The arrangement and vocal style of the song attempted to adapt a black vocal style to one that would satisfy the tastes of the white record-buying market, featuring a light tone and a frisky rhythm beat. The backing vocals are provided by Atlantic's in-house backing group at the time, The Cues (credited here as The Gliders), consisting here of first tenor Abel DeCosta, second tenor Ollie Jones (formerly of The Ravens), bass Edward Barnes, and baritone (and songwriter) Winfield Scott.[6] Also on the session were tenor sax player Sam "The Man" Taylor and drummer Connie Kay.[7]
Georgia Gibbs recording
Baker closely approached a pop style in her recording, but a cover of the song was quickly recorded by Georgia Gibbs for Mercury Records, a major label, which had better distribution than Atlantic, an independent label. The cover version, which had the same lyrics and closely imitated the style and arrangement of the original. became a gold record for Gibbs, ruining any chance of Baker's recording becoming a pop hit.[8] It was common at that time for major record companies to release cover versions of R&B hits aimed at the wider white audience, a practice not forbidden by United States copyright law. According to Atlantic's engineer, Tom Dowd, Mercury hired the same arranger, the same musicians and tried to hire the same engineer.[3] Baker attempted to get her congressman to introduce legislation to prevent the copying of arrangements but was unsuccessful.[9]
Other cover versions
Numerous performances of the song have been recorded, including versions by:
An early version of the song was recorded by Chet Atkins in 1955.
Elvis Presley (a 1955 live performance first released commercially in the 1980s). Presley also recorded a number of Scott's compositions in the 1960s.
