The Song That Shouldn't Have Been
The tune in question was “I'm Getting Sentimental Over You,” a gentle melody composed by George Bassman with lyrics by Ned Washington. By the time Tommy Dorsey formed his own orchestra in 1935, the song already had a history of failure. An earlier version
recorded with his brother Jimmy's orchestra had gone nowhere. In the loud, brash, and dance-crazy Swing Era, a slow, tender instrumental featuring a trombone wasn't exactly what record executives at RCA Victor were looking for. They wanted hits—fast, energetic numbers that would get people on the dance floor. A wistful ballad like this felt more like album filler than a chart-topper. The label saw little potential in the song, viewing it as a commercial dead end.
A Leader With an Iron Will
To understand why Dorsey would go to the mat for this song, you have to understand the man himself. His nickname was “The Sentimental Gentleman of Swing,” but behind the scenes, he was anything but sentimental. Dorsey was a notorious perfectionist and a famously tough bandleader. He ran his orchestra with an iron fist, demanding absolute precision and firing musicians for the smallest infractions. This demanding nature also meant he had unshakeable confidence in his own musical instincts. While he was a savvy businessman who knew how to produce commercial hits, he also had an artistic vision. When he believed in a piece of music, he was relentless, whether dealing with his own musicians or the executives at his record label. His fight for this song was a classic example of his stubborn belief in his own judgment.
The B-Side Rebellion
Dorsey’s defiance wasn’t a dramatic, table-flipping confrontation. It was a quieter, more strategic battle of wills. When he insisted on recording “I'm Getting Sentimental Over You” after forming his new band, RCA Victor was unconvinced. According to historical accounts, the label agreed to record the tune in late 1935, but with zero fanfare. They released it as the B-side to another track, “I’ve Got a Note.” In the music business of the day, this was the equivalent of a vote of no confidence. The A-side was for the hit; the B-side was often a throwaway. The label had fulfilled its contractual obligation but clearly didn't expect the song to find an audience. They had underestimated Dorsey's resolve.
An Anthem Forged on the Airwaves
Effectively sidelined by his own label, Dorsey took matters into his own hands. He didn't need their promotion; he had a microphone. As his band's popularity grew, so did its radio presence. Dorsey made a simple but brilliant decision: he would use “I'm Getting Sentimental Over You” as his orchestra’s official theme song. He opened and closed every one of his radio broadcasts and live performances with that smooth trombone melody. Night after night, the song was beamed into living rooms across America. He bypassed the record label and took the song directly to the people. Through sheer repetition and the power of radio, he made the tune inescapable. The public fell in love with it, and the B-side that nobody wanted became a national sensation.
The Lasting Legacy of a Melody
The song's success was a complete vindication of Dorsey's artistic instincts. It not only became a massive hit but also became inextricably linked to his identity. It was the song that earned him his famous nickname and the one that audiences demanded for the rest of his career. That melody, showcasing his uniquely smooth and vocal-like trombone style, became one of the most recognizable sounds of the entire big band era. A young Frank Sinatra, who got his start with Dorsey, would later say he learned how to control his phrasing by listening to Dorsey play that very song. It remains a testament to an artist trusting his vision over the commercial calculations of the industry.
