Mississippi Mud

By Harry Barris

1927

Harry Barris, composer of this joyous Roaring '20s tune, was a member of the Rhythm Boys, the vocal group that accompanied Paul Whiteman's orchestra and also included a very young Bing Crosby. The Rhythm Boys introduced the song with Whiteman's band, also featuring the legendary Bix Beiderbecke on cornet. It remained popular in later years, although with the original derogatory term "darkies" changed to "people". It appeared in an early episode of M*A*S*H, and has even proven a popular children's song, performed by The Muppets and Alvin & The Chipmunks.

Lyrics:

When the sun goes down, the tide goes out, 
The people gather 'round and they all begin to shout,
"Hey! Hey! Uncle Dud,
It's a treat to beat your feet on the Mississippi Mud.
It's a treat to beat your feet on the Mississippi Mud".

What a dance do they do!
Lordy, how I'm tellin' you
They don't need no band
They keep time by clappin' their hand
Just as happy as a cow chewin' on a cud,
When the darkies beat their feet on the Mississippi Mud.

Lordy, how they play it!
Goodness, how they sway it!
Uncle Joe, Uncle Jim,
How they pound the mire with vigor and vim!
Joy! that music thrills me!
Boy! it nearly kills me!
What a show when they go!
Say! they beat it up either fast or slow.

When the sun goes down, the tide goes out,
The people gather 'round and they all begin to shout,
"Hey! Hey! Uncle Dud,
It's a treat to beat your feet on the Mississippi Mud.
It's a treat to beat your feet on the Mississippi Mud".

What a dance do they do!
Lordy, how I'm tellin' you
They don't need no band
They keep time by clappin' their hand.
Just as happy as a cow chewin' on a cud.
When the darkies beat their feet on the Mississippi Mud.

Recorded By:

Dean Martin
Ray Charles
The Lennon Sisters
Eydie Gorme
Dinah Shore

Make Believe

By Jerome Kern
1927

A profoundly moving duet ballad from Kern's Show Boat, usually credited as the first modern Broadway musical. It was introduced on stage by Norma Terris and Howard Marsh (pictured), and also performed to great effect by Howard Keel and Kathryn Grayson in the 1951 MGM musical adaptation. It's lyrics, expressed by two people suddenly and spontaneously realizing they are in love with each other, are among the most moving in the Great American Songbook.

Lyrics:

Only make believe I love you,
Only make believe that you love me.
Others find peace of mind in pretending,
Couldn't you?
Couldn't I?
Couldn't we?
Make believe our lips are blending
In a phantom kiss, or two, or three.
Might as well make believe I love you,
For to tell the truth I do

Your pardon I pray
'Twas too much to say
The words that betray my heart.

We only pretend
You do not offend
In playing a lover's part.
The game of just supposing
Is the sweetest game I know.
Our dreams are more romantic
Than the world we see.

And if the things we dream about
Don't happen to be so,
That's just an unimportant technicality.

Though the cold and brutal fact is
You and I have never met,
We need not mind convention's P's and Q's
If we put our thoughts in practice
We can banish all regret
Imagining most anything we choose.

Only make believe I love you,
Only make believe that you love me.
Others find peace of mind in pretending,
Couldn't you?
Couldn't I?
Couldn't we?
Make believe our lips are blending
In a phantom kiss, or two, or three.
Might as well make believe I love you,
For to tell the truth I do

Recorded By:

Frank Sinatra
Jo Stafford
Barbra Streisand
Peggy Lee & Patrice Munsel
Deanna Durbin

Stardust

By Hoagy Carmichael & Mitchell Parish
1927

In honor of my grandfather, who passed away on December 4, I give you the single most popular standard of all time, and one of his very favorite songs. Composed on an old upright piano at the Keuka Hotel on Keuka Lake in New York, this unusual melody was based by Carmichael on the idiosyncratic stylings of trumpeter Bix Beiderbecke. Carmichael himself was the first to record it, together with the Dorsey brothers. Parish joined Carmichael to come up with the lyrics two years later, making it "a love song about a love song," as Hoagy would characterize it. It was Isham Jones who turned it into a ballad in 1930, and from there it became one of the most recorded songs of all time. In fact, during the big band era, it was the most recorded pop songs, period--more than 1,500 versions are believed to exist.

With its gorgeous verse and a complex refrain, Stardust is the ultimate American standard, and I happily dedicate it to the memory of Anthony Salica.

Lyrics:

And now the purple dusk of twilight time steals across the meadows of my heart.
High up in the sky, the little stars climb, always reminding me that we're apart.
You wander down the lane and far away, leaving a smile that will not die.
Love is now the stardust of yesterday; the music of the years gone by...

Sometime I wonder why I spend the lonely night
Dreaming of a song.
The melody haunts my reverie,
And I am once again with you,
When our love was new, and each kiss an inspiration.
But that was long ago, and now my consolation
Is in the stardust of a song.

Beside a garden wall where stars are bright,
You are in my arms.
The nightingale tells his fairytale,
Of paradise where roses bloom.
Though I dream in vain,
In my heart you will remain,
My stardust memory...the melody of love's refrain.

Recorded By:

Louis Armstrong
Nat King Cole
Artie Shaw
John Coltrane
Ella Fitzgerald

Charmaine

By Erno Rapee & Lew Pollack
1927

A lush and charming love ballad from the roaring '20s, composed originally for the silent film classic What Price Glory? It would also be introduced on record the same year by the Guy Lombardo orchestra. Since then, it has infiltrated popular culture, with the Mantovani version being used by Monty Python and in the movie One Flew Over the Cuckoo's Nest. It is also featured in The Abominable Dr. Phibes. It was originally conceived as a waltz, and it is in this style that Frank Sinatra recorded it for his 1961 All Alone album.

Lyrics:

I can't forget the night we met, how bright were stars above.
That precious memory lingers yet, when you declared your love.
And then you went away, and now each night and day...

I wonder why you keep me waiting, Charmaine, my Charmaine.
I wonder when bluebirds are mating, will you come back again?
I wonder if I keep on praying, will our dreams be the same?
I wonder if you ever think of me too ..
I am waiting my Charmaine for you ...

Recorded By:

The Bachelors
Tex Beneke
Bill Haley & His Comets
The Ink Spots
The Four Freshmen

Shaking the Blues Away

By Irving Berlin 1927

A lively, irresistible dance number that's the epitome of the Roaring '20s. It was written for Ruth Etting, perhaps the era's top female vocalist. She introduced it onstage in the Ziegfeld Follies, and recorded it soon after. It was revived 20 years later by Ann Miller in the movie Easter Parade. The original lyrics, though meant light-heartedly, are a tad racially insensitive by modern standards, and so have been slightly altered in later years.

Lyrics:

There's an old superstition 'way down south
Ev'ry darkie believes that trouble won't stay
If you shake it away
When they hold a revival way down south
Ev'ry darkie with care and trouble that day
Tries to shake it away

Shaking the blues away, unhappy news away
If you are blue, it's easy to
Shake off your cares and troubles

Telling the blues to go, they may refuse to go
But as a rule, they'll go if you'll
Shake them away

Do like the darkies do, list'ning to a preacher way down south
They shake their bodies so, to and fro
With every shake, a lucky break

Proving that there's a way to chase your cares away
If you would lose your weary blues
Shake them away

I gotta blues, you gotta blues
All God's chillun gotta blues
Come and join a rebel and we'll shake off the devil
And we'll shake all over God's Heaven, Heaven, Heaven
Anyone objectin' to shakin' ain't going there, Heaven, Heaven
Gonna shake all over God's Heaven
I gotta shake, you gotta shake
All God's chillun gotta shake, shake, shake
Nothing could be sweeter than to shake with Saint Peter
When we shake all over God's Heaven, Heaven, Heaven
Anyone objectin' to shakin' ain't going there, Heaven, Heaven
Gonna shake all over God's Heaven

Recorded By:

Doris Day
Maude Maggart
Paul Whiteman
Harry Reser's Syncopaters
Irving Berlin

I Can't Give You Anything but Love

By Jimmy McHugh & Dorothy Fields
1927

Some have claimed that this song was actually written by Fats Waller and his collaborator Andy Razaf, but this remains unproven. It was originally written as "I Can't Give You Anything but Love, Lindy" in honor of Charles Lindburgh, but was dropped from the show in which it would have served that purpose. It was instead introduced in the all-black show Blackbird Revue. Today, many recall it from its unforgettable usage in the classic Grant/Hepburn screwball comedy Bringing Up Baby.

Lyrics:

Gee but it's tough to be broke kid,
It's not a joke kid,
It's a curse.
My luck is changing it's gotten from simply rotten,
To something worse.
Who knows someday I will win too,
I'll begin to reach my pride.
Now that i see what our end is,
All can spend is just my time.

I can't give you anything but love, baby.
That's the only thing I've plenty of, baby.
Dream a while. Scheme a while.
We're sure to find,
Happiness, and I guess
all those things you've always pined for.

Gee I'd like to see you looking swell,
My little baby
Diamond bracelets Woolworth's doesn't sell, baby.
Till that lucky day you know darn well, baby,
I can't give you anything but love.

Recorded By:

Fats Waller
Ella Fitzgerald
Judy Garland
Doris Day
Louis Armstrong

Thou Swell

By Richard Rodgers & Lorenz Hart
1927

A Rodgers & Hart favorite, composed for the stage production of their musical, A Connecticut Yankee. It was first sung on stage by William Gaxton and Constance Carter, the stars of the original version. The clever lyrics are well-known for blending old-style English with 1920s slang.

Lyrics:

Thou swell! Thou witty!
Thou sweet! Thou grand!
Wouldst kiss me pretty?
Wouldst hold my hand?

Both thine eyes are cute too;
What they do to me.
Hear me holler I choose a Sweet lollapaloosa in thee.

I'd feel so rich in a hut for two;
Two rooms and a kitchen I'm sure would do;
Give me just a plot of,
Not a lot of land,
And Thou swell! Thou Witty! Thou Grand!

Recorded By:

Nat King Cole
Sarah Vaughan
Frank Sinatra
Blossom Dearie
Joe Williams

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

'S Wonderful

By George & Ira Gershwin
1927

Making clever use of 1920s slang, this song was introduced in the Gershwin stage musical Funny Face, in which it was sung by Adele Astaire (Fred's sister) and Allen Kearns. It would pop up decades later in both An American in Paris (1951), and the movie Funny Face (1957) in which Fred Astaire sang it with Audrey Hepburn. An extremely popular standard.

Lyrics:

Don't mind telling you, in my humble fash,
That you thrill me through, with a tender pash.
When you said you care, 'magine my emoshe?
I swore then and there, permanent devoshe.
You made all other men seem blah,
Just you alone filled me with ahhhhhhhh......

'S wonderful, 's marvelous,
You should care for me!
'S awful nice, 's paradise,
'S what I love to see.

You've made my life so glamorous,
You can't blame me for feeling amorous!
Oh, 's wonderful, 's marvelous,
That you should care for me!

'S magnifique, 's what I seek,
You should care for me.
'S elegant, 's what I want,
'S what I love to see.

My dear, it's four-leaf clover time,
From now on my heart's working overtime.
'S exceptional, 's no bagatelle,
That you should care for...
That you should care for...
That you should care for me.

Recorded By:

Ella Fitzgerald
Judy Garland
Joe Williams
John Pizzarelli
Sarah Vaughan

Ain't She Sweet

By Milton Ager & Jack Yellen
1927

Written by Ager for his daughter Shana, who grew up to be an important political commentator (pictured), this ditty was a mega-hit of the late Roaring '20s, and is still strongly associated with that era. It was first recorded by Ben Bernie's orchestra. Modern fans may recognize it as having been sung by Tweety Bird invarious Looney Tunes cartoons, as well as being recorded by The Beatles during their early, formative years.

Lyrics:

Ain't she sweet?
See her walking down that street.
Yes I ask you very confidentially,
Ain't she sweet?

Ain't she nice?
Look her over once or twice.
Yes I ask you very confidentially,
Ain't she nice?

Just cast an eye in her direction.
Oh me oh my, ain't that perfection?

I repeat,
Well, don't you think that's kinda neat?
Yes I ask you very confidentially,
Ain't she sweet?

Recorded By:

Frank Sinatra
Pearl Bailey
Bunny Berigan
Eddie Cantor
Tommy Dorsey

My Blue Heaven

By Walter Donaldson & George Whiting
1927

A huge hit for crooner Gene Austin, who introduced it in 1928 and enjoyed 13 weeks at the top of the charts with it. The recording, in fact, went platinum five times over! And 30 years later, R&B sensation Fats Domino would reintroduce the tune to the rock 'n' roll generation. Domino's version is so closely identified with the song today that many don't even realize it predates him significantly.

Lyrics:

When whippoorwills call, and evenin' is nigh,
I hurry to my blue heaven.
Turn to the right, there's a little bright light,
Will lead you to my blue heaven.

You'll see a smilin' face, a fireplace, a cozy room,
A little nest that nestles where the roses bloom.

Just Molly and me, and the baby makes three.
We're happy in my blue heaven.

Recorded By:

Frank Sinatra
Leon Redbone
The Smashing Pumpkins (below)
Al Jolson
The Ink Spots

The Lonesome Road

By Gene Austin & Nat Shilkret
1927

Austin himself was the first to record this song, and it became so popular that it was actually incorporated into the 1929 film adaptation of the Broadway smash Show Boat, the first modern musical. In fact, it was the only song not by composers Oscar Hammerstein & Jerome Kern to be featured in the movie.

Lyrics:

Look down, look down
That lonesome road,
Before you travel on.

Look up, look up
And seek your maker,
'fore Gabriel blows his horn.

Weary toting such a load,
Heading down that lonesome road.

Look down, look down
That lonesome road,
Before you travel on.

True love, true love,
What have I done,
That you should treat me so?

You caused me
To walk and talk
Like I never done before.

Weary toting such a load,
Trudging down that lonesome road.

Look down, look down
That lonesome road,
Before you travel on.

Recorded By:

Frank Sinatra
Jimmy Lunceford
Louis Armstrong
The Dave Brubeck Quartet
Nat King Cole

The Man I Love

By George & Ira Gershwin
1927

This Gershwin classic originates in the first production of Strike Up the Band, which lasted for all of one day in its first Philadelphia run. The song was cut when the show was revived in New York three years later. It later became a standard thanks to Billie Holiday's famous rendition, which perfectly communicating the tender longing embodied in the material.

Lyrics:

Some day he'll come along,
The man I love.
And he'll be big and strong,
The man I love.
And when he comes my way,
I'll do my best to make him stay!

He'll look at me and smile;
I'll understand.
And in a little while,
He'll take my hand;
And though it seems absurd,
I know we both won't say a word!

Maybe I shall meet him Sunday,
Maybe Monday, maybe not.
Still I'm sure to meet him one day;
Maybe Tuesday will be my good news day!

We'll build a little home
Just meant for two,
From which I'll never roam;
Who would? Would you?
And so, all else above,
I'm waiting for the man I love!

Recorded By:

Ella Fitzgerald
Lena Horne
Kate Bush
Barbra Streisand
Etta James

The Song Is Ended

By Irving Berlin & Beda Loehner
1927

Unlike most of Berlin's compositions, he worked with a lyricist on this characteristically sweet and gentle ballad, introduced by Ruth Etting (pictured), one of the era's most popular singers. The song would be later referenced in the verse to another standard by the Gershwin's, "They Can't Take That Away from Me".

Lyrics:

My thoughts go back to a heavenly dance,
A moment of bliss we spent.
Our hearts were filled with a song of romance,
As into the night we went,
And sang to our hearts' content.

The song is ended,
But the melody lingers on.
You and the song are gone,
But the melody lingers on.

The night was splendid,
And the melody seemed to say,
"Summer will pass away,
Take your happiness while you may."

There 'neath the light of the moon,
We sang a love song that ended too soon.

The moon descended,
And I found with the break of dawn,
You and the song had gone,
But the melody lingers on.

Recorded By:

Frank Sinatra
Tony Bennett
Ella Fitzgerald
Nat King Cole
Dinah Shore

Strike Up the Band

George & Ira Gershwin
1927

The Gershwins wrote this as the title song for a satirical show poking fun at jingoism and militaristic music, in which it was played by the Red Nichols orchestra, featuring the likes of Benny Goodman, Gene Krupa, Jack Teagarden, Glenn Miller and Jimmy Dorsey. It was used again in a 1940 Judy Garland-Mickey Rooney movie that bore no resemblance to the original show. The brother composers also gave it to UCLA to use as one of its school songs.

Lyrics:

Let the drums roll out,
Let the trumpet call,
While the people shout,
"Strike up the band!"

Hear the cymbals ring,
Callin' one and all
To the martial swing,
Strike up the band!

There is work to be done, to be done.
There's a war to be won, to be won.
Come, you son of a son of a gun,
Take your stand.

Fall in line, yea a bow!
Come along, let's go!
Hey, leader, strike up the band!

Recorded By:

Ella Fitzgerald
Tony Bennett
Maureen McGovern
Martin Denny
Boston Pops