Standard of the Day

Make Believe

2012-01-22T21:48:00.004-05:00

By Jerome Kern
1927

A profoundly moving duet ballad from Kern's Show Boat, usually credited as the first modern Broadway musical. It was introduced on stage by Norma Terris and Howard Marsh (pictured), and also performed to great effect by Howard Keel and Kathryn Grayson in the 1951 MGM musical adaptation. It's lyrics, expressed by two people suddenly and spontaneously realizing they are in love with each other, are among the most moving in the Great American Songbook.

Lyrics:

Only make believe I love you,
Only make believe that you love me.
Others find peace of mind in pretending,
Couldn't you?
Couldn't I?
Couldn't we?
Make believe our lips are blending
In a phantom kiss, or two, or three.
Might as well make believe I love you,
For to tell the truth I do

Your pardon I pray
'Twas too much to say
The words that betray my heart.

We only pretend
You do not offend
In playing a lover's part.
The game of just supposing
Is the sweetest game I know.
Our dreams are more romantic
Than the world we see.

And if the things we dream about
Don't happen to be so,
That's just an unimportant technicality.

Though the cold and brutal fact is
You and I have never met,
We need not mind convention's P's and Q's
If we put our thoughts in practice
We can banish all regret
Imagining most anything we choose.

Only make believe I love you,
Only make believe that you love me.
Others find peace of mind in pretending,
Couldn't you?
Couldn't I?
Couldn't we?
Make believe our lips are blending
In a phantom kiss, or two, or three.
Might as well make believe I love you,
For to tell the truth I do

Recorded By:

Frank Sinatra
Jo Stafford
Barbra Streisand
Peggy Lee & Patrice Munsel
Deanna Durbin

Etta James 1938 - 2012

2012-01-21T01:56:00.007-05:00

She was considered by many to be among the greatest rhythm and blues singers of all time. Her career was marked by dramatic highs and lows, with the latter largely the result of the heroin addiction that consumed years of her life. First achieving success as a teenager in 1954 with the bawdy song "The Wallflower (Dance with Me Henry)", Etta James went on to record a string of hits with Chess Records in the 1960s before disappearing from public view due to her drug problem.

She reemerged in the 1970s and recorded sporadically from then on, developing her style into a unique blend of straightforward blues, R&B and rock. The influence of gospel was also evident in her soulful delivery, and she was particularly noted for her ability to modulate with ease between soft, tender crooning and traditional blues shouting. Her work has been described as a bridge between blues and rock 'n' roll, and she has influenced such performers as The Rolling Stones and Janis Joplin.

Etta James was born Jamesetta Hawkins on January 25, 1938 in Los Angeles--her mother Dorothy was only 14 years old at the time. The identity of her father is uncertain, although she occasionally speculated that he might have been the billiards legend Minnesota Fats. After her mother proved unable to care for her, James was raised by her landlady, Lula Rogers, in the South Central section of L.A. As was the case with many rhythm-and-blues performers, in her youth James sang gospel hymns in her local church choir. James was exceptional, however, performing on gospel radio broadcasts while only five years of age.

In the early 1950s, a teenage Jamesetta Hawkins--by then a self-described juvenile delinquent--joined two other girls to form a singing group called the Creolettes. In 1954 they came to the attention of influential R&B bandleader Johnny Otis, who took them on tour with him, changing the group's name to the Peaches and its lead singer's name to Etta James. Otis got them signed to Modern Records, and before the year was out they had recorded their first single. Written by James and Otis, with James on lead vocals, the song was originally entitled "Roll with Me, Henry". At the request of Modern Records, the title was toned down to "The Wallflower (Dance with Me Henry" despite the fact that the words in the original title remained in the song. The record was a success, reaching number two on the R&B chart.

James spent time in the late 1950s as an opening act at concerts and as a backup singer. She toured with Little Richard, and backup credits from this period include records by the likes of Marvin Gaye and Chuck Berry. She also met one of her idols, Billie Holiday, who prophetically warned her of the potentially self-destructive side of being an entertainer. "Maybe she saw the wildness in my eyes, maybe she saw all the trouble waiting for me," James speculated in a 1995 Jet magazine interview.

At the end of the 1950s, James struck out on her own, moving to Chicago and signing a contract with the blues record label Chess. This period saw the artistic high point of James' output. Between 1960 and 1963 she accumulated 10 charted hits for Chess Records, including her iconic, bluesy rendition of "At Last", which reached number two on the R&B chart in 1961. Several of James' Chess singles from this period were nominated for Grammys, including "All I Could Do Was Cry" in 1960 and "Fool That I Am" in 1961.

Despite her impressive streak, however, James was unable to cross over from the R&B to the pop charts. This was ironic, given the fact that many mainstream vocalists, such as Diana Ross, had adapted elements of her style. Also ironic was that James' addiction to heroin began in 1959, just at the time her career was starting to take off at Chess Records. Her habit worsened through the 1960s, and her initial attempts to cure herself through methadone treatment only made matters worse. In the early 1970s, she sought rehabilitation, checking into a hospital. There she made great strides toward recovery, and finally returned to her music in 1973.

James 1970s comeback faltered slightly with the demise of Chess Records due to bankruptcy. One highpoint, however, included an invitation to appear as an opening act for The Rolling Stones on their 1978 American tour. She had been asked to appear by Stones guitarist Keith Richards, a devoted admirer.

She was artistically silent for much of the 1980s, but the crucial contribution she made to rock 'n' roll music, particularly in its earliest days, was recognized in 1993 with an induction to the Rock 'n' Roll Hall of Fame. James published her autobiography, Rage to Survive, two years later, not long after finally winning her first Grammy, for the album Mystery Lady: The Songs of Billie Holiday. In recent years, her experiences at Chess were dramatized in the 2008 movie Cadillac Records, in which she was portrayed to great effect by contemporary R&B belter Beyonce Knowles.

Etta James lived out the final years of her life in Riverside, California with her husband Artis Mills. After battling leukemia, she died on Friday at a Riverside hospital in the arms of her 43-year-old son Donto. She was 73.

Keepin' Out of Mischief Now

2012-01-09T22:40:00.003-05:00

By Fats Waller & Andy Razaf
1932

One of the signature tunes of Thomas "Fats" Waller, although this one was actually introduced by Louis Armstrong. It was later recorded by Waller himself, most notably as an instrumental-only piano piece, and associated so much with the performer that it was included decades later in the stage revue of his work, Ain't Misbehavin'. A fine example of the melodic delights produced by the irrepressible Mr. Waller.

Lyrics:

Keepin' out of mischief now,
I really am in love and how.
I'm through playin' with fire,
It's you whom I desire

All the world can plainly see,
You're the only one for me.
I have told them in advance,
They can't break up our romance.

Livin' up to all my vows,
'Cause I'm keepin' out mischief now.

Recorded By:

Lee Wiley
Dinah Washington
Barbra Streisand
Dick Hyman
Louis Armstrong

That's Entertainment

2012-01-04T20:55:00.005-05:00

By Arthur Schwartz & Howard Dietz
1952

Along with "Hooray for Hollywood" and "There's No Business Like Show Business," this nostalgic classic has become a true anthem for the entire moviemaking business, particularly the golden age of the 1930-1950s. A large reason for this is its usage as the title and theme song of the unforgettable 1974 compilation tribute to MGM musicals, followed by sequels in 1976 and 1994. Originally, it was written by Schwartz & Dietz for the MGM musical The Band Wagon, in which it was performed by Fred Astaire, Jack Buchanan, Nanette Fabray, Oscar Levant and India Adams (singing for Cyd Charisse).

Lyrics:

Everything that happens in life
Can happen in a show
You can make 'em laugh
You can make 'em cry
Anything
Anything can go....

The clown with his pants falling down
Or the dance that's a dream of romance
Or the scene where the villain is mean
That's entertainment!

The lights on the lady in tights
Or the bride with the guy on the side
Or the ball where she gives him her all
That's entertainment!

The plot and the hot simply teeming with sex
A gay divorcee who is after her ex
It could be Oedipus Rex
Where a chap kills his father
And causes a lot of bother

The clerk who is thrown out of work
By the boss who is thrown for a loss
By the skirt who is doing him dirt
The world is a stage,
The stage is a world of entertainment.
That's entertainment!
That's entertainment!

The doubt while the jury is out
Or the thrill when they're reading the will
Or the chase for the man with the face
That's entertainment!

The dame who is known as the flame
Of the king of an underworld ring
He's an ape
Who won't let her escape
That's entertainment!

It might be a fight like you see on the screen
A swain getting slain for the love of a queen
Some great Shakespearean scene
Where a ghost and a prince meet
And everyone ends in mincemeat.

The gag may be waving the flag
That began with a mystical hand
Hip hooray!
The American way
The world is a stage,
The stage is a world of entertainment.

Recorded By:

Judy Garland
Rufus Wainwright
Liza Minnelli
Fred Astaire
Bing Crosby

Have Yourself a Merry Little Christmas

2011-12-24T11:43:00.003-05:00

By Hugh Martin & Ralph Blane
1944

One of the most popular and performed Christmas songs of all time, this beauty was written for Judy Garland to sing in the musical film Meet Me in St. Louis. The lyrics at the time were quite morose, but a 1957 version by Frank Sinatra modified the lyrics a bit, and these lyrics have been the more commonly heard ones to this day. A sad Christmas song, it was also composed during World War II, and so echoed the sentiments of many families who would be without certain members serving overseas during the holiday season. A touching, warm, and very real and human modern carol.

Lyrics:

(Original)

Have yourself a merry little Christmas,
Let your heart be light,
Next year all our troubles will be
out of sight,
So have yourself, a merry little Christmas time.

Have yourself a merry little Christmas
Make the yule-tide gay
Next year all our troubles will be
miles away,
Have yourself a merry little Christmas Day.

Once again as in olden days
Happy golden days of yore
Faithful friends who were near to us
Will be dear to us once more
Someday soon, we all will be together
If the Fates allow
Until then, we'll have to muddle through somehow
So have yourself a merry little Christmas now.

(Modern)

Have yourself a merry little christmas,
Let your heart be light
From now on, our troubles will be out of sight

Have yourself a merry little christmas,
Make the yule-tide gay,
From now on, our troubles will be miles away

[Have Yourself a Merry Little Christmas lyrics on http://www.elyricsworld.com]

Here were are as in olden days,
Happy golden days of yore.
Faithful friends who are dear to us
Gather near to us once more.

Through the years we all will be together
If the fates allow
Hang a shining star upon the highest bough.
And have yourself a merry little Christmas now.

Recorded By:

Jackie Gleason
Connie Francis
Ella Fitzgerald
The Carpenters
The Muppets

A very, very Merry Christmas from Standard of the Day...

I Could Have Danced All Night

2011-12-22T23:57:00.005-05:00

By Alan Jay Lerner & Frederick Loewe
1956

One of the signature songs from Lerner & Loewe's great musical, My Fair Lady. It was introduced on stage by Julie Andrews as Eliza Doolittle, singing rapturously of her growing love for Prof. Higgins. It was reprised in the film version, with star Audrey Hepburn dubbed with the voice of vocalist Marni Nixon. A beautiful sampling of the type of material being put out during the golden age of the Hollywood musical.

Lyrics:

I could have danced all night!
I could have danced all night!
And still have begged for more.

I could have spread my wings,
And done a thousand things
I've never done before.

I'll never know what made it so exciting,
Why all at once my heart took flight.

I only know when he
Began to dance with me,
I could have danced, danced danced all night!

Recorded By:

Sylvia Syms
Dinah Shore
Frank Sinatra
Rosemary Clooney
Petula Clark

Stardust

2011-12-19T21:54:00.002-05:00

By Hoagy Carmichael & Mitchell Parish
1927

In honor of my grandfather, who passed away on December 4, I give you the single most popular standard of all time, and one of his very favorite songs. Composed on an old upright piano at the Keuka Hotel on Keuka Lake in New York, this unusual melody was based by Carmichael on the idiosyncratic stylings of trumpeter Bix Beiderbecke. Carmichael himself was the first to record it, together with the Dorsey brothers. Parish joined Carmichael to come up with the lyrics two years later, making it "a love song about a love song," as Hoagy would characterize it. It was Isham Jones who turned it into a ballad in 1930, and from there it became one of the most recorded songs of all time. In fact, during the big band era, it was the most recorded pop songs, period--more than 1,500 versions are believed to exist.

With its gorgeous verse and a complex refrain, Stardust is the ultimate American standard, and I happily dedicate it to the memory of Anthony Salica.

Lyrics:

And now the purple dusk of twilight time steals across the meadows of my heart.
High up in the sky, the little stars climb, always reminding me that we're apart.
You wander down the lane and far away, leaving a smile that will not die.
Love is now the stardust of yesterday; the music of the years gone by...

Sometime I wonder why I spend the lonely night
Dreaming of a song.
The melody haunts my reverie,
And I am once again with you,
When our love was new, and each kiss an inspiration.
But that was long ago, and now my consolation
Is in the stardust of a song.

Beside a garden wall where stars are bright,
You are in my arms.
The nightingale tells his fairytale,
Of paradise where roses bloom.
Though I dream in vain,
In my heart you will remain,
My stardust memory...the melody of love's refrain.

Recorded By:

Louis Armstrong
Nat King Cole
Artie Shaw
John Coltrane
Ella Fitzgerald

Remembering WNEW... and My Grandfather

2011-12-16T00:33:00.013-05:00

About a month ago, I got to thinking a lot about WNEW-AM, the legendary New York radio station that in many ways spawned my love for the great American standards. Last month marked 19 years that the station has been off the air, since being unceremoniously replaced by Bloomberg Radio right around the time I started college. I was largely exposed to it because of my grandfather, Tony Salica, who had listened to it pretty much every day of his life from when it first went on the air in 1934. And so I got to planning a tribute to WNEW for Standard of the Day.

Less than two weeks ago, my grandfather passed away. Thus, what I had originally envisioned as an ode to a great radio station now becomes an ode to the man who shared it with me.

He was a man who rubbed shoulders with Frank Sinatra and Muhammad Ali. Who received toys from Babe Ruth as a kid. Who saw Billie Holiday in concert at the Apollo Theater. And speaking of Sinatra, my grandfather idolized the man, and his music will always remind me of him because of that. In fact, WNEW was known for years as the "station of Sinatra", which is a big part of why my grandfather loved it so much.

My grandfather's love of Sinatra was legendary within my family. He worshiped him with a level of adoration that's impossible to overstate--an admiration that bordered on filial love. And beyond Sinatra, he had a passion for his kind of music--the big bands of the '40s and the vocal pop that dominated "grown-up music" from the post-war era right up to the British Invasion. To say his love of that music rubbed off on me would be quite an understatement--it permeated my childhood, becoming a soothing background soundtrack to my life. I moved away from it as a teenager, gravitating toward alternative and classic rock, but came back to my roots as a mature adult.

My grandfather was a man who loved his family more than anything in the world. There was nothing that brought him greater delight than watching my sister and I grow up, and later his great-grandchildren Layla and Jack, who quite literally meant the world to him. For me, he was like a second father. He taught me how to be a man, and making him proud is one of the greatest accomplishments of my life. Today, I cherish the sounds that he passed on to me, and happily pass them on to my own children.

The main conduit my grandfather had for his kind of music was, of course, WNEW. From 1934, it was the New York City radio station, listened to on a daily basis by him and the rest of the Depression/World War II generation. It remained the dominant station in the city for a good 30 years, until the youth culture of the 1960s changed the course of popular music, forcing WNEW to become a "nostalgia" station, catering more and more to a niche listenership of aging New Yorkers.

My grandparents happened to be among those aging New Yorkers, and not a day went by that they didn't listen to WNEW in their car, or on the little transistor radio my grandfather carried around with him everywhere. As kids, my sister and I would ride around with them on regular weekend excursions, meaning we were exposed to the sounds of WNEW all the time.

I look back fondly on those trips now, as a formative part of my life. We'd usually head over the Verrazano Bridge to Staten Island, visiting our Aunt Stella, the Staten Island Mall, Richmondtown Restoration (which we called "The Birds of the Bees"), or a combination of the three. And as we did so, WNEW would be heard in the background, the thrilling voices of Ella Fitzgerald, Dinah Washington, Dean Martin, Judy Garland, Nat King Cole, Mel Torme and so many others accompanying us as my grandfather got inevitably lost driving around those idyllic suburban Staten Island backroads.

There was the Make-Believe Ballroom, hosted by William B. Williams. Also, my grandfather's personal favorite show, hosted by the great Jonathan Schwartz. My grandfather loved listening to him talk, even if he didn't always understand what the hell he was talking about. And who could forget that classic station jingle... "Double-You..En-Ee-Double-You...Eleven-Three-Oh in New Yooork..."

But most of all there was Sinatra. His warm, cello-like voice filling that Persian blue 1976 Buick Century like a cool, refreshing breeze. My grandfather would revel in the Sinatra A-Z, a days-long celebration playing every single recording the man ever made. He had this uncanny ability to name a Sinatra song within the first couple notes of the arrangement, and he always knew every word.

Like Sinatra, I think we all just thought he would live forever. That’s why Sunday night, December 4 was still a shock, even though we knew he was very sick with ALS. He had been unconscious for a few hours when my mom called me to come down and see him. And ten minutes after I got there, he passed gently and quietly in his sleep. I can’t help but think he was waiting for me. As he lay there peacefully, I put my cellphone on his pillow and played Sinatra's "Put Your Dreams Away" on YouTube. I know he would've considered that the perfect sendoff, even if he never quite understood why I carried that stupid thing around with me all the time.

Through it all, the music was still intertwined with my grandfather, in death as in life. When the funeral parlor asked me to select some songs to use for a DVD montage of my grandfather's old photographs, let's just say I had no trouble at all. I wish he could watch that DVD with me, just like I wish he could've seen his great-granddaughter sing "Pennies from Heaven" at his service--verse and all. I suppose, however, that he's still been watching us after all, as is evidenced by the pennies we've been finding everywhere for the past couple of weeks.

My grandfather left me with a great many things, but most pertinent to this website, and to what I'm writing about today, he left me with a rich, deep love for the greatest American music ever made. It was the only type of music he ever took seriously, and although I try to be a bit more broad-minded in my own tastes, I will confess to a healthy dose of the musical snobbery he proudly engendered in me.

I can remember his profound sense of loss when WNEW-AM went off the air on December 11, 1992, after many years of dwindling ratings (ironically, the very years during which I was discovering the station.) Much of the staff and management immediately started up their own independent station, 1560 WQEW, but it only lasted for six years, going under mere months after Sinatra's own death--a telling sign of the times if ever there was one. It was the end of an era, and these days the sounds of the great American songbook are no longer heard on New York City airwaves.

My grandfather lived long enough to see his music get shifted into the "Easy Listening" bin and moved aside to make way for the amateur screeches and flimsy compositions of angry young boys in their parents' garages. He watched it fade, just as I watched him fade over the past few years. And now, my grandfather, like WNEW, is gone. But also like WNEW, it is only his physical presence that is truly gone, as the memories of both are kept alive in my heart, in my memories, and in Standard of the Day.

Because without Tony Salica and WNEW, this website would not exist. I never got the chance to show it to him, but I'm sure he would've loved my own little "Make-Believe Ballroom"...

Where Are You?

2011-12-02T13:03:00.002-05:00

By Jimmy McHugh & Harold Adamson
1936

A delightfully moving composition from the McHugh/Adamson team that also gave us such songs as "I Couldn't Sleep a Wink Last Night" and "A Lovely Way to Spend an Evening". A favorite of the early Depression years, it was introduced by Gertrude Niesen (pictured) in 1937, and shortly followed by a slew of other artists. Its lilting melody and plaintive lyrics are typical of the era, and the song was admired so much by Frank Sinatra that in 1957 it became the only standard song to ever title one of his albums.

Lyrics:

Where are you
Where have you gone without me
I thought you cared about me
Where are you

Where's my heart
Where is the dream we started
I can't believe we're parted
Where are you

When we said good-bye love
What had we to gain
When I gave you my love
Was it all in vain

All life through
Must I go on pretending
Where is my happy ending
Where are you

Recorded By:

Aretha Franklin
Johnny Mathis
Jack Teagarden
Sonny Rollins
Dinah Washington

Zing! Went the Strings of My Heart

2011-11-23T12:55:00.003-05:00

By James F. Hanley
1934

From the Broadway revue Thumbs Up! comes this irresistible tune originally introduced by Hal Le Roy and Eunice Healey. The most famous recording would have to be the one made by Judy Garland, who made it one of her signature songs. Interestingly enough, Frank Sinatra recorded it for his 1960 album Ring-a-Ding-Ding!, but the recording was cut because the tempo didn't match the rest of the tracks. It was finally released on a deluxe CD box set decades later.

Lyrics:

Never could carry a tune, never knew where to start
You came along when everything was wrong and put a song in my heart

Dear when you smiled at me, I heard a melody
It haunted me from the start
Something inside of me started a symphony
Zing! Went the strings of my heart

'Twas like a breath of spring, I heard a robin sing
About a nest set apart
All nature seemed to be in perfect harmony
Zing! Went the strings of my heart

Your eyes made skies seem blue again
What else could I do again
But keep repeating through and through
"I love you, love you"

I still recall the thrill, guess I always will
I hope 'twill never depart
Dear, with your lips to mine, a rhapsody devine
Zing! Went the strings of my heart

Recorded By:

The Trammps
The Coasters
Billy Eckstine
Chet Baker
June Christy

Some Enchanted Evening

2011-11-19T03:03:00.004-05:00

By Richard Rodgers & Oscar Hammerstein II
1949

One of the most recognized of all Rodgers & Hammerstein compositions, it was introduced in the classic musical South Pacific by Italian operatic bass Ezio Pinza, who became a mainstream American favorite because of it. Hammerstein's lyric expresses a carpe diem attitude through a series of action verbs, and Rodgers melody is gorgeous as usual. A touch on the schmaltzy side, but then again, that's Rodgers & Hammerstein, after all.

Lyrics:

Some enchanted evening
You may see a stranger,
you may see a stranger
Across a crowded room
And somehow you know,
You know even then
That somewhere you'll see her
Again and again.

Some enchanted evening
Someone may be laughin',
You may hear her laughin'
Across a crowded room
And night after night,
As strange as it seems
The sound of her laughter
Will sing in your dreams.

Who can explain it?
Who can tell you why?
Fools give you reasons,
Wise men never try.

Some enchanted evening
When you find your true love,
When you feel her call you
Across a crowded room,
Then fly to her side,
And make her your own
Or all through your life you
May dream all alone.

Once you have found her,
Never let her go.
Once you have found her,
Never let her go!

Recorded By:

Perry Como
Frank Sinatra
Jo Stafford
Bing Crosby
Al Jolson

I'm Yours

2011-11-15T11:29:00.004-05:00

By Johnny Green & E.Y. "Yip" Harburg
1930

For the 400th post here at Standard of the Day, I give you this warm and innocent ballad, written by one-time Ethel Merman accompanist, bandleader and pianist Johnny Winter (pictured), who dedicated it to his wife Bonnie. His lyricist was long-time Harold Arlen collaborator E.Y. Harburg. Green is best known for "Body Soul", which along with this song was one of his first two compositions, written at age 22 after deciding to disobey his father, drop out of military school and pursue music. It was introduced by the great Ruth Etting.

Lyrics:

Ask the sky above
And ask the earth below
Why I'm so in love
And why I love you so
Couldn't tell you though I tried do
Just why I'm yours.

When you went away
You left a glowing spark
Trying to be gay as
Whistling in the dark
I am only what you make me
Come take me
I'm yours

How can I happy
I would be to beg or borrow
For sorrow
With you
Even though I knew
Tomorrow
You'd say we were through.

If we drift apart
Then I'll be lost and alone
Though you use my heart
Just for a steppin' stone
How can I help dreaming of you
I love you
I'm yours

Recorded By:

Ruth Etting
Billie Holiday
Bert Lown Orchestra
Artie Shaw Orchestra
Dean Martin

What Is This Thing Called Love?

2011-11-10T12:15:00.002-05:00

By Cole Porter
1929

A mournful dirge by the great Porter for the musical Wake Up and Dream, in which it was introduced in London by Elsie Carlisle (pictured). Porter was known for his bouncy, light-hearted highs and desolate lows. This would be an example of the latter, and its soulful, introspective nature made it a natural for the jazz artists who discovered it in the 1930s and beyond. In fact, several jazz compositions, including "Fifth House" by John Coltrane and "Barry's Bop" by Fats Navarro, are based on the chord structure of this song.

Lyrics:

I was a humdrum person,
Leading a life apart.
When love flew in through my window wide,
And quickened my humdrum heart.

Love flew in through my window,
I was so happy then.
But after love had stayed a little while,
Love flew out again.

What is this thing called love?
This funny thing called love?
Just who can solve its mystery?
Why should it make a fool of me?

I saw you there one wonderful day.
You took my heart, and threw it away.
That's why I ask the Lord in heaven above,
What is this thing called love?

Recorded By:

Frank Sinatra
Billie Holiday
Ella Fitzgerald
Bill Evans
Coleman Hawkins

Georgia on My Mind

2011-11-09T14:20:00.003-05:00

By Hoagy Carmichael & Stuart Gorrell
1930

One of the pillars of the Great American Songbook, penned by one of its most underrated tunesmiths. Writing primarily for Tin Pan Alley and not the stage, Carmichael was often looked down upon in comparison to other songwriters, but this and "Stardust" are not only his unquestioned masterpieces, they are two of the finest pieces of popular music ever created. Hoagy himself introduced the song on record, accompanied by legendary cornet player Bix Beiderbecke in what would be Bix's final recording session. Today, it is most associated with the Ray Charles rendition, recorded some 30 years later.

* This post is dedicated to Standard of the Day supporter Judy Segor.

Lyrics:

Georgia, Georgia,
The whole day through.
Just an old sweet song
Keeps Georgia on my mind.

Georgia, Georgia,
The song of you
Come as sweet and clear
As moonlight through the pines.

Other arms reach out to me,
Others eyes smile tenderly.
Still in peaceful dreams I see
The road leads back to you.

Georgia, Georgia,
No peace I find.
Just an old sweet song,
Keeps Georgia on my mind.

Recorded By:

Ray Charles
Willie Nelson
Lou Rawls
Anita O'Day
Jerry Lee Lewis

It's Alright With Me

2011-11-06T20:08:00.003-05:00

By Cole Porter
1953

One of the very most sophisticated compositions by the songbook's most sophisticated composer. This gem was written for Porter's 1953 musical Can-Can, in which it was introduced by Peter Cookson. Porter's melody line virtually embodies a combination of smoldering longing and wistful regret, as the lyric expresses the subject's acceptance of his attraction to the object of his desire, even though he admits that he is still in love with someone else. A complex and beautiful song.

Lyrics:

It's the wrong time and the wrong place
Though your face is charming, it's the wrong face
It's not her face, but such a charming face
And it's alright with me

It's the wrong song with the wrong style
Though your smile is lovely, it's the wrong smile
It's not her smile, but such a lovely smile
That it's alright with me

You can't know how happy I am we met
I'm strangely attracted to you
There's someone I'm trying so hard to forget
Don't you wanna forget someone too

It's the wrong game with the wrong chips
Though your lips are tempting, they're the wrong lips
They're not her lips, but they're such tempting lips
That it's all right with me

Recorded By:

Frank Sinatra
Ella Fitzgerald
Tom Waits
Mel Torme
Erroll Garner

Always True to You in My Fashion

2011-11-03T13:13:00.003-04:00

By Cole Porter
1948

Perhaps one of the master's greatest and cleverest compositions, with a lyric that never ceases to elicit amusement and exude effortless charm. It was written for Porter's celebrated musical Kiss Me, Kate, in which it was introduced by Broadway standout Lisa Kirk. The combination of sophistication and underlying naughtiness is the epitome of Porter's body of work.

Lyrics (extended stage version):

Oh, Bill
Why can't you behave
Why can't you behave?
How in hell can you be jealous
When you know, baby, I'm your slave?
I'm just mad for you
And I'll always be
But naturally.....

If a custom-tailored vet
Asks me out for something wet
When the vet begins to pet, I cry "hooray!"
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

I enjoy a tender pass
By the boss of Boston, Mass
Though his pass is middle-class and not Backa Bay
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

There's a madman known as Mack
Who is planning to attack
If his mad attack means a Cadillac, okay!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

I've been asked to have a meal
By a big tycoon in steel
If the meal includes a deal, accept I may
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, Darlin' in my way

I could never curl my lip
To a dazzlin' diamond clip
Though the clip meant "Let 'er rip", I'd not say "Nay!"
But I'm always true to to you, darlin, in my fashion
Yes, I'm always true to you, darlin' in my way

There's an oil man known as "Tex"
Who is keen to give me checks
And his checks, I fear, mean that sex is here to stay!
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

There's a wealthy Hindu priest
Who's a wolf, to say the least
When the priest goes too far East, I also stray
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin'in my way

There's a lush from Portland, Ore
Who is rich but such a bore
When the bore falls on the floor, I let him lay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin',in my way

Mister Harris, plutocrat
Wants to give my cheek a pat
If the Harris pat means a Paris hat, Bébé, Oo-la-la!
Mais je suis toujours fidele, darlin', in my fashion
Oui, je suis toujours fidele, darlin', in my way

From Ohio, Mister Thorne
Calls me up from night 'til morn
Mister Thorne once corner'd corn and that ain't hay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

From Milwaukee, Mister Fritz
Often moves me to the Ritz
Mister Fritz is full of Schlitz and full of play
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

Mister Gable, I mean Clark
Wants me on his boat to park
If the Gable boat means a sable coat, anchors aweigh!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

Recorded By:

Blossom Dearie
Ella Fitzgerald
Della Reese
Eartha Kitt
Peggy Lee & George Shearing

Unforgettable

2011-10-26T18:59:00.003-04:00

By Irving Gordon
1951

Perhaps one of the most enduring of all standards, still commonly known today by people of all ages, mainly thanks to the recording by Nat King Cole. It was Cole who introduced the song in 1951, re-recorded it in stereo ten years later, and with whom it has always been identified. His version was famously edited in 1991 into a posthumous "duet" with his daughter Natalie, which won the Grammy for Best Recording. Sadly, that version also amended the fine Nelson Riddle arrangement to including a cheesy sax solo in place of Riddle's trademark shimmering strings.

Lyrics:

Unforgettable
That's what you are,
Unforgettable
Tho' near or far.

Like a song of love that clings to me,
How the thought of you does things to me.
Never before
Has someone been more...

Unforgettable
In every way,
And forever more
That's how you'll stay.

That's why, darling, it's incredible
That someone so unforgettable
Thinks that I am
Unforgettable, too.

Recorded By:

Dick Hyman
Dinah Washington
Sammy Davis Jr.
Marvin Gaye
Lou Rawls

Ain't We Got Fun?

2011-10-25T14:48:00.005-04:00

By Richard A. Whiting, Raymond B. Egan & Gus Kahn
1920

A classic foxtrot composition that became one of the theme songs of the Roaring '20s, as well as the Depression Era. It was introduced on stage in the revue Satires of 1920, but achieved even greater stature on the vaudeville circuit and in recordings. In particular, it has been immortalized by the recording by the great Eddie Cantor, and was even mentioned in F. Scott's Fitzgerald's The Great Gatsby. An uplifting ode to carefree living, it both epitomized the Jazz Decade, and raised the spirits of those who fell on hard times afterward.

Lyrics:

Bill collectors gather 'round and rather
Haunt the cottage next door
Men the grocer and butcher sent
Men who call for the rent
But within a happy chappy
And his bride of only a year
Seem to be so cheerful, here's an earful
Of the chatter you hear

Ev'ry morning, ev'ry evening
Ain't we got fun?
Not much money, Oh, but honey
Ain't we got fun?
The rent's unpaid dear
We haven't a bus
But smiles were made dear
For people like us

In the winter in the Summer
Don't we have fun
Times are bum and getting bummer
Still we have fun
There's nothing surer
The rich get rich and the poor get children
In the meantime, in between time
Ain't we got fun?

Just to make their trouble nearly double
Something happened last night
To their chimney a gray bird came
Mister Stork is his name
And I'll bet two pins, a pair of twins
Just happened in with the bird
Still they're very gay and merry
Just at dawning I heard

Ev'ry morning, ev'ry evening
Don't we have fun
Twins and cares, dear, come in pairs, dear
Don't we have fun
We've only started
As mommer and pop
Are we downhearted
I'll say that we're not

Landlords mad and getting madder
Ain't we got fun?
Times are so bad and getting badder
Still we have fun
There's nothing surer
The rich get rich and the poor get laid off
In the meantime, in between time
Ain't we got fun?

When the man who sold 'em carpets told 'em
He would take them away
They said, "Wonderful, here's our chance
Take them up and we'll dance"
And when burglars came and robbed them
Taking all their silver, they say
Hubby yelled, "We're famous, for they'll name us
In the pepers today

Night or daytime, it's all playtime
Ain't we got fun?
Hot or cold days, any old days
Ain't we got fun
If Wifey wishes
To go to a play
Don't wash the dishes
Just throw them away

Streetcar seats are awful narrow
Ain't we got fun?
They won't smash up our Pierce Arrow
We ain't got none
They've cut my wages
But my income tax will be so much smaller
When I'm laid off, I'll be paid off
Ain't we got fun?

Recorded By:

Peggy Lee
Doris Day
Eddie Cantor
Rosemary Clooney
Bing Crosby

Lullaby of the Leaves

2011-10-24T13:25:00.003-04:00

By Bernice Petkere & Joe Young
1932

Featured in the very short-lived Broadway revue Chamberlain Brown's Scrap Book, this aching ballad was introduced on stage by Ina Hayward, but later became a jazz favorite after Freddie Berrens and his orchestra brought the song to radio. Although the show it came from may have been a flop, the song lives on as a rare treat to be discovered by fans of the Great American Songbook.

Lyrics:

Rustling of the leaves used to be my lullaby,
In the sunny south when I was a tot so high,
And now that I have grown
And myself alone.

Cradle me where southern skies can watch me with a million eyes,
Oh sing me to sleep,
Lullaby of the leaves

Cover me with heavens blue and let me dream a dream or two,
Oh sing me to sleep,
Lullaby of the leaves.

Im breezing along, along with the breeze,
Im hearing a song, a song thru the trees,
Ooh ooh ooh ooh ooh ooh.
That pine melody caressing the shore familiar to me, Ive heard it
before ooh ooh ooh ooh.

Thats southland, dont I feel it in my soul,
And dont I know Ive reached my goal,
Oh sing me to sleep,
Lullaby of the Leaves.

Recorded By:

Keely Smith
Chet Baker
Ella Fitzgerald
Benny Goodman
Anita O'Day

There's No Business Like Show Business

2011-10-19T10:58:00.003-04:00

By Irving Berlin
1946

The ultimate ode to the glitz and glamor of stage and screen, penned by one of America's most cherished composers, and a man who knew its allure perhaps better than just about anyone. The song was the centerpiece of Berlin's musical Annie Get Your Gun, in which it was introduced by Ray Middleton, Marty May and of course the great Ethel Merman in the starring role of Annie Oakley. It has since become one of Berlin's most cherished standards, a rousing anthem to the business of entertainment.

Lyrics:

There's no business like show business like no business I know
Everything about it is appealing, everything that traffic will allow
Nowhere could you get that happy feeling when you are stealing that extra bow

There's no people like show people, they smile when they are low
Even with a turkey that you know will fold, you may be stranded out in the cold
Still you wouldn't change it for a sack of gold, let's go on with the show

The butcher, the baker, the grocer, the clerk
Are secretly unhappy men because
The butcher, the baker, the grocer, the clerk
Get paid for what they do but no applause.
They'd gladly bid their dreary jobs goodbye for anything theatrical and why?

There's no business like show business and I tell you it's so
Traveling through the country is so thrilling, standing out in front on opening nights
Smiling as you watch the theater filling, and there's your billing out there in lights

There's no people like show people, they smile when they are low
Angels come from everywhere with lots of jack, and when you lose it, there's no attack
Where could you get money that you don't give back? Let's go on with the show

(There's no business like show business like no business I know)
You get word before the show has started that your favorite uncle died at dawn
Top of that, your pa and ma have parted, you're broken-hearted, but you go on

(There's no people like show people, they smile when they are low)
Yesterday they told you you would not go far, that night you open and there you are
Next day on your dressing room they've hung a star, let's go on with the show!!

Recorded By:

Bernadette Peters
Judy Garland
Susannah McCorkle
Betty Hutton
Frank Sinatra

Tony Bennett and... Lady Gaga??

2011-10-09T15:09:00.004-04:00

I'm breaking my two-months silence for a bit of a break from the usual routine here... to bring you this video which has been blowing my mind lately. It's from Tony Bennett's brand-new Duets II album, and features the greatest living traditional pop vocalist teaming up with none other than today's hottest pop sensation, Lady Gaga, for a rendition of Rodgers & Hart's "The Lady Is a Tramp".

I never would've imagined I'd like this as much as I do, but it cannot be denied that Ms. Gaga indeed has some talent! Honestly, her voice here reminds me a bit of Keely Smith and Anita O'Day. It just goes to prove what I've said in the past--that today's vocalists are often extremely talented, yet sabotage themselves with sub-par material in order to sell records. When given some quality standards to work with, they finally demonstrate what they really can do.

Enjoy! And congratulations to Mr. Bennett for staying in the mix all these years... I can't believe the Red Hot Chili Peppers stunt on the MTV Music Video Awards was nearly two decades ago...

I'll Remember April

2011-08-10T00:02:00.004-04:00

By Gene de Paul, Patricia Johnston & Don Raye
1942

Just got back from the new superhero film Captain America, and enjoyed hearing the Woody Herman recording of this song featured in the movie--which takes place during World War II. Introduced by Dick Foran in the Abbott & Costello picture Ride 'Em Cowboy, the melancholy tune became a big hit during the war years. It has since been recorded by countless artists, who favor it for its moody atmosphere and contemplative lyrics.

Lyrics:

This lovely day will lengthen into evening,
We'll sigh good-bye to all we've ever had,
Alone where we have walked together,
I'll remember April and be glad....

I'll be content, you loved me once in April,
Your lips were warm, and love an' spring were new,
But I'm not afraid of autumn, and her sorrow,
For I'll remember,
April and you!

The fire will dwindle into glowing ashes,
For flames and love live such a little while . . .
I won't forget, but I won't be lonely,
I'll remember April, and I'll smile . . .

The fire will dwindle into glowing ashes,
For flames and love live such a little while

I won't forget, but I won't be lonely
I'll remember April, and I'll smile . . .

I won't forget but I won't be lonely, no . . .
I'll remember April, and I'll smile!

Recorded By:

Chet Baker
Shirley Bassey
June Christy
Julie London
Frank Sinatra

They Can't Take That Away from Me

2011-07-27T14:54:00.003-04:00

By George & Ira Gershwin
1937

Last Thursday officially made three full years that Standard of the Day has been in existence, and to belatedly commemorate that milestone, today we shine the spotlight on one of the most celebrated standards of them all, which the Gershwin brothers composed for the Fred Astaire/Ginger Rogers musical, Shall We Dance. Astaire introduces the tune in the movie, singing it to Rogers in a rare musical number with no dancing. Ira's lyric is a perfect mixture of joy and sadness, as our lover declares to his paramour that no amount of distance could erase the memories they've shared. Also of note is the ingenious way the lyric pairs up very mundane aspects of the beloved ("The way you hold your knife"), with more profound aspects ("The way you changed my life"). A lilting, perfect melody from the immortal George Gershwin completes this ultimate love ballad. George Gershwin passed on shortly after the movie was released, but was posthumously nominated, along with his brother, for the Academy Award for Best Original Song.

Thanks to everyone for continuing to read and support SOTD. Let's continue keeping these old songs alive together, shall we?

Lyrics:

Our romance won't end on a sorrowful note, though by tomorrow you're gone.
The song is ended, but as the songwriter wrote, the melody lingers on.
They may take you from me. I'll miss your fond caress.
But though they take you from me, I'll still possess...

The way you wear your hat,
The way you sip your tea,
The memory of all that.
No, no, they can't take that away from me.

The way your smile just beams,
The way you sing off-key,
The way you haunt my dreams.
No, no, they can't take that away from me.

We may never, never meet again on the bumpy road to love,
Still I'll always, always keep the memory of...

The way you hold your knife,
The way we danced till three,
The way you changed my life,
No, no, they can't take that away from me.
No, they can't take that away from me.

Recorded By:

Tony Bennett
Louis Armstrong & Ella Fitzgerald
Billie Holiday
Charlie Parker
Frank Sinatra

Bali Ha'i

2011-07-19T15:57:00.004-04:00

By Richard Rodgers & Oscar Hammerstein II
1949

Written for the musical South Pacific, the song was meant to evoke the dreamlike, exotic quality of the fictional volcanic island for which it is named. The island was inspired by the real Pacific island of Ambae, mentioned by James Michener in the novel on which the play was based. It was performed by Juanita Hill on stage and in the film version, and first recorded by Perry Como. In the 1950s, it would become predictably popular during the exotica movement, thanks to its Oriental, mystical sound.

Lyrics:

Most people live on a lonely island,
lost in the middle of a foggy sea
most people long for another island
one where they know they would like to be.

Bali Ha'i may call you,
Any night, any day,
In your heart you'll hear it call you,
"Come away, come away . . ."

Bali Ha'i will whisper,
On the wind of the sea,
"Here am I your special island"
"Come to me, come to me . . ."

Your own special hopes,
Your own special dreams,
Bloom on the hillside,
And shine in the streams . . .

If you try you'll find me
Where the sky meets the sea
Here am I your special island
Come to me, come to me . . .

Bali Ha'i
Bali Ha'i
Bali Ha'i

Someday you'll see me,
Floating in the sunshine,
My head sticking out from a low flying cloud . . .

You'll hear me call you,
Singing through the sunshine
Sweet and clear as can be . . .

"Come to me, here am I"
"Come to me"
"Come to me"

Bali Ha'i . . .

Recorded By:

Frank Sinatra
Martin Denny
Stacey Kent
Tak Shindo
Perry Como

Solitude

2011-07-13T16:26:00.004-04:00

By Duke Ellington, Eddie DeLange & Irving Mills
1934

Few songs are as associated with Billie Holiday as this aching ballad of love in isolation, even though it was Ellington himself who introduced it. Perfectly suited to Lady Day's unique voice, this tune became an instant classic the moment she first recorded it in 1941. It has since become one of the all-time most revered jazz standards.

Lyrics:

In my solitude, you haunt me
With reveries of days gone by.
In my solitude, you taunt me
With memories that never die.

I sit in my chair,
Filled with despair.
Nobody could be so sad.
With gloom ev'rywhere,
I sit and I stare,
I know that I'll soon go mad.

In my solitude, I'm praying,
Dear Lord above, send back my love.

Recorded By:

Billy Eckstine
Ella Fitzgerald
Tony Bennett & Count Basie
Nina Simone
Aretha Franklin

Day In, Day Out

2011-07-08T16:47:00.003-04:00

By Rube Bloom & Johnny Mercer
1939

Another example of Mercer's fantastic lyrics, taking a tired phrase and making it shine. The words go along with a gorgeous, soaring melody by Bloom which musicologist Alec Wilder rightly described as passionate yet unpretentious. The song was introduced by Bob Crosby's Orchestra (pictured), with Helen Ward on vocals. It was a popular song with the big bands which survived into the post-Big Band era as well.

Lyrics:

Day in - day out
That same old voodoo follows me about
That same old pounding in my heart, whenever I think of you
And baby I think of you
Day in and day out

Day out - day in
I needn't tell you how my days begin
When I awake I get up with a tingle
One possibility in view
That possibility of maybe seeing you

Come rain - come shine
I meet you and to me the day is fine
Then I kiss your lips, and the pounding becomes
An oceans roar, a thousand drums
Can't you see it's love, can there be any doubt
When there it is, day in - day out

Recorded By:

Nat King Cole
Billie Holiday
Ella Fitzgerald
Frank Sinatra
Judy Garland

To Keep My Love Alive

2011-06-29T14:46:00.003-04:00

By Richard Rodgers & Lorenz Hart
1943

This was the final song ever co-written by the legendary lyricist Lorenz Hart with his tunesmith partner Richard Rodgers. It was composed for the 1943 revival of A Connecticut Yankee, a show originated by Rodgers & Hart in 1927. It was introduced on stage by Vivienne Segal. Detailing the methods a serial widow has used to bump off her husbands, it is a classic example of the witty Hart touch. The lyricist died shortly thereafter of pneumonia.

Lyrics:

I've been married and married,
and often I've sighed,
I'm never a brides-maid,
I'm always the bride,
I never divorced them,
I hadn't the heart,
Yet, remember those sweet words,
"Till death do us part."

I married many men, a ton of them, and yet I was untrue to none of them,
because I bumped off ev'ry one of them to keep my love alive.

Sir Paul was frail, he looked a wreck to me.
At night he was a horse's nect to me,
so I performed an appendectomy,
to keep my love alive!

Sir Thomas had insomnia,
he couldn't sleep at night,
I bought a little arsenic,
he's sleeping now all right.

Sir Philip played the harp, I cussed the thing.
I crowned him with his harp to bust the thing,
and now he plays where harps are just the thing,
to keep my love alive, to keep my love alive.

I thought Sir George had possibilites,
but his flirtations made me ill at ease,
and when I'm ill at ease, I kill at ease
to keep my love alive.

Sir Charles came from a sanatorium,
and yelled for drinks in my emporium.
I mixed one drink, he's in memoriam,
to keep my love alive!

Sir Francis was a singing bird,
a night-in-gale,
That's why I tossed him off my balcony
to see if he could fly.

Sir Athelstane indulged in fratricide,
he killed his dad and that was patricide.
One night I stabbed him by my mattress side,
to keep my love alive, to keep my love alive.

Recorded By:

Ella Fitzgerald
Blossom Dearie
Ray Charles
Pearl Bailey
Sophia Loren

Charmaine

2011-06-25T14:08:00.004-04:00

By Erno Rapee & Lew Pollack
1927

A lush and charming love ballad from the roaring '20s, composed originally for the silent film classic What Price Glory? It would also be introduced on record the same year by the Guy Lombardo orchestra. Since then, it has infiltrated popular culture, with the Mantovani version being used by Monty Python and in the movie One Flew Over the Cuckoo's Nest. It is also featured in The Abominable Dr. Phibes. It was originally conceived as a waltz, and it is in this style that Frank Sinatra recorded it for his 1961 All Alone album.

Lyrics:

I can't forget the night we met, how bright were stars above.
That precious memory lingers yet, when you declared your love.
And then you went away, and now each night and day...

I wonder why you keep me waiting, Charmaine, my Charmaine.
I wonder when bluebirds are mating, will you come back again?
I wonder if I keep on praying, will our dreams be the same?
I wonder if you ever think of me too ..
I am waiting my Charmaine for you ...

Recorded By:

The Bachelors
Tex Beneke
Bill Haley & His Comets
The Ink Spots
The Four Freshmen

'Round Midnight

2011-06-23T22:53:00.005-04:00

By Thelonious Monk, Cootie Williams & Bernie Hanighen

1944

The most recorded jazz standard composed by a jazz musician, this smoky number was first conceptualized by Monk in the 1930s under a different name. It developed gradually over the years in true jazz style, with later embellishments added by the likes of Dizzy Gillespie and Miles Davis. The lyrics by Henighen were added later. It's believed to have been recorded hundreds of times.

Lyrics:

It begins to tell,
'round midnight, midnight.
I do pretty well, till after sundown,
Suppertime I'm feelin' sad;
But it really gets bad,
'round midnight.

Memories always start 'round midnight
Haven't got the heart to stand those memories,
When my heart is still with you,
And ol' midnight knows it, too.
When a quarrel we had needs mending,
Does it mean that our love is ending.
Darlin' I need you, lately I find
You're out of my heart,
And I'm out of my mind.

Let our hearts take wings'
'round midnight, midnight
Let the angels sing,
for your returning.
Till our love is safe and sound.
And old midnight comes around.
Feelin' sad,
really gets bad
Round, Round, Round Midnight.

Recorded By:

Sarah Vaughan

Ella Fitzgerald

Amy Winehouse

Bobby McFerrin

Linda Rondstadt

Secret Love

2011-06-22T15:28:00.003-04:00

By Sammy Fain & Paul Francis Webster
1953

An Academy Award-winner from the closing years of classic pop era, it was written for and introduced by the lovely Doris Day in her starring role in Calamity Jane. Ms. Day also recorded a commercial version of the song the year after the movie came out. It remains one of the most beautiful tunes to ever snare an Oscar, from an age when winning the award for a song actually meant something.

Lyrics:

Once I had a secret love
That lived within the heart of me.
All too soon my secret love
Became impatient to be free.

So I told a friendly star
The way that dreamers often do.
Just how wonderful you are
And why I'm so in love with you.

Now I shout it from the highest hills.
Even told the golden daffodils.
At last my heart's an open door,
And my secret love's no secret anymore.

Recorded By:

Mandy Moore
Frank Sinatra
Sinead O'Connor
George Michael
Anne Murray

My Heart Belongs to Daddy

2011-06-19T20:25:00.003-04:00

By Cole Porter
1938

Happy Father's Day to all SOTD readers... This clever hit for Porter was from his musical Leave It to Me!, in which is was introduced by Mary Martin. She would again perform the song in the 1940 motion picture Love Thy Neighbor. Both melody and lyrics are by Porter as usual, and in this case the lyric is particularly impressive, as it is no mean feat to rhyme anything with "Daddy".

Lyrics:

I used to fall in love with all those boys who maul the young cuties
But now I find I’m more inclined to keep my mind on my duties.

While tearing off a game of golf
I may make a play for the caddy
But when I do, I don’t follow through
‘cause my heart belongs to Daddy.

If I invite a boy some night
To dine on my fine finnan haddie
I just adore his asking for more
But my heart belongs to Daddy

Yes my heart belongs to Daddy
So I simply couldn’t be bad
Yes, my heart belongs to Daddy
Da-da-da, da-da-da, da-da-da
So I want to warn you, laddie
Though I know you’re perfectly swell
But my heart belongs to Daddy
‘cause my Daddy he treats it so well

There was a dame that a football game
Made long for the strong undergraddie
I never dream of making the team
‘cause my heart belongs to daddy

Yes, my heart belongs to Daddy
So I simply couldn’t be bad
Yes, my heart belongs to Daddy
Da-da-da, da-da-da, da-da-da
So I want to warn you, laddie
Though I know you’re perfectly swell
That my heart belongs to Daddy
‘cause my Daddy, he treats it so well.

Recorded By:

Ella Fitzgerald
Herb Alpert & Tijuana Brass
Oscar Peterson
Marilyn Monroe
Della Reese

Wave

2011-06-15T11:54:00.003-04:00

By Antonio Carlos Jobim
1967

Originally conceived as an instrumental, this breezy bossa nova tune first appeared on Jobim's album of the same name. The Brazilian composer wrote lyrics for it when Frank Sinatra asked to record it with him as part of his 1970 Sinatra & Co. album. On that record, Sinatra sings the lowest note of his career, a low E-flat. In Portuguese, the name of the song is "Vou Te Contar".

Lyrics:

So close your eyes
For that's a lovely way to be
Aware of things your heart alone was meant to see
The fundamental loneliness goes whenever two can dream a dream together

You cant deny dont try to fight the rising sea
Don't fight the moon, the stars above and don't fight me
The fundamental loneliness goes whenever two can dream a dream together

When I saw you first the time was half-past three
When your eyes met mine it was eternity

By now we know the wave is on its way to be
Just catch that wave don't be afraid of loving me
The fundamental loneliness goes whenever two can dream a dream together

Recorded By:

Oscar Peterson
Sarah Vaughn
Ella Fitzgerald
Mel Torme
Buddy Rich

Broadway Rhythm

2011-06-13T22:01:00.003-04:00

By Nacio Herb Brown & Arthur Freed
1935

Often mistakenly referred to as "Gotta Dance", thanks to the well-known refrain within the lyrics, this song is known to many thanks to its performance by Gene Kelly in Singin' in the Rain, perhaps the greatest film musical of all time. However, the song originates in the much earlier musical, Broadway Melody of 1936. It was introduced on record that same year by Frances Langford.

Lyrics:

Oh, that Broadway rhythm
Oh, that broadway rhythm
When I hear that happy beat,
Feel like dancing down the street.
To that Broadway rhythm,
Writhing, beating rhythm.
Gotta dance! Gotta dance!
Gotta dance! Gotta dance!

Broadway rhythm it’s got me
Everybody dance
Broadway rhythm it’s got me
Everybody dance!
Out on the gay white way
In each merry cafe,
Orchestras play,
Taking your breath away.
(With a) Broadway rhythm, it’s got me
Everybody sing and dance!

Recorded By:

Guy Lombardo
Gene Kelly
Frances Langford
Caroll Gibbons
Judy Garland

Because of You

2011-06-09T16:55:00.004-04:00

By Arthur Hammerstein & Dudley Wilkinson
1940

A warm, earnest love song that didn't really become anything of note until a young Tony Bennett recorded it in 1951. It became Bennett's first number-one hit, and immediately also became a standard as a result of that success. It was also featured in the 1951 film, I Was an American Spy. Bennett's version featured his trademark warm legato vocal style, and remains a favorite of enthusiasts of traditional pop.

Lyrics:

Because of you there's a song in my heart
Because of you my romance had its start
Because of you the sun will shine
The moon and stars will say you're mine
Forever and never to part

I only live for your love and your kiss
It's paradise to be near you like this
Because of you my life is now worth while
And I can smile
Because of you

Recorded By:

Johnny Desmond
Gloria DeHaven
Louis Armstrong
Chris Montez
Johnny Iris

Moonlight Serenade

2011-06-08T11:17:00.003-04:00

By Glenn Miller & Mitchell Parish
1939

One of the all-time great signature tunes of the Big Band era. It was composed by Miller for his world-famous orchestra, and became one of five Top 20 Billboard hits the band would have in 1939. Originally, it was the B-side of a record called "Sunrise Serenade", but became such a huge hit on its own that it quickly became Miller's theme song. With it's classic Miller-style clarinet-saxophone lead, it perfectly sums up the sweet "Miller sound". Parish would later add lyrics to what was previously an instrumental.

Lyrics:

I stand at your gate.
And the song that I sing is of moonlight.
I stand and I wait
For the touch of your hand in the June night.
The roses are sighing a moonlight serenade.

The stars are aglow.
And tonight how their light sets me dreaming.
My love, do you know
That your eyes are like stars brightly beaming?
I bring you, and I sing you a moonlight serenade.

Let us stray 'til break of day
In love's valley of dreams.
Just you and I, a summer sky,
A heavenly breeze, kissin' the trees.

So don't let me wait.
Come to me tenderly in the June night.
I stand at your gate
And I sing you a song in the moonlight.
A love song, my darling, a moonlight serenade

Recorded By:

Frank Sinatra
Carly Simon
Santo & Johnny
Count Basie
Gene Krupa

It's Only a Paper Moon

2011-06-07T14:35:00.003-04:00

By Harold Arlen, E.Y. "Yip" Harburg & Billy Rose
1933

Initially written for the 1933 Broadway flop The Great Magoo, this Arlen/Harburg gem was included in the film Take a Chance later that same year. It also received its first recording courtesy of the Paul Whiteman orchestra. It didn't really pick up steam until the World War II years, when it became a standard thanks to versions by Ella Fitzgerald and Nat Cole. It has become a jazz improvisation favorite, and was notably included in Tennessee Williams' A Streetcar Named Desire. A light and airy tune with a lovely, whimsical lyric.

Lyrics:

It is only a paper moon
hanging over a cardboard sea,
But it wouldn't be make believe
If you believed in me.

It is only a canvas sky
sailing over a muslin tree,
But it wouldn't be make believe
If you believed in me.

Without your love,
It's a honky-tonk parade.
Without your love,
It's a melody played in a penny arcade.

It's a Barnum and Bailey world,
Just as phony as it can be,
But it wouldn't be make believe
If you believed in me.

Recorded By:

Frank Sinatra
Nat King Cole
Ella Fitzgerald
Tony Bennett
Coleman Hawkins

No Strings (I'm Fancy Free)

2011-06-06T10:30:00.003-04:00

By Irving Berlin
1935

Was there ever a greater working agreement in pop music than that between Berlin and Fred Astaire? Here we have another 3-minute masterpiece written by Berlin for Astaire and Ginger Rogers, to be used in their 1935 film Top Hat (the best Astaire/Rogers teamup, for my money). Filled with Berlin compositions, Top Hat is a thrill from beginning to end, and this joyous tune is without a doubt one of the highlights.

Lyrics:

I wake up every morning with a smile on my face
Everything in it's place as it should be
I start out every morning just as free as the breeze
My cares upon the shelf
Because I find myself with

No strings and no connections
No ties to my affections
I'm fancy free and free for anything fancy

No dates that can't be broken
No words that can't be spoken
Especially when I am feeling romancy

Like a robin upon a tree
Like a sailor that goes to sea
Like an unwritten melody
I'm free, that's me

So bring on the big attraction
My decks are cleared for action
I'm fancy free and free for anything fancy

Recorded By:

Fred Astaire
Ella Fitzgerald
Peter Mintun
Ginger Rogers
Peter Skellern

Glad to Be Unhappy

2011-06-05T11:26:00.003-04:00

By Richard Rodgers & Lorenz Hart
1936

An example of a song which was not an instant hit, but rather took off decades later. It was originally composed for Rodgers and Hart's stage production On Your Toes, in which it was introduced by Doris Carson & David Morris. But it was not recorded very often at all until the 1950s, possibly having to do with a popular Broadway revival in 1954. Sinatra recorded it immediately after on his In the Wee Small Hours album, and the rest is history. A charming tune with one of the most enjoyable Rodgers and Hart verses.

Lyrics:

Look at yourself,
If you had a sense of humor you would laugh to beat the band.
Look at yourself,
Do you still believe the rumor that romance is simply grand?
Since you took in on the chin,
You have lost that toothpaste grin.
Your mental state is all a-jumble,
You sit at home and sadly mumble.

Fools rush in, so here I am,
Very glad to be unhappy.
I can't win, but here I am,
More than glad to be unhappy.

Unrequited love's a bore,
And I've got it pretty bad.
But for someone you adore,
It's a pleasure to be sad.

Like a straying baby lamb
With no mammy and no pappy,
I'm so unhappy, but oh, so glad.

Recorded By:

The Mamas & The Papas
Billie Holiday
Lena Horne
Nancy Wilson
Carmen McRae

Satin Doll

2011-06-01T16:51:00.003-04:00

By Duke Ellington, Billy Strayhorn & Johnny Mercer
1953

A late standard known for its unusual chord progression, "Satin Doll" was already a big hit as an instrumental by Ellington & Strayhorn before Mercer ever added a lyric. In fact, the Mercer lyric is generally not considered one of his best, and Ella Fitzgerald notably recorded a scat version which didn't even make use of it. Still, the song remains popular in both versions.

Lyrics:

Cigarette holder,
Which wigs me.
Over her shoulder,
She digs me.
Out cattin'
That satin doll.

Baby, shall we go
Out skippin'?
Careful, amigo,
You're flippin'
Speaks Latin,
That satin doll.

She's nobody's fool,
So I'm playin' it cool as can be.
I'll give it a whirl,
But I ain't for no girl catchin' me.

Telephone numbers,
Well, you know.
Doin' my rhumbas
With uno,
And that's my satin doll.

Recorded By:

101 Strings
The Gaylords
Nancy Wilson
Frank Sinatra
Ella Fitzgerald

You're Nobody Till Somebody Loves You

2011-05-30T19:27:00.003-04:00

By Russ Morgan, Larry Stock & James Cavanaugh
1944

A classic of the lounge subgenre, originally recorded by co-writer Morgan. Of course, we now know it best of all due to the 1965 Dean Martin recording, one of the biggest hits of Dino's career. There was also a very popular recording by The Mills Brothers. An infectiously happy and upbeat tune, perfect for a Memorial Day barbecue...

Lyrics:

You're nobody 'til somebody loves you
You're nobody 'til somebody cares.
You may be king, you may possess the world and it's gold,
But gold won't bring you happiness when you're growing old.
The world still is the same, you never change it,
As sure as the stars shine above;
You're nobody 'til somebody loves you,
So find yourself somebody to love.

The world still is the same, you never change it,
As sure as the stars shine above;
You're nobody 'til somebody loves you,
So find yourself somebody, find yourself somebody,
Find yourself somebody to love.

Recorded By:

Michael Buble
George Burns
Cab Calloway
Bobby Darrin
Sammy Davis Jr.

Ev'rything I've Got Belongs to You

2011-04-27T11:33:00.005-04:00

By Richard Rodgers & Lorenz Hart

1942

One of the catchiest tunes to ever come out of the vaunted Rodgers/Hart collaboration, this one comes from the show By Jupiter, in which it was introduced by Ray Bolger (The Scarecrow from The Wizard of Oz) and Benay Venuta. This was the same show that also gave us, "Wait Till You See Her."

Lyrics:

I have eyes for you to give you dirty looks.
I have words that do not come from children's books.
There's a trick with a knife I'm learning to do,
And ev'rything I've got belongs to you.

I've a powerful anesthesia in my fist,
And the perfect wrist to give your neck a twist.
There are hammerlock holds, I've mastered a few,
And ev'rything I've got belongs to you.

Share for share, share alike,
You get struck each time I strike.
You for me- me for me-
I'll give you plenty of nothing.

I'm not yours for better but for worse,
And I've learned to give the well-known witches' curse.
I've a terrible tongue, a temper for two,
And ev'rything I've got belongs to you.

Recorded By:

Ella Fitzgerald
Blossom Dearie
Jane Monheit
Ed Kuepper
Charlie Byrd

Easter Parade

2011-04-24T00:21:00.004-04:00

By Irving Berlin
1933

By the same man who gave us the ultimate Christmas standard, Irving Berlin, came this tune--which has become the ultimate Easter standard. Originally written for the Broadway revue As Thousands Cheer, in which it was introduced by Marilyn Miller and Clifton Webb, it later gained even more notoriety thanks to being sung by Bing Crosby in the film Holiday Inn, and in 1948 an entire musical film was built around it, starring Fred Astaire and Judy Garland. A true holiday classic from one of America's most cherished composers.

Lyrics:

In your Easter bonnet,
With all the frills upon it,
You'll be the grandest lady in the Easter Parade.

I'll be all in clover,
And when they look you over,
I'll be the proudest fellow in the Easter Parade.

On the avenue,
Fifth Avenue.
The photographers will snap us,
And you'll find that you're in the rotogravure.

Oh, I could write a sonnet
About your Easter bonnet,
And of the girl I'm taking to the Easter Parade.

Recorded By:

Al Jolson
Bing Crosby
Fred Astaire
Jimmy Lunceford
Perry Como

In the Cool, Cool, Cool of the Evening

2011-04-19T15:49:00.010-04:00

By Hoagy Carmichael & Johnny Mercer
1951

The formidable duo of Carmichael and Mercer teamed up to create this irresisibly jaunty tune--which won the Academy Award--for the film Here Comes the Groom. It was introduced in the movie by the two stars, the incomparable Bing Crosby and then-Mrs. Ronald Reagan, Jane Wyman. A fine merger of a Carmichael melody and Mercer lyric.

Lyrics:

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Save your pappy a chair
When the party's getting a glow on
And singin' fills the air
In the shank of the night
When the doin's are right
Well you can tell em I'll be there

I like a barbecue
I like to boil a ham
And I vote for bola baste stew
What's that?
I like a weenie bake, steak and a layer cake
And you'll get a tummy ache too
We'll rent a tent or a teepee
Let the town crier cry
"All's well!"
And if it's RSVP
This is what I'll reply

In the cool, cool, cool of the evening
Tell 'em we'll be there
If you need a pair of freeloaders
To fracture your affair
I may even give them Pagliacci
Now stand back and give him air
If one can relax and we'll have a few yaks
And you can tell them we'll be there

"Oui," said the bumblebee
"Let's have jubilee."
"When?" said the prairie hen, "Soon?"
"Sure," said the dinosaur
"Where?" said the grisly bear
"Under the light of the moon."
"How about your brother, jackass?"
Everyone gaily cried
"Are you coming to the fracas?"
Ain't gonna blow it
"And all the respects," he sighed

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Stick 'em on my hair
If perchance we look a bit peeked
Remember se la guerre
If we're still on our feet
And there's something to eat
Well you can tell them we'll be there

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Better save a chair
When the party's getting a glow on
And singin' fills the air
If there's gas in my hack
and my laundry is back
If there's room for one more
And you need me
Why sure
If you need a new face or a tenor or base
If I can climb out of bed and put a head on my head
Well you can tell 'em we'll be there.

Recorded By:

Frank Sinatra
Bette Midler
Dean Martin
Frankie Laine & Jo Stafford
Ray Conniff

I Think of You

2011-04-16T23:24:00.003-04:00

By Jack Elliott, Don Marcotte & Sergei Rachmaninoff
1941

Inspired by the gorgeous melody from the first movement of Rachmaninoff's Piano Concerto No. 2 in C Minor, this tune was adapted by Elliott, with lyrics added by Marcotte. Tommy Dorsey's orchestra introduced it with a young Frank Sinatra on vocals, and Frank would later revisit the song on his 1957 album Where Are You? One of the finest examples of a classical piece being adapted into a pop song, with Rachmaninoff's lush original melody blending perfectly with the heartbreaking Marcotte lyrics.

Lyrics:

In the hush of evening,
As shadows steal across my lonely room,
I think of you,
I think of you.

From afar the music
Of violins come softly through the gloom.
All I can do,
Is think of you.

Oh, I can see you standing there before me.
And I can hear you whisper,
"You adore me."

So when dusk is falling,
I live again the loveliness we knew.
I think of you,
I think of you.

Recorded By:

Frank Sinatra
Mildred Bailey
Jane Powell
Tierney Sutton
Johnny Desmond

My Romance

2011-04-12T12:10:00.006-04:00

By Richard Rodgers & Lorenz Hart
1935
A stirringly beautiful ballad by the incomparable Rodgers & Hart team, this one came from Jumbo, the very same show that also gave us "Little Girl Blue" and "The Most Beautiful Girl in the World." It was performed in the 1962 film version of the show by the one and only Doris Day, and also used in a memorable commercial for the Ralph Lauren fragrance, Romance. It has also come to be closely associated with theater organs of the kind traditionally seen in old-school movie palaces.

Lyrics:

My romance doesn't have to have a moon in the sky.
My romance doesn't need a blue lagoon standing by.

No month of may, no twinkling stars.
No hide away, no softly guitars.

My romance doesn't need a castle rising in Spain.
Nor a dance to a constantly surprising refrain.

Wide awake I can make my most fantastic dreams come true.
My romance doesn't need a thing but you.

Recorded By:

Ella Fitzgerald
Frank Sinatra
Mel Torme
Rosemary Clooney
Art Blakey

I'll Build a Stairway to Paradise

2011-03-27T03:49:00.004-04:00

By George Gershwin, Ira Gershwin & B.G. De Slyva
1922

A boisterous, rollicking number from the Gershwins, with a little help from De Sylva, this tune was introduced in George White's Scandals of 1922, in which it was played the Paul Whiteman orchestra, conducted by future film music impresario Max Steiner. Whiteman made a recording of it soon after, helping turn the song into one of the most memorable jazz pieces of the era, as well as a Roaring '20s anthem. The song experienced new life recently thanks to its inclusion in the Martin Scorsese film, The Aviator.

Lyrics:

All you preachers
Who delight in panning the dancing teachers,
Let me tell you there are a lot of features
Of the dance that carry you through
The gates of Hea-ven.

It's madness
To be always sitting around in sadness,
When you could be learning the steps of gladness.
You'll be happy when you can do
Just six or seven;

Begin to day!
You'll find it nice,
The quickest way to paradise.
When you practise,
Here's the thing to know,
Simply say as you go...

I'll build a stairway to Paradise
With a new step ev'ry day !
I'm gonna get there at any price;
Stand aside, I'm on my way !
I've got the blues
And up above it's so fair.
Shoes ! Go on and carry me there !
I'll build a stairway to Paradise
With a new step ev'ry day.

Ev'ry new step
Helps a bit ; but any old kind of two step,
Does as well. It don't matter what step you step,
If you work it into your soul
You'll get to Heaven.
Get bu-sy ;
Dance with Maud the countess, or just plain Lizzy:
Dance until you're blue in the face and dizzy.
When you've learn'd to dance in your sleep
You're sure to win out.

In time you'll get Saint Vitus dance,
Which beats the latest thing from France.
Take no chances on this Paradise ;
Let me give you advice.

Recorded By:

Rufus Wainwright
Sarah Vaughan
Paul Whiteman
J.D. Sebastian & Dion
Corrine Devries

Danny Stiles 1923-2011

2011-03-20T00:25:00.004-04:00

There aren't many left working who are continuing the tradition of the Great American Songbook on the radio, especially in the New York market--once a haven for traditional pop music dating back to the days of WNEW-AM. One who immediately comes to mind is the great Jonathan Schwartz, still broadcasting proudly on New York's WNYC NPR affiliate, as well as Sirius-XM satellite radio. The other was Danny Stiles--and sadly, we lost Mr. Stiles early last week. With him went a national treasure--a 65-year radio tradition that spanned the post-World War II days right up to the 21st century, bringing us all the cherished hits from the golden age of American popular music.

Danny was 87 at the time of his death, and still broadcasting on New York's AM NPR affiliate, as well as streaming on the internet 24/7. The so-called Vicar of Vintage Vinyl, Danny Stiles on your radio dial, he was a comforting oasis of nostalgia and quality music in a sea of chaos and nonsense. He was one of those popular personalities that made the world a happier place simply by his existence--you always knew that no matter what was happening in the ever degrading world of recorded music, Danny Stiles was still on the air, and that was a good feeling. I'm sad to think that it will no longer be the case, ever again.

Stiles considered himself something of a curator of 20th century musical history, with a collection of more than a quarter of a million records, mostly in the categories of swing and traditional pop, from which he drew for his weekly radio program. By the end of his career, he had been relegated to a god-awful late Saturday night time slot--but at least he was still out there, doing his thing, playing the music of Basie, Sinatra, Ellington, Holiday, Crosby, Goodman and so any others.

As Schwartz and others have pointed out, Stiles stuck to his guns and stayed true to his musical convictions, despite the insidious incursion of radio program directors that continued to rot his industry--and the musical tastes of a nation--from the inside out over the decades following the war. For that, and for the music he joyously brought into our lives, Danny Stiles is to be commended. He was a rare gift, and we shall not see the like of him again.

Swingin' on a Star

2011-03-04T01:24:00.003-05:00

By Jimmy Van Heusen & Johnny Burke
1944

An infectious classic composed specifically for Bing Crosby to sing in the 1944 film Going My Way, for which is won the Academy Award. The origin of the concept lay in a visit composer Van Heusen paid to Bing's house, during which the crooner rebuked his son comically for not wanting to go to school. Following Going My Way, Crosby would also have a huge hit with the song as a single recording. It would go on to become a truly beloved standard--specifically a favorite among children.

Lyrics:

Would you like to swing on a star?
Carry moonbeams home in a jar?
And be better off than you are?
Or would rather be a mule?

A mule is an animal with long, funny ears.
He kicks up at anything he hears.
His back is brawny, but his brain is weak,
He's just plain stupid, with a stubborn streak.
And by the way, if you hate to go to school,
You may grow up to be a mule!

Or would you like to swing on a star?
Carry moonbeams home in a jar?
And be better off than you are?
Or would you rather be a pig?

A pig is an animal with dirt on his face.
His shoes are a terrible disgrace.
He has no manners when he eats his food,
He's fat and lazy, and extremely rude.
So if you don't care a feather or a fig,
You may grow up to be a pig.

Or would you like to swing on a star?
Carry moonbeams home in a jar?
And be better off than you are?
Or would rather be a fish?

A fish won't do anything but swim in a brook,
He can't write his name or read a book.
To fool the people is his only thought,
And though he 's slippery, he still gets caught.
But then, if that sort of life is what you wish,
You may grow up to be a fish.

And all the monkeys aren't in the zoo--
Everyday you meet quite a few.
So you see, it's all up to you.
You could be better than you are--
You could be swingin' on a star.

Recorded By:

Frank Sinatra
Oscar Peterson
Burl Ives
Maria Muldaur
Tony Bennett

Baubles, Bangles and Beads

2011-02-25T10:58:00.004-05:00

By Robert Wright & George Forrest
1953

A beguiling song written for the musical Kismet, and based--as with all the songs in that show--on a melody by classical composer Alexander Borodin. In this case, it's Borodin's String Quartet in D (second theme of the 2nd movement). Originally written as a waltz, pop artists have changed the structure to a more rhythmic four-beat one. Jazz artists are particularly drawn to it for its unique melody.

Lyrics:

Baubles, bangles,
Hear how they jing, jing-a-ling-a,
Baubles, bangles, bright, shiny beads.

Sparkles, spangles,
My heart will sing, sing-a-ling-a,
Wearing baubles, bangles and beads.

I'll glitter and gleam so,
Make somebody dream so,

That someday he may buy me,
A ring, ring-aling-a,
I've heard that's where it leads,
Wearing baubles and bangles and beads.

Recorded By:

Peggy Lee
Frank Sinatra
Julie Andrews
June Christy
Deodato

My Funny Valentine

2011-02-11T10:41:00.003-05:00

By Richard Rodgers & Lorenz Hart
1937

One of the absolutely timeless Rodgers & Hart compositions, and a perfect example of how the best old standards expressed true, honest emotion without resorting to trite cliche. It was written for the show Babes in Arms, and introduced on stage by Mitzi Green. Accompanied by a lush and thoughtful Rodgers melody, Hart's lyric recounts a love for an individual who may not be perfect, but has captured the author's heart nevertheless. What a difference from contemporary culture's stress on perfection--and a perfect sentiment to keep in mind this Valentine's Day as you spend time with your own funny Valentine...

Lyrics:

My funny Valentine,
Sweet comic Valentine,
You make me smile with my heart.
Your looks are laughable,
Unphotographable,
Yet you're my favorite work of art.

Is your figure less than Greek?
Is your mouth a little weak?
When you open it to speak,
Are you smart?

But don't change a hair for me,
Not if you care for me,
Stay, little Valentine, stay...
Each day is Valentine's Day.

Recorded By:

Frank Sinatra
Chet Baker
Sarah Vaughan
Bobby Darrin
Miles Davis

After You've Gone

2011-01-27T00:43:00.003-05:00

By Turner Layton & Henry Creamer
1918

A major hit of the World War I era, this tune would eventually become enormously popular with jazz musicians, due to the ease upon which it can be improvised. It was first recorded by Marion Harris, and would also be used as the theme song a BBC TV series of the same name. It remains one of the most familiar standards prior to the 1920s.

Lyrics:

Now won't you listen dearie while I say,
how could you tell me that you're goin' away?
Don't say that we must part, don't break my aching heart
You know I've loved you truly many years, loved you night and day
How can you leave me, can't you see my tears?
Listen while I say

After you've gone, and left me crying
After you've gone, there's no denying
You'll feel blue, you'll feel sad
You'll miss the dearest pal you've ever had.

There'll come a time, now don't forget it
There'll come a time, when you'll regret it
Some day, when you grow lonely
You heart will break like mine and you'll want me only
After you've gone, after you've gone away.

After I'm gone, after we break up
After I'm gone, you're gonna wake up
You will find, you were blind
To let somebody come and change your mind.

After the years, we've been together
Their joy and tears all kinds of weather
Someday, blue and downhearted
You'll long to be with me right back where you started
After I'm gone, after I'm gone away.

Recorded By:

Ella Fitzgerald
Frankie Laine
Bessie Smith
Fiona Apple
Nina Simone

Isn't This a Lovely Day (To Be Caught in the Rain)?

2011-01-26T00:56:00.003-05:00

By Irving Berlin
1935

One of several American pop classics to have been derived from the sublime Berlin cinematic musical Top Hat, this number was of course written for Fred Astaire, who sings it for Ginger Rogers in the film. Since then, it's gently lilting melody and warm, carefree lyric have made it an unquestioned standard, favored by purveyors of light/piano jazz in particular. The essence of Astaire and Rogers, from the best of their RKO days.

Lyrics:

The weather is frightening,
The thunder and lightning
Seem to be having their way,
But as far as I'm concerned,
It's a lovely day.
The turn in the weather
Will keep us together
So I can honestly say
That as far as I'm concerned,
It's a lovely day and everythings ok.

Isn't this a lovely day to be caught in the rain?
You were going on your way,
Now you've got to remain.

Just as you were going,
Leaving me all at sea,
The clouds broke, they broke,
And oh what a break for me.

I can see the sun up high,
Though we're caught in a storm.
I can see where you and I could be cozy and warm.

Let the rain pitter patter,
But it really doesn't matter
If the skies are grey.
Long as I can be with you,
It's a lovely day.

Recorded By:

Tony Bennett
Ella Fitzgerald
Diana Krall
Jeri Southern
Oscar Peterson

The Most Beautiful Girl in the World

2011-01-19T00:51:00.003-05:00

By Richard Rodgers & Lorenz Hart
1935

The classic songwriting duo of Rodgers & Hart originally composed this tune for their stage production, Jumbo, in which it was introduced by Donald Novis and Gloria Grafton. It is the epitome of the 1930s standard--a warm, poignant expression of loving awe from a man to a woman. As with all the best Rodgers & Hart compositions, the lilting Rodgers melody blends perfectly with the witty, layered Hart lyric. This is songwriting at its very best.

Lyrics:

We used to spend the spring together
Before we learned to walk;
We used to laugh and sing together
Before we learned how to talk.
With no reason for the season,
Spring would end as it would start.
Now the season has a reason
And there's springtime in my heart.

The most beautiful girl in the world
Picks my ties out,
Eats my candy ,
Drinks my brandy-
The most beautiful girl in the world.

The most beautiful star in the world
Isn't Garbo, isn't Dietrich,
But the sweet trick
Who can make me believe it's a beautiful world.

Social-not a bit,
Nat'ral kind of wit,
She' d shine anywhere,
And she hasn't got platinum hair.

The most beautiful house in the world
Has a mortgage-
What do I care?
It's goodbye care
When my slippers are next to the ones that belong
To the one and only beautiful girl in the world!

Recorded By:

Frank Sinatra
Dorsey Brothers Orchestra
Sonny Rollins
Les & Larry Elgart
Percy Faith

I'll See You in My Dreams

2010-12-05T23:32:00.004-05:00

By Isham Jones & Gus Khan
1924

A huge hit of the mid 1920s, this beautiful love ballad has since become a standard, particularly for the guitar. This is usually credited to its later recording by the legendary Django Reinhardt. It's title was used as the title of the biopic on Kahn's life. The song was introduced by Jones (pictured) and the Ray Miller Orchestra. It is a classic example of the sentimental yet deeply endearing tunes of the era.

Lyrics:

I'll see you in my dreams
And I'll hold you in my dreams
Someone took you right out of my arms
Still I feel the thrill of your charms

Lips that once were mine
Tender eyes that shine
They will light my way tonight
I'll see you in my dreams

Oh, someone took you right out of my arms
Still I feel the thrill of your charms

Lips that once were mine
Tender eyes that shine
They will light my way tonight
I'll see you in my dreams

Recorded By:

Louis Armstrong
Jimmy Durante
Ella Fitzgerald
Mario Lanza
Tony Martin

2010-11-23T00:03:00.004-05:00

By Riz Ortolani, Nino Oliviero & Norman Newell
1962

An Academy-award winning song with a strange story. It started as an instrumental entitled "Ti Guardero nel Cuore", featured in the exploitation mockumentary Mondo Cane. Later, English lyrics were added by Newell, and the song became a highly popular new standard of the 1960s. Ortolani would later compose the eerily beautiful theme for Cannibal Holocaust, one of the most disturbing films ever made.

Lyrics:

More than the greatest love the world has known,
This is the love I give to you, alone.
More than the simple words I try to say,
I only live to love you more each day.

More than you'll ever know,
My arms long to hold you so.
My life will be in your keeping,
Waking, sleeping, laughing, weeping.

Longer than always is a long, long time.
But far beyond forever, you'll be mine.
I know I never lived before,
And my heart is very sure
No one else could love you more.

Recorded By:

Steve Lawrence
Frank Sinatra
Nat King Cole
Martha & The Vandellas
Della Reese

A Fine Romance

2010-11-10T21:29:00.004-05:00

By Jerome Kern & Dorothy Fields
1936

An absolutely iconic standard if ever there was one, introduced as so many of them were, by the immortal Fred Astaire and Ginger Rogers. It was given to them by the legendary Kern/Fields songwriting team for their film Swing Time, and remains a high benchmark of musical grace and lyrical sophistication. You know how people say, they don't write them like this anymore? Well... they don't write them like this anymore. An infectious classic that epitomizes the precocious side of love.

Lyrics:

A fine romance with no kisses,
A fine romance, my friend, this is.
We should be like a couple of hot tomatoes,
But you're as cold as yesterday's mashed potatoes.

A fine romance, you won't nestle.
A fine romance, you won't even wrestle.
You've never mussed the crease in my blue serge pants,
You never take a chance, this is a fine romance.

A fine romance, my good fellow.
You take romance, I'll take Jello.
You're calmer than the seals in the Arctic Ocean,
At least they flap their fins to express emotion.

A fine romance, my dear Duchess,
Two old fogies, we really need crutches.
You're just as hard to land as the Ile de France!
I haven't got a chance, this is a fine romance.

A fine romance, my good woman,
My strong, aged-in-the-wood woman.
You never give those orchids I send a glance,
They're just like cactus plants,
This is a fine romance

Recorded By:

Billie Holiday
Ella Fitzgerald & Louis Armstrong
Frank Sinatra
Judi Dench
Lena Horne

At Last

2010-10-30T00:26:00.003-04:00

By Mack Gordon & Harry Warren
1941

A standard introduced by the Glenn Miller orchestra in the film Orchestra Wives, and later that same year on record as well, At Last is a gorgeous number that experienced a total rebirth a generation later, when it was literally reinvented by the eminent soul singer Etta James. Aided by a masterful arrangement, Etta's sublime recording is one of the most well-known of all time, and has ensured that this one-of-a-kind composition will never be forgotten.

Lyrics:

At last,
My love has come along,
My lonely days are over,
And life is like a song.

At last,
The skies above are blue,
My heart was wrapped in clover
The night I looked at you.

I found a dream that I could speak to,
A dream that I could call my own.
I found a thrill to rest my cheek to,
A thrill that I have never known.

You smiled,
And then the spell was cast,
And here we are in heaven,
For you are mine at last.

Recorded By:

Glenn Miller
Etta James
Ray Anthony
Chet Baker
Nat King Cole

Too Marvelous for Words: The Genius of Johnny Mercer

2010-10-26T00:40:00.003-04:00

This was originally run earlier this month at Emma's Music, the blog of recording artist Emma Wallace. I wanted to share it with my Standard of the Day readers...

Set ‘em up Joe…

I’ve got a little story I think you should know…

In 1941, the father of Johnny Mercer, one of America’s finest songwriters of all time, lay dying, the money accrued during his many years as a prominent Savannah, Georgia attorney and real estate developer depleted on medical bills. It was Johnny who supported his father as the end neared, using the vast fortune he had acquired in the career his father had so fervently disapproved of just a dozen or so years prior. Because Johnny was independent enough to refuse his father’s demands that he continue in the family business, he was able to provide his father with the care he so desperately needed as death approached. And he was able to provide the nation, and the world, with a musical gift that will never die.

Last year, the man who may very well have been the finest popular lyricist who ever lived, was celebrated for the centennial anniversary of his birth; an event that occurred in the American south—a land whose traditions and culture shaped the art he would later create. The Johnny Mercer Centennial allowed for a very welcome rediscovery of the work of this great man, brilliant composer and all-around unique American personality.

When we met,

I felt my life begin.

So open up your heart,

And let this fool rush in.

As with many of the great songbook composers, Mercer brought something very special to the table. Whereas Cole Porter was known for his genteel sophistication; Irving Berlin for the Jewish-American experience through which his music was filtered; Jerome Kern for the influence of European musical theatre, and so forth; Mercer was perhaps the most distinctly American of them all. He brought a folksy, breezy, down-home sensibility that was a breath of fresh air and a never-ending source of delight.

More than the rest, his music was influenced by the “race music” of his youth, the hot jazz and blues that was becoming all the rage in the 1920s, his formative years. The Great American Songbook tradition has often been called the last gasp of the European art music tradition, and this is certainly true; but in Mercer’s case, perhaps more than anyone else’s, there was a very American, folk music flavor that permeated the music and lyrics—a precursor to the kind of influence that would later give rise to rock ‘n roll and other genres.

Then I kiss your lips,

And the pounding becomes

The ocean’s roar; a thousand drums.

Can’t you see that it’s love? Can there be any doubt?

When here it is, day in, day out.

But make no mistake about it—the songs of Johnny Mercer were no mere folk/pop baubles, but rather, powerful, deeply moving and heartwarming pieces of work that resonate to this day, and epitomize what the term “pop standard” means. A competent tunesmith, he was even better known for his sublime lyrics, as much inspired by his upbringing as by his immersion in literature and poetry during his school years.

A Johnny Mercer lyric is a thing of beauty like very few things in this life are. For many, the brilliance of what he did derived from the graceful structure he employed, introducing a simple, poignant concept, developing it, and then cleverly bringing it full circle to a conclusion that was always sure to floor the listener. Often combining his lyrical talents with songwriters like Harold Arlen, Henry Mancini and Hoagy Carmichael, he could always be relied upon to deliver something that was about as far from clichéd, hackneyed or insincere as possible.

Things never are as bad as they seem,

So dream, dream, dream…

Composing for stage, screen, and the Tin Pan Alley publishing machine, he churned out classic after classic: “One for My Baby,” the consummate saloon song, composed for Fred Astaire but immortalized by Frank Sinatra. “That Old Black Magic,” an infectious gem of insistent beauty. “Goody, Goody,” that playful anthem of petty retribution. “Come Rain or Come Shine,” a later ode to obsessive adoration, allegedly inspired by his legendary love affair with Judy Garland. “Blues in the Night,” perhaps his most successful tune, and one directly inspired by the music of his youth. “I Remember You,” whose heartbreaking lyric distills the pure melancholy of love into verbal form. The brooding, vindictive “I Wanna Be Around.” “Jeepers Creepers”; “You Must Have Been a Beautiful Baby”; “Day In, Day Out”; “Fools Rush In”; “I’m Old-Fashioned”; “Laura”. The list of unforgettable masterpieces goes on and on.

On four different occasions, his work in movies was recognized with an Oscar for Best Original Song, back when that award actually meant something important. “On the Atchison, Topeka and the Santa Fe” in 1946 and “In the Cool, Cool, Cool of the Evening” in 1951, followed by two of his later and most well-remembered hits, “Moon River” from 1961’s Breakfast at Tiffany’s and “Days of Wine and Roses” the following year. Those last two proved the staying power of this musical juggernaut, lasting well into the era when rock and be-bop had begun to erode interest in the songbook tradition.

Days may be cloudy or sunny,

We’re in or we’re out of the money.

But I’m with you always,

I’m with you, come rain or shine.

Unlike many songwriters, who either lacked the ability or the outgoing personality, Mercer was also able to distinguish himself as a popular singer, both of his own songs and those of others. From the 1930s through the 1950s, he was a common fixture on radio and record, even dueting with the likes of Sinatra and Billie Holiday. Given his larger-than-life image and general enthusiasm, it was easy to see why this would be so. It wasn’t so much that his singing matched his songwriting ability; it didn’t. Rather, Mercer was an irresistible force, whose passion for what he did was evident to all that heard it.

The Great American Songbook has given us many fine lyricists: Ira Gershwin, Cole Porter, E.Y. Harburg, Lorenz Hart… And yet, in the opinion of this writer—and many others—Mercer surpassed them all. The man had an ear for music, make no mistake about it; but when all is said and done, it is the words he gave us, the thoughts and feelings he expressed alongside those aching melodies, for which he will always be best remembered. Clever, frank, mischievous, wistful and morose—Johnny Mercer was all of these things. His art remains as a testament to all that. And all those who listen are better for it.

When my life is through,

And the angels ask me to recall the thrill of them all,

Then I shall tell them, I remember you.

* I'd like to thank the official Johnny Mercer Centennial committee for recognizing this piece. It truly is an honor.

A Sunday Kind of Love

2010-10-14T23:50:00.004-04:00

By Barbara Belle, Anita Leonard, Stan Rhodes & Louis Prima
1946

A major hit of the latter years of the Big Band era, this song was the collaboration of several different composers, including bandleader, vocalist and all-around pop culture icon Louis Prima (also responsible for such songs as "Sing, Sing, Sing"). It was introduced by the Claude Thornhill orchestra, with vocalist Fran Warren. It has proven to be a very resilient standard, surviving the classic pop era and continuing to be recorded into the 1970s, 1980s, 1990s and beyond.

Lyrics:

I want a Sunday kind of love,
A love to last past Saturday night.
And I'd like to know it's more than love at first sight.
I want a Sunday kind of love.

I want a love that's on the square,
Can't seem to find somebody to care.
And I'm on a lonely road that leads to nowhere,
I want a Sunday kind of love.

I do my Sunday dreaming,
And all my Sunday scheming,
Every minute, every hour, every day.
I'm hoping to discover
A certain kind of lover
Who will show me the way.

My arms need someone to enfold,
To keep me warm when Mondays and Tuesday grow cold.
Love for all my life, to have and to hold.
I want a Sunday kind of love.

Recorded By:

Etta James
Jo Stafford
Ella Fitzgerald
Frankie Laine
Dinah Washington

Too Close for Comfort

2010-10-11T00:28:00.003-04:00

By Jerry Bock, George David Weiss & Larry Holofcener
1956

A major hit from the 1956 Broadway musical Mr. Wonderful starring Sammy Davis Jr., this song was one of the 1950s most popular standards. In the original show, it was introduced by Charlie Welch, but it was Eydie Gorme who recorded the version that became a huge hit the same year as the show. It would immediately become one of the most recorded traditional pop songs of its era, and one of the last such songs to become such a big hit prior to the rock and roll takeover...

Lyrics:

Be wise, be smart, behave, my heart
Don't upset your cart when she's so close
Be soft, be sweet, but be discreet
Don't go off your feet, she's to close for comfort

Too close, too close for comfort, please and not again
Too close, too close to know just when to say "when"

Be firm, be fair, be sure, beware
On your guard, take care, while there's such temptation

One thing leads to another
Too late to run for cover
She's much too close for comfort now.

Recorded By:

Frank Sinatra
Natalie Cole
Mel Torme
Art Pepper
Herbie Nichols

I See Your Face Before Me

2010-10-05T23:59:00.003-04:00

By Arthur Schwartz & Howard Dietz
1937

From the sublime pairing of Schwartz and Dietz came this breezily melodic chestnut, introduced in the stage musical Between the Devil by Jack Buchanan, Evelyn Laye and Adele Dixon. The composer's son, renowned radio personality Jonathan Schwartz, recalled in his memoir, All in Good Time, that his parents were particularly fond of singing him this song as a lullaby.

Lyrics:

I see your face before me,
Crowding my every dream.
There is your face before me,
You are my only theme.

It doesn't matter where you are,
I can see how fair you are.
I close my eyes and there you are,
Always.

If you could share the magic,
If you could see me, too,
There would be nothing tragic
In all my dreams of you.

Would that my love could haunt you so,
Knowing I want you so.
I can't erase,
Your beautiful face before me.

Recorded By:

Jack Jones
Johnny Hartman
Dave Brubeck
Mildred Bailey
Sonny Rollins

Pretty Baby

2010-09-27T01:59:00.003-04:00

By Tony Jackson, Gus Kahn & Egbert Van Alstyne
1916

A gem of a tune from the height of the ragtime era, this song originated in Jackson's stage repertoire as early as 1912. It was rumored to have actually been written as a tribute to a male lover, certainly a rarity for a pop song of the time. Later, when the song was published, Tin Pan Alley stalwarts Kahn and Van Alstyne made some alterations, including a bridge and less risque lyrics. Among American standards, it is one of those most strongly associated with the World War I/Ragtime years...

Lyrics:

You ask me why I'm always teasing you,
You hate to have me call you Pretty Baby;
I really thought that I was pleasing you,
For you're just a baby to me.
Your cunning little dimples and your baby stare,
Your baby talk and baby walk and curly hair;
Your baby smile makes life worth while,
You're just as sweet as you can be.

Your mother says you were the cutest kid;
No wonder, dearie, that I'm wild about you,
And all the cunning things you said and did.
Why, I love to fondly recall,
Ann just like Peter Pan, it seems you'll always be
The same sweet, cunning, Little Baby dear to me.
And that is why I'm sure that I will always love you best of all.

Everybody loves a baby that's why I'm in love with you,
Pretty Baby, Pretty Baby;
And I'd to be your sister, brother, dad and mother too,
Pretty Baby, Pretty Baby.
Won't you come and let me rock you in my cradle of love,
And we'll cuddle all the time.
Oh! I want a Lovin' Baby and it might as well be you,
Pretty Baby of mine.

Recorded By:

Al Jolson
Leon Redbone
Dean Martin
Bing Crosby
Billy Murray

Ebb Tide

2010-09-24T16:01:00.004-04:00

By Robert Maxwell & Carl Sigman
1953

A late-era standard, this was a hit song composed during a time of big, bombastic and lush pop songs. It's certainly one of the best examples, and has even been co-opted by lots of rock-influenced vocal groups. The Frank Chacksfield orchestra introduced it, and it became a major hit mere months later for Vic Damone. Both Maxwell's melody and Sigman's gorgeous lyric combine to give the real effect of an ocean tide rushing in...

Lyrics:

First the tide rushes in,
Plants a kiss on the shore,
Then rolls out to sea,
And the sea is very still once more.

So I rush to your side,
Like the oncoming tide,
With one burning thought,
Will your arms open wide?

At last we're face to face,
And as we kiss through an embrace,
I can tell, I can feel,
You are love, your are real,
Really mine in the rain,
In the dark, in the sun,
Like the tide at its ebb,
I'm at peace in the web of your arms.

Recorded By:

The Righteous Brothers
Frank Sinatra
Jerry Colonna
Santo & Johnny
Ella Fitzgerald

The Girl from Ipanema

2010-09-22T12:28:00.001-04:00

By Antonio Carlos Jobim, Vinicius de Moraes & Norman Gimbel
1962

A beautiful song unfairly twisted by the rock-obsessed baby boomer generation into the epitome of elevator music, Jobim's greatest hit is anything but dull. A breathtaking bossa nova tune inspired by a real-life girl Jobim and Moraes admired on the beach in Rio, it became an international smash hit and the famous Astrid Giberto recording won the Grammy in 1965. It was originally introduced by Pery Ribeiro, and English lyrics later added by Gimbel.

Lyrics:

Tall and tan and young and lovely,
The girl from Ipanema goes walking.
And when she passes, each one she passes goes, "Ahhh..."

When she walks she's like a samba
That swings so cool and sways so gentle,
That when she passes, each one she passes goes, "Ahhh..."

Oh, but I watch her so sadly.
How can I tell her I love her?
Yes, I would give my heart gladly.
But each day when she walks to the sea,
She looks straight ahead, not at me.

Tall and tan and young and lovely,
The girl from Ipanema goes walking,
And when she passes, I smile, but she doesn't.
She just doesn't see.

Recorded By:

Frank Sinatra
Stan Getz
Lou Rawls
Peggy Lee
Ella Fitzgerald

With Plenty of Money and You

2010-09-19T00:49:00.003-04:00

By Harry Warren & Al Dubin
1936

An underrated Warren/Dubin gem written for the great Dick Powell for one of his classic 1930s musical screen comedies, The Gold Diggers of 1937. A minor standard, it was very popular in its day, owing largely to the clever Dubin lyric that seems to parody trite love ballads, with the vocalist admitting that in addition to love, he wouldn't mind having a little cash to go along with it... One of my all-time favorites.

Lyrics:

Oh, baby what I couldn't do,
With plenty of money, and you.
In spite of the worry that money brings,
Just a little filthy lucre buys a lot of things.

And I could take you to places you'd like to go,
But outside of that, I've no use for dough.
It's the root of all evil,
Of strife and upheaval.

But I'm certain, honey,
That life could be sunny,
With plenty of money and you.

Recorded By:

Jessica Molaskey & John Pizzarelli
Tony Bennett
The Ink Spots
Chick Bullock & His Levee Loungers
Luke Hill

Violets for Your Furs

2010-09-16T00:56:00.003-04:00

By Matt Dennis & Tom Adair
1941

A tender, haunting ballad from the same duo that gave us "Let's Get Away from It All" and "The Night We Called It a Day". This sublime number was written for the Tommy Dorsey orchestra, with a young Frank Sinatra as vocalist. Lyricist Adair actually worked for the Dorsey band at the time as an arranger. Sinatra would later revisit the tune for his 1954 solo album, Songs for Young Lovers.

Lyrics:

It was winter in Manhattan, falling snow flakes filled the air,
The streets were covered with a film of ice.
But a little simple magic that I learned about somewhere,
Changed the weather all around, just within a thrice.

I bought you violets for your furs,
And it was spring for a while, remember?
I bought you violets for your furs,
And there was April in that December.

The snow drifted down on the flowers,
And melted where it lay.
The snow looked like dew on the blossoms,
As on a summer's day.

I bought you violets for your furs,
And there was blue in the wintry sky.
You pinned my violets to your furs,
And gave a lift to the crowds passing by.

You smiled at me so sweetly,
Since then one thought occurs,
That we fell in love completely,
The day I bought you violets for your furs.

Recorded By:

Billie Holiday
John Coltrane
Stacey Kent
Frank Sinatra
Joe Lee Wilson

April Showers

2010-09-12T04:00:00.002-04:00

By Louis Silvers & B.G. DeSylva
1921

One of the true signature tunes of the great Al Jolson, this one became a trademark for him after he introduced it in the 1921 stage production, Bombo. It is one of the many songs to contain the "bluebird of happiness" motif in the lyrics. And on a personal note, my great aunt had a music box which played this song, so it will always conjure warm memories for me.

Lyrics:

Life is not a highway strewn with flowers,
Still it holds a goodly share of bliss,
When the sun gives way to April showers,
Here is the point you should never miss.

Though April showers may come your way,
They bring the flowers that bloom in May.
So if it's raining, have no regrets,
Because it isn't raining rain, you know, (It's raining violets,)

And where you see clouds upon the hills,
You soon will see crowds of daffodils,
So keep on looking for a blue bird, And list'ning for his song,
Whenever April showers come along.

And where you see clouds upon the hills,
You soon will see crowds of daffodils,
So keep on looking for a blue bird, And list'ning for his song,
Whenever April showers come along.

Recorded By:

Les Brown
Cab Calloway
Eydie Gorme
Woody Herman
Guy Lombardo

The Piccolino

2010-09-06T02:13:00.003-04:00

By Irving Berlin
1935

An infectious dance number written by Berlin for the superb musical comedy film Top Hat, which featured a suite of top flight songs danced to by none other than Fred Astaire and Ginger Rogers. Astaire himself sings it in the movie, as part of one of the picture's most elaborate dance numbers.

Lyrics:

By the Adriatic waters,
Venetian sons and daughters
Are strumming a new tune upon their guitars.

It was written by a Latin,
A gondolier who sat in
His home out in Brooklyn and gazed at the stars.

He sent his melody across the sea to Italy,
And we know they wrote some words to fit that catchy bit,
And christened it the Piccolino.

And we know that it's the reason
Why ev'ryone this season
Is strumming and humming a new melody.

Come to the Casino,
And hear them play the Piccolino.
Dance with your bambino
To the strains of the catchy Piccolino.

Drink your glass of Vino,
And when you've had your plate of Scallopino,
Make them play the Piccolino, the catchy Piccolino.
And dance to the strains of that new melody, the Piccolino.

Recorded By:

Fred Astaire
Mel Torme
Harry Roy & His Band
Rosey Miyano

Key Largo

2010-09-02T23:21:00.003-04:00

By Benny Carter, Karl Suessdorf & Leah Worth
1948

Written for the Humphrey Bogart and Lauren Bacall film of the same name, this smooth, gentle number was introduced by Carter's own band. It would later become a popular tune with the progressive jazz performers who would emerge in the 1950s.

Lyrics:

Key largo,
Alone on Key Largo,
How empty it seems,
With only my dreams

Strange cargo,
They come to Key Largo,
But where is the face
My heart won’t erase?

The moon tide,
Rolling in from the sea,
Is lonely,
and it always will be, till you’re with me.

And I know,
I’ll stay in Key Largo,
Just watching the shore
To find you once more

In Key Largo, find you once more in Key Largo.

Recorded By:

Sarah Vaughan
Benny Carter

So in Love

2010-09-01T23:14:00.002-04:00

By Cole Porter
1948

This is one of the finest accomplishments of a songwriter whose career was fairly littered with them. Possessing a dark, brooding, minor key melody and lyrics that communicate desperate, aching longing and devotion, it is one the American songbook's great odes to love. It was written for Porter's adaptation of Shakespeare's Taming of the Shrew--Kiss Me, Kate--in which it was introduced on stage by Patricia Morison and Alfred Drake. It would be a big charted hit the following year for Patti Page.

Lyrics:

Strange dear, but true dear,
When I'm close to you, dear,
The stars fill the sky,
So in love with you am I.

Even without you,
My arms fold about you,
You know, darling why,
So in love with you am I.

In love with the night mysterious,
The night when you first were there.
In love with my joy delirious,
The thought that you might care.

So taunt me, and hurt me,
Deceive me, desert me,
I'm yours till I die,
So in love with you am I.

Recorded By:

Ella Fitzgerald
Dinah Shore
Gordon McRae
Peggy Lee
Dick Haymes

Misty

2010-08-21T23:18:00.003-04:00

By Erroll Garner & Johnny Burke
1954

A late jazz standard, pianist Garner composed the tune, only to have words added by Burke sometime later. It became on the most successful standard compositions of the 1950s, and something of a signature tune for both Johnny Mathis and Sarah Vaughan. It also figures prominently in the 1971 Clint Eastwood film Play Misty for Me. The melody is thoroughly modern, evoking the boldness of 1950s jazz.

Lyrics:

Look at me, I'm as helpless as a kitten up a tree,
And I feel like I'm clinging to a cloud, I can't understand,
I get misty, just holding your hand.

Walk my way, and a thousand violins begin to play,
Or it might be the sound of your hello, that music I hear,
I get misty, the moment you're near.

You can say that you're leading me on,
But it's just what I want you to do,
Don't you notice how hopelessly I'm lost,
That's why I'm following you.

On my own, would I wander through this wonderland alone,
Never knowing my right foot from my left, my hat from my glove,
I'm too misty, and too much in love.
I'm too misty, and too much in love.

Recorded By:

Nat King Cole
Frank Sinatra
Julie London
Ella Fitzgerald
Ray Stevens

String of Pearls

2010-08-18T20:11:00.002-04:00

By Jerry Gray & Eddie De Lange
1942

Prolific big band arranger Gray (born Generoso Graziano) made a career out of reworking other composers' material, but in a few cases he create his own work from the ground up. Such was the case with this inventive number written specifically for the Glenn Miller orchestra. It would be a number-one hit; and Gray (pictured) would also have success with another Miller standard, "Pennsylvania 6-5000".

Lyrics:

Baby, here's a five and dime,
Baby, now's about the time
For a string of pearls a la Woolworth.

Every pearl's a star above,
Wrapped in dreams and filled with love,
That old string of pearls a la Woolworth.

Till that happy day in spring,
When you buy the wedding ring,
Please, a string of pearls a la Woolworth.

Baby, you made quite a start,
Found a way right to my heart,
With a string of pearls a la Woolworth.

Recorded By:

Glenn Miller
Ritchie Lee
Narciso Yepes
Harry James
Benny Goodman

You Turned the Tables on Me

2010-07-29T11:41:00.003-04:00

By Louis Alter & Sidney D. Mitchell
1936

Benny Goodman enjoyed a major hit with this particular song, using gthe beautiful Helen Ward as his singer at the time. Shortly before, the tune had been introduced in the motion picture Sing, Baby, Sing, in which it was performed by Alice Faye. This was the same movie that introduced the gorgeous Richard Whiting/Walter Bullock song, "When Did You Leave Heaven?", sung by Tony Martin. Say, I think I'll do that one next...

Lyrics:

I used to be the apple of your eye,
I had you with me every day,
But now whenever you are passing by
You're always looking the other way.
It's little things like this
That prompt me to say:

You turned the tables on me
And now I'm falling for you;
You turned the tables on me
I can't believe that it's true.

I always thought when you brought
The lovely present you bought
Why hadn't you brought me more,
But now if you'd come
I'd welcome anything
From the five and ten cent store.

You used to call me the top,
You put me up on a throne.
You let me fall with a drop,
And now I'm out on my own.

But after thinking it over and over,
I got what was coming to me.
Just like the sting of a bee,
You turned the tables on me.

Recorded By:

Billie Holiday
Louis Armstrong
Count Basie
Tex Beneke
Ann Hampton Callaway

I've Got You Under My Skin

2010-07-25T02:28:00.002-04:00

By Cole Porter
1936

For those keeping score, last Wednesday marked the second anniversary of Standard of the Day, and in honor of this, I present one of the true diamonds of popular song, Cole Porter's timeless classic from the MGM musical Born to Dance, originally sung by Virginia Bruce. Of course, the Chairman of the Board himself, Frank Sinatra, would make this one of his all-time signature tunes thanks to an incredible recording on the 1956 Capitol album, Songs for Swingin' Lovers. The wonderful, rolling melody; the jubilant lyrics; and Sinatra's expertly eloquent phrasing married to Nelson Riddle's jaw-dropping arrangement--for these reasons and more, this composition is a true American treasure.

Lyrics:

I've got you under my skin
I've got you deep in the heart of me
So deep in my heart, that you're really a part of me
I've got you under my skin

I've tried so not to give in
I've said to myself this affair never gonna swing so well
So why should I try to resist, when baby will I know damn well
That I've got you under my skin

I'd sacrifice anything come what might
For the sake of having you near
In spite of a warning voice that comes in the night
And repeats, repeats in my ear

Don't you know little fool, you'll never win
Why not use your mentality, wake up step up to reality
But each time I do, just the thought of you
Makes me stop before I begin
'Cause I've got you under my skin

Recorded By:

Louis Prima & Keely Smith
Diana Krall
Ella Fitzgerald
Peggy Lee
Dinah Washington

Just Friends

2010-07-20T14:35:00.003-04:00

By John Klenner & Sam M. Lewis
1931

Although this tune was introduced by Red McKenzie (pictured) and his orchestra, it wasn't until Russ Columbo recorded it the following year that it became a hit. It was has since become a popular jazz standard. Many might remember it from the 1933 Our Gang comedy "Mush and Milk" in which it was hilariously performed by veteran Little Rascal Tommy Bond.

Lyrics:

Just friends
Lovers no more
Just friends
But not like before.

To think of what we've been
And not to kiss again
Seems like pretending
It isn't the ending.

Two friends
Drifting apart
Two friends
But one broken heart.

We loved we laughed we cried
Then suddenly love died
The story ends
And we're
Just friends.

Recorded By:

Billie Holiday
Frank Sinatra
Joe Williams & George Shearing
Pat Martino
Jazz Ambassadors

Trade Winds

2010-07-19T14:34:00.004-04:00

By Charles Tobias & Cliff Friend
1940

The prolific Tin Pan Alley tunesmith Tobias (pictured) put this one together with occasional collaborator Friend (the duo would enjoy a hit two years later with the World War II anthem, "We Did It Before and We Can Do It Again"). None other than Bing Crosby snatched up the song and immediately made a hit out of it. Very popular in the early 1940s, it can even be heard in several Warner Bros. cartoons of the period.

Lyrics:

Down where the trade winds play,
Down where you lose the day,
We found a new world where paradise starts,
We traded high way down where the trade winds play.

Music was everywhere,
flowers were in her hair,
Under an awning of silvery boughs,
We traded vows the night that I sailed away.

Oh trade winds, what are vows that lovers make,
Oh trade winds, are they only made to break,

When it is may again,
I’ll sail away again,
Though I’m returning, it won’t be the same,
She traded her name way down where the trade winds play.

Recorded By:

Frank Sinatra
Martin Denny
Lou Rawls
Billy Vaughan
Tommy Dorsey

With a Song in My Heart

2010-07-16T14:31:00.003-04:00

By Richard Rodgers & Lorenz Hart
1929

A sweepingly melodious ballad from the Rodgers & Hart musical Spring Is Here, introduced on stage by John Hundley and Lillian Taiz. It was featured in numerous film musicals for decades after, but firstly in the full-length film version of Spring Is Here in 1930 (pictured).

Lyrics:

Though I know that we meet ev'ry night
and we couldn't have change since the last time,
to my joy and delight,
it's a new kind of love at first sight.
Though it's you and it's I all the time
ev'ry meeting's marvelous pastime.
You're increasingly sweet,
so whenever we happened to met
I greet you ...

With a song in my heart
I behold your adorable face.
Just a song at the start
but it soon is a hymn to your grace.

When the music swells
I'm touching you hand
It tells that your're standing near, and ..

At the sound of your voice
heaven opens his portals to me.
Can I help but rejoice
that a song such as ours came to be?

But I always knew
I would live life through
with a song in my heart for you.

Recorded By:

Ella Fitzgerald
Perry Como
The Supremes
Doris Day
Sammy Davis Jr.

The Darktown Strutters' Ball

2010-07-14T12:23:00.002-04:00

By Shelton Brooks
1917

Another infectious and marvelous old tune that may not perfectly jibe with our modern politically correct sensibilities, but should never be forgotten. Introduced by the Original Dixieland Jazz Band, it was one of the earliest traditional jazz songs to become a standard. It's believed to have been inspired by the 1915 Pacific-Panama Expo in San Francisco. I have a personal fondness for it, as my great-aunt (born 1920) used to sing it to me when I was a small child as I danced around her living room. This jumping dance composition will always be a favorite of mine.

Lyrics:

I'll be down to get you in a taxi, Honey,
You better be ready about half past eight,
Now dearie, don't be late,
I want to be there when the band starts playing.

Remember when we get there, Honey,
The two-steps, I'm goin' to have 'em all,
Goin' to dance out both my shoes,
When they play the "Jelly Roll Blues,"
Tomorrow night at the Darktown Strutters' Ball.

Recorded By:

Ella Fitzgerald
Dean Martin
Jimmy Dorsey
Fats Waller
Lou Monte

Alright, Okay, You Win

2010-07-13T13:25:00.003-04:00

By Maymie Watts & Sid Wyche
1955

A breezy, swingin' jazz number if ever there was one, this tune was composed specifically for the Count Basie orchestra, then in its post-World War II phase. Then band singer Joe Williams, who would soon go on to an illustrious solo career, introduced the song on Basie's May 17, 1955 recording. It has remained a popular song with traditional pop singers of a jazzy bent.

Lyrics:

Well alright, okay, you win
I'm in love with you
Well alright, okay, you win
Baby, what can I do
I'll do anything you say
It's just got to be that way

Well alright, okay, you win
I'm in love with you
Well alright, okay, you win
Baby, what can I do
Anything you say I'll do
As long as it's me and you

All that I am asking
All I want from you
Just love me like I love you
And it won't be hard to do

Well alright, okay, you win
I'm in love with you
Well alright, okay, you win
Baby, what can I do
I'll do anything you say
It's just got to be that way

All that I am asking
All I want from you
Just love me like I love you
And it won't be hard to do

Well alright, okay, you win
I'm in love with you
Well alright, okay, you win
Baby, one thing more
If you're gonna be my man
Sweet baby take me by the hand

Recorded By:

Bette Midler
Peggy Lee
Ella Fitzgerald
Nancy Wilson
Elvis Presley

One for My Baby (And One More for the Road)

2010-07-10T23:52:00.004-04:00

By Harold Arlen & Johnny Mercer
1943

Arguably the finest product of the legendary teaming of Arlen and Mercer, two songwriters of equally titanic stature. It has become the all-time classic saloon song, thanks in great part to its iconic interpretation by Frank Sinatra, who turned it into something of a performance piece. However, it was originally written for Fred Astaire, who introduced it in the musical film The Sky's the Limit. It doesn't get any better than Arlen's laconic, smoky melody paired up with Mercer's timeless, aching lyric...

Lyrics:

Its quarter to three,
There's no one in the place, except you and me.
So set 'em up, Joe,
I got a little story I think you oughtta know.

We're drinking my friend
To the end of a brief episode.
So make it one for my baby,
And one more for the road.

I know the routine,
Put another nickel in the machine.
I'm feeling so bad,
Won't you make the music easy and sad?

I could tell you a lot,
But you gotta to be true to your code.
So make it one for my baby,
And one more for the road.

You'd never know it,
But buddy I'm a kind of poet,
And Ive got a lot of things I wanna say.
And if I'm gloomy, please listen to me
Till it's all all talked away.

Well, that's how it goes,
And Joe, I know you're getting anxious to close.
So thanks for the cheer,
I hope you didn't mind
My bending your ear.

But this torch that I found,
Its gotta be drowned,
Or it soon might explode.
So make it one for my baby,
And one more for the road.

Recorded By:

Tony Bennett
Perry Como
Billie Holiday
Frankie Laine
Iggy Pop

What Can I Say After I Say I'm Sorry?

2010-07-07T23:41:00.005-04:00

By Walter Donaldson & Abe Lyman
1926

Popular 1920s bandleader Lyman (pictured) wrote the lyrics to this tune by vastly underrated songwriter Donaldson, and introduced the song with his orchestra. It became one of the most popular songs of the decade, and an emblem of the Jazz Age. It was featured to great effect in the 1971 horror comedy The Abominable Dr. Phibes, which includes a plethora of great '20s songs.

Lyrics:

What can I say, dear, after I say I'm sorry?
What can I do to prove it to you that I'm sorry?
I didn't mean to ever be mean to you.
If I didn't care I wouldn't feel like I do.

I was all wrong, but right or wrong I don't blame you.
Why should I take somebody like you and shame you?
I know that I made you cry and I'm so sorry dear,
So what can I say, dear, after I say I'm sorry?

Recorded By:

Ella Fitzgerald
Josephine Baker
King Cole Trio
Carmen McRae
Keely Smith

They're Either Too Young or Too Old

2010-06-30T01:16:00.003-04:00

By Arthur Schwartz & Frank Loesser
1943

Thank Your Lucky Stars was the only film in which Bette Davis sang--and it was in it that the legendary actress introduced this gem of a Loesser lyrics, put to music by the one and only Arthur Schwartz. Loesser's words deal ruefully with a young woman's efforts to find a mate while all the good men are overseas fighting the war...

Lyrics:

You rushed away and left this house as empty as can be
And I am like the driftwood in a deadly calm at sea
I can't sit under the apple tree with anyone else but thee
For there is no secret lover that the draft board didn't discover

They're either too young or too old
They're either too gray or too grassy green
The pickings are poor and the crop is lean
What's good is in the Army, what's left will never harm me

They're either too old or too young
So, darling, you'll never get stung
Tomorrow I'll go hiking with that Eagle Scout unless
I get a call from grandpa for a snappy game of chess

They're either too warm or too cold
They're either to fast or too fast asleep
So, darling, believe me, I'm yours to keep
They're isn't any gravy, the gravy's in the Navy

They're either too fresh or too stale
There is no available male
I will confess to one romance I'm sure you will allow
He tried to serenade me, but his voice is changing now

They're either too bald or too bold
I'm down to the wheelchair and bassinet
My heart just refuses to get upset
I simply can't compel it to, with no Marine to tell it to

I'm either their first breath of spring
Or else, I'm their last little fling
I either get a fossil or an adolescent pup
I either have to hold him off or have to hold him up

The battle is on, but the fortress will hold
They're either too young or too old

Recorded By:

Dinah Shore
Jimmy Dorsey
Margaret Whiting
Rosemary Clooney
Andrea Marcovicci

Slow Boat to China

2010-06-23T14:01:00.002-04:00

By Frank Loesser

1947

In contrast to his many hits from shows, "Slow Boat to China" was one of Loesser's hit pop songs. It was introduced by Kay Kyser, and soon became a very enduring standard. Like so many Loesser compositions, it remains a part of our popular lexicon.

Lyrics:

I'd like to get you
On a slow boat to China,
All to myself alone.
To get you and keep you in my arms evermore,
Leave all your lovers
Weeping on the faraway shore.

Out on the briny
With the moon big and shinny,
Melting your heart of stone.
Darling, I'd love to get you
On a slow boat to China,
All to myself alone.

Recorded By:

Bette Midler & Barry Manilow
Benny Goodman
Rosemary Clooney
Ella Fitzgerald
Liza Minelli

Standing on the Corner

2010-06-22T18:46:00.003-04:00

By Frank Loesser
1956

One of Loesser's later hits, originally written for the Broadway show, The Most Happy Fella, in which it was sung by Shorty Rogers, Alan Gilbert, John Henson and Roy Lazarus. A breezy swinger, it was a big hit for the '50s vocal group The Four Lads.

Lyrics:

Standing on a corner watching all the girls go by
Standing on a corner watching all the girls go by
Brother you don't know a nicer occupation
Matter of fact, neither do I
Than standing on a corner watching all the girls
Watching all the girls, watching all the girls go by

I'm the cat that got the cream
Haven't got a girl but I can dream
Haven't got a girl but I can wish
So I'll take me down to Main street
And that's where I select my imaginary dish

Standing on a corner watching all the girls go by
Standing on a corner giving all the girls the eye
Brother if you've got a rich imagination
Give it a whirl, give it a try
Try standing on a corner watching all the girls
Watching all the girls, watching all the girls go by

Brother you can't go to jail for what you're thinking
Or for that woo look in your eye
Standing on the corner watching all the girls
Watching all the girls, watching all the girls go by

Recorded By:

Dean Martin
The Four Lads
Celtic Thunder
The Mills Brothers
Hazell Dean

Luck Be a Lady

2010-06-17T00:29:00.005-04:00

By Frank Loesser
1950

Of all Loesser's compositions, this could very well be the most enduring. It was written for the musical Guys and Dolls, in which Sky Masterson (first played by Simon Mullins) courts Lady Luck so that she smiles favorably on his gambling endeavors. It was sung by Marlon Brando in the film--yet co-star Sinatra, who coveted Brando's role, later made it one of his signature songs.

Lyrics:

They call you Lady Luck, but there is room for doubt.
At times, you have a very unladylike way of running out.
You're on this date with me, the pickings have been lush.
And yet, before this evening is over, you might give me the brush.
You might forget your manners, you might refuse to stay,
And so the best that I can do is say...

Lucky, be a lady tonight!
Lucky, be a lady tonight!
Luck, if you've ever been a lady to begin with,
Luck, be a lady tonight!

Luck, let a gentleman see,
How nice a dame you can be.
I know the way you've treated other guys you've been with.
Luck, be a lady with me!

A lady doesn't leave her escort.
It isn't fair; it isn't nice.
A lady doesn't wander all over the room,
And blow on some other guy's dice.

Let's keep this party polite,
Never get out of my sight.
Stick with be baby, I'm the guy that you came in with.
Luck, be a lady tonight!

Recorded By:

Frank Sinatra
Barry Manilow
Barbra Streisand
Jack Jones
Dean Martin

Heart and Soul

2010-06-13T20:07:00.003-04:00

By Hoagy Carmichael & Frank Loesser
1938

One of the most instantly recognizable standards of all time--so much so that it rivals "Chopsticks" as the most common song used by those learning to play piano. Carmichael's melody follows a chord progression that would later become popular with doo-wop songs. The song was introduced by the Larry Clinton orchestra, featuring Bea Wain. It famously figured in the Tom Hanks film Big, in which Hanks and Robert Loggia "danced" out the notes on a giant piano.

Lyrics:

Heart and soul, I fell in love with you,
Heart and soul, the way a fool would do,
Madly...
Because you held me tight,
And stole a kiss in the night...

Heart and soul, I begged to be adored,
Lost control, and tumbled overboard,
Gladly...
That magic night we kissed,
There in the moon mist.

Oh! but your lips were thrilling, much too thrilling,
Never before were mine so strangely willing.

But now I see, what one embrace can do,
Look at me, it's got me loving you,
Madly...
That little kiss you stole,
Held all my heart and soul.

Recorded By:

Ella Fitzgerald
Dave Brubeck
Milt Jackson
Dean Martin
Mel Torme

I Hear Music

2010-06-09T23:23:00.003-04:00

By Burton Lane & Frank Loesser

1940

A major hit from an obscure musical film entitled Dancing on a Dime. It was introduced in the movie by Robert Paige, Peter Lind Hayes, Frank Jenks and Eddie Quillan. But it became much more of a standard a bit later, when it was taken by post-war jazz performers. It remains one of Loesser's catchier tunes, and perhaps his finest collaboration with Lane (right).

Lyrics:

I hear music,
Mighty fine music.
The murmur of a morning breeze up there,
The rattle of the milkman on the stair.

Sure that's music,
Mighty fine music.
The singing of a sparrow in the sky,
The perking of the coffee right near by.

That's my favorite melody,
You my angel, phoning me.

I hear music,
Mighty fine music.
And anytime I think my world is wrong,
I get me out of bed and sing this song.

Recorded By:

Ella Fitzgerald
Billie Holiday
Carmen McRae
Gene Krupa
Bobby McPherrin

Baby, It's Cold Outside

2010-06-07T11:46:00.004-04:00

By Frank Loesser
1944

For years, Loesser and his wife Lynn Garland performed this duet at private parties, until the composer sold the rights to MGM in 1948. Garland was reportedly angry, as she considered it "their song." MGM placed it in the film Neptune's Daughter, helping Loesser win the Oscar for Best Original Song in the process. It has since become an informal Christmas standard, although the holiday is never referenced in the lyric.

Lyrics:

I really can't stay - Baby it's cold outside
I've got to go away - Baby it's cold outside
This evening has been - Been hoping that you'd drop in
So very nice - I'll hold your hands, they're just like ice
My mother will start to worry - Beautiful, what's your hurry
My father will be pacing the floor - Listen to the fireplace roar
So really I'd better scurry - Beautiful, please don't hurry
Well maybe just a half a drink more - Put some music on while I pour

The neighbors might think - Baby, it's bad out there
Say, what's in this drink - No cabs to be had out there
I wish I knew how - Your eyes are like starlight
To break the spell - I'll take your hat, your hair looks swell
I ought to say no, no, no, sir - Mind if I move closer
At least I'm gonna say that I tried - What's the sense in hurting my pride?
I really can't stay - Baby don't hold out
Ahh, but it's cold outside

I simply must go - Baby, it's cold outside
The answer is no - Ooh darling, it's cold outside
This welcome has been - I'm lucky that you dropped in
So nice and warm - Look out the window at that storm
My sister will be suspicious - Man, your lips look delicious
My brother will be there at the door - Waves upon a tropical shore
My maiden aunt's mind is vicious - Gosh your lips are delicious
Well maybe just a half a drink more - Never such a blizzard before

I've got to go home - Oh, baby, you'll freeze out there
Say, lend me your coat - It's up to your knees out there
You've really been grand - I thrill when you touch my hand
But don't you see - How can you do this thing to me?
There's bound to be talk tomorrow - Think of my life long sorrow
At least there will be plenty implied - If you caught pneumonia and died
I really can't stay - Get over that hold out
Ahh, but it's cold outside

Recorded By:

Ray Charles & Betty Carter
Dean Martin
Leon Redbone & Zooey Deschanel
Dinah Shore & Buddy Clark
Ella Fitzgerald & Louis Jordan

I Don't Want to Walk Without You

2010-06-03T14:15:00.002-04:00

By Jule Styne & Frank Loesser

1942

Loesser collaborated with Styne to compose a bunch of tunes for the 1942 Paramount film Sweater Girl, with this innocent confection being the big hit. Bettie Jane Rhodes sang it in the film, and it was recorded immediately after by the Harry James orchestra with Helen Forrest, resulting in a number one record. As recently as 30 years ago, it was taken back to the Billboard charts by Barry Manilow.

Lyrics:

All our friends keep knocking at the door
They've asked me out a hundred times or more
But all I say is, "Leave me in the gloom"
And here I stay within my lonely room
'Cause...

I don't want to walk without you, Baby
Walk without my arm about you, Baby
I thought the day you left me behind
I'd take a stroll and get you right off my mind
But now I find that

I don't want to walk without the sunshine
Why'd you have to turn off all that sunshine?
Oh, Baby, please come back or you'll break my heart for me
'Cause I don't want to walk without you
No, siree

Recorded By:

Phyllis McGuire
Artie Shaw
Jo Stafford
Jerry Vale
Joe Holt

Two Sleepy People

2010-06-01T23:04:00.006-04:00

By Hoagy Carmichael & Frank Loesser
1938

This year marks the 100th anniversary of the birth of Frank Loesser on June 29, 1910. To honor this centennial, Standard of the Day will be spotlighting Loesser songs throughout the month of June, in a little tribute I call "Heart and Soul." We kick it off with this charmer, written by Loesser with fellow songwriting giant Hoagy Carmichael. Loesser's delightful lyric concerns a couple so enthralled by each others' company that they refuse to part, despite being exhausted. It was introduced by Bob Hope & Shirley Ross as a companion piece to "Thanks for the Memories" from the previous year.

Lyrics:

Here we are, out of cigarettes,
Holding hands and yawning,
Look how late it gets.
Two sleepy people by dawn's early light,
And too much in love to say goodnight.

Here we are, in a cozy chair;
Pickin' on a wishbone from the frigidaire.
Two sleepy people with nothing to say,
And too much in love to break away.

Do you remember the nights we used to linger in the hall?
Your father didn't like me at all.
Do you remember the reason why we married in the fall?
To rent this little nest and get a bit of rest.

Well, here we are just about the same,
Foggy little fella, drowsy little dame.
Two sleepy people by dawn's early light,
And too much in love to say goodnight.

Recorded By:

Fats Waller
Carly Simon
Al Bowlly
Dean Martin
Art Garfunkel