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A warm yet melancholy Christmas standard that dates back to World War II, during which the lyric held a special meaning for soldiers stationed overseas for the holidays. Bing Crosby introduced the tune in time for Christmas 1943, and his version was shipped directly to those soldiers. A controversy ensued over the copyright when poet Buck Ram alleged that the title was stolen from a poem he had written. Some songwriting credits include Ram for this reason. Since WWII, it has become a standard expression of Christmas longing for families everywhere.
Lyrics:
I'll be home for Christmas,
You can count on me.
Please have snow
And mistletoe,
And presents under the tree.
Christmas Eve will find me
Where the love-light gleams.
I'll be home for Christmas,
If only in my dreams.
Recorded By:
Frank Sinatra
Perry Como
Al Green
Leon Redbone
Joe Williams
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
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
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
Introduced by Frank Sinatra during his early tenure at Columbia Records, this song would remain a regular part of the Chairman's repertoire. He would later re-record it as the title track of his excellent 1956 album with the Hollywood String Quartet. Not to be confused with the Burt Bacharach/Hal David song of the same name (which Sinatra also recorded in 1970).
Lyrics:
Close to you, I will always stay. Close to you, though you're far away. You'll always be near, As though you were here by my side. No matter where, In my dreams, I'll find you there.
Close to me, sharing your caress. Can't you see, you're my happiness. Wherever you go, My heart will go too--what else can I do? It only wants to be Close to you.
Recorded By:
Brenda Lee The Doors Sarah Vaughan Nelson Riddle Perry Como
A beautiful song about a beautiful state, "Moonlight in Vermont" was introduced by the incomparable Margaret Whiting. Rare for a pop song, it contains a subtle meter which features no end rhyming. Also, each stanza (not including the bridge) is structured as a haiku. It's considers the state's unofficial song, and is often played as the first dance at Vermont weddings.
Lyrics:
Pennies in a stream, Falling leaves, a sycamore, Moonlight in Vermont.
Icy finger-waves, Ski trails on a mountainside, Snowlight in Vermont.
Telegraph cables, they sing down the highway, And travel each bend in the road. People who meet in this romantic setting, Are so hypnotized by the lovely...
Ev'ning summer breeze, Warbling of a meadowlark, Moonlight in Vermont.
One of several successful collaborations Loesser took part in with different composers before turning to solo composition, this song was introduced by Mary Martin in the movie Happy Go Lucky. Bandleader/vocalist Vaughn Monroe (pictured) took it all the way to #1 the same year. The best-known version, however, may be Chet Baker's recording. The song is so associated with Baker that its name was used as the title of a documentary on the singer.
Lyrics:
Let's get lost, Lost in each other's arms. Let's get lost, Let them send out alarms.
And though they'll think us rather rude, Let's tell the world we're in that crazy mood.
Let's defrost In a romantic mist. Let's get crossed Off everybody's list.
To celebrate this night we found each other, Darling, let's get lost.
Recorded By:
Terence Blanchard Frank Sinatra Diana Krall Elliott Smith Susannah McCorkle
Earning Warren (pictured) and Gordon the Academy Award, this song debuted in the movie Hello, Frisco, Hello, in which it was sung by Alice Faye. Dick Haymes had a number-one hit with it the same year. The lyrics are based on a poem by Oklahoma war bride Alice Faye. The song is known for being the first recorded by Barbra Streisand, who sang it in 1955 at the tender age of 13.
Lyrics: Darling, I'm so blue without you. I think about you the live-long day. When you ask me if I'm lonely, Then I only have this to say...
You'll never know just how much I miss you, You'll never know just how much I care. And if I tried, I still couldn't hide my love for you. You ought to know, 'cause haven't I told you so A million or more times?
You went away and my heart went with you. I speak your name in my every prayer. If there is some other way to prove that I love you, I swear I don't know how. You'll never know if you don't know now.
Recorded By:
Big Maybelle Frank Sinatra Shirley Bassey Vera Lynn Rosemary Clooney
This Porter gem was written for the Columbia musical Something to Shout About, in which it was introduced by Don Ameche and Janet Blair (pictured). The first to record it was Dinah Shore, who made a big hit out of it, and it has since become one of Cole Porter's most beloved ballads. A perfect expression of romantic longing.
Lyrics:
It's not that you're fairer Than a lot of girls just as pleasin' That I doff my hat As a worshiper at your shrine. It's not that you're rarer Than asparagus out of season-- No, my darling, this is the reason Why you've got to be mine...
You'd be so nice to come to. You'd be so nice by the fire. While the breeze on high sang a lullaby, You'd be all that I could desire.
Under stars chilled by the winter, Under an August moon burning above, You'd be so nice, You'd be paradise, to come home to and love.
Recorded By:
Frank Sinatra Ella Fitzgerald Coleman Hawkins Mel Torme Jo Stafford
A tribute to the finest genre of popular music in history, pop's direct link to the classical tradition, and one of our nation's most important contributions to world culture, the Great American Songbook. Each day (more or less), I spotlight a different popular standard. And yes, I'm straight. So is your grandfather. He loves this music, too--just ask him!
By Walter Kent & Kim Gannon
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