The story of how some songs come to life is often as captivating as the melodies themselves. In the case of the “Tell Me More song”, famously sung by Billie Holiday, the origin is a blend of improvisation, near-dismissal, and eventual recognition. As recounted in Donald Clarke’s biography, Billie Holiday: Wishing on the Moon, the tale, narrated by songwriter Arthur Herzog, reveals a humorous and slightly begrudging account of the song’s genesis.
Herzog recalls an evening when Billie Holiday, during her nights off from Café Society, visited him and his songwriting partner, Danny Mendelsohn. Holiday, brimming with an idea, declared she had a “great tune” and asked Mendelsohn to write it down. What followed was a moment of musical recognition and a touch of comedic irony.
Holiday proceeded to sing a melody that was undeniably reminiscent of “St. James Infirmary.” Mendelsohn gently pointed out the tune’s origin, but Holiday, undeterred, simply urged him to “bend it a little.” This playful directive led Mendelsohn to adapt the melody, setting it in blues time and adding a bridge. He then turned to Herzog for lyrics. In a moment of apparent creative nonchalance, Herzog offered the phrase “Tell Me More And More And Then Some,” a line he himself considered “inane.” The initial effort was quickly set aside and seemingly forgotten.
Months later, to their surprise, a record emerged: “Tell Me More,” credited to Billie Holiday for both words and music, performed by “the Billie Holiday Orchestra” – a non-existent ensemble. Herzog and Mendelsohn were taken aback, realizing Holiday had claimed authorship of their impromptu creation. Herzog humorously lamented their situation, deeming the song, rooted in “St. James Infirmary,” as “not worth a goddamn.”
However, the story didn’t end there. After Holiday’s passing, Herbie Marks, likely Herzog’s publisher, contacted him about the song. Herzog recounted the true authorship to Marks, asserting that “Tell Me More” was actually written by him and the late Danny Mendelsohn. Despite this revelation, Herzog admits the song “never made any money.”
Despite Herzog’s initially dismissive tone and claim of “hack work,” Clarke’s perspective offers a more balanced view. He argues that Herzog is being unfair, especially considering Holiday commissioned the song and even guided its creation. While acknowledging the clear influence of “St. James Infirmary,” Clarke notes that this familiarity is actually a strength, giving the song an instantly recognizable yet elusive quality. The arrangement, featuring stop-time movements and a Teddy Wilson piano solo, contributes to its unique charm. Ultimately, Clarke concludes that “Tell Me More” is an “unusual love song and a nice record,” a testament to the unexpected and somewhat contentious collaboration that brought it into existence. The “Tell Me More song” stands as a curious piece in Billie Holiday’s discography, a song born from a blend of borrowed inspiration and spontaneous creativity, forever linked to the legendary “St. James Infirmary” and the slightly wry recollections of its unsung co-creators.
