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One of several songs Schwartz and Mercer wrote for the M-G-M musical Dangerous When Wet, a vehicle for celebrity swimmer Esther Williams that also starred Fernando Lamas and William Demarest. One of the catchier tunes produced by the very productive Schwartz/Mercer teaming, it was even used twice more by M-G-M in two of the studios' Tom & Jerry short cartoons, "Baby Butch" (1954) and "Muscle Beach Tom" (1956). This was a common practice of the time, as studios looked to repurpose songs that they owned. Interestingly, half a century later, the song would also pop up in another cartoon Disney's "Phineas and Ferb". Although not as often recorded as many other Schwartz/Mercer compositions, its bouncy tune and clever lyric make it an instant classic. Recorded By:
A jazz gem that came along just as the new forms were emerging post World War II, including be bop and the nascent rhythm and blues that would lead to rock 'n roll. Wild Billy Davis was an innovative jazz pianist and organist who had done stints with the ensembles of Louis Jordan (pictured) and Duke Ellington among others, when he put this easy, supercool number together along with Don Wolf (who'd later contribute to the timeless early rock instrumental "Sleepwalk"). Jordan's band introduced the song.
Lyrics:
Gone and got the blues in Paris Paris blues called Azure-Te How can I be blue in Paris? It's easy 'cause you're far away Can't lose these blues, this Azure-Te Side-walk tables filled with people Always happy, always gay Still I'm all alone in Paris Praying you'll return someday Can't lose this blues, this Azure-Te Montmartre, springtime, Eiffel Tower Funny taxis, the kids at play Paris without you is lonesome Yearning more and more each day Can't lose these blues, this Azure-Te If you knew how much I need you You'd come back to me to stay Having you with me in ParisReally is the only way You lose these blues, this Azure-Te These Paris blues, this Azure-Te
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
The Robert Mitchum war picture One Minute to Zero yielded this timeless classic, in which Young's melody was included in the score. That same year, Doris Day fully introduced it using Heyman's lyric, and one of the most popular wedding songs of all time was born (my own in-laws used it in 1967!).
Lyrics:
When I fall in love, It will be forever, Or I'll never fall in love.
In a restless world like this is, Love is ended before its begun. And too many moonlight kisses Seem to cool in the warmth of the sun.
When I give my heart, It will be completely, Or I'll never give my heart.
And the moment I can feel that you feel that way too, Is when I fall in love with you.
Recorded By:
Johnny Mathis Nat King Cole Chris Botti Chet Baker Tony Bennett
A warm expression of love in humble, yet colorful terms, this song is a favorite particularly of jazz singers. Although Nat Cole introduced it in 1953, it was Bobby Darin's 1959 recording that became a big hit, and Darin's first stab at the American Songbook. The lyricist Bob Haymes was the younger brother of vocalist Dick Haymes.
Lyrics:
I can only give you love that lasts forever, And a promise to be near each time you call. And the only heart I own, For you and you alone, That's all, That's all...
I can only give you country walks in springtime, And a hand to hold when leaves begin to fall; And a love whose burning light Will warm the winter's night. That's all, That's all.
There are those, I am sure, who have told you, They would give you the world for a toy. All I have are these arms to enfold you, And a love time can never destroy.
If you're wondering what I'm asking in return, dear, You'll be glad to know that my demands are small. Say it's me that you'll adore, For now and evermore. That's all, That's all.
Recorded By:
Michael Buble Mel Torme Sam Cooke Dorothy Dandridge Connie Francis
By Chilton Price, Pee Wee King & Redd Stewart 1952
For the record, it was Price, a rare solo female songwriter, who wrote this tune for the most part. She gave King & Stewart equal credit in exchange for their promotional work. And successful work it was, as the song was recorded by a multitude of artists in its first year alone. It began life as a country song by Sue Thompson, but it was Jo Stafford's version that became the standard. It would later become adopted by the world of rock n' roll, as epitomized by the Gene Vincent rendition.
Lyrics:
See the pyramids along the Nile, Watch the sunrise from a tropic isle, Just remember, darling, all the while, You belong to me.
See the marketplace in old Algiers, Send me photographs and souvenirs, Just remember, when a dream appears, You belong to me.
I'd be so alone without you, Maybe you'd be lonesome too, And blue.
Fly the ocean in a silver plane, See the jungle when it's wet with rain, Just remember, till you're home again, You belong to me.
Recorded By:
Dean Martin Patsy Cline The Duprees Bob Dylan Tori Amos
An anthem of the post-World War II be-bop era in jazz, this tune was written for the preeminent Times Square jazz club Birdland, named after legendary saxophonist Charlie "Bird" Parker. Shearing himself introduced it as the theme song of a radio show broadcast from there, and Sarah Vaughan was the first to record it with lyrics two years later. Recently, Amy Winehouse included a bit of the melody in her recording of "October Song".
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!
One of several songs Schwartz and Mercer wrote for the M-G-M musical Dangerous When Wet, a vehicle for celebrity swimmer Esther Williams that also starred Fernando Lamas and William Demarest. One of the catchier tunes produced by the very productive Schwartz/Mercer teaming, it was even used twice more by M-G-M in two of the studios' Tom & Jerry short cartoons, "Baby Butch" (1954) and "Muscle Beach Tom" (1956). This was a common practice of the time, as studios looked to repurpose songs that they owned. Interestingly, half a century later, the song would also pop up in another cartoon Disney's "Phineas and Ferb". Although not as often recorded as many other Schwartz/Mercer compositions, its bouncy tune and clever lyric make it an instant classic.
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