In Broadway musical The Gay Divorce with dance partner Clare Luce and first cut with Leo Reisman's Orchestra. Title changed in The Gay Divorcee under censors' pressure. They couldn't imagine a divorce could be gay. In the 1934 film version, Fred sang it again coupled with Ginger Rogers. Unconventional tune structure inspired by a trip through Morocco (just as in What Is This Thing Called Love). There's an oriental touch to the melody (see also: Begin The Beguine).
Comedian Harmonists [also in German (as Tag und Nacht) and French (Tout le jour, toute la nuit)]
Damia [as Tout le jour, toute la nuit in French version of same film]
Frank Sinatra [his first solo success, shortly after coming out of his contract with Tommy Dorsey (with a little help from the mob?); also in film Reveille With Beverly, triggering unseen excitement among his fast growing female fan crowd]
Cary Grant & Alexis Smith [in film Night And Day]
Mano Negra [first vocal lines of their big hit King Kong Five]
Patrick Bruel [with Kahimi Kari as Tout le jour, toute la nuit]
Kevin Kline & John Barrowman [in film De-Lovely]
Cole Porter requested Fred Astaire would cut it first. Fred's limited singing range was no excuse. It's written for poor voices. Anyone can sing it.