Unforgettable

By Irving Gordon
1951

Perhaps one of the most enduring of all standards, still commonly known today by people of all ages, mainly thanks to the recording by Nat King Cole. It was Cole who introduced the song in 1951, re-recorded it in stereo ten years later, and with whom it has always been identified. His version was famously edited in 1991 into a posthumous "duet" with his daughter Natalie, which won the Grammy for Best Recording. Sadly, that version also amended the fine Nelson Riddle arrangement to including a cheesy sax solo in place of Riddle's trademark shimmering strings.

Lyrics:

Unforgettable
That's what you are,
Unforgettable
Tho' near or far.

Like a song of love that clings to me,
How the thought of you does things to me.
Never before
Has someone been more...

Unforgettable
In every way,
And forever more
That's how you'll stay.

That's why, darling, it's incredible
That someone so unforgettable
Thinks that I am
Unforgettable, too.

Recorded By:

Dick Hyman
Dinah Washington
Sammy Davis Jr.
Marvin Gaye
Lou Rawls

Ain't We Got Fun?

By Richard A. Whiting, Raymond B. Egan & Gus Kahn
1920

A classic foxtrot composition that became one of the theme songs of the Roaring '20s, as well as the Depression Era. It was introduced on stage in the revue Satires of 1920, but achieved even greater stature on the vaudeville circuit and in recordings. In particular, it has been immortalized by the recording by the great Eddie Cantor, and was even mentioned in F. Scott's Fitzgerald's The Great Gatsby. An uplifting ode to carefree living, it both epitomized the Jazz Decade, and raised the spirits of those who fell on hard times afterward.

Lyrics:

Bill collectors gather 'round and rather
Haunt the cottage next door
Men the grocer and butcher sent
Men who call for the rent
But within a happy chappy
And his bride of only a year
Seem to be so cheerful, here's an earful
Of the chatter you hear

Ev'ry morning, ev'ry evening
Ain't we got fun?
Not much money, Oh, but honey
Ain't we got fun?
The rent's unpaid dear
We haven't a bus
But smiles were made dear
For people like us

In the winter in the Summer
Don't we have fun
Times are bum and getting bummer
Still we have fun
There's nothing surer
The rich get rich and the poor get children
In the meantime, in between time
Ain't we got fun?

Just to make their trouble nearly double
Something happened last night
To their chimney a gray bird came
Mister Stork is his name
And I'll bet two pins, a pair of twins
Just happened in with the bird
Still they're very gay and merry
Just at dawning I heard

Ev'ry morning, ev'ry evening
Don't we have fun
Twins and cares, dear, come in pairs, dear
Don't we have fun
We've only started
As mommer and pop
Are we downhearted
I'll say that we're not

Landlords mad and getting madder
Ain't we got fun?
Times are so bad and getting badder
Still we have fun
There's nothing surer
The rich get rich and the poor get laid off
In the meantime, in between time
Ain't we got fun?

When the man who sold 'em carpets told 'em
He would take them away
They said, "Wonderful, here's our chance
Take them up and we'll dance"
And when burglars came and robbed them
Taking all their silver, they say
Hubby yelled, "We're famous, for they'll name us
In the pepers today

Night or daytime, it's all playtime
Ain't we got fun?
Hot or cold days, any old days
Ain't we got fun
If Wifey wishes
To go to a play
Don't wash the dishes
Just throw them away

Streetcar seats are awful narrow
Ain't we got fun?
They won't smash up our Pierce Arrow
We ain't got none
They've cut my wages
But my income tax will be so much smaller
When I'm laid off, I'll be paid off
Ain't we got fun?

Recorded By:

Peggy Lee
Doris Day
Eddie Cantor
Rosemary Clooney
Bing Crosby

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

There's No Business Like Show Business

By Irving Berlin
1946

The ultimate ode to the glitz and glamor of stage and screen, penned by one of America's most cherished composers, and a man who knew its allure perhaps better than just about anyone. The song was the centerpiece of Berlin's musical Annie Get Your Gun, in which it was introduced by Ray Middleton, Marty May and of course the great Ethel Merman in the starring role of Annie Oakley. It has since become one of Berlin's most cherished standards, a rousing anthem to the business of entertainment.

Lyrics:

There's no business like show business like no business I know
Everything about it is appealing, everything that traffic will allow
Nowhere could you get that happy feeling when you are stealing that extra bow

There's no people like show people, they smile when they are low
Even with a turkey that you know will fold, you may be stranded out in the cold
Still you wouldn't change it for a sack of gold, let's go on with the show

The butcher, the baker, the grocer, the clerk
Are secretly unhappy men because
The butcher, the baker, the grocer, the clerk
Get paid for what they do but no applause.
They'd gladly bid their dreary jobs goodbye for anything theatrical and why?

There's no business like show business and I tell you it's so
Traveling through the country is so thrilling, standing out in front on opening nights
Smiling as you watch the theater filling, and there's your billing out there in lights

There's no people like show people, they smile when they are low
Angels come from everywhere with lots of jack, and when you lose it, there's no attack
Where could you get money that you don't give back? Let's go on with the show

(There's no business like show business like no business I know)
You get word before the show has started that your favorite uncle died at dawn
Top of that, your pa and ma have parted, you're broken-hearted, but you go on

(There's no people like show people, they smile when they are low)
Yesterday they told you you would not go far, that night you open and there you are
Next day on your dressing room they've hung a star, let's go on with the show!!

Recorded By:

Bernadette Peters
Judy Garland
Susannah McCorkle
Betty Hutton
Frank Sinatra

Tony Bennett and... Lady Gaga??

I'm breaking my two-months silence for a bit of a break from the usual routine here... to bring you this video which has been blowing my mind lately. It's from Tony Bennett's brand-new Duets II album, and features the greatest living traditional pop vocalist teaming up with none other than today's hottest pop sensation, Lady Gaga, for a rendition of Rodgers & Hart's "The Lady Is a Tramp".

I never would've imagined I'd like this as much as I do, but it cannot be denied that Ms. Gaga indeed has some talent! Honestly, her voice here reminds me a bit of Keely Smith and Anita O'Day. It just goes to prove what I've said in the past--that today's vocalists are often extremely talented, yet sabotage themselves with sub-par material in order to sell records. When given some quality standards to work with, they finally demonstrate what they really can do.

Enjoy! And congratulations to Mr. Bennett for staying in the mix all these years... I can't believe the Red Hot Chili Peppers stunt on the MTV Music Video Awards was nearly two decades ago...

I'll Remember April

By Gene de Paul, Patricia Johnston & Don Raye
1942

Just got back from the new superhero film Captain America, and enjoyed hearing the Woody Herman recording of this song featured in the movie--which takes place during World War II. Introduced by Dick Foran in the Abbott & Costello picture Ride 'Em Cowboy, the melancholy tune became a big hit during the war years. It has since been recorded by countless artists, who favor it for its moody atmosphere and contemplative lyrics.

Lyrics:

This lovely day will lengthen into evening,
We'll sigh good-bye to all we've ever had,
Alone where we have walked together,
I'll remember April and be glad....

I'll be content, you loved me once in April,
Your lips were warm, and love an' spring were new,
But I'm not afraid of autumn, and her sorrow,
For I'll remember,
April and you!

The fire will dwindle into glowing ashes,
For flames and love live such a little while . . .
I won't forget, but I won't be lonely,
I'll remember April, and I'll smile . . .

The fire will dwindle into glowing ashes,
For flames and love live such a little while

I won't forget, but I won't be lonely
I'll remember April, and I'll smile . . .

I won't forget but I won't be lonely, no . . .
I'll remember April, and I'll smile!

Recorded By:

Chet Baker
Shirley Bassey
June Christy
Julie London
Frank Sinatra

They Can't Take That Away from Me

By George & Ira Gershwin
1937

Last Thursday officially made three full years that Standard of the Day has been in existence, and to belatedly commemorate that milestone, today we shine the spotlight on one of the most celebrated standards of them all, which the Gershwin brothers composed for the Fred Astaire/Ginger Rogers musical, Shall We Dance. Astaire introduces the tune in the movie, singing it to Rogers in a rare musical number with no dancing. Ira's lyric is a perfect mixture of joy and sadness, as our lover declares to his paramour that no amount of distance could erase the memories they've shared. Also of note is the ingenious way the lyric pairs up very mundane aspects of the beloved ("The way you hold your knife"), with more profound aspects ("The way you changed my life"). A lilting, perfect melody from the immortal George Gershwin completes this ultimate love ballad. George Gershwin passed on shortly after the movie was released, but was posthumously nominated, along with his brother, for the Academy Award for Best Original Song.

Thanks to everyone for continuing to read and support SOTD. Let's continue keeping these old songs alive together, shall we?

Lyrics:

Our romance won't end on a sorrowful note, though by tomorrow you're gone.
The song is ended, but as the songwriter wrote, the melody lingers on.
They may take you from me. I'll miss your fond caress.
But though they take you from me, I'll still possess...

The way you wear your hat,
The way you sip your tea,
The memory of all that.
No, no, they can't take that away from me.

The way your smile just beams,
The way you sing off-key,
The way you haunt my dreams.
No, no, they can't take that away from me.

We may never, never meet again on the bumpy road to love,
Still I'll always, always keep the memory of...

The way you hold your knife,
The way we danced till three,
The way you changed my life,
No, no, they can't take that away from me.
No, they can't take that away from me.

Recorded By:

Tony Bennett
Louis Armstrong & Ella Fitzgerald
Billie Holiday
Charlie Parker
Frank Sinatra

Bali Ha'i

By Richard Rodgers & Oscar Hammerstein II
1949

Written for the musical South Pacific, the song was meant to evoke the dreamlike, exotic quality of the fictional volcanic island for which it is named. The island was inspired by the real Pacific island of Ambae, mentioned by James Michener in the novel on which the play was based. It was performed by Juanita Hill on stage and in the film version, and first recorded by Perry Como. In the 1950s, it would become predictably popular during the exotica movement, thanks to its Oriental, mystical sound.

Lyrics:

Most people live on a lonely island,
lost in the middle of a foggy sea
most people long for another island
one where they know they would like to be.

Bali Ha'i may call you,
Any night, any day,
In your heart you'll hear it call you,
"Come away, come away . . ."

Bali Ha'i will whisper,
On the wind of the sea,
"Here am I your special island"
"Come to me, come to me . . ."

Your own special hopes,
Your own special dreams,
Bloom on the hillside,
And shine in the streams . . .

If you try you'll find me
Where the sky meets the sea
Here am I your special island
Come to me, come to me . . .

Bali Ha'i
Bali Ha'i
Bali Ha'i

Someday you'll see me,
Floating in the sunshine,
My head sticking out from a low flying cloud . . .

You'll hear me call you,
Singing through the sunshine
Sweet and clear as can be . . .

"Come to me, here am I"
"Come to me"
"Come to me"

Bali Ha'i . . .

Recorded By:

Frank Sinatra
Martin Denny
Stacey Kent
Tak Shindo
Perry Como

Solitude

By Duke Ellington, Eddie DeLange & Irving Mills
1934

Few songs are as associated with Billie Holiday as this aching ballad of love in isolation, even though it was Ellington himself who introduced it. Perfectly suited to Lady Day's unique voice, this tune became an instant classic the moment she first recorded it in 1941. It has since become one of the all-time most revered jazz standards.

Lyrics:

In my solitude, you haunt me
With reveries of days gone by.
In my solitude, you taunt me
With memories that never die.

I sit in my chair,
Filled with despair.
Nobody could be so sad.
With gloom ev'rywhere,
I sit and I stare,
I know that I'll soon go mad.

In my solitude, I'm praying,
Dear Lord above, send back my love.

Recorded By:

Billy Eckstine
Ella Fitzgerald
Tony Bennett & Count Basie
Nina Simone
Aretha Franklin

Day In, Day Out

By Rube Bloom & Johnny Mercer
1939

Another example of Mercer's fantastic lyrics, taking a tired phrase and making it shine. The words go along with a gorgeous, soaring melody by Bloom which musicologist Alec Wilder rightly described as passionate yet unpretentious. The song was introduced by Bob Crosby's Orchestra (pictured), with Helen Ward on vocals. It was a popular song with the big bands which survived into the post-Big Band era as well.

Lyrics:

Day in - day out
That same old voodoo follows me about
That same old pounding in my heart, whenever I think of you
And baby I think of you
Day in and day out

Day out - day in
I needn't tell you how my days begin
When I awake I get up with a tingle
One possibility in view
That possibility of maybe seeing you

Come rain - come shine
I meet you and to me the day is fine
Then I kiss your lips, and the pounding becomes
An oceans roar, a thousand drums
Can't you see it's love, can there be any doubt
When there it is, day in - day out

Recorded By:

Nat King Cole
Billie Holiday
Ella Fitzgerald
Frank Sinatra
Judy Garland

To Keep My Love Alive

By Richard Rodgers & Lorenz Hart
1943

This was the final song ever co-written by the legendary lyricist Lorenz Hart with his tunesmith partner Richard Rodgers. It was composed for the 1943 revival of A Connecticut Yankee, a show originated by Rodgers & Hart in 1927. It was introduced on stage by Vivienne Segal. Detailing the methods a serial widow has used to bump off her husbands, it is a classic example of the witty Hart touch. The lyricist died shortly thereafter of pneumonia.

Lyrics:

I've been married and married,
and often I've sighed,
I'm never a brides-maid,
I'm always the bride,
I never divorced them,
I hadn't the heart,
Yet, remember those sweet words,
"Till death do us part."

I married many men, a ton of them, and yet I was untrue to none of them,
because I bumped off ev'ry one of them to keep my love alive.

Sir Paul was frail, he looked a wreck to me.
At night he was a horse's nect to me,
so I performed an appendectomy,
to keep my love alive!

Sir Thomas had insomnia,
he couldn't sleep at night,
I bought a little arsenic,
he's sleeping now all right.

Sir Philip played the harp, I cussed the thing.
I crowned him with his harp to bust the thing,
and now he plays where harps are just the thing,
to keep my love alive, to keep my love alive.

I thought Sir George had possibilites,
but his flirtations made me ill at ease,
and when I'm ill at ease, I kill at ease
to keep my love alive.

Sir Charles came from a sanatorium,
and yelled for drinks in my emporium.
I mixed one drink, he's in memoriam,
to keep my love alive!

Sir Francis was a singing bird,
a night-in-gale,
That's why I tossed him off my balcony
to see if he could fly.

Sir Athelstane indulged in fratricide,
he killed his dad and that was patricide.
One night I stabbed him by my mattress side,
to keep my love alive, to keep my love alive.

Recorded By:

Ella Fitzgerald
Blossom Dearie
Ray Charles
Pearl Bailey
Sophia Loren

Charmaine

By Erno Rapee & Lew Pollack
1927

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

Lyrics:

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

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

Recorded By:

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

'Round Midnight

By Thelonious Monk, Cootie Williams & Bernie Hanighen

1944

The most recorded jazz standard composed by a jazz musician, this smoky number was first conceptualized by Monk in the 1930s under a different name. It developed gradually over the years in true jazz style, with later embellishments added by the likes of Dizzy Gillespie and Miles Davis. The lyrics by Henighen were added later. It's believed to have been recorded hundreds of times.

Lyrics:

It begins to tell,
'round midnight, midnight.
I do pretty well, till after sundown,
Suppertime I'm feelin' sad;
But it really gets bad,
'round midnight.

Memories always start 'round midnight
Haven't got the heart to stand those memories,
When my heart is still with you,
And ol' midnight knows it, too.
When a quarrel we had needs mending,
Does it mean that our love is ending.
Darlin' I need you, lately I find
You're out of my heart,
And I'm out of my mind.

Let our hearts take wings'
'round midnight, midnight
Let the angels sing,
for your returning.
Till our love is safe and sound.
And old midnight comes around.
Feelin' sad,
really gets bad
Round, Round, Round Midnight.

Recorded By:

Sarah Vaughan

Ella Fitzgerald

Amy Winehouse

Bobby McFerrin

Linda Rondstadt

Secret Love

By Sammy Fain & Paul Francis Webster
1953

An Academy Award-winner from the closing years of classic pop era, it was written for and introduced by the lovely Doris Day in her starring role in Calamity Jane. Ms. Day also recorded a commercial version of the song the year after the movie came out. It remains one of the most beautiful tunes to ever snare an Oscar, from an age when winning the award for a song actually meant something.

Lyrics:

Once I had a secret love
That lived within the heart of me.
All too soon my secret love
Became impatient to be free.

So I told a friendly star
The way that dreamers often do.
Just how wonderful you are
And why I'm so in love with you.

Now I shout it from the highest hills.
Even told the golden daffodils.
At last my heart's an open door,
And my secret love's no secret anymore.

Recorded By:

Mandy Moore
Frank Sinatra
Sinead O'Connor
George Michael
Anne Murray