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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
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
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
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
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
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
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.
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
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.
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
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
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
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
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
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 Benny Carter, Karl Suessdorf & Leah Worth
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