrill as this person.
The song goes on to explain that the singer's love interest is not perfect, but their faults only deepen the love that the singer feels for them. The song concludes by repeating the chorus, emphasizing the idea that the singer was destined to fall in love with this person, and that they will continue to love and cherish them despite any imperfections.
Line by Line Meaning
Why do I do, just as you say
I follow your lead and obey your commands
Why must I just, give you your way
I must submit to your desires and wishes
Why do I sigh, why don't I try to forget
Why do I regret and long for what cannot be and why can't I move on
It must have been,
That something lovers call fate
Kept me saying, "I have to wait"
I saw them all,
Just couldn't fall 'til we met
There must have been a force working in our favor that made me believe I needed to wait for you; I was unable to feel the way I do until we finally met
It had to be you, it had to be you
I wandered around, and finally found
The somebody who
Could make me be true,
And could make me be blue
And even be glad, just to be sad
Thinking of you
It was no one but you, who ought to make the real difference; after wandering aimlessly, searching for what I once lost, I finally found you - the one who makes me feel the full range of emotions, makes me blue, revel in sadness yet finding pleasure in thinking of you
Some others I've seen,
Might never be mean
Might never be cross,
Or try to be boss
But they wouldn't do
For nobody else, gave me a thrill
With all your faults, I
Love you still
Although I've encountered numerous individuals, none gave me the same level of joy and excitement; several individuals may be seen as perfect in various ways, but they still wouldn't compare to you despite any imperfections you may have; I still cherish and cherish you no matter what.
It had to be you, wonderful you
It had to be you
It's just you, wonderful, it's you.
Lyrics © Kanjian Music, Sony/ATV Music Publishing LLC
Written by: Isham Jones, Gus Kahn
Lyrics Licensed & Provided by LyricFind
@normancove655
At 90 this music still gives me a thrill
@Deegstroyer98
Hope you are still doing well.
@whitetieaffairlovr11
I'm having a sweet 16 and it's 1920s themed. I'm glad there's other young people who enjoy this type of music. I'd go back and live there if I could<3
@saturn3652
@TheRecklessOne Right?
@TuanBasikal
That's how I felt when I was 16. Still do, sometimes.
@timothyboyle9048
Glad you feel that way. Need people like you in this world. All the best!
@BravoEchoTheMoon
Damn you’re old af now!
@clonehighjfk1436
This is a long shot but I would love your Playlist, my senior homecoming is this weekend and our float is 1920s
@mattmintzell2253
Good for you lady!! I've been into this stuff since I was twelve, in 1970, and it sounds better and better as the years go on....early jazz, blues, country, gospel, and pop music from the '20s especially is timeless, wonderful listening!
@memorylanefrank
Gus Kahn's lyrics are beautiful. This just happens to be an instrumental versio, common in those days. Great version of this excellent musical piece.