Lullaby of Broadway

Harry Warren and his Oscar

By Harry Warren and Al Dubin
1935

In light of last night's Academy Awards, today we're taking a look at the second tune to ever win the Oscar for Best Original Song (the first being "The Continental" in 1934). Introduced by Wini Shaw in Gold Diggers of 1935, "Lullaby of Broadway" was such an instant classic that later it was even used as background music in the Bette Davis film, Special Agent. With a peppy melody and lyrics that celebrate the wild Broadway nightlife, it's no wonder it captured the attention of Academy voters--even if Irving Berlin's "Cheek to Cheek" may have been the more deserving nominee that year...

Lyrics:

Come on along and listen to
The lullaby of Broadway
The hip hooray and ballyhoo
The lullaby of Broadway
The rumble of a subway train
The rattle of the taxis
The daffodils who entertain
At Angelo's and Maxi's

When a Broadway baby says good night
It's early in the morning
Manhattan babies don't sleep tight
Until the dawn

Good night, baby
Good night, the milkman's on his way
Sleep tight, baby
Sleep tight, let's call it a day

The band begins to go to town
And everyone goes crazy
You rock a bye your baby round
'Til everything gets hazy
Hush a bye, I'll buy you this and that
You hear a daddy saying
And baby goes home to her flat
To sleep all day

Good night, baby
Good night, the milkman's on his way
Sleep tight, baby
Sleep tight, let's call it a day

Listen to the lullaby 
Of old Broadway!

Recorded By:

Tony Bennett
Ella Fitzgerald
Bette Midler
The Andrew Sisters
Doris Day

We're in the Money (The Gold Diggers' Song)

By Harry Warren and Al Dubin
1933

What became an anthem of the Great Depression was written as a song of hope by the legendary team of Warren & Dubin, signaling a wished-for end to the economic catastrophe, even though that was still years away. Written for the film Gold Diggers of 1933, in which it was introduced by Ginger Rogers, the song had its first commercial release simultaneously, in a recording by Art Kahn and his Orchestra. With a most recognizable and catchy tune, it soon started popping up everywhere, including a 1933 Warner Bros. cartoon of the same name.

Lyrics:

We're in the money, we're in the money;
We've got a lot of what it takes to get along!
We're in the money, that sky is sunny,
Old Man Depression you are through, you done us wrong.

We never see a headline about breadlines today.
And when we see the landlord we can look that guy right in the eye

We're in the money, come on, my honey,
Let's lend it, spend it, send it rolling along!

Recorded By:

Bing Crosby
Dick Powell
Connie Francis
Jessica Molaskey
Dick Hyman Trio

Top Hat, White Tie and Tails

By Irving Berlin
1935

For the fifth time here at Standard of the Day, I'm spotlighting a song from Irving Berlin's Top Hat--and if that's not a testament to the film's greatness, I don't know what is. This time it's the movie's title number, performed with gusto by Fred Astaire, as so many Berlin gems were. With its internal rhyme and clever wordplay, the lyric is one of Berlin's most memorable, and became an iconic theme for the legendary Astaire, greatest of the on-screen dancers and the man who wore the attire better than anybody.

Lyrics:

I just got an invitation through the mails
"Your presence requested this evening
It's formal, a top hat, a white tie and tails"
Nothing now could take the wind out of my sails
Because I'm invited to step out this evening
With top hat and white tie and tails.

I'm puttin' on my top hat
Tyin' up my white tie
Brushin' off my tails
I'm dudin' up my shirt front
Puttin' in the shirt studs
Polishin' my nails

I'm steppin' out, my dear
To breathe an atmosphere 
That simply reeks with class
And I trust that you'll excuse my dust
When I step on the gas
For I'll be there
Puttin' down my top hat
Mussin' up my white tie
Dancin' in my tails!

Recorded By:

Louis Armstrong
Tony Bennett
Ella Fitzgerald
Mel Torme
The Boswell Sisters

Hooray for Hollywood

By Richard A. Whiting and Johnny Mercer
1937

The unofficial theme song of the entire film industry, much of the song's enduring popularity can be attributed to Mercer's clever lyric lampooning the notion of celebrity. Since being introduced by Johnnie Davis and Frances Langford (with the Benny Goodman Orchestra) in the musical comedy Hollywood Hotel, it has gone on to become the regular soundtrack for the Academy Awards and other movie award shows. It was also notably the closing theme of Jack Benny's enormously popular radio show.

Lyrics:

Hooray for Hollywood
That screwy ballyhooey Hollywood
Where any office boy or young mechanic can be a panic
With just a good looking pan
And any barmaid can be a star maid
If she dances with or without a fan

Hooray for Hollywood,
Where you're terrific if you're even good
Where anyone at all from Shirley Temple to Aimee Semple
Is equally understood
Go out and try your luck, you might be Donald Duck
Hooray for Hollywood

Hooray for Hollywood
That phoney super-Coney Hollywood
They come from Chillicothes and Paducas with their bazookas
To get their names up in lights
All armed with photos from local rotos
With their hair in ribbon and legs in tights

Hooray for Hollywood
You may be homely in your neighbourhood
But if you think that you can be an actor, see Mr. Factor
He'll make a monkey look good
Within a half an hour you'll look like Tyrone Power
Hooray for Hollywood!

Recorded By:

Doris Day
Anita O'Day
Rosemary Clooney
Nancy Sinatra
Don Swan

I've Got Beginner's Luck

By George and Ira Gerswhin
1937

As with many classic songs, this one was written specifically for Fred Astaire to sing on film. In this case, it was for the 1937 musical Shall We Dance, for which the Gershwins wrote a whole suite of tunes. Ironically, although Astaire introduced the song, the first recording of it would be made by the Tommy Dorsey Orchestra a few months before the movie actually came out. Nearly 80 years later, the song would also be included in a Broadway musical inspired by the works of the Gershwins--An American in Paris (despite the fact that it was not part of the original 1951 film.)

Lyrics: 

At any gambling casino
From Monte Carlo to Reno,
They tell you that a beginner
Comes out a winner.
Beginner fishing for flounder
Will catch a seventeen pounder;
That's what I've always heard
And always thought absurd,
But now I believe every word!

For I've got beginner's luck;
The first time I'm in love
I'm in love with you,
Gosh I'm lucky!

I've got beginner's luck;
There never was such a smile
Or such eyes of blue,
Gosh I'm fortunate!

This thing we've begun
Is much more than a pastime,
For this time is the one
Where the first time is the last time!

I've got beginner's luck,
Lucky through and through,
For the first time that I'm in love,
I'm in love with you!

Recorded By:

Bobby Short
Ella Fitzgerald
Maureen McGovern
Chris Connor
Tommy Dorsey

September in the Rain

By Harry Warren and Al Dubin
1937

One of a series of memorable songs the Warren/Dubin team would compose for Warner Bros. musicals in the 1930s, this one was written for the film Melody for Two, in which it was introduced by tenor James Melton. Immediately following the film's release, there were three commercial recordings made in 1937 alone: by Melton, Guy Lombardo and Pauline Byrns. A decade later, the song had a resurgence in popularity, by which point it had become a standard. It has since been recorded countless times, including by The Beatles, who included it in their failed audition for Decca Records.

Lyrics:

The leaves of brown came tumblin' down, remember
In September in the rain
The sun went out just like a dying ember
That September in the rain

To every word of love I heard you whisper
The raindrops seemed to play a sweet refrain
Though spring is here, to me it's still September
That September in the rain

Recorded By:

Frank Sinatra
Julie London
Jo Stafford
The Platters
Dinah Washington

That's Amore

By Harry Warren and Jack Brooks
1953

One of the all-time most recognizable signature songs and an anthem for Italian-Americans everywhere, this song was written specifically for Dean Martin, who introduced it in the Martin & Lewis vehicle, The Caddy. Just three days after the film's release, Martin recorded it for Capitol Records, and took it all the way to number 2 on the Billboard charts. Warren, who years earlier had had great success with songwriting partner Al Dubin, was this time hired by Jerry Lewis to write the song, along with British lyricist Brooks, who would later also write tunes for Lewis' 1960 comedy Cinderfella.

Lyrics:

In Napoli where love is king
When boy meets girl here's what they say...

When a moon hits your eye like a big pizza pie
That's amore
When the world seems to shine like you've had too much wine
That's amore
Bells will ring ting-a-ling-a-ling, ting-a-ling-a-ling
And you'll sing "Vita bella"
Hearts will play tippy-tippy-tay, tippy-tippy-tay
Like a gay tarantella

When the stars make you drool just like a pasta fazool
That's amore
When you dance down the street with a cloud at your feet
You're in love
When you walk in a dream but you know you're not dreaming signore
Scuzza me, but you see, back in old Napoli
That's amore

Recorded By:

Dean Martin
Lou Monte
Domenico Modugno
Julius LaRosa
Connie Francis

I'll String Along With You

By Harry Warren and Al Dubin
1934

From the powerhouse team of Warren & Dubin, also responsible for such classics as "I Only Have Eyes for You", "Boulevard of Broken Dreams", "With Plenty of Money and You" and "Lulu's Back in Town", this one was written for the 1934 Warner Bros. musical Twenty Million Sweethearts. During this time, Warren & Dubin had been teamed up to write songs for a series of Warner Bros. musicals starting with 42nd Street the previous year. "I'll String Along With You" was introduced in the film by Dick Powell, who croons it to Ginger Rogers. The first recorded release would come the same year from Ted Fio Rito and His Orchestra.

Lyrics: 

You may not be an angel 
'Cause angels are so few 
But until the day that one comes along 
I'll string along with you

I'm looking for an angel 
To sing my love song to 
And until the day that one comes along 
I'll sing my song to you

For every little fault that you have 
See, I've got three or four 
The human little faults you do have 
Just make me love you more

You may not be an angel 
But still I'm sure you'll do 
So until the day that one comes along 
I'll string along with you

Recorded By:

Diana Krall
Nat King Cole Trio
Doris Day
Morgana King
Patti Page

Please

By Ralph Rainger and Leo Robin
1932

One of the most iconic recordings of Bing Crosby, the 20th century's most important popular vocalist, "Please" was introduced by Crosby in the Paramount Pictures movies The Big Broadcast. It was Der Bingle's first starring role, and helped make him a national sensation. The song was a product of the successful movie songwriting team of Rainger & Robin, perhaps best known for writing "Thanks for the Memory" for Bob Hope in The Big Broadcast of 1938 some six years later. With an endearingly catchy lyric and utterly hummable melody, the song has been an inspiration to many, including John Lennon, who cited its wordplay as a direct influence on his early Beatles hit, "Please Please Me".

Lyrics: 

Oh, please
Lend your little ear to my pleas
Lend a ray of cheer to my pleas
Tell me that you love me too

Please
Let me hold you tight in my arms
I could find delight in your charms
Every night my whole life through

Your eyes reveal that you have the soul of
An angel white as snow
How long must I play the role of
A gloomy Romeo?

Oh, please
Say you're not intending to tease
Speed that happy ending and please
Tell me that you love me too

Recorded By:

Bing Crosby
Sarah Vaughan
Ray Coniff
Bucky Pizzarelli
Will Osborne and his Orchestra

I Got Out of Bed on the Right Side

By Arthur Schwartz and Johnny Mercer
1952

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:

John Pizzarelli
Philip Chaffin
Joyce Breach
Esther Williams

Be Careful, It's My Heart

By Irving Berlin
1942

One of 12 original songs written by Berlin for the movie musical Holiday Inn, starring Fred Astaire and Bing Crosby (this is the movie that introduced "White Christmas". With songs written each with a holiday theme, this one is themed for Valentine's Day, and is introduced in the film by Crosby. Constructed as a waltz, the song nevertheless proved quite popular as a pop and even jazz standard.

Lyrics:

Sweetheart of mine, I've sent you a Valentine
Sweetheart of mine, it's more than a Valentine

Be careful, it's my heart
It's not my watch you're holding, it's my heart

It's not the note I sent you
That you quickly burned
It's not the book I lent you
That you never returned

Remember, it's my heart
The heart with which so willingly I part

It's yours to take, to keep or break
But please, before you start
Be careful, it's my heart

Recorded By:

Frank Sinatra
Tommy Dorsey
Bing Crosby
John Pizzarelli & The George Shearing Quintet
Vera Lynn

Just You, Just Me

By Jesse Greer & Raymond Klages 
1929 

A film musical number with understated grace, gentle simplicity and sublime beauty, it's no wonder that this song has become especially popular amongst jazz instrumentalists dating back to the Big Band era. It was introduced by Chaplin paramour Marion Davies and Lawrence Grey in the film Marianne (pictured), and was even later performed by Liza Minelli in the 1976 Martin Scorsese musical New York, New York, as well as by Edward Norton as a serenade to Drew Barrymore in the 1996 Woody Allen musical Everyone Says I Love You.

Lyrics:

Just you, just me
Let's find a cozy spot
To cuddle and woo.
Just us, just we
I've missed an awful lot
My trouble is you.

Oh, gee!
What are your charms for?
What are my arms for?
Use your imagination!

Just you, just me
I'll tie a lover's knot
Around wonderful you.

Recorded By:

Bing Crosby
Artie Shaw
Judy Garland
Lester Young
Duke Ellington

Reaching for the Moon

By Irving Berlin
1930

We wrap up the week-long celebration of Irving Berlin's 125th birthday with this bonus post about a song he composed for a movie musical of the same name. At the time, musicals were temporarily out of favor, and most of Berlin's songs for the film were actually cut. This song, in fact, wound up only being used as background music, which is a shame. Ironically, it would become one of the biggest hits of the year, and was recorded by artists at every major record label.

Watch the film in its entirety below!

Lyrics:

The moon and you appear to be
So near and yet so far from me
And here am I on a night in june
Reaching for the moon and you.

I wonder if we'll ever meet
My song of love is incomplete
I'm just the words, looking for the tune
Reaching for the moon and you. 

Recorded By:

Frank Sinatra
Ella Fitzgerald
Lizz Wright & Regina Carter
Holly Cole
Ruth Etting

Let's Face the Music and Dance

By Irving Berlin
1936

Berlin had a long-standing relationship with Fred Astaire, and wrote many of his songs specifically for him. In Follow the Fleet, Astaire introduced this Berlin classic, along with others such as "I'm Putting All My Eggs in One Basket". A very sophisticated number for the often more populist Berlin, this one has really stood the test of time. It's been a favorite of cabaret singers for decades, and the Astaire version was even used in the film Pennies from Heaven, in which it was lip-synched by Steve Martin.

Lyrics:

There may be trouble ahead
But while there's moonlight and music
And love and romance
Let's face the music and dance

Before the fiddlers have fled
Before they ask us to pay the bill
And while we still
Have the chance
Let's face the music and dance

Soon
We'll be without the moon
Humming a diff'rent tune
And then

There may be teardrops to shed
So while there's moonlight and music
And love and romance
Let's face the music and dance
Dance
Let's face the music and dance!

Recorded By:

Mel Torme
Frank Sinatra
Diana Krall
Doris Day
Nat King Cole

When Did You Leave Heaven?

By Richard Whiting & Walter Bullock
1936

A schmaltzy yet irresistible number from the 20th Century Fox musical Sing, Baby, Sing--in which it was introduced by the recently departed Tony Martin, making his film debut at the time. The song became an instant favorite of the big band orchestras of the day. In later decades, it became a lesser heard but beloved standard among a wide range of performers.

Lyrics:

When did you leave Heaven?
How could they let you go?
How's ev'rything in Heaven?
I'd like to know.

Why did you trade Heaven
For all these earthly things?
Where did you hide your halo?
Where did you lose your wings?

Have they missed you?
Can you get back in?
If I kissed you,
Would it be a sin?

I am only human,
But you are so divine.
When did you leave Heaven,
Angel mine?

Recorded By: 

Guy Lombardo Orchestra

Joe Williams

Bob Dylan

Renee Fleming

Louis Armstrong

Tiptoe Through the Tulips

By Joe Burke & Al Dubin
1929

If you think it was Tiny Tim who introduced this song, then think again. This was a tried-and-true standard introduced by "The Crooning Troubadour" Nick Lucas in the movie Gold Diggers of Broadway. Lucas' version also hit number one on the pop charts and stayed for the 10 weeks. It became one of the most popular tunes of the early '30s, recorded many times. Novelty act Tiny Tim (as well as The Human Society) reintroduced it as an odd relic in the late 1960s. Tim's recording was also recently included to spooky effect in the 2011 horror film Insidious.

Lyrics:

Tiptoe through the window
By the window, that is where I'll be
Come tiptoe through the tulips with me

Oh, tiptoe from the garden
By the garden of the willow tree
And tiptoe through the tulips with me

Knee deep in flowers we'll stray
We'll keep the showers away
And if I kiss you in the garden, in the moonlight
Will you pardon me?
And tiptoe through the tulips with me

Recorded By:

Tiny Tim
The Human Society
Jean Goldkette
Johnny Marvin
Roy Fox

That's Entertainment

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

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...

They Can't Take That Away from Me

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

Secret Love

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