You Oughta Be in Pictures

By Dana Suesse and Edward Heyman
1934

An iconic anthem of show business in the same vein as "Hooray for Hollywood", this song was composed by prolific musical virtuoso Dana Suesse, one of the rare woman standouts of the songbook era, and a person referred to in the press of the time as "the girl Gershwin". She and accomplished lyricist Edward Heyman purportedly wrote the song for an unproduced Columbia Pictures film, New York Town, but it was instead introduced on record by the legendary Rudy Vallee, who made it an instant classic and one of the songs most evocative of the 1930s.

Lyrics:

You oughta be in pictures, 
You're wonderful to see, 
You oughta be in pictures, 
Oh what a hit you would be!

Your voice would thrill a nation, 
Your face would be adored, 
You'd make a great sensation 
With wealth and fame your reward;

And if you should kiss the way you kiss, 
When we're alone, 
You'd make ev'ry girl and man 
A fan worshiping at your throne.

You oughta shine as brightly 
As Jupiter and Mars; 
You oughta be in pictures, 
My star of stars.

Recorded By:

Doris Day
The Boswell Sisters
Al Bowlly
Connie Francis
Joel Grey

April in Paris

By Vernon Duke and E.Y. "Yip" Harburg
1932

Once referred to by renowned composer and music scholar Alec Wilder as the "perfect theater song," this sweeping, evocative number was written by Duke and frequent Harold Arlen collaborator Harburg for the stage production Walk a Little Faster, and introduced in a hit recording by Freddy Martin. Perhaps the most well-known recording would be Count Basie's jazzy rendition, typified by trumpeter Thad Jones' unforgettable solo and the Count's exhortations to his band of "one more time" and "one more once!" Basie's version was also memorably featured in the 1974 Mel Brooks comedy Blazing Saddles.

Lyrics:

April in Paris, chestnuts in blossom
Holiday tables under the trees
April in Paris, this is a feeling
No one can ever reprise

I never knew the charm of spring
Never met it face to face
I never new my heart could sing
Never missed a warm embrace

Till April in Paris
Whom can I run to
What have you done to my heart?

Recorded By:

Frank Sinatra
Ella Fitzgerald and Louis Armstrong
Billie Holiday
Thelonious Monk
Dinah Shore

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

My Little Grass Shack in Kealakekua, Hawaii

By Johnny Noble, Bill Cogswell and Tommy Harrison
1933

A classic example of the hapa haole song genre that combines American jazz style and Hawaiian instrumentation, this wonderful song epitomized the Hawaiian music and cultural craze that gripped America during much of the early 20th century. The original melody and lyrics were written by American transplants Cogswell and Harrison as a parody of the 1924 song, "Back in Hackensack, New Jersey", intended to be used for the Kona Independence Day celebration of 1933. Popular Hawaii-based bandleader Johnny Noble further adapted it to make it distinct from "Hackensack", and it became a runaway hit with tourists and natives alike. It was introduced on record by the Noelani Hawaiian Orchestra, but it was Ted Fio Rito's version that rocketed to the top of the Billboard charts for 14 week in early 1934. To this day, it can be heard in many movies and TV shows as an instant evocation of the beautiful 50th state.

Lyrics:

I want to go back to my little grass shack in Kealakekua, Hawaii
I want to be with all the kanes and wahines that I knew long ago
I can hear old guitars a playing, on the beach at Hoonaunau
I can hear the Hawaiians saying "Komomai no kaua ika hale welakahao"

It won't be long 'til my ship will be sailing back to Kona
A grand old place that's always fair to see
I'm just a little Hawaiian and a homeside Island boy
I want to go back to my fish and poi
I want to go back to my little grass shack in Kealakekua, Hawaii
Where the Humuhumu, Nukunuku a puaa goes swimming by
Where the Humuhumu, Nukunuku a puaa goes swimming by!

Recorded By:

Martin Denny
Les Paul and Mary Ford
Bing Crosby
Leon Redbone and Ringo Starr
Lisa Loeb

The Love Bug Will Bite You

By Pinky Tomlin
1937

A somewhat obscure chestnut of the late 1930s, it nonetheless enjoyed a brief moment in the sun soon after being written by musician and actor Pinky Tomlin (pictured), also responsible for the similarly infectious "The Object of My Affection". Introduced by the Jimmy Dorsey orchestra, it might best be remembered today for being included in the Little Rascals short "Our Gang Follies of 1938", in which it's sung by Darla Hood. In the 1990s, it was even adapted into Norwegian by the a cappella group Bjelleklang.

Lyrics:

The love bug will bite you if you don't watch out
If he ever bites you, then you'll sing and shout
You'll go (da-dee-da-dee-da-dee da and whoa dee doe dee doe)
That's what love is all about

You can't eat, you can't sleep, you'll go crazy
You'll just la dee da dee la all day
If someone wants to know why you're crazy 
You'll answer (da da da doo with a ho ho hay-hay)

The love bug will bite you if you don't watch out
If he ever bites you, then you'll sing and shout
You'll go (da-dee-da-dee-da-dee da and whoa dee doe dee doe)
That's what love is all about

Recorded By:

The Mills Brothers
Fats Waller
Guy Lombardo and His Royal Canadians
Teddy Hill
Vera Lynn

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

You Brought a New Kind of Love to Me

By Sammy Fain, Irving Kahal and Pierre Norman
1930

Iconic Frenchman Maurice Chevalier was one of the leading film heartthrobs of the Depression era, and this song was one of the reasons why. Introduced by him in the romantic comedy The Big Pond, in which he sung it to the beautiful Claudette Colbert, the song is an ebullient love anthem, with a Kahal lyric that extols the virtues of the beloved in the manner of a Shakespearean sonnet. Chevalier's recording was a major hit, and was famously lampooned the following year by the Marx Brothers in Monkey Business, which features a scene in which the boys try to pass themselves off as the crooner to get through customs.

Lyrics:

If the nightingales could sing like you
They'd sing much sweeter than they do
For you brought a new kind of love to me

And if the sandman brought me dreams of you
I'd want to sleep my whole life through
You brought a new love to me

I know that I'm the slave, you're the queen
Still you can understand that underneath it all
You're a maid and I am only a man

I would work and slave the whole day through
If I could hurry home to you
You brought a new kind of love to me

Recorded By:

Frank Sinatra
Doris Day
Benny Goodman
Peggy Lee 
Vera Lynn

Out of Nowhere

By Johnny Green and Edward Heyman (pictured)
1931

From the same team responsible for "Body and Soul" and "I Cover the Waterfront" came this song, which turned out to be Bing Crosby's first solo #1 hit when he recorded it for Brunswick Records in March 1931. It would continue to be closely associated with Bing, although it eventually became a widely recorded jazz standard. Interestingly, the harmonic progression of this tune can be found in several other compositions, including Gigi Gryce's "Sans Souci" and Alexander Courage's classic theme to the original Star Trek TV series. It is also a favorite of Woody Allen's, popping up in three of his films: 1993's Manhattan Murder Mystery (Coleman Hawkins version), 1997's Deconstructing Harry (Django Reinhardt version) and 1999's Sweet and Lowdown (Dick Hyman version).

Lyrics:

You came to me from out of nowhere 
you took my heart and found it free
Wonderful dreams, wonderful schemes from nowhere
Made every hour sweet as a flower to me

And if you should go back to your nowhere 
Leaving me with a memory
I'll always wait for your return out of nowhere
Hoping you'll bring your love to me

When I least expected, kindly faith directed
You to make each dream of mine come true
And if it's clear or raining, there is no explaining
Things just happened and so did you

You came to me from out of nowhere
You took my heart and you found it free
Wonderful dreams, wonderful schemes from nowhere
Made every hour sweet as a flower to me

Recorded By:

Dave Brubeck
Lena Horne
Ella Fitzgerald
Vic Damone
Art Tatum

Jeepers Creepers

By Harry Warren and Johnny Mercer
1938

One of the catchiest songs of the World War II generation, and a song that remains in the mainstream consciousness to this day, "Jeepers Creepers" was written for the movie, Going Places, in which Louis Armstrong is the trainer of a horse named Jeepers Creepers (an old slang euphemism for Jesus Christ), who can only get the horse under control by playing the song for him. It was nominated for the Oscar for Best Song, losing to "Thanks for the Memory". Since then it has been revisited countless times, in Warner Bros. cartoons, and in later films (including Yankee Doodle Dandy, in which a bunch of teens sing it, much to the chagrin of James Cagney's old-fashioned James M. Cohan). It even had an unlikely renaissance in the 2001 horror film of the same name, in which the song heralds the appearance of the murderous creature known as "The Creeper". With its bouncy Warren tune and irresistible Mercer lyrics, it's not tough to see why it has endured so long.

Lyrics:

Oh, jeepers creepers, where'd ya get those peepers?
Jeepers creepers, where'd ya get those eyes?
Oh, gosh all, git up, how'd they get so lit up?
Gosh all, git up, how'd they get that size?

Oh, golly gee, when you turn those heaters on
Woe is me, got to put my cheaters on

Jeepers creepers, where'd ya get those peepers?
Oh, those weepers, how they hypnotize!
Oh, where'd ya get those eyes?

Recorded By:

Johnny Mercer
Frank Sinatra
Al Caiola
Dave Brubeck
Tony Bennett

You and the Night and the Music

By Arthur Schwartz and Howard Dietz
1934

With today being the birthday of the legendary songwriter Arthur Schwartz (father of longtime radio legend Jonathan Schwartz), it seems only right to spotlight a classic Schwartz song. This is one of the most famous collaborations Schwartz made with his regular lyricist partner, Howard Dietz. Although today it's considered one of Schwartz' great triumphs, the song came from a show that was mostly unremarkable: Revenge with Music, in which it was introduced by Georges Metaxa and Libby Holman. But there was certainly something special about the haunting tune, which was later brought back in the 1953 movie musical The Band Wagon, which featured a cavalcade of Schwartz/Dietz songs.

Lyrics:

You and the night and the music
Fill me with flaming desire
Setting my being completely on fire
You and the night and the music
Thrill me but will we be one
After the night and the music are done?

Until the pale light of dawning and daylight 
Our hearts will be throbbing guitars
Morning may come without warning
And take away the stars

If we must live for the moment
Love till the moment is through
After the night and the music die
Will I have you?

Recorded By:

Mel Torme
Frank Sinatra
Julie London
Jackie Gleason Orchestra
Vic Damone

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

I Don't Want to Set the World on Fire

By Bennie Benjamin, Eddie Durham, Sol Marcus and Eddie Seiler
1938

Although written before World War II, this love ballad became an anthem of separated wartime couples due to the fact that it wasn't recorded until just prior to the Pearl Harbor attack in 1941, and due to its lyrics about "setting the world on fire". The song was introduced by Harlan Leonard and His Rockets, but the major number one hit came soon after from Horace Heidt. The Ink Spots (pictured) had a number-three hit with it, but it's this version that is perhaps best know today. Oddly enough, it inspired a 1988 recording by the heavy metal band Megadeth called "Set the World Afire".

Lyrics: 

I don't want to set the world on fire
I just want to start a flame in your heart

In my heart I have but one desire
And that one is you, no other will do

I've lost all ambition for worldly acclaim
I just want to be the one you love
And with your admission that you'd feel the same
I'll have reached the goal I'm dreaming of, believe me

I don't want to set the world on fire
I just want to start a flame in your heart

Recorded By:

Frankie Laine
Betty Carter
Vera Lynn
Fats Domino
Guy Lombardo and His Royal Canadians

Ten Cents a Dance

By Richard Rodgers and Lorenz Hart
1930

This song tells the melancholy tale of a "taxi dancer"--women who were employed in the early 20th century in dance halls in which male customers paid to dance with them. It was introduced by the legendary Ruth Etting in the Florenz Ziegfeld-produced stage musical Simple Simon. Etting replaced Lee Morse, the actress for whom the song was written, when Morse showed up to the Boston premiere intoxicated. Etting later had a major hit with the song, and the following year it inspired a film starring Barbara Stanwyck. Doris Day performed the song in the 1955 Etting biopic, Love Me or Leave Me.

Lyrics: 

I work at the Palace ballroom, but gee that palace is cheap
When I get back to my chilly hall room, I'm much too tired to sleep
I'm one of those lady teachers, a beautiful hostess you knowOne that the palace features, at exactly a dime a throw.

Ten cents a dance, that's what they pay me
Gosh how they weigh me down.Ten cents a dance, pansies and rough guys, tough guys who tear my gown.

Seven to midnight I hear drums, loudly the saxophone blows,
Trumpets are tearing my ear-drums, customers crush my toes.
Sometimes I think, I've found my hero
But it's a queer romanceAll that you need is a ticket,
Come on big boy, ten cents a dance.

Fighters and sailers and bow-legged tailors
Can pay for their tickets & rent me
Butchers and barbers and rats from the harbor
Are sweethearts my good luck has sent me
Thought I've a chorus of elderly bows
Stockings are porous with holes at the toes
I'm here till closing time
Dance and be merry it's only a dime
Sometimes I think, I've found my hero
But it's a queer romance

All that you need is a ticket.
Come on, come on big boy, ten cents a dance.

Recorded By:

Ella Fitzgerald
Anita O'Day
Shirley Horn
Twiggy
Ralph Sharon Trio

Say It Isn't So

By Irving Berlin
1932

This wonderful song was almost lost to the mists of time. Enduring a career downturn in the early 1930s, an unconfident Irving Berlin stuffed it away in a drawer, thinking it unworthy. Fortunately, one of his employees thought highly of it and brought it to the most established radio star in America, Rudy Vallee, who performed it on the air and made it an instant hit. The first studio recording was made by George Nelson and his Orchestra, and it soared to #1 on the charts. Ozzie Nelson would also have a top ten hit with it that same year. This song, along with "How Deep Is the Ocean", helped launch Berlin back to prominence.

Lyrics: 

Say it isn't so,

Say it isn't so,
Everyone is saying
You don't love me,
Say it isn't so.

Everywhere I go,
Everyone I know,Whispers that you're growing tired of me,
Say it isn't so.

People say that you,Found somebody new,
And it won't be long
Before you leave me,
Say it isn't true,

Say that everything is still okay,
That's all I want to know,

And what they're saying,

Say it isn't so.

Recorded By:

Connie Boswell
Joe Williams
Aretha Franklin
Stan Kenton
Dinah Washington

Body and Soul

By Johnny Green, Edward Heyman, Robert Sour and Frank Eyton
1930

The jazz standard of all jazz standards, "Body and Soul" actually began its life as a London concert hall number, written for British actress and singer Gertrude Lawrence. It was soon brought to Broadway for Libby Holman to sing in the revue Three's a Crowd. With its rich, complex melody from Green, it was immediately taken up by jazz bands, beginning with Louis Armstrong's, and has remained a top favorite ever since, known for its easy adaptability by improvisational musicians. Perhaps the most highly regarded of all jazz takes on this immortal tune is the recording by tenor saxophonist Coleman Hawkins.

Lyrics:

My heart is sad and lonely 
For you I sigh, for you dear only 
Why haven't you seen it 
I'm all for you body and soul 
I spend my days in longin' 
And wondering why it's me you're (ogling)

I tell you I mean it 
I'm all for you body and soul 
I can't believe it 
It's hard to conceive it 
That you turn away romance 
Are you pretending 
It looks like the ending 
And less I could have one more chance to prove, dear

My life a wreck you're making 
You know I'm yours for just the taking 
I'd gladly surrender myself to you body and soul 
My life a wreck you're making 
You know I'm yours for just the taking 
I would gladly surrender myself to you body and soul

Recorded By:

Billie Holiday
Billy Eckstine
Tony Bennett and Amy Winehouse
Stan Kenton
Benny Goodman

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

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