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==Recording==
Barton's first appearance on record was as part of a V-Disc 12" issued for servicemen, where she sang two cuts ("I Have But One Heart" and "Lover, Come Back"). The disc was shared with Frank Sinatra's "I Have But One Heart."
The first record Barton cut was "They Say It's Wonderful" (b/w "You Brought A New Kind of Love To Me") for Mercury in 1946. After cutting a second single ("As If I Didn't Have Enough On My Mind" b/w "One-zy Two-zy") she recorded one single for [[Capitol Records]], "Would You Believe Me?" (b/w "A Thousand And One Nights") (catalog number 402), with the orchestra of [[Skitch Henderson|Lyle "Skitch" Henderson]], in 1948.▼
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She met success when she moved to National Records the following year and recorded "[[If I Knew You Were Comin' I'd've Baked a Cake]]" (written by [[Bob Merrill]], [[Al Hoffman|Albert Hoffman]] and [[Al Trace]]; Trace used the pseudonym Clem Watts) and introduced it on [[Don McNeill (performer)|Don McNeill's]] radio program, ''[[Don McNeill's Breakfast Club|The Breakfast Club]].'' On the record, Trace's band musicians backed her, but were given billing as "The New Yorkers." It was first released by [[National Records]], a small New York–based label, mostly specializing in [[rhythm & blues]] records, as catalog number 9103. When National's owner, Al Green, decided it had become too big a seller for National to handle, the record was later distributed by [[Mercury Records]],<ref>{{cite news|last1=Cross|first1=Leo H.|title=Chips From the Listening Post|url=https://www.newspapers.com/clip/3237168/the_san_bernardino_county_sun/|agency=The San Bernardino County Sun|date=March 5, 1950|page=16|via = [[Newspapers.com]]|accessdate = September 16, 2015}} {{Open access}}</ref> whose co-owner was Al Green's son, [[Irving Green]]. The record became one of the best-selling records on an independent label of all time, [[List of Billboard number-one singles of 1950|charting at #1]] best selling in stores for 2 weeks and most played by jockeys for 10 weeks, and altogether on the [[Billboard charts]] for over four months.
In a 2005 interview for the liner
After the success of this record, she became a [[nightclub]] and stage performer, appearing at all the important clubs in [[New York City]] and many others. In the 1950s, she was a featured singer with [[Guy Lombardo]] and his orchestra.<ref>{{cite news|title=Guy Lombardo Discovers Singers Are Expensive Item|url=https://www.newspapers.com/clip/3237886/newport_daily_news/|agency=Newport Daily News|date=August 13, 1952|page=7|via = [[Newspapers.com]]|accessdate = September 16, 2015}} {{Open access}}</ref>
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She moved to [[Coral Records]] in 1951 and charted with some cover versions of songs that were bigger hits for other artists, such as "[[Cry (Churchill Kohlman song)|Cry]]", "[[Sway (Luis Demetrio song)|Sway]]", and others.
In 1956, Barton began recording for [[Epic Records]].<ref>{{cite news|title=The Disk Derby|url=http://archives.chicagotribune.com/1956/09/01/page/14/article/the-disk-derby|accessdate=18 September 2015|agency=Chicago Tribune|date=September 1, 1956|page=Part 1-Page 14}}</ref> However, rock-and-roll quickly drove most singers of her generation from the charts and her chart hits dried up in the late '50s. After releasing singles for another four record labels, she retired from studio work in 1963. Despite 17 years of recording, Barton never produced an LP and her recorded output consisted entirely of singles and EPs.
She also appeared in motion pictures and television, and continued to perform live until the early 1980s.
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