Ev'rything I've Got Belongs to You

By Richard Rodgers & Lorenz Hart

1942

One of the catchiest tunes to ever come out of the vaunted Rodgers/Hart collaboration, this one comes from the show By Jupiter, in which it was introduced by Ray Bolger (The Scarecrow from The Wizard of Oz) and Benay Venuta. This was the same show that also gave us, "Wait Till You See Her."

Lyrics:

I have eyes for you to give you dirty looks.
I have words that do not come from children's books.
There's a trick with a knife I'm learning to do,
And ev'rything I've got belongs to you.

I've a powerful anesthesia in my fist,
And the perfect wrist to give your neck a twist.
There are hammerlock holds, I've mastered a few,
And ev'rything I've got belongs to you.

Share for share, share alike,
You get struck each time I strike.
You for me- me for me-
I'll give you plenty of nothing.

I'm not yours for better but for worse,
And I've learned to give the well-known witches' curse.
I've a terrible tongue, a temper for two,
And ev'rything I've got belongs to you.

Recorded By:

Ella Fitzgerald
Blossom Dearie
Jane Monheit
Ed Kuepper
Charlie Byrd

Easter Parade

By Irving Berlin
1933

By the same man who gave us the ultimate Christmas standard, Irving Berlin, came this tune--which has become the ultimate Easter standard. Originally written for the Broadway revue As Thousands Cheer, in which it was introduced by Marilyn Miller and Clifton Webb, it later gained even more notoriety thanks to being sung by Bing Crosby in the film Holiday Inn, and in 1948 an entire musical film was built around it, starring Fred Astaire and Judy Garland. A true holiday classic from one of America's most cherished composers.

Lyrics:

In your Easter bonnet,
With all the frills upon it,
You'll be the grandest lady in the Easter Parade.

I'll be all in clover,
And when they look you over,
I'll be the proudest fellow in the Easter Parade.

On the avenue,
Fifth Avenue.
The photographers will snap us,
And you'll find that you're in the rotogravure.

Oh, I could write a sonnet
About your Easter bonnet,
And of the girl I'm taking to the Easter Parade.

Recorded By:

Al Jolson
Bing Crosby
Fred Astaire
Jimmy Lunceford
Perry Como

In the Cool, Cool, Cool of the Evening

By Hoagy Carmichael & Johnny Mercer
1951

The formidable duo of Carmichael and Mercer teamed up to create this irresisibly jaunty tune--which won the Academy Award--for the film Here Comes the Groom. It was introduced in the movie by the two stars, the incomparable Bing Crosby and then-Mrs. Ronald Reagan, Jane Wyman. A fine merger of a Carmichael melody and Mercer lyric.

Lyrics:

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Save your pappy a chair
When the party's getting a glow on
And singin' fills the air
In the shank of the night
When the doin's are right
Well you can tell em I'll be there

I like a barbecue
I like to boil a ham
And I vote for bola baste stew
What's that?
I like a weenie bake, steak and a layer cake
And you'll get a tummy ache too
We'll rent a tent or a teepee
Let the town crier cry
"All's well!"
And if it's RSVP
This is what I'll reply

In the cool, cool, cool of the evening
Tell 'em we'll be there
If you need a pair of freeloaders
To fracture your affair
I may even give them Pagliacci
Now stand back and give him air
If one can relax and we'll have a few yaks
And you can tell them we'll be there

"Oui," said the bumblebee
"Let's have jubilee."
"When?" said the prairie hen, "Soon?"
"Sure," said the dinosaur
"Where?" said the grisly bear
"Under the light of the moon."
"How about your brother, jackass?"
Everyone gaily cried
"Are you coming to the fracas?"
Ain't gonna blow it
"And all the respects," he sighed

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Stick 'em on my hair
If perchance we look a bit peeked
Remember se la guerre
If we're still on our feet
And there's something to eat
Well you can tell them we'll be there

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Better save a chair
When the party's getting a glow on
And singin' fills the air
If there's gas in my hack
and my laundry is back
If there's room for one more
And you need me
Why sure
If you need a new face or a tenor or base
If I can climb out of bed and put a head on my head
Well you can tell 'em we'll be there.

Recorded By:

Frank Sinatra
Bette Midler
Dean Martin
Frankie Laine & Jo Stafford
Ray Conniff

I Think of You

By Jack Elliott, Don Marcotte & Sergei Rachmaninoff
1941

Inspired by the gorgeous melody from the first movement of Rachmaninoff's Piano Concerto No. 2 in C Minor, this tune was adapted by Elliott, with lyrics added by Marcotte. Tommy Dorsey's orchestra introduced it with a young Frank Sinatra on vocals, and Frank would later revisit the song on his 1957 album Where Are You? One of the finest examples of a classical piece being adapted into a pop song, with Rachmaninoff's lush original melody blending perfectly with the heartbreaking Marcotte lyrics.

Lyrics:

In the hush of evening,
As shadows steal across my lonely room,
I think of you,
I think of you.

From afar the music
Of violins come softly through the gloom.
All I can do,
Is think of you.

Oh, I can see you standing there before me.
And I can hear you whisper,
"You adore me."

So when dusk is falling,
I live again the loveliness we knew.
I think of you,
I think of you.

Recorded By:

Frank Sinatra
Mildred Bailey
Jane Powell
Tierney Sutton
Johnny Desmond

My Romance

By Richard Rodgers & Lorenz Hart
1935
A stirringly beautiful ballad by the incomparable Rodgers & Hart team, this one came from Jumbo, the very same show that also gave us "Little Girl Blue" and "The Most Beautiful Girl in the World." It was performed in the 1962 film version of the show by the one and only Doris Day, and also used in a memorable commercial for the Ralph Lauren fragrance, Romance. It has also come to be closely associated with theater organs of the kind traditionally seen in old-school movie palaces.

Lyrics:

My romance doesn't have to have a moon in the sky.
My romance doesn't need a blue lagoon standing by.

No month of may, no twinkling stars.
No hide away, no softly guitars.

My romance doesn't need a castle rising in Spain.
Nor a dance to a constantly surprising refrain.

Wide awake I can make my most fantastic dreams come true.
My romance doesn't need a thing but you.

Recorded By:

Ella Fitzgerald
Frank Sinatra
Mel Torme
Rosemary Clooney
Art Blakey

I'll Build a Stairway to Paradise

By George Gershwin, Ira Gershwin & B.G. De Slyva
1922

A boisterous, rollicking number from the Gershwins, with a little help from De Sylva, this tune was introduced in George White's Scandals of 1922, in which it was played the Paul Whiteman orchestra, conducted by future film music impresario Max Steiner. Whiteman made a recording of it soon after, helping turn the song into one of the most memorable jazz pieces of the era, as well as a Roaring '20s anthem. The song experienced new life recently thanks to its inclusion in the Martin Scorsese film, The Aviator.

Lyrics:

All you preachers
Who delight in panning the dancing teachers,
Let me tell you there are a lot of features
Of the dance that carry you through
The gates of Hea-ven.

It's madness
To be always sitting around in sadness,
When you could be learning the steps of gladness.
You'll be happy when you can do
Just six or seven;

Begin to day!
You'll find it nice,
The quickest way to paradise.
When you practise,
Here's the thing to know,
Simply say as you go...

I'll build a stairway to Paradise
With a new step ev'ry day !
I'm gonna get there at any price;
Stand aside, I'm on my way !
I've got the blues
And up above it's so fair.
Shoes ! Go on and carry me there !
I'll build a stairway to Paradise
With a new step ev'ry day.

Ev'ry new step
Helps a bit ; but any old kind of two step,
Does as well. It don't matter what step you step,
If you work it into your soul
You'll get to Heaven.
Get bu-sy ;
Dance with Maud the countess, or just plain Lizzy:
Dance until you're blue in the face and dizzy.
When you've learn'd to dance in your sleep
You're sure to win out.

In time you'll get Saint Vitus dance,
Which beats the latest thing from France.
Take no chances on this Paradise ;
Let me give you advice.

Recorded By:

Rufus Wainwright
Sarah Vaughan
Paul Whiteman
J.D. Sebastian & Dion
Corrine Devries

Danny Stiles 1923-2011

There aren't many left working who are continuing the tradition of the Great American Songbook on the radio, especially in the New York market--once a haven for traditional pop music dating back to the days of WNEW-AM. One who immediately comes to mind is the great Jonathan Schwartz, still broadcasting proudly on New York's WNYC NPR affiliate, as well as Sirius-XM satellite radio. The other was Danny Stiles--and sadly, we lost Mr. Stiles early last week. With him went a national treasure--a 65-year radio tradition that spanned the post-World War II days right up to the 21st century, bringing us all the cherished hits from the golden age of American popular music.

Danny was 87 at the time of his death, and still broadcasting on New York's AM NPR affiliate, as well as streaming on the internet 24/7. The so-called Vicar of Vintage Vinyl, Danny Stiles on your radio dial, he was a comforting oasis of nostalgia and quality music in a sea of chaos and nonsense. He was one of those popular personalities that made the world a happier place simply by his existence--you always knew that no matter what was happening in the ever degrading world of recorded music, Danny Stiles was still on the air, and that was a good feeling. I'm sad to think that it will no longer be the case, ever again.

Stiles considered himself something of a curator of 20th century musical history, with a collection of more than a quarter of a million records, mostly in the categories of swing and traditional pop, from which he drew for his weekly radio program. By the end of his career, he had been relegated to a god-awful late Saturday night time slot--but at least he was still out there, doing his thing, playing the music of Basie, Sinatra, Ellington, Holiday, Crosby, Goodman and so any others.

As Schwartz and others have pointed out, Stiles stuck to his guns and stayed true to his musical convictions, despite the insidious incursion of radio program directors that continued to rot his industry--and the musical tastes of a nation--from the inside out over the decades following the war. For that, and for the music he joyously brought into our lives, Danny Stiles is to be commended. He was a rare gift, and we shall not see the like of him again.

Swingin' on a Star

By Jimmy Van Heusen & Johnny Burke
1944

An infectious classic composed specifically for Bing Crosby to sing in the 1944 film Going My Way, for which is won the Academy Award. The origin of the concept lay in a visit composer Van Heusen paid to Bing's house, during which the crooner rebuked his son comically for not wanting to go to school. Following Going My Way, Crosby would also have a huge hit with the song as a single recording. It would go on to become a truly beloved standard--specifically a favorite among children.

Lyrics:

Would you like to swing on a star?
Carry moonbeams home in a jar?
And be better off than you are?
Or would rather be a mule?

A mule is an animal with long, funny ears.
He kicks up at anything he hears.
His back is brawny, but his brain is weak,
He's just plain stupid, with a stubborn streak.
And by the way, if you hate to go to school,
You may grow up to be a mule!

Or would you like to swing on a star?
Carry moonbeams home in a jar?
And be better off than you are?
Or would you rather be a pig?

A pig is an animal with dirt on his face.
His shoes are a terrible disgrace.
He has no manners when he eats his food,
He's fat and lazy, and extremely rude.
So if you don't care a feather or a fig,
You may grow up to be a pig.

Or would you like to swing on a star?
Carry moonbeams home in a jar?
And be better off than you are?
Or would rather be a fish?

A fish won't do anything but swim in a brook,
He can't write his name or read a book.
To fool the people is his only thought,
And though he 's slippery, he still gets caught.
But then, if that sort of life is what you wish,
You may grow up to be a fish.

And all the monkeys aren't in the zoo--
Everyday you meet quite a few.
So you see, it's all up to you.
You could be better than you are--
You could be swingin' on a star.

Recorded By:

Frank Sinatra
Oscar Peterson
Burl Ives
Maria Muldaur
Tony Bennett

Baubles, Bangles and Beads

By Robert Wright & George Forrest
1953

A beguiling song written for the musical Kismet, and based--as with all the songs in that show--on a melody by classical composer Alexander Borodin. In this case, it's Borodin's String Quartet in D (second theme of the 2nd movement). Originally written as a waltz, pop artists have changed the structure to a more rhythmic four-beat one. Jazz artists are particularly drawn to it for its unique melody.

Lyrics:

Baubles, bangles,
Hear how they jing, jing-a-ling-a,
Baubles, bangles, bright, shiny beads.

Sparkles, spangles,
My heart will sing, sing-a-ling-a,
Wearing baubles, bangles and beads.

I'll glitter and gleam so,
Make somebody dream so,

That someday he may buy me,
A ring, ring-aling-a,
I've heard that's where it leads,
Wearing baubles and bangles and beads.

Recorded By:

Peggy Lee
Frank Sinatra
Julie Andrews
June Christy
Deodato

My Funny Valentine

By Richard Rodgers & Lorenz Hart
1937

One of the absolutely timeless Rodgers & Hart compositions, and a perfect example of how the best old standards expressed true, honest emotion without resorting to trite cliche. It was written for the show Babes in Arms, and introduced on stage by Mitzi Green. Accompanied by a lush and thoughtful Rodgers melody, Hart's lyric recounts a love for an individual who may not be perfect, but has captured the author's heart nevertheless. What a difference from contemporary culture's stress on perfection--and a perfect sentiment to keep in mind this Valentine's Day as you spend time with your own funny Valentine...

Lyrics:

My funny Valentine,
Sweet comic Valentine,
You make me smile with my heart.
Your looks are laughable,
Unphotographable,
Yet you're my favorite work of art.

Is your figure less than Greek?
Is your mouth a little weak?
When you open it to speak,
Are you smart?

But don't change a hair for me,
Not if you care for me,
Stay, little Valentine, stay...
Each day is Valentine's Day.

Recorded By:

Frank Sinatra
Chet Baker
Sarah Vaughan
Bobby Darrin
Miles Davis

After You've Gone

By Turner Layton & Henry Creamer
1918

A major hit of the World War I era, this tune would eventually become enormously popular with jazz musicians, due to the ease upon which it can be improvised. It was first recorded by Marion Harris, and would also be used as the theme song a BBC TV series of the same name. It remains one of the most familiar standards prior to the 1920s.

Lyrics:

Now won't you listen dearie while I say,
how could you tell me that you're goin' away?
Don't say that we must part, don't break my aching heart
You know I've loved you truly many years, loved you night and day
How can you leave me, can't you see my tears?
Listen while I say

After you've gone, and left me crying
After you've gone, there's no denying
You'll feel blue, you'll feel sad
You'll miss the dearest pal you've ever had.

There'll come a time, now don't forget it
There'll come a time, when you'll regret it
Some day, when you grow lonely
You heart will break like mine and you'll want me only
After you've gone, after you've gone away.

After I'm gone, after we break up
After I'm gone, you're gonna wake up
You will find, you were blind
To let somebody come and change your mind.

After the years, we've been together
Their joy and tears all kinds of weather
Someday, blue and downhearted
You'll long to be with me right back where you started
After I'm gone, after I'm gone away.

Recorded By:

Ella Fitzgerald
Frankie Laine
Bessie Smith
Fiona Apple
Nina Simone

Isn't This a Lovely Day (To Be Caught in the Rain)?

By Irving Berlin
1935

One of several American pop classics to have been derived from the sublime Berlin cinematic musical Top Hat, this number was of course written for Fred Astaire, who sings it for Ginger Rogers in the film. Since then, it's gently lilting melody and warm, carefree lyric have made it an unquestioned standard, favored by purveyors of light/piano jazz in particular. The essence of Astaire and Rogers, from the best of their RKO days.

Lyrics:

The weather is frightening,
The thunder and lightning
Seem to be having their way,
But as far as I'm concerned,
It's a lovely day.
The turn in the weather
Will keep us together
So I can honestly say
That as far as I'm concerned,
It's a lovely day and everythings ok.

Isn't this a lovely day to be caught in the rain?
You were going on your way,
Now you've got to remain.

Just as you were going,
Leaving me all at sea,
The clouds broke, they broke,
And oh what a break for me.

I can see the sun up high,
Though we're caught in a storm.
I can see where you and I could be cozy and warm.

Let the rain pitter patter,
But it really doesn't matter
If the skies are grey.
Long as I can be with you,
It's a lovely day.

Recorded By:

Tony Bennett
Ella Fitzgerald
Diana Krall
Jeri Southern
Oscar Peterson

The Most Beautiful Girl in the World

By Richard Rodgers & Lorenz Hart
1935

The classic songwriting duo of Rodgers & Hart originally composed this tune for their stage production, Jumbo, in which it was introduced by Donald Novis and Gloria Grafton. It is the epitome of the 1930s standard--a warm, poignant expression of loving awe from a man to a woman. As with all the best Rodgers & Hart compositions, the lilting Rodgers melody blends perfectly with the witty, layered Hart lyric. This is songwriting at its very best.

Lyrics:

We used to spend the spring together
Before we learned to walk;
We used to laugh and sing together
Before we learned how to talk.
With no reason for the season,
Spring would end as it would start.
Now the season has a reason
And there's springtime in my heart.

The most beautiful girl in the world
Picks my ties out,
Eats my candy ,
Drinks my brandy-
The most beautiful girl in the world.

The most beautiful star in the world
Isn't Garbo, isn't Dietrich,
But the sweet trick
Who can make me believe it's a beautiful world.

Social-not a bit,
Nat'ral kind of wit,
She' d shine anywhere,
And she hasn't got platinum hair.

The most beautiful house in the world
Has a mortgage-
What do I care?
It's goodbye care
When my slippers are next to the ones that belong
To the one and only beautiful girl in the world!

Recorded By:

Frank Sinatra
Dorsey Brothers Orchestra
Sonny Rollins
Les & Larry Elgart
Percy Faith

I'll See You in My Dreams

By Isham Jones & Gus Khan
1924

A huge hit of the mid 1920s, this beautiful love ballad has since become a standard, particularly for the guitar. This is usually credited to its later recording by the legendary Django Reinhardt. It's title was used as the title of the biopic on Kahn's life. The song was introduced by Jones (pictured) and the Ray Miller Orchestra. It is a classic example of the sentimental yet deeply endearing tunes of the era.

Lyrics:

I'll see you in my dreams
And I'll hold you in my dreams
Someone took you right out of my arms
Still I feel the thrill of your charms

Lips that once were mine
Tender eyes that shine
They will light my way tonight
I'll see you in my dreams

Oh, someone took you right out of my arms
Still I feel the thrill of your charms

Lips that once were mine
Tender eyes that shine
They will light my way tonight
I'll see you in my dreams

Recorded By:

Louis Armstrong
Jimmy Durante
Ella Fitzgerald
Mario Lanza
Tony Martin