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

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

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

How Deep Is the Ocean?

By Irving Berlin
1932

One of the rare Berlin tunes to debut on the radio and not on stage, this song was written at a particularly low point in the composer's personal and professional life, which may account for the bittersweet, melancholy yet hesitantly hopeful melody and lyric. It was introduced by the Paul Whiteman orchestra. I hope you enjoy it today, as our celebration of Berlin's 125th birthday continues...

Lyrics:

How can I tell you what is in my heart?
How can I measure each and every part?
How can I tell you how much I love you?
How can I measure just how much I do?

How much do I love you?
I'll tell you no lie
How deep is the ocean?
How high is the sky?

How many times a day do I think of you?
How many roses are sprinkled with dew?

How far would I travel
To be where you are?
How far is the journey
From here to a star?

And if I ever lost you
How much would I cry?
How deep is the ocean?
How high is the sky?

Recorded By:

Frank Sinatra
Aretha Franklin
Ella Fitzgerald
Dexter Gordon
Eric Clapton

Try a Little Tenderness

By Jimmy Campbell, Reg Connelly & Harry M. Woods

1932

A song that has truly spanned generations. Introduced as a sweet love ballad by the Ray Noble orchestra in 1932, it became best known to later audiences due to the blockbuster 1966 single from Otis Redding that literally reinvented the tune as an R&B number. This version would famously be used in the 1980s film Pretty in Pink, and was recently sampled by Kanye West and Jay-Z for their 2011 record, "Otis". Talk about a song transcending the ages!

Lyrics:

She may be weary,
Women do get weary,
Wearing that same shabby dress.
But when she's weary,
Try a little tenderness.

You know she's waiting,
Just anticipating,
Things that she'll never possess.
But while she's waiting,
Try just a little tenderness.

It might be sentimental,
But she has her greaves and cares,
And soft words spoken gently
Makes it easier to bear.

She won't regret it,
Women don't forget it.
Love is their whole happiness.
But it's all so easy,
Try a little tenderness.

Recorded By:

Bing Crosby
Ruth Etting
Michael Buble
Three Dog Night
Ella Fitzgerald

Keepin' Out of Mischief Now

By Fats Waller & Andy Razaf
1932

One of the signature tunes of Thomas "Fats" Waller, although this one was actually introduced by Louis Armstrong. It was later recorded by Waller himself, most notably as an instrumental-only piano piece, and associated so much with the performer that it was included decades later in the stage revue of his work, Ain't Misbehavin'. A fine example of the melodic delights produced by the irrepressible Mr. Waller.

Lyrics:

Keepin' out of mischief now,
I really am in love and how.
I'm through playin' with fire,
It's you whom I desire

All the world can plainly see,
You're the only one for me.
I have told them in advance,
They can't break up our romance.

Livin' up to all my vows,
'Cause I'm keepin' out mischief now.

Recorded By:

Lee Wiley
Dinah Washington
Barbra Streisand
Dick Hyman
Louis Armstrong

Lullaby of the Leaves

By Bernice Petkere & Joe Young
1932

Featured in the very short-lived Broadway revue Chamberlain Brown's Scrap Book, this aching ballad was introduced on stage by Ina Hayward, but later became a jazz favorite after Freddie Berrens and his orchestra brought the song to radio. Although the show it came from may have been a flop, the song lives on as a rare treat to be discovered by fans of the Great American Songbook.

Lyrics:

Rustling of the leaves used to be my lullaby,
In the sunny south when I was a tot so high,
And now that I have grown
And myself alone.

Cradle me where southern skies can watch me with a million eyes,
Oh sing me to sleep,
Lullaby of the leaves

Cover me with heavens blue and let me dream a dream or two,
Oh sing me to sleep,
Lullaby of the leaves.

Im breezing along, along with the breeze,
Im hearing a song, a song thru the trees,
Ooh ooh ooh ooh ooh ooh.
That pine melody caressing the shore familiar to me, Ive heard it
before ooh ooh ooh ooh.

Thats southland, dont I feel it in my soul,
And dont I know Ive reached my goal,
Oh sing me to sleep,
Lullaby of the Leaves.

Recorded By:

Keely Smith
Chet Baker
Ella Fitzgerald
Benny Goodman
Anita O'Day

I Gotta Right to Sing the Blues

By Harold Arlen & Ted Koehler
1932

A popular jazz and blues standard by the Arlen/Koehler team, which as far as I know was not part of their revues, but rather a stand-alone song. It was introduced by Louis Armstrong, but soon became more closely associated with Jack Teagarden, who made it his theme song. A great example of the knack the Jewish Arlen for bluesy, African-American styled melodies.

Lyrics:

I gotta right to sing the blues
I gotta right to feel low-down
I gotta right to hang around
Down around the river

A certain gal in this old town
Keeps draggin' my poor (old) heart around
All I see, for me is - misery

I gotta right to sing the blues
I gotta right to moan and sigh
I gotta right to sit and cry
Down around the river

I know the deep blue sea
Will soon be callin' me
It must be love - say what you choose
I gotta right to sing the blues

Recorded By:

Frank Sinatra
Benny Goodman
Billie Holiday
Art Tatum
Earl Hines

You're Blase

By Ord Hamilton & R. Bruce Sievier
1932

A standard which originates in England and the stage revue known as Bow Bells. It was most famously recorded, however, by Ella Fitzgerald on her landmark album Like Someone in Love (which I happen to own on vinyl). An unusual, jazz-inflected melody makes this one an interesting little standout.

Lyrics:

You're deep just like a chasm
You've no, enthusiasm
You're tired and uninsipired.
You're blase.

Your day is one of leisure
In which you search for pleasure.
You're bored when you're adored.
You're blase.

While reaching for the moon,
And the stars up in the sky,
The simple things of normal life
Are slowly passing by.

You sleep, the sun is shining;
You wake, its time for dining.
There's nothing new for you to do
You're blase.

Recorded By:

Sarah Vaughan
Coleman Hawkins
Stan Getz
Benny Goodman
Art Tatum

I Don't Stand a Ghost of a Chance With You

By Victor Young, Ned Washington & Bing Crosby
1932

One of Bing Crosby's signature tunes, introduced and even co-written by Der Bingle. At least 20 major versions of the song would be recorded in the next couple of decades. Although less heard these days, it is a Crosby song that instantly conjures of the time from which it originates.

Lyrics:

I need your love so badly,
I love you oh so madly,
But I don't stand a ghost of a chance with you.

I thought at last I found you,
But other loves surround you,
And I don't stand a ghost of a chance with you.

If you'd surrender,
Just for a tender kiss or two,
You might discover
That I'm the lover meant for you,
And I'd be true.

But what's the good of scheming,
I know I'm only dreaming.
For I don't stand a ghost of a chance with you.

Recorded By:

Frank Sinatra
Billie Holiday
Mel Torme
Stan Getz
Duke Ellington

HAPPY HALLOWEEN from STANDARD OF THE DAY!

I'm Getting Sentimental Over You

By George Bassman & Ned Washington
1932

Although it was introduced by the Washboard Rhythm Kings, this song is best known as the theme for the Tommy Dorsey orchestra. Dorsey adopted the tune as his theme in 1935, and his saxophonist Noni Bernardi arranged it as a fox trot, which would be the form the band would always play it in. After Dorsey passed on in 1957, his former vocalist Frank Sinatra recorded the song as a tribute on his 1961 album I Remember Tommy.

Lyrics:

Never thought I'd fall,
But now I hear love's call.
I'm getting sentimental over you.

Things you say and do
Just thrill me through and through,
I'm getting sentimental over you.

I thought I was happy,
I could live without love.
Now I must admit,
Love is all I'm thinking of.

Won't you please be kind,
And just make up your mind
That you'll be sweet and gentle--be gentle with me!
`Cause I'm getting sentimental over you.

Recorded By:

Maynard Ferguson
Herb Alpert & Tijuana Brass
They Might Be Giants
Thelonious Monk
The Ink Spots

Willow Weep for Me

By Ann Ronell
1932

There is a bit of controversy surrounding this sublime and unusual jazz standard. Specifically, it has long been rumored that it was actually composed by George Gershwin, who was romantically involved with Ronell at the time it was published. However, this has never been proven, and Ronell was in fact a legit songwriter in her own right, also known for co-writing "Who's Afraid of the Big Bad Wolf?" for Disney. "Willow Weep for Me" was introduced by Paul Whiteman's orchestra, with Irene Taylor on vocals.

Lyrics:

Willow weep for me,
Willow weep for me,
Bend your branches green along the stream that runs to sea.
Listen to my plea,
Hear me willow, and weep for me.

Gone my lovers dream,
Lovely summer dream,
Gone and left me here to weep my tears into the stream.
Sad as I can be,
Hear me willow, and weep for me.

Whisper to the wind and say that love has sinned.
Left my heart a-breaking, and making a moan.
Murmur to the night to hide its starry light,
So none will see me sighing and crying all alone.

Weeping willow tree,
Weep in sympathy,
Bend your branches down along the ground and cover me.
When the shadows fall, hear me willow, and weep for me.

Recorded By:

Ella Fitzgerald
Frank Sinatra
Nina Simone
Jack Jones
Dinah Washington

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.

Sophisticated Lady

By Duke Ellington, Irving Mills & Mitchell Parish
1932

The epitome of all that was once classy about popular music, and is no longer. Ellington & Mills originally wrote it as a stand-alone melody, with the title referring to the Duke's memories of his old grade school teachers, who taught in the winter and vacationed in Europe, which to him "spelled sophistication." When Parish added the lyrics later, Ellington described them as "wonderful--but not entirely fitted to my original conception."

Lyrics:

They say into your early life romance came,
And in this heart of yours burned a flame,
A flame that flickered one day and died away.

Then, with disillusion deep in your eyes,
You learned that fools in love soon grow wise.
The years have changed you, somehow.
I see you now...

Smoking, drinking, never thinking of tomorrow, nonchalant.
Diamonds shining, dancing, dining with some man in a restaurant.
Is that all you really want?

No, sophisticated lady,
I know you miss the love you lost long ago,
And when nobody is nigh, you cry.

Recorded By:

Billie Holiday
Ella Fitzgerald
Thelonious Monk
Art Tatum
Sarah Vaughan

Fascination

By F.D. Marchetti & Dick Manning
1932

This song took quite a unique journey. It began its life in 1905 as a French tune by Marchetti and lyricist Maurice de Feraudy. Twenyy-seven years later, American lyricist Manning added English words, and the renamed song was published in the U.S. by the Southern Music Company. It remained in obscurity for another 25 years, when it was used as the main theme for the Audrey Hepburn/William Holden film Love in the Afternoon. The unforgettable recording by Jane Morgan soon followed, and the song was immortalized.

Lyrics:

It was fascination, I know,
And it might have ended
Right then, at the start.
Just a passing glance,
Just a brief romance,
And I might have gone on my way
Empty hearted.

It was fascination, I know,
Seeing you alone
With the moonlight above.
Then I touched your hand,
And the moment I kissed you,
Fascination turned to love.

Recorded By:

Nat King Cole
Dinah Shore
Dick Jacobs
Paul Mauriat
Maya Barsony

I'll Never Be the Same

By Matt Malneck, Frank Signorelli & Gus Kahn

1932

While still members of Paul Whiteman's successful orchestra, Malneck & Signorelli composed this tune as "Little Buttercup", but Kahn soon added a somewhat depressing lyric that contrasted interestingly with the melody's major key. Mildred Bailey (pictured) introduced the song in its complete form.

Lyrics:

I'll never be the same,

Life has lost its meaning for me.

I'll never be the same,

Nothing's what it once used to be.

And when the songbirds that sing

Tell me it's spring,

I don't believe their song.

Once love was king,

But kings can be wrong.

I'll never be the same,

There is such an ache in my heart.

I'll never be the same,

Since we're apart.

Though there's a lot that a smile can hide,

I know down deep inside,

I'll never be the same,

Never be the same again.

Recorded By:

Billie Holiday

Diana Krall

Frank Sinatra

Ruth Etting

Artie Shaw

You're Getting to Be a Habit with Me

By Harry Warren & Al Dubin
1932

Written for the classic Warner Bros. musical 42nd Street, the song was first sung by Bebe Daniels in the role of Dorothy Brock. Legend has it the title was inspired by a woman working on the Warner Bros. lot, who was asked why she was still involved with her boyfriend. The lyrics make heavy usage of the popular phraseology of drug addiction, an example of what could be gotten away with in pre-Hayes Code Hollywood.

Lyrics:

Every kiss, every hug,
Seems to act just like a drug--
You're getting to be a habit with me.
Let me stay in your arms,
I'm addicted to your charms--
You're getting to be a habit with me.

I used to think your love was something that I
Could take, or leave alone.
But now I couldn't do without my supply,
I need you for my own.

No, I can't break away,
I must have you every day--
As regularly as coffee or tea.
You've got me in your clutches,
And I can't get free--
You're getting to be a habit with me.

Recorded By:

Frank Sinatra
Dick Powell
Mel Torme
Diana Krall
Julie London