Uploaded October 2022 | Updated September 2026, 1 hour ago
After “Body And Soul” became popular (it was introduced by Gertrude Lawrence on the radio in London, February 1930), many British recordings were made using the original lyric, published in London. Gertrude Lawrence had purchased the song in America for use in her personal appearances. The music was composed by John W. Green and the lyrics are attributed to (depending on which edition you have) Edward Heyman, Robert Sour. Lyricist Frank Eyton’s name appears on the British publication. The composer exclusively praised Edward Heyman and claimed that Robert Sour added “a comma.”
In America, for six months NBC refused to air the lyrics as they were first published (“My life a hell you’re making/You know I’m yours for just the taking/I’d gladly surrender/Myself to you, Body and Soul!”). In October 1930, the song was sung by Libby Holman in the Broadway revue “Three’s A Crowd.”
When American recordings were made of “Body And Soul” in 1930, a different lyric was used: “My life revolved around him/What earthly good am I without him/My castles have crumbled/But I am his Body and Soul!” In October, Libby Holman recorded the song for Brunswick records, and used the original “hell” and “I’m yours for just the taking” lines. To add to the confusion, Brunswick recorded two different versions of Holman’s performance, and issued both of them under the same catalogue number 4910. The stamped matrix number is identical on each version.
The commonly heard Holman recording is in the key of Ab. The variant Bb version has a unique counter melody in the second chorus with lyrics that have never been published. The variant lyrics are:
“I can’t have his kisses/and no one knows what torture this is/My pride has been humbled/But I am his, Body and Soul. Guess I never knew much/Or I should not have loved him too much/Tho’ everything tumbled/I still am his, Body and Soul/The world has licked me/It’s cheated and tricked me/I’m broken beyond repair/This is the end now/My heart cannot mend now/What happens to me I don’t care: I’m finished.”
The only other place I have heard this counter melody was on a 1935 broadcast (Socony Sketchbook) of Johnny Green’s Orchestra accompanying singer Virginia Verrill. On that recording the counter melody was played by the orchestra but not sung. That counter melody is labeled “Refrain #2” on a vintage manuscript given to me by the composer’s first wife, Carol Falk. That manuscript says: “Special Corrected Version, Especially Arranged for Miss Libby Holman by the Composer.” In America the song was published with a “Three’s A Crowd” sheet music cover, but lyrics vary in some editions, without any warning. The song remained popular, and hundreds of instrumental recordings were made, such as Coleman Hawkins’ famous version. The emphasis has always been on the structure of the music, not the lyrics. If one wants to present the song in a historic context, one can sing all the variant lyrics (yawn). But if I had to pick only ONE version, it would be based on recordings conducted by the composer himself.
After “Body And Soul” became popular (it was introduced by Gertrude Lawrence on the radio in London, February 1930), many British recordings were made using the original lyric, published in London. Gertrude Lawrence had purchased the song in America for use in her personal appearances. The music was composed by John W. Green and the lyrics are attributed to (depending on which edition you have) Edward Heyman, Robert Sour. Lyricist Frank Eyton’s name appears on the British publication. The composer exclusively praised Edward Heyman and claimed that Robert Sour added “a comma.”
In America, for six months NBC refused to air the lyrics as they were first published (“My life a hell you’re making/You know I’m yours for just the taking/I’d gladly surrender/Myself to you, Body and Soul!”). In October 1930, the song was sung by Libby Holman in the Broadway revue “Three’s A Crowd.”
When American recordings were made of “Body And Soul” in 1930, a different lyric was used: “My life revolved around him/What earthly good am I without him/My castles have crumbled/But I am his Body and Soul!” In October, Libby Holman recorded the song for Brunswick records, and used the original “hell” and “I’m yours for just the taking” lines. To add to the confusion, Brunswick recorded two different versions of Holman’s performance, and issued both of them under the same catalogue number 4910. The stamped matrix number is identical on each version.
The commonly heard Holman recording is in the key of Ab. The variant Bb version has a unique counter melody in the second chorus with lyrics that have never been published. The variant lyrics are:
“I can’t have his kisses/and no one knows what torture this is/My pride has been humbled/But I am his, Body and Soul. Guess I never knew much/Or I should not have loved him too much/Tho’ everything tumbled/I still am his, Body and Soul/The world has licked me/It’s cheated and tricked me/I’m broken beyond repair/This is the end now/My heart cannot mend now/What happens to me I don’t care: I’m finished.”
The only other place I have heard this counter melody was on a 1935 broadcast (Socony Sketchbook) of Johnny Green’s Orchestra accompanying singer Virginia Verrill. On that recording the counter melody was played by the orchestra but not sung. That counter melody is labeled “Refrain #2” on a vintage manuscript given to me by the composer’s first wife, Carol Falk. That manuscript says: “Special Corrected Version, Especially Arranged for Miss Libby Holman by the Composer.” In America the song was published with a “Three’s A Crowd” sheet music cover, but lyrics vary in some editions, without any warning. The song remained popular, and hundreds of instrumental recordings were made, such as Coleman Hawkins’ famous version. The emphasis has always been on the structure of the music, not the lyrics. If one wants to present the song in a historic context, one can sing all the variant lyrics (yawn). But if I had to pick only ONE version, it would be based on recordings conducted by the composer himself.
