Some Enchanted Evening

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

Bali Ha'i

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

Hello, Young Lovers

By Richard Rodgers & Oscar Hammerstein II
1951

A somewhat mournful, bittersweet tune written for the Rodgers & Hammerstein smash hit The King and I, in which it was sung by the character of Anna (played by Deborah Kerr but voiced by Marni Nixon.) Anna sings to the King of Siam's wives about her late husband, using some of Oscar Hammerstein's finest lyrics. One of the film's most successful songs, and an instant standard.

Lyrics:

When I think of Tom.
I think of a night,
When the earth smelled of summer
And the sky was streaked with white,
The soft mist of England
Was sleeping on a hill.

I remember this,
And I always will...
There are new lovers now
On the same silent hill,
Looking on the same blue sea.
And I know Tom and I are a part of them all --
And they're all a part of Tom an me.

Hello young lovers, whoever you are,
I hope your troubles are few.
All my good wishes go with you tonight,
I've been in love like you.

Be brave, young lovers, and follow your star,
Be brave and faithful and true,
Cling very close to each other tonight.
I've been in love like you.

I know how it feels to have wings on your heels,
And to fly down the street in a trance.
You fly down a street on the chance that you meet,
And you meet -- not really by chance.

Don't cry young lovers, whatever you do,
Don't cry because I'm alone;
All of my memories are happy tonight,
I've had a love of my own.
I've had a love of my own, like yours-
I've had a love of my own.

Recorded By:

Perry Como
Bobby Darrin
Frank Sinatra
Guy Lombardo
Marvin Gaye

All the Things You Are

By Jerome Kern & Oscar Hammerstein II
1939

A remarkable song from the master, Kern--breathtakingly beautiful, and nearly operatic in tone and melody. It was introduced on stage by the cast of Very Warm for May, the musical for which it was written. But it has taken on a life of its own that goes far beyond that play. Kern's aching melody is perfectly complemented by Hammerstein's sublime lyric, notable for being such a perfect expression of love without ever mentioning the actual word.

Lyrics:

Time and again I've longed for adventure,
Something to make my heart beat the faster.
What did I long for? I never really knew.
Finding your love I've found my adventure,
Touching your hand, my heart beats the faster,
All that I want in all of this world is you.

You are the promised kiss of springtime
That makes the lonely winter seem long.
You are the breathless hush of evening
That trembles on the brink of a lovely song.

You are the angel glow that lights a star,
The dearest things I know are what you are.
Some day my happy arms will hold you,
And some day I'll know that moment divine,
When all the things you are, are mine!

Recorded By:

Ella Fitzgerald
Frank Sinatra
Tommy Dorsey
Stan Kenton
Jack Jones

It Might as Well Be Spring

By Richard Rodgers & Oscar Hammerstein II
1945

A lilting, delicate melody highlights this late Rodgers composition, from his second major collaboration, that with Hammerstein. This came from State Fair, which was the only original film score the duo ever wrote. It was sung in the film by Jeanne Crain--and Dick Haymes, who also starred in the movie, had the first hit recording of it the same year.

Lyrics:

The things I used to like I don't like anymore.
I want a lot of other things I've never had before.
It's just like mother says... I sit around and mope.
Pretending I am wonderful. And knowing I'm a dope.

I'm as restless as a willow in a windstorm,
I'm as jumpy as a puppet on a string.
I'd say that I had spring fever,
But I know it isn't spring.

I'm starry-eyed and vaguely discontented
Like a nightingale without a song to sing.
Oh, why should I have spring fever
When it isn't even spring?

I keep wishing I were somewhere else,
Walking down a strange new street.
Hearing words that I have never heard
From a man I've yet to meet.

I'm as busy as a spider spinning daydreams,
I'm as giddy as a baby on a swing.
I haven't seen a crocus or a rosebud
Or a robin on the wing.

But I feel so gay,
In a melancholy way,
That it might as well be spring,
It might as well be spring.

Recorded By:

Ella Fitzgerald
Nina Simone
Frank Sinatra
Sammy Kaye
Blossom Dearie

Why Was I Born?

By Jerome Kern & Oscar Hammerstein II
1929

The Kern/Hammerstein musical Sweet Adeline was a part of the 1920s nostalgia fad for the "Gay '90s", i.e. the last decade of the 19th century. Broadway legend Helen Morgan (pictured) introduced this classic torch song in the production, and it was also sung by Irene Dunne in the 1935 film version. Truly a ballad of great power.

Lyrics:

Spending these lonesome evenings
With nothing to do,
But to live in dreams that I make up,
All by myself.
Dreaming that you're beside me,
I picture the prettiest stories,
Only to wake up,
All by myself

What is the good of me by myself?

Why was I born?
Why am I living?
What do I get?
What am I giving?

Why do I want a thing
I daren't hope for?
What can I hope for?
I wish I knew.

Why do I try
To draw you near me?
Why do I cry?
You never hear me.

I'm a poor fool,
But what can I do?
Why was I born
To love you?

Recorded By:

Maude Maggart
Ella Fitzgerald
Frank Sinatra
Billie Holiday
Vic Damone

Can't Help Lovin' Dat Man

By Jerome Kern & Oscar Hammerstein II
1927

A heartbreaker if ever there was one, this is probably the most well-known song from the immortal musical Showboat, usually cited as the first modern musical. Kern incorporates blues into his melody, and Hammerstein weaves a melancholy lyric about loving someone who may not necessarily deserve it. In the 1920-40s, it was closely associated with Helen Morgan, who originally introduced it. Some controversy has hovered over the lyric, which does allude to negative African American stereotypes.

Lyrics:

Oh listen sister,
I love my mister man,
And I can't tell you' why.
Dere ain't no reason
Why I should love dat man.
It mus' be sumpin dat de angels done plan.

De chimney's smokin'
De roof is leakin' in,
But he don't seem to care.
Dere ain't no reason why I should love dat man.

Fish got to swim, birds got to fly,
I got to love one man till I die.
Can't help lovin' dat man of mine.

Tell me he's lazy, tell me he's slow,
Tell me I'm crazy, (maybe I know).
Can't help lovin' dat man of mine.

When he goes away,
Dat's a rainy day,
And when he comes back dat day is fine,
De sun will shine!
He kin come home as late as can be,
Home without him ain't no home to me,
Can't help lovin' dat man of mine.

Recorded By:

Ella Fitzgerald
Lena Horne
Barbra Streisand
Ava Gardner
Maude Maggart

We Kiss in a Shadow

By Richard Rodgers & Oscar Hammerstein II
1951

Written for the characters of Tuptim and Lun Tha in the classic Broadway musical The King and I, in which these two lovers profess their feelings despite the King's potential disapproval. The melody is an interesting blend of Western and Eastern flavors. It was introduced on stage by Doretta Morrow and Larry Douglas.

Lyrics:

We kiss in a shadow,
We hide from the moon.
Our meetings are few,
And over too soon.

We speak in a whisper,
Afraid to be heard;
When people are near,
We speak not a word.

Alone in our secret,
Together we sigh,
For one smiling day to be free.

To kiss in the sunlight,
And say to the sky:
"Behold and believe what you see!
"Behold how my lover loves me!"

Recorded By:

June Christy
Perry Como
Vic Damone
Doris Day
Sonny Rollins

The Song Is You

By Jerome Kern & Oscar Hammerstein II
1932

This sweeping, melodic beauty of a song was written for Tullio Carminati in the show Music in the Air. But it would become even more strongly associated with Frank Sinatra, who made it one of his early solo hits a decade later. It would even be used as the title of an excellent book by Will Friedwald on the Chairman's entire body of work.

Lyrics:

I hear music when I look at you;
A beautiful theme of every dream I ever knew.
Down deep in my heart, I hear it play.
I feel it start, then melt away.

I hear music when I touch your hand;
A beautiful melody from some enchanted land.
Down deep in my heart, I hear it say,
Is this the day?

I alone have heard this lovely strain,
I alone have heard this glad refrain:
Must it be forever inside of me,
Why cant I let it go,
Why cant I let you know?

Why cant I let you know the song
My heart would sing?
That beautiful rhapsody of love and youth and spring,
The music is sweet,
The words are true,
The song is you.

Recorded By:

June Christy
Anita O'Day
Nancy Wilson
Art Blakey
Barbara Cook

Thanks to Tenebrous Kate, for inspiring today's post.