The Greatest Oldies Music

Oldies Musics

Dean Martin – Let It Snow! Let It Snow! Let It Snow!

Did You Know?

  • Origin of the Song: “Let It Snow! Let It Snow! Let It Snow!” was written by lyricist Sammy Cahn and composer Jule Styne in 1945. The song’s composition was inspired by the unseasonably warm weather in California during that winter.
  • Dean Martin’s Interpretation: While the song has been covered by numerous artists over the years, Dean Martin’s rendition remains one of the most celebrated. His smooth, crooning style adds a touch of sophistication to the festive lyrics, making it a standout in the holiday music repertoire.
  • Release and Reception: Originally released by Columbia Records, the song quickly gained popularity, and Dean Martin’s rendition became a holiday chart success. Its enduring appeal is evidenced by its continued presence in holiday playlists worldwide.
  • Movie Magic: “Let It Snow! Let It Snow! Let It Snow!” has been featured in various movies, further cementing its status as a winter classic. Its inclusion in holiday soundtracks contributes to the song’s legacy, ensuring it continues to evoke festive joy.

Video

Lyrics: Let It Snow! Let It Snow! Let It Snow!

Oh, the weather outside is frightful
But the fire is so delightful
And since we’ve no place to go
Let it snow, let it snow, let it snowMan, it doesn’t show signs of stopping
And I’ve brought me some corn for popping
The lights are turned way down low
Let it snow, let it snow

When we finally kiss good-night
How I’ll hate going out in the storm
But if you really hold me tight
All the way home I’ll be warm

And the fire is slowly dying
And, my dear, we’re still goodbying
But as long as you love me so
Let it snow, let it snow and snow

When we finally kiss good-night
How I’ll hate going out in the storm
But if you really grab me tight
All the way home I’ll be warm

Oh, the fire is slowly dying
And, my dear, we’re still goodbying
But as long as you love me so
Let it snow, let it snow, let it snow

 

Related Post

Elvis Presley’s greatest musical gift was not putting words onto paper. It was hearing something inside a song that other people sometimes could not hear yet. Give him someone else’s melody and lyrics, and he could reshape the emotion through his phrasing, timing and voice until the recording felt intensely personal.

The musicians at RCA Studio B were ready to make records. They were not ready for the way Elvis Presley entered the room. During his celebrated Nashville sessions in 1970, bassist Norbert Putnam remembered Elvis appearing in dramatic fashion—wearing a flowing black cape and carrying an ornate cane. Putnam later recalled the impression that it was almost as though “a prince had walked into the room.”

STONEWALL JACKSON ASKED TOM T. HALL TO WRITE A PRISON SONG, BUT HALL COULD NOT DO IT BECAUSE HE HAD NEVER ACTUALLY BEEN TO PRISON. Tom T. Hall spent his early career turning out the kind of polished, commercial hits that Nashville publishers lived for. He could write what people expected, but he always felt like a fraud. When Stonewall Jackson approached him requesting a prison song—hoping to capture that rugged, authentic aura Johnny Cash was building—Hall hit a wall. He stared at his notepad, realized he had no genuine experience with a cell, and flatly refused to fake it. He was a songwriter, not an actor, and his pride kept him from writing about a world he didn’t know. His wife, Dixie, cut through the tension with a simple reminder: he had indeed spent a week in a county jail in Kentucky after a traffic violation. That memory was not cinematic or heroic. It was just mundane, quiet, and uncomfortable. It involved bad food, the sound of iron bars, and the slow, agonizing crawl of days where the jailer’s wife suddenly started looking like the most beautiful woman on earth. He stopped writing songs that invented generic situations and started reporting the people and places he actually encountered. The result was his first number one hit, written like a man telling a story across a kitchen table. Stonewall Jackson never got his song, but Hall finally found his own voice in the silence of that jail cell.

You Missed

Oldies Musics

Elvis Presley’s greatest musical gift was not putting words onto paper. It was hearing something inside a song that other people sometimes could not hear yet. Give him someone else’s melody and lyrics, and he could reshape the emotion through his phrasing, timing and voice until the recording felt intensely personal.

Oldies Musics

The musicians at RCA Studio B were ready to make records. They were not ready for the way Elvis Presley entered the room. During his celebrated Nashville sessions in 1970, bassist Norbert Putnam remembered Elvis appearing in dramatic fashion—wearing a flowing black cape and carrying an ornate cane. Putnam later recalled the impression that it was almost as though “a prince had walked into the room.”

Country

Lisa Marie Presley grew up in a house visited by some of the most famous people in the world, yet the person who mattered most to her was the man everyone else called the King. To millions, Elvis Presley was an untouchable superstar. To Lisa, he was the father who loved to spoil her, make her laugh and turn ordinary moments at Graceland into childhood adventures.

Country

BOB DYLAN AND JOHNNY CASH SHATTERED THE WALLS OF NASHVILLE WITHOUT FIRING A SINGLE SHOT. Columbia Studio A sat thick with the smell of stale coffee and cigarette smoke on a February morning in 1969. While the rock world was chasing ghosts in psychedelic haze, Bob Dylan stepped into the epicenter of American country music with a voice that sounded like it had been dragged across gravel. He wasn’t there to challenge the gatekeepers at the Opry; he was there to find the heartbeat of a sound he had loved from afar. Johnny Cash walked through the heavy studio doors, guitar in hand, and for two days, the rigid borders of genre simply dissolved into the air. They didn’t record some grand manifesto to change the industry. Instead, they sat on stools and tore through old folk standards and each other’s deep cuts, letting the microphones capture the loose, unvarnished truth of a collaboration that felt more like a porch gathering than a major label session. Carl Perkins added his own licks to the mix, blending the percussive snap of rock and roll with the lonesome ache of a country ballad. It was a deliberate, quiet rebellion that treated the traditions of both worlds as neighbors rather than strangers. When the tape stopped rolling, they walked away having proved that the lines drawn by radio programmers were mostly make-believe. The Ryman Auditorium stage eventually welcomed a new kind of guest, and the air in Nashville felt lighter, forever changed by two men who knew that music didn’t need permission to belong everywhere at once.