Arthur Schwartz, composer of Broadway songs, lived his last years in London. While there, a record company named Pye Records asked him to make a demo recording of a few of his hits, just his own renditions at the piano, with vocals; they wanted to show them to some pop artists. So Arthur went into a studio and was given a very young sound engineer, a youth in his twenties named Sandy. Sandy told him he came from the midlands, Leeds, and was in the process of forming his own band, which he hoped might someday achieve recognition like, say, The Beatles or The Rolling Stones. So Arthur went into the recording room and ran down a dozen of his compositions: You and the Night and the Music, By Myself, I Guess I’ll Have to Change My Plan, 

Alone Together-a dozen great standards.  The last tune he put on tape was his premiere title, the world-renowned Dancing in the Dark. He finished and went into the mixing room where Sandy was adjusting the balance between the piano and Arthur’s vocals. “That Dancing in the Dark, that’s a vurry pretty song,” said Sandy, in his midlands accent. “You’re telling me you wrote that?” “Yes,” said Arthur, “I did.” “Well,” Sandy said, “Good luck with it.”