Let's Misbehave

By Cole Porter
1927

One of the signature, defining tunes of the Roaring '20s, and yet it almost didn't see the light of day. Porter composed this ode to free-wheeling sexuality for his first major Broadway revue, Paris, but it was substituted at the last minute with another Porter gem, "Let's Do It" (it was eventually included in the 1962 revival of Anything Goes). Nevertheless, the star of Paris, Irene Bordoni, made a recording of it that became an instant hit. It has since become a song that instantly conjures up those Jazz Age days, and thus has appeared in many films over the years. The 1928 Irving Aaronson version alone has been featured in two Woody Allen films, was danced to by Christopher Walken in Pennies from Heaven, and most recently appeared in Baz Luhrmann's The Great Gatsby. Elvis Costello also performed it in the Cole Porter biopic, De-Lovely.

Lyrics:

You could have a great career,
And you should;
Yes you should.
Only one thing stops you dear:
You're too good;
Way too good!

If you want a future, darlin',
Why don't you get a past?
'Cause that fateful moment's comin' at last...

We're all alone, no chaperone
Can get our number
The world's in slumber--let's misbehave!!!

There's something wild about you child
That's so contagious
Let's be outrageous--let's misbehave!!!

When Adam won Eve's hand
He wouldn't stand for teasin'.
He didn't care about those apples out of season.

They say that Spring means just one little thing to little lovebirds
We're not above birds--let's misbehave!!!

It's getting late and while I wait
My poor heart aches on
Why keep the breaks on? Let's misbehave!!!

I feel quite sure affaire d'amour
Would be attractive
While we're still active, let's misbehave!

You know my heart is true
And you say you for me care...
Somebody's sure to tell,
But what the heck do we care?

They say that bears have love affairs
And even camels
We're men and mammals--let's misbehave!!!

Recorded By:

Irving Aaronson and His Commanders
Cole Porter
Elvis Costello
Cybill Shepherd
Ethel Merman

I Get a Kick Out of You

By Cole Porter
1934

Five years ago today, I kicked off the Standard of the Day blog with Cole Porter's "Cheek to Cheek". And today, I celebrate that anniversary with another Porter song, which became a signature tune for the Chairman of the Board, Frank Sinatra. Of course, 20 years before Frank famously recorded it for his Swing Easy album, it was introduced in the Broadway musical Anything Goes, by Ethel Merman. The song is quintessential Porter, with a soaring melody that is matched perfectly by its wry, yet poignant lyric. It's original lyrical reference to cocaine was controversial for the time, and later substituted with other lyrics (even by Merman and Sinatra themselves). Yet Porter's sophistication is so irresistible that such substitution is silly and unnecessary. This is one of the very best from possibly the best of the giants of American popular song, and thus fitting that it would become so identified with Sinatra, perhaps the greatest interpreter of popular song. And of course, it perfectly sums up what Standard of the Day is all about.

Thanks for continually supporting this labor of love, and I hope to continue to bring great music to you for many more years! I sure do get a kick out of it...

Lyrics:

My story is much to sad to be told,
But practically everything leaves me totally cold.
The only exception I know is the case
When we're out on a quiet spree,
Fighting vainly the old ennui,
And I suddenly turn and see
Your fabulous face...

I get no kick from champagne.
Mere alcohol doesn't thrill me at all,
So tell me why should it be true
That I get a kick out of you?

Some they may go for cocaine.
I'm sure that if I took even one sniff
It would bore me terrifically too.
Yet I get a kick out of you.

I get a kick everytime I see you standing there before me.
I get a kick, though it's clear to see
You obviously don't adore me.

I get no kick in a plane.
Flying too high with some guy in the sky
Is my idea of nothing to do.
But I get a kick out of you!

Recorded By:

Tony Bennett
Charlie Parker
Artie Shaw
Louis Armstrong and Oscar Peterson
Dinah Washington

What Is This Thing Called Love?

By Cole Porter
1929

A mournful dirge by the great Porter for the musical Wake Up and Dream, in which it was introduced in London by Elsie Carlisle (pictured). Porter was known for his bouncy, light-hearted highs and desolate lows. This would be an example of the latter, and its soulful, introspective nature made it a natural for the jazz artists who discovered it in the 1930s and beyond. In fact, several jazz compositions, including "Fifth House" by John Coltrane and "Barry's Bop" by Fats Navarro, are based on the chord structure of this song.

Lyrics:

I was a humdrum person,
Leading a life apart.
When love flew in through my window wide,
And quickened my humdrum heart.

Love flew in through my window,
I was so happy then.
But after love had stayed a little while,
Love flew out again.

What is this thing called love?
This funny thing called love?
Just who can solve its mystery?
Why should it make a fool of me?

I saw you there one wonderful day.
You took my heart, and threw it away.
That's why I ask the Lord in heaven above,
What is this thing called love?

Recorded By:

Frank Sinatra
Billie Holiday
Ella Fitzgerald
Bill Evans
Coleman Hawkins

It's Alright With Me

By Cole Porter
1953

One of the very most sophisticated compositions by the songbook's most sophisticated composer. This gem was written for Porter's 1953 musical Can-Can, in which it was introduced by Peter Cookson. Porter's melody line virtually embodies a combination of smoldering longing and wistful regret, as the lyric expresses the subject's acceptance of his attraction to the object of his desire, even though he admits that he is still in love with someone else. A complex and beautiful song.

Lyrics:

It's the wrong time and the wrong place
Though your face is charming, it's the wrong face
It's not her face, but such a charming face
And it's alright with me

It's the wrong song with the wrong style
Though your smile is lovely, it's the wrong smile
It's not her smile, but such a lovely smile
That it's alright with me

You can't know how happy I am we met
I'm strangely attracted to you
There's someone I'm trying so hard to forget
Don't you wanna forget someone too

It's the wrong game with the wrong chips
Though your lips are tempting, they're the wrong lips
They're not her lips, but they're such tempting lips
That it's all right with me

Recorded By:

Frank Sinatra
Ella Fitzgerald
Tom Waits
Mel Torme
Erroll Garner

Always True to You in My Fashion

By Cole Porter
1948

Perhaps one of the master's greatest and cleverest compositions, with a lyric that never ceases to elicit amusement and exude effortless charm. It was written for Porter's celebrated musical Kiss Me, Kate, in which it was introduced by Broadway standout Lisa Kirk. The combination of sophistication and underlying naughtiness is the epitome of Porter's body of work.

Lyrics (extended stage version):

Oh, Bill
Why can't you behave
Why can't you behave?
How in hell can you be jealous
When you know, baby, I'm your slave?
I'm just mad for you
And I'll always be
But naturally.....

If a custom-tailored vet
Asks me out for something wet
When the vet begins to pet, I cry "hooray!"
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

I enjoy a tender pass
By the boss of Boston, Mass
Though his pass is middle-class and not Backa Bay
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

There's a madman known as Mack
Who is planning to attack
If his mad attack means a Cadillac, okay!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

I've been asked to have a meal
By a big tycoon in steel
If the meal includes a deal, accept I may
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, Darlin' in my way

I could never curl my lip
To a dazzlin' diamond clip
Though the clip meant "Let 'er rip", I'd not say "Nay!"
But I'm always true to to you, darlin, in my fashion
Yes, I'm always true to you, darlin' in my way

There's an oil man known as "Tex"
Who is keen to give me checks
And his checks, I fear, mean that sex is here to stay!
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

There's a wealthy Hindu priest
Who's a wolf, to say the least
When the priest goes too far East, I also stray
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin'in my way

There's a lush from Portland, Ore
Who is rich but such a bore
When the bore falls on the floor, I let him lay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin',in my way

Mister Harris, plutocrat
Wants to give my cheek a pat
If the Harris pat means a Paris hat, Bébé, Oo-la-la!
Mais je suis toujours fidele, darlin', in my fashion
Oui, je suis toujours fidele, darlin', in my way

From Ohio, Mister Thorne
Calls me up from night 'til morn
Mister Thorne once corner'd corn and that ain't hay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

From Milwaukee, Mister Fritz
Often moves me to the Ritz
Mister Fritz is full of Schlitz and full of play
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

Mister Gable, I mean Clark
Wants me on his boat to park
If the Gable boat means a sable coat, anchors aweigh!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

Recorded By:

Blossom Dearie
Ella Fitzgerald
Della Reese
Eartha Kitt
Peggy Lee & George Shearing

My Heart Belongs to Daddy

By Cole Porter
1938

Happy Father's Day to all SOTD readers... This clever hit for Porter was from his musical Leave It to Me!, in which is was introduced by Mary Martin. She would again perform the song in the 1940 motion picture Love Thy Neighbor. Both melody and lyrics are by Porter as usual, and in this case the lyric is particularly impressive, as it is no mean feat to rhyme anything with "Daddy".

Lyrics:

I used to fall in love with all those boys who maul the young cuties
But now I find I’m more inclined to keep my mind on my duties.

While tearing off a game of golf
I may make a play for the caddy
But when I do, I don’t follow through
‘cause my heart belongs to Daddy.

If I invite a boy some night
To dine on my fine finnan haddie
I just adore his asking for more
But my heart belongs to Daddy

Yes my heart belongs to Daddy
So I simply couldn’t be bad
Yes, my heart belongs to Daddy
Da-da-da, da-da-da, da-da-da
So I want to warn you, laddie
Though I know you’re perfectly swell
But my heart belongs to Daddy
‘cause my Daddy he treats it so well

There was a dame that a football game
Made long for the strong undergraddie
I never dream of making the team
‘cause my heart belongs to daddy

Yes, my heart belongs to Daddy
So I simply couldn’t be bad
Yes, my heart belongs to Daddy
Da-da-da, da-da-da, da-da-da
So I want to warn you, laddie
Though I know you’re perfectly swell
That my heart belongs to Daddy
‘cause my Daddy, he treats it so well.

Recorded By:

Ella Fitzgerald
Herb Alpert & Tijuana Brass
Oscar Peterson
Marilyn Monroe
Della Reese

So in Love

By Cole Porter
1948

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

I've Got You Under My Skin

By Cole Porter
1936

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

I Concentrate on You

By Cole Porter
1940

A Porter tune that is typically dripping with class and sophistication. This quiet and moving ballad was written for the film Broadway Melody of 1940, in which it was introduced by Douglas McPhail. This same show featured such other Porter classics as "Begin the Beguine".

Lyrics:

Whenever skies look gray to me,
And trouble begins to brew,
Whenever the winter winds become too strong,
I concentrate on you.

When fortune cries nay, nay to me,
And people declare you're through,
Whenever the blues become my only songs,
I concentrate on you.

On your smile, so sweet, so tender,
When at first my kiss you do decline,
On the light in your eyes when you surrender,
And once again our arms intertwine.

And so, when wise men say to me
That loves young dream never comes true,
To prove that even the wise men can be wrong,
I concentrate on you.

Recorded By:

Ella Fitzgerald
Frank Sinatra
Fred Astaire
Patricia Barber
Lena Horne

All Through the Night

By Cole Porter
1934

One of the many classic standards Porter composed for his epic musical, Anything Goes. This would be the same stellar work that included such hits as "You're the Top", "I Get a Kick Out of You" and the title song. This one was introduced on stage by stars Ethel Merman and William Gaxton.

Lyrics:

The day is my enemy, the night my friend,
For I'm always so alone
Till the day draws to an end.
But when the sun goes down
And the moon comes through,
To the monotone of the evening's drone
I'm all alone with you.

All through the night,
I delight in your love,
All through the night, you're so close to me.
All through the night, from a height far above,
You and your love brings me ecstasy.

When dawn comes to waken me,
You're never there at all.
I know you've forsaken me,
Till the shadows fall.
But then once again
I can dream,
I've the right
To be close to you
All through the night.

Recorded By:

Ella Fitzgerald
Julie London
Marilyn Horne
Paul Robeson
Cole Porter

I Love You

By Cole Porter
1944

An amusing composition from the king of amusing compositions. For his musical Mexican Hayride, Porter took a cliche title and deliberately wrote a lyric that would be humorously banal for it. It was introduced by Bobby Clark on stage, and later that year in a hit record from Bing Crosby.

Lyrics:

I love you
Hums the April breeze.
I love you
Echo the hills.

I love you
The golden dawn agrees
As once more she sees
Daffodils.

It's spring again
And birds on the wing again
Start to sing again
The old melody.

I love you,
That's the song of songs
And it all belongs
To you and me.

Recorded By:

Frank Sinatra
Jo Stafford
Barbra Streisand
Bill Evans
Anita O'Day

In the Still of the Night

By Cole Porter
1937

A landmark Porter tune, evocative, poignant, and an excellent representation of his incomparable work. It was original written for the motion picture Rosalie, in which it was sung by none other than Nelson Eddy. Tommy Dorsey made a #3 hit with it that fall, with the first commercial recording of the song. Since then, it has become one of the most often recorded Porter songs.

Lyrics:

In the still of the night,
As I gaze out of my window
At the moon in it's flight,
My thoughts all stray to you.

In the moon's yellow light,
While the world is in slumber,
Ah, the times without number,
Darling, when I say to you:

"Do you love me, as I love you?
Are you my life to be,
My dream come true?
Or will this dream of mine
Fade out of sight?
While the moon's growing dim
On the rim of the hill,
In the chill, still of the night.

Recorded By:

Sammy Davis Jr.
Frank Sinatra
Ella Fitzgerald
Della Reese
Carly Simon

You'd Be So Easy to Love

By Cole Porter
1936

Porter composed this, one of his most beautiful melodies/lyrics, for the musical film Born to Dance, in which it was sung by Eleanor Powell, James Stewart and Frances Langford. It would later be included in the 1987 revival of Porter's Anything Goes. Josephine Baker recorded a French version in 1937 called "C'est si facile de vous aimer".

Lyrics:

You'd be so easy to love.
Easy to idolize all others above.
So worth the yearning for,
So swell to keep the home fire burning for.

We'd be so grand at the game,
So carefree together, that it does seem a shame
That you can't see your future with me,
'Cause you'd be so easy to love.

Recorded By:

Frank Sinatra
Billie Holiday
Carmen McRae
Vic Damone
Ella Fitzgerald

How Could We Be Wrong?

By Cole Porter1933

A song which works equally well as a foxtrot or a heartbreaking ballad, it was introduced by Gertrude Lawrence in the Porter musical, "Nymph Errant". Not one of Porter's best known compositions, but an extremely powerful one, nonetheless. For anyone who's ever found that someone with whom to sing life's duet.
Lyrics:

The moment I saw you and you looked my way,
That moment of moments, I started to say:
"Could this be my long lost dream come true?"
The moment we touched, I knew.

How could we be wrong,
When we both are so set on it?
how could we be wrong?

Our love is so strong,
I'd be willing to bet on it.
How could we be wrong?

Why should it ever die?
Darling, you and I
Are too wonderfully happy today
To throw it away.

Now, life is a song.
If we build a duet on it,
How could we be wrong?
Recorded By:

Ray Noble w/Al Bowlly
Bobby Short
Maude Maggart
Billy Paul Williams
Charlotte McKinnon

Begin the Beguine

By Cole Porter
1935

A drastic departure from the traditional 32-bar pop song, this 108-bar tune was introduced by June Knight in the Porter musical Jubilee. It's complexity is such that even the composer himself--who wrote the song on the piano at the Ritz Bar in Paris--claimed never to be able to perform it without the sheet music in front of him. Three years after Jubilee, Artie Shaw's had a major hit with it, and it became something of a theme song for the band.

Lyrics:

When they begin the beguine,
It brings back the sound of music so tender.
It brings back a night of tropical splendor.
It brings back a memory evergreen.

I'm with you once more under the stars,
And down by the shore an orchestra's playing.
Even the palms seem to be swaying,
When they begin the beguine.

To live it again is past all endeavor,
Except when that tune clutches my heart,
And there we are, swearing to love forever,
And promising never, never to part.

What moments divine, what rapture serene,
Till clouds come along to disperse the joys we had tasted.
And now when I hear people curse the chance that was wasted,
I know but too well what they mean.

So don't let them begin the beguine,
Let the love that was once a fire remain an ember;
Let it sleep like the dead desire I only remember,
When they begin the beguine.

Oh yes, let them begin the beguine, make them play,
Till the stars that were there before return above you,
Till you whisper to me once more, Darling, I love you!
And we suddenly know what heaven we're in,
When they begin the beguine.

Recorded By:

Ella Fitzgerald
Frank Sinatra
Sheryl Crow
Julio Iglesias
Django Reinhardt

Just One of Those Things

By Cole Porter
1935

A classic example of the style and sophistication that characterized much of the standards era, this extremely popular song was originally composed by Porter for the musical Jubilee. Doris Day included it in two of her 1950s movies, Lullaby of Broadway and Young at Heart, and Nat Cole named a 1957 album for it. A mature reflection on an ended love affair, the song also features prominently in The Catcher in the Rye, in which it is a favorite of Holden Caulfield. Can you imagine a contemporary pop song referencing Abelard and Heloise?

Lyrics:

As Dorothy Parker once said to her boyfriend,
Fare thee well.
As Columbus announced, when he nearly was bounced,
It was swell, Isabelle, swell.
As Abelard said to Heloise,
Don't forget to drop a line to me, please.
As Juliet cried in her Romeo's ear,
"Romeo, why not face the fact, my dear?"

It was just one of those things,
Just one of those crazy flings.
One of those bells that now and then rings,
Just one of those things.

It was just one of those nights,
Just one of those fabulous flights.
A trip to the moon on gossamer wings,
Just one of those things.

If we'd thought a bit
By the end of it,
When we started painting the town,
We'd have been aware
That our love affair
Was too hot not to cool down.

So good-bye, dear, and amen,
Here's hoping we meet now and then.
It was great fun,
But it was just one of those things.

Recorded By:

Ella Fitzgerald
Maurice Chevalier
Frank Sinatra
Peggy Lee
Louis Prima

Dream Dancing

By Cole Porter
1941

Still on the Fred Astaire kick today. This one was written by Porter for Astaire's movie You'll Never Get Rich. Ironically, it was introduced in the film as an instrumental; still Astaire was the first to subsequently record it with lyrics, accompanied by the Delta Rhythm Boys.

Lyrics:

When day is gone and night comes on,
Until the dawn what do I do?
I clasp your hand and wander through slumber land,
Dream dancing with you.

We dance between a sky serene
And fields of green sparkling with dew.
It's joy sublime whenever I spend my time
Dream dancing with you.

Dream dancing,
Oh, what a lucky windfall,
Touching you, clutching you,
All the night through.

So say you love me, dear,
And let me make my career
Dream dancing, dream dancing with you.

Recorded By:

Ella Fitzgerald
Mel Torme & George Shearing
Tony Bennett
Stacey Kent
Ray Anthony

You'd Be So Nice to Come Home To

By Cole Porter
1943

This Porter gem was written for the Columbia musical Something to Shout About, in which it was introduced by Don Ameche and Janet Blair (pictured). The first to record it was Dinah Shore, who made a big hit out of it, and it has since become one of Cole Porter's most beloved ballads. A perfect expression of romantic longing.

Lyrics:

It's not that you're fairer
Than a lot of girls just as pleasin'
That I doff my hat
As a worshiper at your shrine.
It's not that you're rarer
Than asparagus out of season--
No, my darling, this is the reason
Why you've got to be mine...

You'd be so nice to come to.
You'd be so nice by the fire.
While the breeze on high sang a lullaby,
You'd be all that I could desire.

Under stars chilled by the winter,
Under an August moon burning above,
You'd be so nice,
You'd be paradise, to come home to and love.

Recorded By:

Frank Sinatra
Ella Fitzgerald
Coleman Hawkins
Mel Torme
Jo Stafford

It's De-Lovely

By Cole Porter
1936

One of Porter's signature songs, its title was used for the title of the 2004 film of his life starring Kevin Kline. It was composed for the famous musical Red, Hot & Blue, and later adapted for the 1960s revival of Anything Goes. Chrysler kept the song in the popular vernacular by using it to advertise its line of DeSoto automobiles.

Lyrics:

I feel a sudden urge to sing
The kind of ditty that invokes the spring.
So control your desire to curse,
While I crucify the verse.
This verse I started seems to me
The Tin-Pantithesis of a melody,
So to spare you all the pain,
I'll skip the darn thing and sing the refrain...

The night is young, the skies are clear,
So if you want to go walking, dear,
It's delightful, it's delicious, it's de-lovely.

I understand the reason why
You're sentimental, 'cause so am I,
It's delightful, it's delicious, it's de-lovely.

You can tell at a glance
What a swell night this is for romance,
You can hear dear Mother Nature
Murmuring low,
"Let yourself go!"

So please be sweet, my chickadee,
And when I kiss you, just say to me,
"It's delightful, it's delicious,
It's delectable, it's delirious,
It's dilemma, it's delimit, it's deluxe,
It's de-lovely."

Recorded By:

Eddie Duchin
Ella Fitzgerald
Johnny Mathis
Sarah Vaughan
Dinah Shore

You're the Top

By Cole Porter
1934

From perhaps Porter's most iconic musical, Anything Goes, this song was introduced on Broadway by Ethel Merman and William Gaxton. In the film version two years later, Gaxton would be replaced by Bing Crosby. The song is an irresistible time capsule of 1930s culture, and some have also speculated its title and refrain are typically witty double entendres by Porter referring to homosexual slang for love partners, i.e. "bottoms" and "tops".

Lyrics:

At words poetic, I'm so pathetic
That I always have found it best,
Instead of getting 'em off my chest,
To let 'em rest, unexpressed.
I hate parading my serenading,
As I'll probably miss a bar,
But if this ditty is not so pretty,
At least it'll tell you how great you are.

You're the top!
You're the Coliseum.
You're the top!
You're the Louvre Museum.
You're a melody from a symphony by Strauss.
You're a Bendel bonnet,
A Shakespeare sonnet,
You're Mickey Mouse.

You're the Nile,
You're the Tower of Pisa.
You're the smile
On the Mona Lisa.
I'm a worthless check, a total wreck, a flop,
But if baby, I'm the bottom, you're the top!

Your words poetic are not pathetic.
On the other hand, babe, you shine,
And I can feel after every line
A thrill divine down my spine.
Now gifted humans, like Vincent Youmans,
Might think that your song is bad,
But I got a notion I'll second the motion,
And this is what I'm going to add:

You're the top!
You're Mahatma Gandhi.
You're the top!
You're Napoleon Brandy.
You're the purple light of a summer night in Spain.
You're the National Gallery,
You're Garbo's salary,
You're cellophane.

You're sublime,
You're turkey dinner.
You're the time of a Derby winner.
I'm a toy balloon that’s fated soon to pop,
But if baby, I'm the bottom, you're the top!

You're the top!
You're an arrow collar.
You're the top!
You're a Coolidge dollar.
You're the nimble tread of the feet of Fred Astaire.
You're an O'Neill drama,
You're Whistler's mama!
You're Camembert.

You're a rose,
You're Inferno's Dante.
You're the nose
On the great Durante.
I'm just in a way, as the French would say, "de trop".
But if baby, I'm the bottom, you're the top!

You're the top!
You're a dance in Bali.
You're the top!
You're a hot tamale.
You're an angel, you, simply too, too, too diveen.
You're a Boticcelli,
You're Keats, you're Shelly!
You're Ovaltine!

You're a boon,
You're the dam at Boulder.
You're the moon,
Over Mae West's shoulder.
I'm the nominee of the G.O.P. , or GOP!
But if baby, I'm the bottom, you're the top!

You're the top!
You're a Waldorf salad.
You're the top!
You're a Berlin ballad.
You're the boats that glide on the sleepy Zuider Zee.
You're an old Dutch master,
You're Lady Astor,
You're broccoli!

You're romance,
You're the steppes of Russia.
You're the pants
On a Roxy usher.
I'm a broken doll, a fol-de-rol, a blop!
But if baby, I'm the bottom, you're the top!

Recorded By:

Cole Porter
Barbra Streisand
Paul Whiteman
Bobby Short
Ella Fitzgerald