Willard Robison (September 18, 1894 – June 24, 1968) was an American vocalist, pianist, and composer of popular songs, born in Shelbina, Missouri. His songs reflect a rural, melancholy theme steeped in Americana and their warm style has drawn comparison to Hoagy Carmichael. Many of his compositions, notably "A Cottage for Sale", "Round My Old Deserted Farm", "Don't Smoke in Bed", "'Taint So, Honey, 'Taint So" and "Old Folks", have become standards and have been recorded countless times by jazz and pop artists including Peggy Lee, Nina Simone, Nat King Cole, Billy Eckstine, Bing Crosby and Mildred Bailey. "A Cottage for Sale" alone has been recorded over 100 times. Life and career In the early 1920s, Robison led and toured with several territory bands in the Southwest. He met Jack Teagarden in this period, whom he befriended. In the late 1920s, Robison organized the Deep River Orchestra, later hosting a radio show entitled The Deep River Hour in the early 1930s. During the 1920s, Robison recorded extensively for Perfect Records, with scores of vocal recordings accompanying himself on piano (displaying his rather eccentric stride piano style), as well as "Deep River Orchestra" recordings using standard stock arrangements (including many popular and obscure songs) One recording was his fox trot arrangement of George Gershwin's Rhapsody In Blue on both sides of Perfect 14825 and Pathe 36644. In Alec Wilder's definitive study, American Popular Song: The Great Innovators, 1900–1950, the songwriter and critic writes of Robison: He, if ever there was one, was the maverick among song writers. Everyone loved him and many tried to help him, among them John Mercer. Mildred Bailey revered him and sang every song of his she could lay her hands on...He did manage, during his almost euphoric life, to write a few successful songs--A Cottage for Sale, and 'Taint so, My Honey, 'Taint So--but generally his songs were known only to a few singers and lovers of the off-beat and the non-urban song. He had a special flair for gentleness and childhood, the lost and the religious. Wilder concludes that although Robison's songs may not have significantly influenced the development of American popular song, "[I]f they could so much bolster John Mercer's conviction that there was more to write lyrics about than city life, that the world of memory, of remembered sayings and scenes, was as evocative as the whispered words of lovers, then he did