Vegas Cabaret, Swing & Showpieces Guitar Lessons
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Welcome to our Vegas Cabaret, Swing & Showpieces collection, where you'll discover the unforgettable music that brought excitement, personality, and theatrical flair to the Las Vegas stage.

From roaring twenties classics and big-band swing to lively novelty songs and spectacular showroom performances, these easy acoustic guitar lessons celebrate the entertainers who made every performance an event.

This 1920s Medley brings together three beloved standards from the Jazz Age—"Ain't She Sweet," "Bye Bye Blackbird," and "Five Foot Two, Eyes of Blue"—in a single acoustic guitar arrangement celebrating the music of the Roaring Twenties.

Originally published between 1924 and 1927, these timeless songs became staples of vaudeville, early jazz, dance bands, and later Las Vegas-style revues.

Over the decades they have been recorded by countless artists, including Gene Austin, Al Jolson, Frank Sinatra, Dean Martin, Benny Goodman, and The Beatles (who famously recorded "Ain't She Sweet" in 1961). This medley captures the cheerful melodies and nostalgic charm of an era that continues to inspire performers and audiences around the world.

Just a Gigolo / I Ain't Got Nobody was recorded by David Lee Roth in 1985 and appeared on his debut solo EP Crazy from the Heat. Produced by Ted Templeman, the energetic medley revived two classic songs that had been popularized decades earlier, most famously by Louis Prima, whose Las Vegas performances made the combination a showroom favorite.

Roth's version reached the Top 20 on the Billboard Hot 100 and became one of the biggest music videos of the MTV era, blending comedy, swing, rock, and theatrical showmanship.

Its over-the-top performance style paid tribute to the spirit of classic Vegas entertainment while introducing a new generation to one of the city's most iconic musical traditions.

That's Life was recorded by David Lee Roth in 1986 and appeared on his album Eat 'Em and Smile. Originally made famous by Frank Sinatra, the classic standard was transformed by Roth into a lively big-band rocker that blended swing, brass, and his unmistakable stage personality.

Although it was not released as a major U.S. single, the recording became a fan favourite through Roth's energetic live performances and humorous music video, which celebrated the glitz and spectacle of classic Las Vegas entertainment. Inspired by the music he grew up hearing, Roth paid tribute to the great Vegas showmen while adding his own tongue-in-cheek style.

Today, the song remains one of the most entertaining and unexpected recordings in his solo catalogue.

Gone Fishin' was recorded by Pat Boone in 1960 and appeared on his album Moonglow. Written by Nick Kenny and Charles Kenny, the lighthearted novelty song became widely known after the classic Bing Crosby and Louis Armstrong duet released in 1951.

Boone's relaxed interpretation paid tribute to the earlier recording while showcasing his warm, easy-listening vocal style. Although his version did not become a major chart hit, it was a natural fit for his wholesome image and frequently appeared in his television performances and live shows.

Today, "Gone Fishin'" remains a charming reminder of the carefree pop standards and family entertainment that helped define the early Las Vegas showroom era.

Moody River was recorded by Pat Boone in 1961 and appeared on his album Moody River. Written by Gary D. Bruce, the emotional ballad became one of Boone's biggest career successes, reaching No. 1 on the Billboard Hot 100, where it replaced Ricky Nelson's hit "Travelin' Man."

Although no official music video was produced, Boone performed the song frequently on television variety shows, helping it become one of his signature recordings. Its memorable melody, heartfelt lyrics, and polished vocal performance perfectly complemented Boone's smooth pop style.

More than sixty years later, "Moody River" remains one of the defining recordings of his career and a classic of the early 1960s easy-listening era.

Speedy Gonzales  was released by Pat Boone in 1962 and became one of the biggest novelty hits of his career. Written by Buddy Kaye, Ethel Lee, and David Hess, the song reached No. 6 on the Billboard Hot 100 and enjoyed even greater success in several international markets.

Boone's recording featured Mel Blanc, the legendary voice actor behind the Warner Bros. cartoon character Speedy Gonzales, providing the humorous spoken interjections heard throughout the song. With its catchy melody, playful storytelling, and theatrical performance, the recording showed a lighter side of Boone's polished pop style.

"Speedy Gonzales" became an enduring international favorite and remains one of the most instantly recognizable recordings in his catalogue.

The Candy was recorded by Sammy Davis Jr. in 1972 and appeared on his album Sammy Davis Jr. Now. Originally written by Leslie Bricusse and Anthony Newley for the 1971 film Willy Wonka & the Chocolate Factory, the song was first performed in the movie by Aubrey Woods, who played the candy shop owner, Bill.

Although Davis was initially skeptical about recording the cheerful novelty tune, it became the biggest hit of his music career, reaching No. 1 on the Billboard Hot 100 and No. 1 on the Adult Contemporary chart. The song remains one of his signature recordings and is closely associated with his vibrant Las Vegas stage performances.

In 2014, Barry Manilow paid tribute by creating a virtual duet with Davis using the original vocal track for his album My Dream Duets.

The Streets Of Cario (or the Poor Little Country Maid)," commonly known today as the "Arabian Riff" or "Snake Charmer Song," became famous after Sol Bloom popularized it during the 1893 World's Columbian Exposition in Chicago.

Although Bloom often claimed authorship, the melody is widely believed to have been inspired by traditional Middle Eastern musical themes. Over the decades, the catchy tune has become one of the most recognizable melodies in popular culture, appearing in films, cartoons, television, circuses, and stage productions around the world.

Its mysterious, exotic sound made it a natural fit for theatrical performances and novelty acts, and it remains closely associated with the colourful spectacle of vaudeville, cabaret, and classic show business entertainment.