When the great Al Jolson was in a Broadway show, audiences didn't care a bit about the story of the musical. The All-important attraction was their beloved Jolie singing and clowning to his - and their - heart's content. So it was with Bombo, a 1921 hit that opened at a spanking new theatre named in Jolson's honor. The nightly showstopper, which Jolson sang from a platform jutting right into the audience, was "April Showers." Old Violin, An Fifi, the leading character in Victor Herbert's frothy operetta Mlle. Modiste, works for a Parisian milliner but dreams of someday becoming an actress. To demonstrate her theatrical versatility, she devises a lengthy routine called "If I Were on the Stage" in which she attempts three different types of songs. First there is a gavotte for a country maid, second a polonaise for a lady of history. To introduce her final selection, she explains that her favorite role would be "emotional and full of soul" and glides into the sensuous waltz "Kiss Me Again." Anatevka Harnick, Sheldon Bock, Jerry 1964Fiddler On Roof Anchors Aweigh April In Portugal The 1920's saw a great profusion of songs celebrating the appeal of the Southland. Though Kahn and Donaldson had never been in either Carolina when they penned this tribute, their adroit combination of hopping and skipping notes, internal rhymes and tongue twisting descriptions produced an irresistable travel brochure. Adopted as the official song of the State of Georgia. $ $!$"$#$$$%$&$'$($)$*$+$,$-$.$/$0$1$2$3$4$5$6$7$8$9$:$;$<$=$>$?$@$A$B$C$D$E$F$G$H$I$J$K$L$M$N$O$P$Q$R$S$T$U$V$W$X$Y$Z$[$\$]$^$_$`$a$b$c$d$e$f$g$h$i$j$k$l$m$n$o$p$q$r$s$t$u$v$w$x$y$z${$|$}$~$ %Music adapted from Antonin Dvorak's "Symphony in E Minor," The New World Symphony, The 9th Symphony. Animal Fair, The Alphabet Song, The Ira Gershwin used the pseudonym "Francis, Arthur" on this. to perform fixup? The db/set structure associated with the %s LAN Error: %s: Domain error %s: Argument singularity error %s: Overflow error %s: Underflow error %s: Total loss of precision %s: Partial loss of precision While there has always seemed to be something redolent of World War I about "My Buddy," the tender waltz actually was not written until 1922, the day in which lyricist Kahn first began his fruitful collaboration with composer Donaldson. Created in the traditional 32 bar form, the song was made up of two 16-bar sections identical in melody except for the closing bars. "Dorothy Terriss" was a pseudonym for Theodora Morse. LYRICS_1 LYRICS_2 MELODY_1 MELODY_2 HITS_BY Cherokee Morris, Sam De Leath, Vaughn Morris, Sam 1920 Ain't We Got Fun? Kahn, Gus Egan, Ra"Fascinating" is the proper term for this combination of words and music. After receiving the melody from his brother, lyricist Gershwin faced an enormous task: the jagged, syncopated tune with its tricky accents hardly lent itself to a boy-girl expression, either amorous or humorous. So he simply hit upon a lyric describing the effects of a nagging, insinuating, fascinating rhythm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical "Lady, Be Good!" Revised version of this is by Leo Wood Many popular songs have begat other popular songs. After "Sally, Won't You Come Home" had scored a hit in the Ziegfield Follies of 1921, Yellen and Ager were inspired to write their own ballad about the much-missed lady, "I Wonder What's Become Of Sally." They even got the same singer, Joe Schenck of Van and Schenck, to introduce their song. The new "Sally" not only eclipsed the first, it sold over a million copies of sheet music. Although bandleader-composer Jones wrote this perennial hit with Gus Kahn in 1924, it became a "current" hit again in 1944 after appearing in the Eddie Cantor-George Murphy movie "Show Business." There was a ban on new recording that year, but RCA reissued an Earl Hines recording that had been made in 1941, and it became a best seller. The song has been used in no less than 40 feature-length films plus dozens of shorts. "The Man I Love" had the odd distinction of becoming a recognized standard despite its having been (1) thrown out of the musical for which it had been written ("Lady, Be Good!" in 1924); (2) sung in a show that flopped on the road (the 1927 "Strike Up the Band"); (3) added to and then cut from a third musical, "Rosalie"; (4) rejected when "Strike Up the Band" was successfully revised in 1929. The reason for the last situation was ironic: the song had become too well known! Rose Marie was planned as a stage spectacle about the winter carnival in Quebec City. Its producer wanted the show to culminate with the melting down of a giant ice palace. Told this was impractical on stage - the audience would drown - he dropped the carnival, but not the Canadian setting. Thus the mounties went to Broadway in 1924. They went to Hollywood in 1936 with Nelson Eddy and Jeanette MacDonald, and with Howard Keel and Ann Blyth in 1954. Legally judged to be an infringement of an earlier song, entitled "Without You the World Doesn't Seem The Same." SONGS SNG SONGS UDN TITLE NDX SONGS GNA SONGS GNB __A40800DBT ELOLYRITMP A ballad about a 1903 train wreck in Danville, Virginia. Based on the nineteenth century song, "The Ship That Never Returned," by Henry C Work. %s->%s Memo Fields In the 1926 edition of the George White's Scandals, the first act finale depicted a blues-vs-classics battle. The issue: whether the blues were worthy to enter musical Valhalla. When Harry Richman related the genesis of the musical form via "The Birth of the Blues," those in charge became convinced of the music's worth, the gates opened, and the curtain fell on a glimpse of indigo-spot-lighted angels trilling the final notes. This tender ode to domestic tranquility was first sung in the 1926 musical, "The Girl Friend." Note how skillfully the key word "room" is emphasized in the first and second eight-bar sections: Every time it is sung it is preceded by the rhyme falling on "C," with the word itself raised one tone higher. Aweigh April In Portugal Melody composed by Rapee in Hungary in 1913 Georgia. $ $!$"$#$$$%$&$'$($)$*$+$,$-$.$/$0$1$2$3$4$5$6$7$8$9$:$;$<$=$>$?$@$A$B$C$D$E$F$G$H$I$J$K$L$M$N$O$P$Q$R$S$T$U$V$W$X$Y$Z$[$\$]$^$_$`$a$b$c$d$e$f$g$h$i$j$k$l$m$n$o$p$q$r$s$t$u$v$w$x$y$z${$|$}$~$ %This is an earlier version of a song by the same title published in 1931, with lyrics by Billy Rose and Mort Dixon and music by Harry Warren. %s: Argument singularity error %s: Overflow error %s: Underflow error %s: Total loss of precision %s: Partial loss of precision Stevens is a pseudonym for Harold R Ragsdale. Morse. ed from a folk song of the southern United States of the 1870's, according to Carl Sandburg. When forlorn Gertrude Lawrence, clutching a rag doll, sang this gentle plea in the 1926 musical "Oh, Kay!," a broadway critic confessed that the Gershwins had, "wrung the withers of even the most hard-hearted of those present." Composer George had originally written the melody in uptempo but soon realized it sounded far better as a slow romantic ballad. inuating, fascinating rhythm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical "Lady, Be Good!" In 1959, Jack Yellen attended the 50th anniversary of his high school graduating class. As writer of "Ain't She Sweet" (1926) and dozens of other hit songs, he was somewhat of a celebrity. But his one-time English teacher was unimpressed. "So you're the one who wrote `Ain't She Sweet,'" she said. "And I thought I taught you that `ain't' is bad grammar!" " not only eclipsed the first, it sold over a million copies of sheet music. First offered in 1927, this song was pretty well overlooked until 1948, the year bandleader Art Mooney recorded it in a razzma-tazzy arrangement. When, through a whim, disc jockey Al "Jazzbo" Collins decided to play it continously one afternoon over a Salt Lake City radio station, the event generated enough front-page publicity throughout the country to boost both the record and sheet-music sales to best-seller status. hHere lyricist Gershwin's aim was to achieve the amusingly sibilant sound caused by dropping the "it" from the contraction "it's," and slurring the remaining "s" as part of the following word. The result: 's lovely to play and 's fun to sing. Fred Astaire's sister, Adele, first introduced the song in the 1927 musical "Funny Face." when "Strike Up the Band" was successfully revised in 1929. The reason for the last situation was ironic: the song had become too well known! The mating of Olde Englishe with 1927 slang was accomplished with great style in Rodger's and Hart's "Thou Swell." Surprisingly, when first sung in "A Connecticut Yankee" during the show's Philadelphia tryout, the number left audiences so cold that the producer wanted it taken out of the score. Rodgers fought to keep it in and won vindication when it became one of the musical's most durable treasures. ald, and with Howard Keel and Ann Blyth in 1954. Introduced by Al Jolson in MAMMY film in 1930. orning, along with a hangover, a million copy song hit was born. Thornton was famous up and down Broadway for the alcoholic marathons and tipsy escapades that he enjoyed each night after the show. Steeped as well in Shakespeare and Irish blarney, he was married to another vaudevillian, Bonnie Thornton, who often administered the bromo while asking her wayward spouse if he still loved her. "Sure!", he replied on one occasion, "I Love You as I DFats Waller is reputed to have dashed off "Ain't Misbehavin'" in 45 minutes. But, almost always broke, he sold it even faster. In one moment of desperation, he sold his rights to it, and to 18 other songs for $500.00. Louis Armstrong introduced "Ain't Misbehavin'" in a 1929 Broadway review, "Hot Chocolates." It showed up again on Broadway in 1978 in "Ain't Misbehavin'," a show composed of music associated with pianist-composer Waller. sale of one million records. "Paul James" was a pseudonym for James Warburg. r song, entitled "Without You the World Doesn't Seem The Same." SONGS SNG SONGS UDN TITLE NDX SONGS GNA SONGS GNB __A40800DBT ELOLYRITMP In 1929, as part of their score for an early "talkie" called "Chasing Rainbows," Yellen and Ager wrote "Happy Days Are Here Again" to be sung by a group of American doughboys on receiving news of the armistice. On the night of the Wall Street crash, before the film was released, the writers took the music to George Olsen, then leading his dance orchestra at the Hotel Pennsylvan-ia in New York. As the vocalist sang, dispirited diners, according to Yellen, stopped what they were doing and "joined in sardonically, hysterically, like doomed prisoners on their way to the firing squad." The song was quickly picked up as a genuine rallying cry of the Depression years and, in 1932, became the official theme of Franklin D. Roosevelt's victorious campaign for the Presidency. Reading Closing AUX file Arthur Schwartz was a lawyer, who with Howard Dietz, wrote many great songs. ed its own claim to similar sagebrush territory in "Calamity Jane." With Doris Day as the hoydenish heroine and Howard Keel as "Wild Bill" Hickock, the bang-up saga had all sorts of explosive numbers, but only one romantic piece, "Secret Love." The ballad became a 1953 Oscar-winner, a top-selling Doris Day recording and the most durable item in the score. Noel Coward's operetta "Bitter Sweet" (London, 1929) offered this touching romance between a Victorian English girl and her Viennese music teacher whom she marries and who is later killed in a duel. The recurring waltz theme, "I'll See You Again," which, according to Coward, "just dropped into my head, whole and complete" during a taxi ride, was first sung in the guise of a musical exercise by the hero and heroine. One of the earliest color-splashed screen musicals was "Gold Diggers of Broadway," a 1929 extravaganza that produced the song hit of the year, this one. "My castles have crumbled, but I am his, body and soul." It was while listening to native chants in Marrakesh, Morocco, that Cole Porter got the inspiration for this dark, brooding melody of despair. Introduced in London in 1929 in the revue "Wake Up and Dream!," the song became so well known that by the time the show was brought over to New York the following year audiences greeted it as an old favorite. %The release, or middle part, of a standard popular song has seldom been more excitingly constructed than in "You Do Something To Me." Here the melody seems to take wings on a flight of pure ecstasy as it punches out the message with those infectious interior rhymes: "Do do that voo do that you do so well." The song, a product of 1929, was introduced in Cole Porter's first Broadway success, "Fifty Million Frenchmen." Radio, sensitive in 1930, refused to allow this song on the air because of its suggestive ending, so a new lyric was written, with the last line laundered to "My castles have crumbled, but I am his, body and soul." ose present." Composer George had originally written the melody in uptempo but soon realized it sounded far better as a slow romantic ballad. inuating, fascinating rhythm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical "Lady, Be Good!" Had Florenz Ziegfeld not taken such a strong dislike to "Dancing on the Ceiling," the song would have been unveiled in his Broadway musical "Simple Simon," early in 1930. But Rodgers and Hart didn't have long to wait for a spot to be found for it in their next musical, "Ever Green," which opened in London later the same year. Sung by Jessie Matthews, the lilting air became the showstopper of the production. ller status. Though written in 1928 for an unproduced operetta called "East is West," the Gershwin brothers' "Embraceable You" was not sung in public until 2 years later when 19-year-old Ginger Rogers did the honors in "Girl Crazy." Note the way brother Ira managed to write three sets of four-syllable rhymes in a slow tempo ballad without jarring the romantic mood so beautifully set by brother George. half-singing, half-talking style. The line "Play it again, Sam" never fails to conjure up the scene in "Casablanca" in which Humphrey Bogart, drunk and despondent in his deserted cafe, listens as Dooley Wilson plays and croons the memory-evoking strains of "As Time Goes By." Though the film was released in 1942, the song had actually been introduced 11 years earlier by Frances Williams in a long-forgotten Broadway musical, "Everybody's Welcome." lion copies of sheet music. "Dancing In the Dark" was a product of sheer inspiration. While working on the score for the 1931 Broadway revue "The Band Wagon," composer Schwartz was groping for - in his words - "a dark song, some what mystical, yet in slow, even rhythm." For days nothing would satisfy him. Then one morning he awoke with this melody so fixed in his head that all he had to do was jot down the notes. In 1932, when this paean to poverty was written, there were many shanties in many shanty towns throughout the nation. For the country was then in the depth of the Depression and receptive to a lyric celebrating the pleasure of a far from luxurious abode. Co-composer Little Jack Little, who was primarily a pianist and bandleader, introduced the number on his radio program in his intimate half-singing, half-talking style. h"Night and Day" was created to fit the limited singing range of Fred Astaire, who introduced it in the 1932 musical "Gay Divorcee." As a lyricist, Cole Porter showed his great skill at depicting opposites: "night and day," "near or far," "traffic's boom" and "lonely room." As a melodist, he composed a compelling theme spun out to 16 bars, repeated, and brought back, somewhat abridged, within the final eight. Cole Porter's light hearted but basically torchy ballad at first seems to fall into the familiar A-A-B-A pattern, with each section consisting of 16 bars. Yet both times the "A" theme is repeated, only the first 6 bars remain constant, the rest indulging in some compelling variations. This is particularly true in the final section in which the tones rise higher and higher with the plane's ascent, only to descend as the words express total indiffernce to the flight. "I Get a Kick Out of You" was first sung in 1934 by Ethel Merman in "Anything Goes." ith great style in Rodger's and Hart's "Thou Swell." Surprisingly, when first sung in "A Connecticut Yankee" during the show's Philadelphia tryout, the number left audiences so cold that the producer wanted it taken out of the score. Rodgers fought to keep it in and won vindication when it became one of the musical's most durable treasures. ald, and with Howard Keel and Ann Blyth in 1954. With the stars twinkling above and the island of Manhattan aglow in the distance, the poor young song writer and his girl were seen snuggling against the rail of the Staten Island ferry. The hero was oblivious to everything but the heroine - a condition he expressed in song. And when he was finished, what did the misty eyed girl say? "Gee, Jimmy, that was swell." It all took place on the silver screen in 1934: Dick Powell and Ruby Keeler in "Dames." llion records. From the picture "She Loves Me Not," wherein Bing Crosby wrote this and sang it to and with Kitty Carlisle. Jack Benny chose this as his theme song which he would murder on his violin but it was always good for a familiar chuckle. "Strike Up the Band"); (3) added to and then cut from a third musical, "Rosalie"; (4) rejected when "Strike Up the Band" was successfully revised in 1929. The reason for the last situation was ironic: the song had become too well known! This smoldering confession was first uttered by Libby Holman in the 1934 musical "Revenge With Music." Although it won acclaim on Broadway, radio censors frowned on the line, "fill me with flaming desire," and barred the song from the air. To get into the proper creative mood for his 1935 Broadway musical "Jubilee," Cole Porter hied himself off on an around-the-world cruise. Many exotic locales obligingly furnished the inspiration for some of his creations, most notably the Indonesian Island of Kalabahi where a native war dance inspired the theme for "Begin the Beguine," once described by Time magazine as being "structured as artfully as a classical sonata, the theme elaborated and subtly expanded each time it returns, developed until it finally crests and crashes..." RAD DIETZ, WROTE MANY GREAT SONGS. ed its own claim to similar sagebrush territory in "Calamity Jane." With Doris Day as the hoydenish heroine and Howard Keel as "Wild Bill" Hickock, the bang-up saga had all sorts of explosive numbers, but only one romantic piece, "Secret Love." The ballad became a 1953 Oscar-winner, a top-selling Doris Day recording and the most durable item in the score. SWING TIME ter has ever enjoyed a greater reputation for intricate, polysyllabic rhyming than Lorenz Gart. Yet Hart could both be eloquent and simple, which he proved conclusively in his words for "My Heart Stood Still." Here not only do we get so meaningful a line as "That unfelt clasp of hands," but the entire lyric - with the exception of just 6 words - was put together with words of only one syllable. First sung in a London revues in 1927, the ballad was later heard in the Broadway musFor the movie The Hurricane ive chants in Marrakesh, Morocco, that Cole Porter got the inspiration for this dark, brooding melody of despair. Introduced in London in 1929 in the revue "Wake Up and Dream!," the song became so well known that by the time the show was brought over to New York the following year audiences greeted it as an old favorite. %From Snow White and the Seven Dwarfs llow this song on the air because of its suggestive ending, so a new lyric was written, with the last line laundered to "My castles have crumbled, but I am his, body and soul." ose present." Composer George had originally written the melody in uptempo but soon realized it sounded far better as a slow romantic ballad. inuating, fascinating rhythm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical "Lady, Be Good!" From 1932 to 1938, Dubin and Warren were the most prolific and successful song-writing team in Hollywood. Their fond description of a memorable - if - watery autumnal romance was first sung by James Melton in the film "Melody for Two." Both Guy Lombardo and George Shearing have helped maintain its undimmed popularity. Bob Hope's theme song for these many years. conjure up the scene in "Casablanca" in which Humphrey Bogart, drunk and despondent in his deserted cafe, listens as Dooley Wilson plays and croons the memory-evoking strains of "As Time Goes By." Though the film was released in 1942, the song had actually been introduced 11 years earlier by Frances Williams in a long-forgotten Broadway musical, "Everybody's Welcome." lion copies of sheet music. Could the dictionary be at a loss for words? The song's thoroughly smitten swain thinks so after searching in vain to find the "magical adjectives" to describe his beloved. The number emanated from a 1937 film called "Ready, Willing and Able," whose only other distinction was that it starred Ruby Keeler without Dick Powell. fixed in his head that all he had to do was jot down the notes. From Snow White and the Seven Dwarfs. There's A Gold Mine In The Sky Kenny, Charles W/M Kenny, Nick W/M Both Wrote W/M 1937 This Year's Kisses Berlin, Irving Berlin, Irving 1937 Too Marvelous For Words * Mercer, Johnny Whiting, Richard A 1937 58 Where OrIrving Mills was also one of the three lyric writers. olman in the 1934 musical "Revenge With Music." Although it won acclaim on Broadway, radio censors frowned on the line, "fill me with flaming desire," and barred the song from the air. From "Thanks for The Memory". rashes..." RAD DIETZ, WROTE MANY GREAT SONGS. ed its own claim to similar sagebrush territory in "Calamity Jane." With Doris Day as the hoydenish heroine and Howard Keel as "Wild Bill" Hickock, the bang-up saga had all sorts of explosive numbers, but only one romantic piece, "Secret Love." The ballad became a 1953 Oscar-winner, a top-selling Doris Day recording and the most durable item in the score. Little wonder that it took this song some two years before finding a publisher in 1938. Radio at that time had a strict ruling against any reference to an alcoholic beverage and here was a lyric dealing with the heady effects of no less than three! The ballad was closely identified with the big bands of Glen Gray, Larry Clinton, and Mitchell Ayers. %This song was first sung by Dick Powell to Olivia De Havilland in an all-but-forgotten epic of 1938 called "Hard To Get." A musically compact song with an engaging offbeat construction, it also benefited from lyricist Mercer's unique notion of romancing a girl by imagining how beautiful she had been as a child. arity. Composed by Carmichael several years after being given Mrs. Thompson's unsigned poem by a student at Indiana University. After an extensive search, the author was located, but she died the night before the song was introduced by Dick Powell on a network radio show. Ruth Lowe, a Toronto secretary got Dorsey interested in this when he was at the CNE. Sinatra was so impressed by her ability that he had her compose his theme, "Put Your Dreams Away For Another Day" Victor Herbert composed "Indian Summer" in 1919 as a piano piece subtitled "An American Idyll," and exactly 20 years later lyricist Dubin furnished the words that turned it into a song. "It was particularly difficult," Dubin once said, "because I couldn't change even one note of a melody that was never intended to be sung. It took me two weeks to finish it." Verse and revised arrangement by Adele Girard Marsala and Joe Marsala. was to the career of Doris Day. In 1948 the former band singer was signed by Warner Brothers for her first starring role in "Romance on the High Seas." Her debut inspired Cahn and Styne to fashion the song establishing her both as movie star and recording artist. It wasn't long before the ballad became even more well known than the film; as a consequence, when it was shown in England, the title of the film was changeIn 1938, Bob Haggart, the bassist in Bob Crosby's orchestra, composed a soaring instrumental piece called "I'm Free," which spotlighted the band's trumpeter, Billy Butterfield. Its success prompted lyricist Burke to give it words and rename it "What's New?" Note that the third eight-bar section repeats the basic melody in a higher key. First published in 1924. New English words added in 1940 oroughly smitten swain thinks so after searching in vain to find the "magical adjectives" to describe his beloved. The number emanated from a 1937 film called "Ready, Willing and Able," whose only other distinction was that it starred Ruby Keeler without Dick Powell. fixed in his head that all he had to do was jot down the notes. Al Stillman came into this by writing additional words in 1941. Reading Closing Music was written in 1928. WINNER "BEST COUNTRY AND WESTERN SONG" 1969 The last three wrote the music. Tuxedo junction was a small railroad junction in Alabama. Lyric writer Buddy De Sylva was uncannily tuned to the public's moods and longings. The songwriting trio he formed with Ray Henderson and Lew Brown virtually dominated Tin Pan Alley between 1926 and 1931, but still each member found time to turn out hits with other writers as well. In 1924 De Sylva teamed with Spier and Conrad for one song - one dreamy, nostalgic, enduring, masterpiece. Every new generation seems susceptible to this carefree, rhythmic charmer of a song. Perhaps it's because the lyrics, though virtually a string of non sequiturs, convey the feeling of thumbing one's nose at the whole darned complicated, oppressive world. In the year 1926, composer Henderson could afford to do this. "Blackbird" was one of five hits he had written that year, equaling his track record of the previous year. England's famed comic, George Robey, first posed this melodic hypothesus in the 1916 London musical "The Bing Boys Are Here." It floundered along for about 13 years until Rudy Vallee got a bright idea: He changed its beat from a fox trot to a waltz and successfully re-introduced it in his movie debut, "The Vagabond Lover". The ballad became a 1953 Oscar-winner, a top-selling Doris Day recording and the most durable item in the score. In 1912, just one year after "Alexander's Rag Time Band" had stirred up the country, Messers Madden and Wenrich helped lull it back to the calm waters of "Moonlight Bay." Two other imperishables from Wenrich: "Put On Your Old Grey Bonnet," and "When You Wore a Tulip." how beautiful she had been as a child. arity. Though four annual editions had preceeded it on Broadway, "The Passing Show" of 1916 became the first revue of the series to produce a genuine song hit: "Pretty Baby." Actually, this Kahn-Jackson-Van Alstyne number was an interpolation, since the nominal composer for the revue - as he was for 7 of the 14 annual Passing Shows - was Sigmund Romberg. But Romberg never managed to produce even one hit song for the series. If the name Kenbrovin seems a bit unusual it's only because it was the pseudonym of no less than 3 writers - James Kendis, James Brockman, and Nat Vincent. Contracting their first names may have presented a problem, but their last names lent themselves equitably and smoothly to the abbreviations of "Ken", "bro", and "vin." In their song celebrating the pleasures of idling away one's time on daydreams and fantasies, the writers deliberately created a theme similar to a hit of the previous year, "I'm Always Chasing Rainbows." after being given Mrs. Thompson's unsigned poem by a student at Indiana University. After an extensive search, the author was located, but she died the night before the song was introduced by Dick Powell on a network radio show. Composer Roberts got the happy notion to write a song about smiles after hearing a lecture on the subject at a music-dealer's convention. Unveiled in 1917, it became a perfect morale booster for both soldiers and civilians, possibly all the more welcome because it avoided pointless optimism. "Smiles" was interpolated in "The Passing Show of 1918." dler's recording with The Boston Pops Orchestra became the first "light classic" to reach a sale of one million records. Despite its close identification with World War I, this song was actually composed a year before war was declared. Elliott and King were then Yale undergraduates and created it as nothing more than a sentimental piece to be sung at a fraternity banquet. First published in England, it was sung and marched to by British and Canadian soldiers and picked up by American doughboys when they went to fight in Europe in 1917. equence, when it was shown in England, the title of the film was changeThe dance sensation that best typified the flamingly youthful spirit of the 1920's was the high-kicking Charleston, which also happened to be the name of a song. Introduced in the 1923 all-Negro review "Runnin' Wild" the dance very soon replaced the shimmy as the favorite gyrational excercise in ballrooms across the nation. "Cecil Mack" was a pseudonym for Richard D McPherson. Written for a film called "Hot Nocturne," this song became so popular that the picture was retitled "Blues In The Night." Reading Closing SUN VALLEY SERENADE 1928. s for words? The song's thorough-ly smitten swain thinks so after searching in vain to find the "magical adjectives" to describe his beloved. The number emanatedfrom a 1937 film called "Ready, Willing and Able," whose only other distinction was that it starred Ruby Keeler without Dick Powell. Written and published 10 days after the Japanese attack on Pearl Harbor on Dec 7, 1941. All 3 wrote words and adapted music from Rubinstein ecause it was the pseudonym of no less than 3 writers - James Kendis, James Brockman, and Nat Vincent. Contracting their first names may have presented a problem, but their last names lent themselves equitably and smoothly to the abbreviations of "Ken", "bro", and "vin." In their song celebrating the pleasures of idling away one's time on daydreams and fantasies, the writers deliberately created a theme similar to a hit of the previous yeaMusic written in 1932 and dedicated to Mexican President Portes Gil's wife, Maria Elena. In 1940, disk jockeys looked to Latin America for songs they could broadcast, due to a battle between the radio broadcasters and the American Society of Composers, Authors and Publishers (ASCAP) that kept almost all American songs off the air. One of their first finds was the haunting "Perfidia" by the Mexican Alberto Dominguez. Though Xaviar Cugat promoted the song here in 1939, it was Glenn Miller's 1941 version that really launched it. Other recordings soon followed by Benny Goodman, Jimmy Dorsey, The Mills Brothers, and Tony Martin. On a visit to Queensland in his native Australia in 1895, poet "Banjo" Paterson heard a rancher say that he had seen two men "waltzing Matilda down by the billabong" - meaning that he had seen the men carrying their swags, (bedrolls) by a waterhole. Inspired by the colorful slang of the Outback, Paterson wrote what became Down-Under's best known and best loved song. It tells of a swagman (drifter) caught stealing a jumbuck (sheep) from a squatter (rancher). Swagmen, for those who don't speak "Australian," boil water in a "billy" and carry food in a "tucker-bag." Informally, "Matilda" is Australia's national song. FROM HOLIDAY INN ! " % & ' ( * + , - . / 0 1 2 4 5 6 7 8 9 : ; < = > ? @ A B C D F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g i j k l p q r s t u v w x y z { | } ~ !Chosen as the official song of Royal Canadian Air Force. " "!"""#"$"%"&"'"(")"*"+","-"."/"0"1"2"3"4"5"6"7"8"9":";"<"=">"?"@"A"B"C"D"E"F"G"H"I"J"K"L"M" O"P"Q"R"S"T"U"V"W"X"Y"Z"["\"]"^" `"a"b"c"d"e"f"g"h"i"j"k"l"m"n"o"p"q"r"s"t"u"v"w"x"y"z"{"|"}"~" #Full title is "Conchita, Marquita, Lolita, Pepita, Rosita, Juanita Loppez" (%)%*%+%,%-%.%/%0%1%2%3%4%5%6%7%X ;%<%=%>%?%@%A%B%C%D%E%F%G%H%I%J%K%L%M%N%O%P%Q%R%S%T%U%V%W%X%Y%Z%[%\%]%^% `%a%b%c%d%e%f%g%h%i%j%k%l%m%n%o%p%q% s%t%u%v%w%x%y%z%{%|%}%~% &From a theme by Grieg. ( (!("(#($(%(&('((()(*(+( -(.(/(0(1(2(3(4(5(6(7(8(9(:(;(<(=(>(?(@(A( C(D(E(F(G(H(I(J(K(L( N(O(P(Q(R(S(T(U(V(W(X(Y(Z([(\(](^(_(`(a(b(c(d(e(f(g(h(i(j(k(l(m(n(o(p(q(r(s(t(u(v(w(x(y(z({(|(}(~( )Max Steiner was the acknowledged dean of film background composers during the 1930s and 1940s. His compelling theme for star crossed lovers Bette Davis and Paul Henreid in "Now, Voyager" stirred so many hearts that, well after the film had been released, it was refashioned into a song with a suitably guilt-plagued lyric. The broad and beautiful melody was typical of the romantic sound Steiner put into all of the many Bette Davis films that he scored. +Inspired by words of U.S. Navy Chaplain William Maguire uttered during Japanese attack on Pearl Harbor - Dec 7, 1941 =->-?-@-A-B-C-D-E-F-G-H-I-J-K-L-M-N-O-P-Q-R-S-T-U-V-W-X-Y-Z-[-\-]-^-_-`-a-b-c-d-e-f-g-h-i-j-k-l-m-n-o-p-q-r-s-t-u-v-w-x-y-z-{-|-}-~- .Star Spangled Rhythm. !/"/#/ %/&/'/(/)/*/+/,/-/.///0/1/2/3/4/5/6/7/8/9/:/;//?/@/A/B/C/D/E/F/G/H/I/J/K/L/M/N/O/P/Q/R/ T/U/V/W/X/Y/Z/[/\/]/^/_/ a/b/c/d/ f/g/h/ m/n/o/p/q/r/s/ u/v/w/x/y/ |/}/~/ 0Estimated to be world's "most valuable popular song," with more than 45,000,000 records sold by end of 1963. 91:1;1<1=1>1?1@1A1B1C1D1E1F1G1H1I1J1K1L1M1 O1P1Q1 S1T1U1V1W1X1Y1Z1[1\1]1^1_1`1a1b1c1d1e1f1g1h1 j1k1l1m1n1o1p1q1r1s1 u1v1w1 Full title - (As Long as You're Not in Love With Anyone Else) Why Don't You Fall in Love With Me. 2425262728292:2;2<2=2>2?2@2A2B2C2D2E2F2G2H2I2J2K2L2M2N2O2P2Q2R2S2T2U2V2W2X2Y2Z2[2\2]2^2_2`2a2b2c2d2e2f2g2h2i2j2k2l2m2n2o2p2q2r2s2t2u2 w2x2y2z2{2 3Consuelo Valezquez is one of Mexico's two famous women song-writers, (her distinguished colleague being Maria Grever). A concert pianist as well as a popular artist, she wrote "Besame Mucho" (Kiss Me Much) in 1941, and it first reached American audiences through Jimmy Dorsey's 1944 hit recordings featuring vocals by Kitty Kallen and Bob Eberly, with English lyrics by Sunny Skylar. That disk sold well over a million copies, but a test recording by the young Andy Russell, released that same year, was a big surprise. Andy's bilingual version, sung in his warm and intimate style, made it a jukebox winner and started him on a successful career. P5Q5R5S5T5U5V5W5X5Y5Z5[5\5]5^5_5`5a5b5c5d5e5f5g5h5i5j5k5l5m5n5o5p5q5r5s5t5u5v5w5x5y5z5{5|5}5~5 appy Go Lucky 6 6!6"6#6$6%6&6'6 )6*6+6,6-6.6/606 263646 768696 <6=6>6?6@6A6B6C6D6E6F6G6 I6J6K6L6M6N6O6P6Q6R6S6T6 V6W6X6Y6Z6 \6]6^6_6`6a6b6c6d6e6f6g6h6 j6k6l6m6n6o6p6q6r6 w6x6y6z6{6|6}6~6 FROM MEET ME IN ST. LOUIS edicated to Mexican President Portes Gil's wife, Maria Elena. From a poem written by Hans Leip during World War I and published in 1937 in a volume of verse entitled, DIE HAFENORGEL. Set to music in present form in 1939 and introduced in Germany by Lale Anderson. While being broadcast to German Afrikakorps during World War II, sentimental mmarching song was "adopted" by British Eighth Army. Subject of a well known plagiarism suit discussed at length in Louis Nizer's book, MY LIFE IN COURT, (1961). Decision of federal Circuit Court of Appeals was in favor of plaintiff, Maurice Baron, publisher of music folio, CALYPSO SONGS OF THE WEST INDIES, by Massie Patterson and Lionel Belasco. The court found that music to "Rum and Coca-Cola" was taken from Belasco's work, "L'Annee Passee," written in Trinidad in 1906. Subsequently, financial settlement was made in return for which the plaintiff relinquished future property rights and writer and publisher credits. Lyrics are an adaptation of a calypso sung in Trinidad during World War II. Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g i j k l p q r s t u v w x y z { | } ~ !One of several similar songs loosely related to the new developments in jazz, at the time called "be-bop" or "re-bop." This song introduced by Helen Humes. %R%S%T%U%V%W%X%Y%Z%[%\%]%^% `%a%b%c%d%e%f%g%h%i%j%k%l%m%n%o%p%q% s%t%u%v%w%x%y%z%{%|%}%~% &One of several similar songs loosely related to the new developments in jazz, called "be-bop" or "re-bop." 8(9(:(;(<(=(>(?(@(A( C(D(E(F(G(H(I(J(K(L( N(O(P(Q(R(S(T(U(V(W(X(Y(Z([(\(](^(_(`(a(b(c(d(e(f(g(h(i(j(k(l(m(n(o(p(q(r(s(t(u(v(w(x(y(z({(|(}(~( )Ray Charles sang this with great effect during the wedding scenes of an episode of "Thirty Something" that I recorded for Linda. During the '30s and '40s Charles Trenet, probably France's most popular singer and entertainer next to Maurice Chevalier, was also the most prolific of French songwriters. His surging "La Mer" written in 1945 contains many Debussy like suggestions of Impressionism. Jack Lawrence (of "Linda" and "Tenderly" fame) wrote English lyrics for it in 1947, and in 1960, Bobby Darin's recording of "Beyond The Sea" became a million seller. 3ROAD TO RIO jockeys looked to Latin America for songs they couldbroadcast, due to a battle between the radio broadcasters and the American Society of Composers, Authors and Publishers (ASCAP) thatkept almost all American songs off the air. One of their first finds was the haunting "Perfidia" by the Mexican Alberto Dominguez. Though Xaviar Cugat promoted the song here in 1939, itwas Glenn Miller's 1941 version that really launched it. Other recordings soon followed by Benny Goodman, Jimmy DFrom the musical of 1947, "Brigadoon." 6 6!6"6#6$6%6&6'6 )6*6+6,6-6.6/606 263646 768696 <6=6>6?6@6A6B6C6D6E6F6G6 I6J6K6L6M6N6O6P6Q6R6S6T6 V6W6X6Y6Z6 \6]6^6_6`6a6b6c6d6e6f6g6h6 j6k6l6m6n6o6p6q6r6 w6x6y6z6{6|6}6~6 Jazz instrumental dedicated to New York disc jockey Fred Robbins. Lyrics by Bob Russell added in 1951. Song version entitled "Just When We're Falling in Love," 1951 No song was ever more important to a singer's career than "It's Magic" was to the career of Doris Day. In 1948 the former band singer was signed by Warner Brothers for her first starring role in "Romance on the High Seas." Her debut inspired Cahn and Styne to fashion the song establishing her both as movie star and recording artist. It wasn't long before the ballad became even more well known than the film; as a consequence, when it was shown in England, the title of the film was changed to "It's Magic." imilar songs loosely related to the new develop- ments in jazz, called "be-bop" or "re-bop." Zeke says he knows who's getting the song writing royalties from this song and it isn't him. led "be-bop" or "re-bop." This song introduced by Helen Humes. %R%S%T%U%V%W%X%Y%Z%[%\%]%^% `%a%b%c%d%e%f%g%h%i%j%k%l%m%n%o%p%q% s%t%u%v%w%x%y%z%{%|%}%~% &New Ashmolean Marching Society and Students Conservatory Band. ents in jazz, called "be-bop" or "re-bop." 8(9(:(;(<(=(>(?(@(A( C(D(E(F(G(H(I(J(K(L( N(O(P(Q(R(S(T(U(V(W(X(Y(Z([(\(](^(_(`(a(b(c(d(e(f(g(h(i(j(k(l(m(n(o(p(q(r(s(t(u(v(w(x(y(z({(|(}(~( )Adapted from a segment of 1946 orchestral composition by Ralph Burns entitled "Summer Sequence." Lyrics added in 1952. Recorded in 1948 by Woody Herman and his orchestra under present title. Words of a poem, "The New Colossus," inscribed on the Statue of Liberty. singer and entertainer next to Maurice Chevalier, was also the most prolific of French songwriters. His surging "La Mer" written in 1945 contains many Debussy like suggestions of Impressionism. Jack Lawrence (of "Linda" and "Tenderly" fame) wrote English lyrics for it in 1947, and in 1960, Bobby Darin's recording of "Beyond The Sea" became a million seller. Sequel to "Slipping Around." Original version published in 1922. Revised words by Hank Williams. dcast, due to a battle between the radio broadcasters and the American Society of Composers, Authors and Publishers (ASCAP) thatkept almost all American songs off the air. One of their first finds was the haunting "Perfidia" by the Mexican Alberto Dominguez. Though Xaviar Cugat promoted the song here in 1939, itwas Glenn Miller's 1941 version that really launched it. Other recordings soon followed by Benny Goodman, Jimmy DMusic adapted form "Plaisir d'Amour" by Martini. Adapted by Livingston and Evans. An estimated 40,000,000 copies of more than 300 different recorded versions of this song were sold during the 15 years following its publication. ing in Love," 1951 Published after Whiting's death. Introduced by Margaret Whiting. 6#6$6%6&6'6 )6*6+6,6-6.6/606 263646 768696 <6=6>6?6@6A6B6C6D6E6F6G6 I6J6K6L6M6N6O6P6Q6R6S6T6 V6W6X6Y6Z6 \6]6^6_6`6a6b6c6d6e6f6g6h6 j6k6l6m6n6o6p6q6r6 w6x6y6z6{6|6}6~6 Based on Italian song, "O Sole Mio." Reading Closing The Gershwin's 1930 musical "Girl Crazy" centred around the misadventures of a Park Avenue playboy out to make his way in Arizona. In keeping with the locale was the Western-style "Bidin' My Time," sung by a foursome who accompanied themselves on harmonica, Jew's Harp, ocarina, and tin flute. Girl Crazy gave a healthy boost to the careers of two young actresses: Ginger Rogers, who sang "Embraceable You" and "But Not For Me," and newcomer Ethel Merman (Zimmerman), who stunned Broadway when she belted out "I Got Rhythm." Despite the musical's Western theme, the orchestra featured a roster of jazz greats who had not yet gotten started on their own, including Benny Goodman, Glenn Miller, Jack Teagarden, and Red Nichols. of romancing a girlby imagining how beautiful she had been as a child. Girl Crazy's Western setting (Custerville, Arizona and San Luz, Mexico) and the character of Kate Fothergill (worldly wise nightclub singer, stridently played by Ethel Merman) together justified a contemporary version of "Frankie And Johnny." And that is what Ira Gershwin has created in "Sam and Delilah." Among the unpublished manuscripts of the song is a reprise stanza which completes the story: "The Sheriff got Delilah, They swung her from a tree. The records are on file-ah. It's distressin' - But the lesson Is an easy one to see." Both musically and lyrically the song has an uncommon structure. The stanza derives from the trditional literary ballad, but the number and arrangement of the rhymes has been enriched . Each stanza is 16 bars; what would - in a ballad - normally be called the "l'envoi" is here an eight bar quatrain. Nelson Riddle's inspired "cooch" arrangement recalls the 1893 Chicago Fair, where the belly dancers brought the gyration into our consciousness and the word into our language. Lyrically, there is a double use of the "el" rhyme: "Till she fell/For a swell" and "And he fell/'Neath her spell." Ira Gershwin deliberately balanced "she fell" with "he fell," but this is an unusual rhetorical device with him, as he customerily seeks variety in rhyme and harmonic sound. When first sung in a 1929 London musical, this melody had a snappy beat and was mated to a comic verse called "I Have No Words." Later, lyricist Dietz came up with the present title and the composer Schwartz slowed down the melody. First song hit by the Gershwins written directly for films. rom this song and it isn't him. led "be-bop" or "re-bop." This song introduced by Helen Humes. %R%S%T%U%V%W%X%Y%Z%[%\%]%^% `%a%b%c%d%e%f%g%h%i%j%k%l%m%n%o%p%q% s%t%u%v%w%x%y%z%{%|%}%~% &In 1932, using "million dollar" as an adjective in singing about one's beloved - and then putting her in the lowly surroundings of a five and ten cent store - was the kind of contrasting that could be well appreciated by a country caught in the grips of the Depression. First sung by Fanny Brice and other principals in the revue "Crazy Quilt," the jaunty piece was later interpolated in the movie "Million Dollar Baby." FROM HOLIDAY INN The New Colossus," inscribed on the Statue of Liberty. "Oh, to be in Paris now that April's here!" boomed a nostalgic Monty Woolley at a Manhattan bistro one day in 1932. "April in Paris," announced composer Vernon Duke dramatically. "What a title!" And he promptly composed this lovely song. Verse was from a poem by Edgar A Guest han 300 different recordedversions of song were sold during the 15 years following its publication. American words by Mort Dixon 1922. Revised words by Hank Williams. dcast, due to a battle between the radio broadcasters and the American Society of Composers, Authors and Publishers (ASCAP) thatkept almost all American songs off the air. One of their first finds was the haunting "Perfidia" by the Mexican Alberto Dominguez. Though Xaviar Cugat promoted the song here in 1939, itwas Glenn Miller's 1941 version that really launched it. Other recordings soon followed by Benny Goodman, Jimmy DSaxaphone solo by Jimmy Dorsey, recorded by the Dorsey Brother's Orchestra. Developed into the composition, "Contrasts," in 1941 and used as a theme song by the Jimmy Dorsey Orchestra. Written under the pseudonym of Noel Gay an 300 different recorded versions of this song were sold during the 15 years following its publication. ing in Love," 1951 Additional lyrics by Ann Ronell Reading Closing Introduced by Fletcher Henderson and his orchestra. of words and music. After receiving the melody from his brother, lyricist Gershwin faced an enormous task: the jagged, syncopated tune with its tricky accents hardly lent itself to a boy-girl expression, either amorous or humorous. So he simply hit upon a lyric describing the effects of a nagging, insinuating, fascinating rhythm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical Lady, Be Good! those who don't speaAdditional lyrics by Harry Parr Davies e, Arizona and San Luz, Mexico) and the character of Kate Fothergill (worldly wise nightclub singer, stridently played by Ethel Merman) together justified a contemporary version of "Frankie And Johnny." And that is what Ira Gershwin has created in "Sam and Delilah." Among the unpublished manuscripts of the song is a reprise stanza which completes the story: "The Sheriff got Delilah, They swung her from a tree. The records are on file-ah. It's distreBing Crosby, in the picture "She Loves Me Not," wrote this and sang it to Kitty Carlisle. Then she sang it with him. reprise, Gieber Goldfarb (Willie Howard). The situation: The inevitable lover's-quarrel early in Act II, as the heroine (postmistress of Custerville, Arizona) points out her troubles to her confidant (and the show's comedian: New York taxi-driver turned Western mayor). Originally called "Not For Me," the song was relabeled before the New York opening and became a welAdditional lyrics by Mitchell Parish ically, there is a double use of the "el" rhyme: "Till she fell/For a swell" and "And he fell/'Neath her spell." Ira Gershwin deliberately balanced "she fell" with "he fell," but this is an unusual rhetorical device with him, as he customerily seeks variety in rhyme and harmonic sound. Adopted by United States Naval Academy as one of its "official" songs. and was mated to a comic verse called "I Have No Words." Later, lyricist Dietz came up with the present title and the composer Schwartz slowed down the melody. Minus dancing girls or Busby Berkeley spectacles, the 1935 movie musical "Broadway Gondolier" had only a slendor plot line about a radio crooner (Dick Powell) upon which to string along a collection of engaging tunes. This one tells of the impecunious Mr. Otis gaily preening for his date with the long-absent Lulu. in the revue "Crazy Quilt," the jaunty piece was later interpolated in the movie "Million Dollar Baby." Will Grosz used the pseudonym "Hugh Williams" for this song. Used extensively in the 1947 movie "This Time For Keeps" with Esther Williams and Lauritz Melchior. It was first used in a movie with Jimmy Stewart, and, as Stewart says, the song was so good that they figured even he couldn't ruin it. In fact, after the movie had made the rounds, the song became so popular that they changed the title of the movie to that of the song. Advertised and promoted as "the suicide song." Introduced in United States by Paul Robeson. Composer commited suicide in 1968. ris," announced composer Vernon Duke dramatically. "What a title!" And he promptly composed this lovely song. From a theme by Prince Leleiohaku, brother of King Kalakaua of Hawaii. stra. Developed into the composition, "Contrasts," in 1941 and used as a theme song by the Jimmy Dorsey Orchestra. And Alberta Nichols on words and music. An earlier version, entitled "Till the Real Thing Comes Along," credited to Mann Holiner and Alberta Nichols (published in 1931). , syncopated tune with its tricky accents hardly lent itself to a boy-girl expression, either amorous or humorous. So he simply hit upon a lyric describing the effects of a nagging, insinuating, fascinating rhythm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical Lady, Be Good! those who don't speaMessrs. Franklin and Friend created an especially seaworthy ballad out of a familiar bugle call pattern, and then turned it over to Guy Lombardo to steer lovingly over the starlit waters. During the 1930s the authors wrote such well-remembered items as "The Merry-Go-Round Broke Down" and "You Can't Stop Me From Dreaming." These 3 were members of Yale University Glee Club. They adapted Rudyard Kipling's poem "Gentleman Rankers" and adopted it as theme of the Whiffenpoof Society in 1909. First published version in 1919. Rudy Vallee brought his slightly revised version to attention of general public in 1935. her troubles to her confidant (and the show's comedian: New York taxi-driver turned Western mayor). Originally called "Not For Me," the song was relabeled before the New York opening and became a welThis was a Yiddish song discovered in Harlem and made famous by three girls from Minneapolis. After hearing it belted out by a Negro trio at the Apollo Theatre, Sammy Cahn became so excited about the number that he persuaded the Andrews Sisters to record it - even though they had no idea what the words meant. It was only when the record company insisted on an English lyric that Cahn and partner Chaplin batted out the appropriate lines. Williams was a pseudonym for "Will Grosz." e of its "official" songs. and was mated to a comic verse called "I Have No Words." Later, lyricist Dietz came up with the present title and the composer Schwartz slowed down the melody. From the musical, "Me and My Girl." Noel Gay was a pseudonym for Reginald M Armitage. e was retitled "Blues In The Night." From Snow White and the Seven Dwarfs ther of King Kalakaua of Hawaii. Introduced instrumentally in 1934 by Chick Webb and his Orchestra, with Edgar Sampson credited as composer. In "Jeepers Creepers" lyricist Mercer put together a lyric based primarily on a collection of teen-age slang of the '30s, includingthe rhyming of "jeepers creepers" with "peepers" and "weepers," and "heaters" with "cheaters." This swinging tribute to a young lady's ocular attractions was written especially for Louis Armstrong, whose mellow growl presented it first on the screen in "Going Places," and then on a best-selling record. The "you've-made-a-heaven-for-me-on-earth" theme, a longtime favorite with popular-song poets, was given a new twist in this affectionate vow of fidelity. Here the singer even anticipates entering the realm of heaven with his beloved. With Jack Leonard on the vocal, Tommy Dorsey's orchestra introduced the ballad in 1939, and it remained high on the Hit Parade popularity charts for 11 weeks. nd Adele Astaire first sang about it in the 1924 Broadway musical Lady, Be Good! those who don't speaNot to be confused with "Hey, Good Lookin'" by Cole Porter (1942) or "Hey, Good Lookin'" by Hank Williams (1951) n turned it over to Guy Lombardo to steer lovingly over the starlit waters. During the 1930s the authors wrote such well-remembered items as "The Merry-Go-Round Broke Down" and "You Can't Stop Me From Dreaming." Roy King was a pseudonym for H Robinson Cleaver. Stanley Hill was a pseudonym for Reginald M Armitage, also known as Noel Gay. r to Guy Lombardo to steer lovingly over the starlit waters. During the 1930s the authors wrote such well-remembered items as "The Merry-Go-Round Broke Down" and "You Can't Stop Me From Dreaming." Adapted from Ravel's "Pavane pour Une Infante Defunte." adapted Rudyard Kipling's poem "Gentleman Rankers" and adopted it as theme of the Whiffenpoof Society in 1909. First published version in 1919. Rudy Vallee brought his slightly revised version to attention of general public in 1935. her troubles to her confidant (and the show's comedian: New York taxi-driver turned Western mayor). Originally called "Not For Me," the song was relabeled before the New York opening and became a welOfficial Air Force song. : :!:":#:$:%:&:':(: .:/:0:1:2:3:4:5:6:7:8:9:::;:<:=:>:?:@:A:B:C:D:E:F:G:H:I:J:K:L: N:O:P:Q:R:S:T:U:V:W:X:Y:Z:[:\:]:^:_:`:a:b:c:d:e:f:g: i:j:k:l:m:n:o:p:q:r:s:t:u:v:w: |:}:~: ;Victor Herbert, the most celebrated composer of operetta America has ever known, wrote the musical scores for no less than 41 productions. The Fortune Teller, presented in 1898, featured "Gypsy Love Song." kV?V@VAVBVCVDVEVFVGVHVIVJVKVLVMVNVOVPVQVRVSVTVUVVVWVXVYVZV[V\V]V^V_V`VaVbVcVdVeVfVgVhViVjVkVlVmVnVoVpVqVrVsVtVuVvVwVxVyVzV{V|V}V~V WAdapted from traditional bawdy songs. W W!W"W#W$W%W&W'W(W)W*W+W,W-W.W/W0W1W2W3W4W5W6W7W8W9W:W;WW?W@WAWBWCWDWEWFWGWHWIWJWKWLWMWNWOWPWQWRWSWTWUWVWWWXWYWZW[W\W]W^W_W`WaWbWcWdWeWfWgWhWiWjWkWlWmWnWoWpWqWrWsWtWuWvWwWxWyWzW{W|W}W~W XOriginal title, "Love, Your Spell is Everywhere," changed by the publisher in 1953. 0Z1Z2Z 7Z8Z9Z:Z;ZZ?Z@Z BZCZDZ HZIZJZ LZMZNZOZPZQZRZSZTZUZVZWZ [Z\Z]Z^Z `ZaZbZcZdZeZ gZhZiZjZkZlZmZnZoZpZqZrZsZ uZvZwZxZyZzZ{Z|Z}Z~Z [The appearance of movie star Glenn Hunter in the 1929 musical "Spring Is Here" presented a problem: He couldn't sing. Unfazed, Rodgers and Hart gave "With a Song In My Heart" to his more vocally gifted "rival," John Hundley. v]w]x]y]z] ^Written by playwright Saroyan and his cousin, Bagdasarian, while on an automobile trip across New Mexico in 1939. Rosemary Clooney hated the song but was ordered to record it and it made her famous. h^i^j^k^l^m^n^o^p^q^r^s^ v^w^x^y^z^{^|^}^~^ _First recorded for the Library of Congress archives by Leadbelly (Huddie Ledbetter) while he was a prisoner at the Angola, Louisiana, State Prison. aNaOaPaQaRaSaTaUaVaWaXaYaZa[a\a]a^a_a`aaabacadaeafagahaiajakalamanaoapaqarasatauavawaxayaza{a|a}a~a bBased on the advertising jingle, MILES AHEAD, written by Ted Cott and Roy Moss for MILES SHOES, Inc. 5c6c7c8c9c:c;cc?c@cAcBcCcDcEcFcGcHcIcJcKcLcMcNcOcPcQcRcScTcUcVcWcXcYcZc[c\c]c^c_c`cacbcccdcecfcgchcicjckclcmcncocpcqcrcsctcucvcwcxcyczc{c|c}c~c dAdapted from the Juventino Rosas waltz, "Sobre los Olas." d d!d"d#d$d%d&d'd(d)d*d+d,d .d/d0d1d2d3d4d5d6d7d8d9d:d;dd?d@dAdBdCdDdEdFdGdHdIdJdKdLdMdNdOdPdQdRdSdTdUdVdWdXdYdZd[d\d]d^d_d`dadbdcdddedfdgdhdidjdkdldmdndodpdqdrdsdtdudvdwd |d}d~d eAdapted from the French folk song, "Chanson de Marie Antoinette." yricists work out a song's metric form and rhyme scheme. "Tea For Two" may be a classic, but it still uses the dummy lyric Caesar dashed off hurriedly one night. The cheerful number was added to the 1924 musical "No, No, Nanette." Adapted from Chopin's "Etude in E Major." a "billy" and carry food in a "tucker-bag." Informally, "Matilda" is Australia's national song. Originally written in 1939 about a dust storm in Texas during the depression years. peretta nearly folded in Philadelphia. Tryouts there were received so badly that Romberg and his librettists decided to close the show and rewrite it completely. Luckily they succeeded by adding such numbers as "Lover, Come Back to Me," one of the most poignant expressions of yearning ever written. The song, with its climactic melody, was composed for the musical's prima donna, Evelyn Herbert. Adapted from a traditional country song. . Daniels. V V!V"V#V$V%V&V'V(V)V*V+V,V-V.V/V0V1V2V3V4V5V6V7V8V9V:V;VV?V@VAVBVCVDVEVFVGVHVIVJVKVLVMVNVOVPVQVRVSVTVUVVVWVXVYVZV[V\V]V^V_V`VaVbVcVdVeVfVgVhViVjVkVlVmVnVoVpVqVrVsVtVuVvVwVxVyVzV{V|V}V~V WVersion without lyrics, entitled "Robbins' Nest," dedicated to disc jockey Fred Robbins, copywrited in 1948. 9Z:Z;ZZ?Z@Z BZCZDZ HZIZJZ LZMZNZOZPZQZRZSZTZUZVZWZ [Z\Z]Z^Z `ZaZbZcZdZeZ gZhZiZjZkZlZmZnZoZpZqZrZsZ uZvZwZxZyZzZ{Z|Z}Z~Z ["Paul Campbell" was a pseudonym for The Weavers - Pete Seeger, Lee Hays, Fred Hellerman, and Ronnie Gilbert. "Joel Newman" was a pseudonym for Huddie Ledbetter. till uses the dummy lyric Caesar dashed off hurriedly one night. The cheerful number was added to the 1924 musical "No, No, Nanette." Adaptation of an American Southern Highlands folk song popularized by The Weavers and Gordon Jenkins. led "I Have No Words." Later, lyricist Dietz came up with the present title and the composer Schwartz slowed down the melody. Song originally used for close order drill training by units of the United States armed forces and originally published in THE CADENCE SYSTEM OF TEACHING CLOSE ORDER DRILL, by Colonel Bernard Lentz. curring waltz theme, "I'll See You Again," which, according to Coward, "just dropped into my head, whole and complete" during a taxi ride, was first sung in the guise of a musical exercise Adapted from a traditional folk song. ousin, Bagdasarian, while on an automobile trip across New Mexico in 1939. Rosemary Clooney hated the song but was ordered to record it and it made her famous. h^i^j^k^l^m^n^o^p^q^r^s^ v^w^x^y^z^{^|^}^~^ _Adapted from the aria, "Vesti la Giubba," from Leoncavallo's opera, PAGLIACCI. or MILES SHOES, Inc. 5c6c7c8c9c:c;cc?c@cAcBcCcDcEcFcGcHcIcJcKcLcMcNcOcPcQcRcScTcUcVcWcXcYcZc[c\c]c^c_c`cacbcccdcecfcgchcicjckclcmcncocpcqcrcsctcucvcwcxcyczc{c|c}c~c dOriginal Eng words by Lilla Cayley Robinson. Marie Antoinette." yricists work out a song's metric form and rhyme scheme. "Tea For Two" may be a classic, but it still uses the dummy lyric Caesar dashed off hurriedly one night. The cheerful number was added to the 1924 musical "No, No, Nanette." Though the familiar musical highlights of Sigmund Romberg's score for "The Student Prince" were retained for the 1952 film version, Messrs. Webster and Brodszky were summoned to supply a suitable hymn for the grief-stricken prince as he views the bier of his dead father. "I'll walk with God" was sung in the movie by the unseen Mario Lanza whose voice was dubbed in for actor Edmund Purdom. Adapted from the third movement of Borodin's "String Quartet in D Major." V'V(V)V*V+V,V-V.V/V0V1V2V3V4V5V6V7V8V9V:V;VV?V@VAVBVCVDVEVFVGVHVIVJVKVLVMVNVOVPVQVRVSVTVUVVVWVXVYVZV[V\V]V^V_V`VaVbVcVdVeVfVgVhViVjVkVlVmVnVoVpVqVrVsVtVuVvVwVxVyVzV{V|V}V~V W"Rogan" was a pseudonym for Johnny Burke. Adapted from Rossini's "William Tell Overture." on Jenkins. lish girl and her Viennesemusic teacher whom she marries and who is later killed in a duel. The recurring waltz theme, "I'll See You Again," which, according to Coward, "just dropped into my head, whole and complete" during a taxi ride, was first sung in the guise of a musical exercise Spurred by Broadway's hit musical western "Annie Get Your Gun," Hollywood staked its own claim to similar sagebrush territory in "Calamity Jane." With Doris Day as the hoydenish heroine and Howard Keel as "Wild Bill" Hickock, the bang-up saga had all sorts of explosive numbers, but only one romantic piece, "Secret Love." The ballad became a 1953 Oscar-winner, a top-selling Doris Day recording and the most durable item in the score. [First revived in 1942 with an accompanying recitation entitled "Whisper That You Love Me." Ronnie Gilbert. "Joel Newman" was a pseudonym for Huddie Ledbetter. till uses the dummy lyric Caesar dashed off hurriedly one night. The cheerful number was added to the 1924 musical "No, No, Nanette." Adapted from an instrumental composition introduced in 1948 by Lionel Hampton and his Orchestra. led "I Have No Words." Later, lyricist Dietz came up with the present title and the composer Schwartz slowed down the melody. From Three Coins In The Fountain. Song won Academy Award. of the United States armed forces and originally published in THE CADENCE SYSTEM OF TEACHING CLOSE ORDER DRILL, by Colonel Bernard Lentz. curring waltz theme, "I'll See You Again," which, according to Coward, "just dropped into my head, whole and complete" during a taxi ride, was first sung in the guise of a musical exercise Adaptation of a West Indian folk-song. usin, Bagdasarian, while on an automobile trip across New Mexico in 1939. Rosemary Clooney hated the song but was ordered to record it and it made her famous. h^i^j^k^l^m^n^o^p^q^r^s^ v^w^x^y^z^{^|^}^~^ _Adapted from a Bahaman folk-song. Burke. Adapted from Rossini's "William Tell Overture." Daddy Long Legs. by Lilla Cayley Robinson. From an anonymous minstrel song of the 1860's. ation entitled "Whisper That You Love Me." New English words written in 1957 by Al Stillman with the alternate titles, "My Heart Reminds Me" and "And That Reminds Me." sion, Messrs. Webster and Brodszky were summoned to supply a suitable hymn for the grief-stricken prince as he views the bier of his dead father. "I'll walk with God" was sung in the movie by the unseen Mario Lanza whose voice was dubbed in for actor Edmund Purdom. MY FAIR LADY s melody and the lyrics written by Mr. Justice (later Sir) Adolphe Basile Routhier were first performed on June 24, 1880 in Quebec City. Some 45 English lyrics were written later; best known are the words by Robert Stanley Weir. Adapted from a traditional American folk song first recorded by Huddie Ledbetter (Leadbelly). V2V3V4V5V6V7V8V9V:V;VV?V@VAVBVCVDVEVFVGVHVIVJVKVLVMVNVOVPVQVRVSVTVUVVVWVXVYVZV[V\V]V^V_V`VaVbVcVdVeVfVgVhViVjVkVlVmVnVoVpVqVrVsVtVuVvVwVxVyVzV{V|V}V~V WMelody adapted from "The Riddle Song," a folk song from Kentucky, but probably of earlier English origin. ard To Get." A music- ally compact song with an engaging offbeat construction, it also benefited from lyricist Mercer's unique notion of romancing a girlby imagining how beautiful she had been as a child. Original version attributed to, but never copyrighted by, Elizabeth Cotton. You Love Me." Ronnie Gilbert. "Joel Newman" was a pseudonym for Huddie Ledbetter. till uses the dummy lyric Caesar dashed off hurriedly one night. The cheerful number was added to the 1924 musical "No, No, Nanette." Adapted from a traditional gospel song. on Academy Award. of the United States armed forces and originally published in THE CADENCE SYSTEM OF TEACHING CLOSE ORDER DRILL, by Colonel Bernard Lentz. curring waltz theme, "I'll See You Again," which, according to Coward, "just dropped into my head, whole and complete" during a taxi ride, was first sung in the guise of a musical exercise "Lord Melody" was Fitzroy Alexander. ke. Adapted from Rossini's "William Tell Overture." Adapted from a West Indian folk song. Stillman with the alternate titles, "My Heart Reminds Me" and "And That Reminds Me." sion, Messrs. Webster and Brodszky were summoned to supply a suitable hymn for the grief-stricken prince as he views the bier of his dead father. "I'll walk with God" was sung in the movie by the unseen Mario Lanza whose voice was dubbed in for actor Edmund Purdom. Words and music by Paul Clayton, Lerry Ehrlich, Dave Lazar, Fred Hellerman, Pete Seeger, Lee Hays, and Ronnie Gilbert. Introduced by Domenico Modugno. Awarded First Prize, San Remo Academy of Recording Arts and Sciences. Revived in 1960 with best selling record by Bobby Rydell. (Martino not mentioned in my source - I listed him.) 1941, and it first reached American audiences through Jimmy Dorsey's 1944 hit recordings featuring vocals by Kitty Kallen and Bob Eberly, with English lyrics by eature-length films plus dozens of shorts. JAn adaptation of Puccini's "Musetta's Waltz" from the opera, LA BOHEME. Ledbetter (Leadbelly). Sung by Ethel Merman in the musical. Sung by the voice of Lisa Kirk for Rosalind Russell in the movie. V7V8V9V:V;VV?V@VAVBVCVDVEVFVGVHVIVJVKVLVMVNVOVPVQVRVSVTVUVVVWVXVYVZV[V\V]V^V_V`VaVbVcVdVeVfVgVhViVjVkVlVmVnVoVpVqVrVsVtVuVvVwVxVyVzV{V|V}V~V WWritten as a result of a title idea sent to Mercer by Mrs. Sadie Vimmerstedt, a Yougstown, Ohio housewife. DAWSON PRO DAWSON2 KEY DDATEAL NDX INVENTRYREP DRUG NDX DRUGS ANS DRUGS DBF DRUGS HDB DRUGS KEY DRUGS PRO DRUGS REP DRUGSEUNDBF Adapted from a traditional American folk song. emy Award. of the United States armed forces and originally published in THE CADENCE SYSTEM OF TEACHING CLOSE ORDER DRILL, by Colonel Bernard Lentz. curring waltz theme, "I'll See You Again," which, according to Coward, "just dropped into my head, whole and complete" during a taxi ride, was first sung in the guise of a musical exercise By the middle of the second act of Victor Herbert's "Naughty Marietta," it is obvious to all that the friendship between Captain Dick Warrington and Marietta D'Altena has ripened into a far stronger emotion, a condition our hero fervently reveals in the beautiful, soaring "I'm Falling in Love With Someone." Note the composer's daring leap of a ninth in order to accentuate those all important words "one girl" (and later "to see".) The Victor Herbert score for Naughty Marietta is universally accepted as his greatest, topped by the cascading duet "Ah! Sweet Mystery of Life." The song is used throughout the operetta as a romantic motif since the coquettish Marietta, unable to recall more than fragments of this mysterious "Dream Melody" (originally the alternate title), vows to give her heart only to the man who can complete it. No problem at all when it turns out to be none other than dashing Captain Dick. A well-nigh irresistable recruiting call for stout-voiced singers, "Stouthearted Men" performs a similar function for a male chorus of bond servants in the operetta "The New Moon." Through the first 12 bars the leading baritone makes his lofty appeal in a thumping march rhythm; then, with the men primed and ready, he rallies them in two-four time to a vision of what so valorous a group might achieve. In the musical, at least, it is quite a lot. The men stage a mutiny aboard the good ship New Moon and sail away to a Caribbean island where they set up their own colony. Seeger, Lee Hays, and Ronnie Gilbert. DAWSON PRO DAWSON2 KEY DDATEAL NDX INVENTRYREP DRUG NDX DRUGS ANS DRUGS DBF DRUGS HDB DRUGS KEY DRUGS PRO DRUGS REP DRUGSEUNDBF Jacob Gade was a Danish violinist who at one time was a member of the New York Symphony Orchestra. After returning to Copenhagen, he wrote, among other light compositions, a "Gypsy tango" called "Jalousie," which he published himself. Imported in 1931, the melody was outfitted with words by the daughter of New York Congressman Sol Bloom. Arthur Fiedler's recording with The Boston Pops Orchestra became the first "light classic" to reach a sale of one million records. In 1929, Viennese composer Franz Lehar's operetta "The Land of Smiles" was a resounding hit for two main reasons: the aria "Yours Is My Heart Alone," and the tenor voice of Richard Tauber to sing it. This rich, melodic outpouring occurs in the story soon after the leading character, a Chinese prince, has revealed to his Viennese bride that, according to custom, he must also take 4 Chinese wives. Insisting that this is a mere formality, he tries with desperate urgency to convince his beloved Lisa that his heart is for her alone. s for the hymn, "Say, Brothers, Will You Meet Me," attributed to William Steffe. The same melody was used for the anti-slavery song, "John Brown's Body." Also known as "Glory, Glory Hallelujah." Became a best selling popular record in 1959 by the Mormon Tabernacle Choir. More than any other flower, the rose has flourished in the creative gardens of the world's foremost poets and melodists. It may be the yellow rose of Texas or a shining one in Picardy, that wild one in Ireland or the last of the summer. Yet no matter what color or origin, the rose is always something special as a fragrant symbol of love. "There's nothing like the good old summertime," remarked minstrel headliner "Honeyboy" Evans while dining outdoors one evening in 1902. "Not a bad song title," responded partner Shields, who turned up with a completed lyric a few days later. Since Evans was musically untrained, he simply hummed his tune while a friend, singer Blanche Ring, took down the notes. Apart from "beams" and "dreams," the entire rhyme scheme of the refrain describing this appealing summertime tryst is confined to the "oon" sound, possibly the most delightful example of rhyming frugality to be found. The number, long a barbershop quartet favorite, was introduced in 1909 by child singer Georgie Price, planted in theatre audiences as part of Gus Edwards' vaudeville sketch "School Boys and Girls." Later the same year it helped brighten the Ziegfeld Follies. Little is known about the origin of this simple yet unforgettable song except that it was first published in London in 1884 and that its melody was created by an Irish barrister turned composer. Although this piece was originally created for a vaudeville act, it was only when the writers didn't get paid that they added it to the score of their first Broadway show, Three Twins DDATEAL NDX INVENTRYREP DRUG NDX DRUGS ANS DRUGS DBF DRUGS HDB DRUGS KEY DRUGS PRO DRUGS REP DRUGSEUNDBF Originally, this had been a drinking ballad sung by ale-swigging miners of Cornwall, England, with the opening line "There is an ale-house in our town." But it was first published in the United States in 1883 in a collection called Student's Songs. Ever since, it has been primarily identified with bibulous collegians. taxi ride, was first sung in the guise of a musical exercise While touring in vaudeville in 1899, Joe Howard overheard a Negro porter in a Scranton, Pennsylvania hotel talk to his girl on the telephone. His converstaion gave Howard the idea for his cake-walking, ragtime telephone number, "Hello! My Baby," which he wrote with his wife. Two weeks later Howard introduced it on stage to enthusiastic acclaim. r Fiedler's recording with The Boston Pops Orchestra became the first "light classic" to reach a sale of one million records. Young Jimmy Walker, later mayor of New York, scribbled the title of this song on a piece of paper and handed it to composer Ball. The latter encouraged Walker to complete the lyric - a none too taxing chore since the title took up about half the words in the refrain. one note of a melody that was never intended to be sung. It took me two weeks to finish it." Two struggling songwriters were ambling through New York's Central Park one sunny day in 1905. Their inability to find even one apple tree started them longing for their midwestern boyhood homes so bountiful with apple trees. Sufficiently inspired, they dashed back to the publishing firm for which they worked and created their timeless ode to the simple joys of country living. ho can complete it. No problem at all when it turns out to be none other than dashing Captain Dick. Transportation songs were clogging the market during the century's first two decades, but few managed to achieve the musical mileage of the rollicking waltz "In My Merry Oldsmobile." Inspiration was supplied by a well-pub- licized trip made in 1905 by two Oldsmobiles. It took them 44 days to make their way from Detroit to Portland, Oregon, thus marking the first cross-continent journey ever accomplished by automobile. ht classic" to reach a sale of one million records. One morning in the late 1800s, John Palmer. a young actor, was listening to a German street band outside his window. Distracted by sister Pauline's call to breakfast, he cried out dramatically, "One moment. Let the band play on." Pauline's comment - need it be noted? - was, "That's a good title for a song." Suitably goaded, Palmer penned the now legendary musical tale. However, he was unable to find a publisher until years later when vaudevillian Charles Ward expressed interest. Ward also made some minor alterations, thus giving him the excuse to take solo credit as composer. Contrary to a common misconception, this was not a ballad imported from the Emerald Isle. In 1876, composer Westendorf, a school teacher living in Plainfield, Indiana, penned this affectionate love song when temporarily separated from his wife - only her name was Jennie. The piece was written in the form of an "answer" to a then popular ballad, "Barney, Take Me Home Again." Chauncey Olcott, the leading American-born Irish tenor at the turn of the century, won his fame primarily as the star of a series of sentimental plays about the old sod which were always embellished by at least five suitably Celtic airs. The perennially blooming "My Wild Irish Rose," from A Romance In Athlone (1899), became the first Irish-flavored song success to emanate from a Broadway show. Once composer Ball discovered early in his career that he had a special gift for creating heart-tugging ballads, he never risked writing anything else. "People like songs they can take home to themselves," he said, and obliged by turning out such durable take home pieces as "Will You Love Me In December as You do in May?" "Mother Machree," "A Little Bit of Heaven" and "Love Me And the World is Mine." His lilting favorite, "When Irish Eyes Are Smiling," was first sung by the popular singing actor Chauncey Olcott in the 1912 musical play "The Isle of Dreams." ing to a German street band outside his window. Distractedby sister Pauline's call to breakfast, he cried out dramatically, "One moment. Let the band play on." Pauline's comment - need it be noted? - was, "That's a good title for a song." Suitably goaded, Palmer penned the now legendary musical tale. However Bobby Gimby's CA-NA-DA, a song especially for children, was the song of 1967. In parades and concerts from coast to coast, flag waving children marched behind "Pied Piper" Bobby, singing the happy words of this great hit as he trumpeted the perky tune. Gimby has worked with over 350,000 youngsters. An 18 year old Canadian named Gordon Lightfoot, studying music in California, often went to Los Angeles International Airport to watch the planes that were a link with his family, 2000 miles away in Orillia, Canada. One Sunday the young man's longing for home was so deep that he stood in the rain and wept the gentle tears of his loneliness and love. Seven years later, now a husband and a father, he recalled those bittersweet moments and, as his son slept in a cradle close by, wrote "Early Morning Rain," a song of loneliness that Lightfoot proudly calls his most memorable composition. Its simplicity and sensitivity made a hit record for Peter, Paul and Mary in 1965. That "westward bound" in the third verse, by the way, is poetic license. It was eastward bound that Gordon Lightfoot wanted to be on that rainy morning. a then popular ballad, "Barney, Take Me Home Agai Though its roots were in England, "On Top of Old Smokey" first became known in America early in the 19th century when wagoneers sang it while driving their Conestoga wagons over treacherous packtrails. In 1963, Tom Glazer penned a variation, "On Top of Spaghetti", which, incredibly, became a hit. one (1899), became the first Irish-flavored song success to emanate from a Broadway The plaintive strains of "Aura Lee," a Civil War favorite, have also been heard under two other familiar titles. In 1865, with a new set of words, it became a West Point class song under the title "Army Blues;" then, almost a hundred years after it was written, it re-emerged as the best selling title song of Elvis Presley's movie Love Me Tender. t of Heaven" and "Love Me And th hm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical "Lady, Be Good!" True, a sentimental song called "In the Bright Mohawk Valley" was written in Tin Pan Alley in 1896 and went west with the pioneers. But was it really this song, as most people believe, that became the "Red River Valley" we know today? Is it, as many folk music scholars have assumed, the lament of a cowboy in the valley of the Red River between Texas and Oklahoma? Maybe not. Edith Fowke, a Canadian folk music specialist, says "Red River Valley" may be Canadian and its birthplace what is now Manitoba. She cites early versions which seem to be the lament of a French-Indian Metis girl for a soldier who came from far away - perhaps at the time of the Red River Rebellion of 1869-70 or the Northwest Rebellion of 1885 - then departed to his distant homeland. One verse goes like this: And the dark maiden's prayer for her love To the Spirit that rules all this world Is that sunshine his pathway may cover And the grief of the Red River girl. The last lines of the chorus are: But remember the Red River Valley, And the half-breed that loved you so true. A short-haul chanty dearly loved by sailors on square-rigged ships, "Shenandoah" tells of the love of a white man for the daughter of the Indian chief after whom Virginia's Shenandoah Valley was named. The song had originated as a land ballad sung by lumberjacks who brought it down to the river and introduced it to the seafaring men. loom. Arthur Fiedler's recording with The Boston Pops Orchestra became the first "light classic" to reach a sale of one million records. Originally sung by southern mountain whites, this sorrowful tale was brought down to the Mississippi delta where it became identified with Negro dock workers. In 1921, W C Handy wrote his own version and called it "Loveless Love." ciently inspired, they dashed back to the publishing firm for which they worked and created their timeless ode to the simple joys of country living. ho can complete it. No problem at all when it turns out to be none other than dashing Captain Dick. The greatness of his homeland surges through the lines of this new "folk" song by Ian Tyson, of Canada's popular singing duo, Ian and Sylvia. A native of British Columbia, he was a migrant worker, logger, rodeo performer, and commercial artist before becoming a professional singer and songwriter. Sylvia Fricker, from Chatham, Ontario, wandered into a Toronto club one night in 1959 to hear Ian sing. She "just started singing with him" - and they've been singing together ever since. Our current popular-music scene borrows heavily from the world of folk songs. Among modern balladeers, none has made a stronger impact than Bob Dylan, whose "Blowin' in the Wind," composed in 1962, practically became the anthem of the civil rights movement. The sensitive words, however, are equally applicable to any situation involving man's indifference to the basic rights of others. In 1964, Peter, Paul & Mary's recording of the song received "Grammy" awards both as the best performance by a vocal group and as the best folk song recording. se to take solo credit as composer. The words of "Greensleeves" probably date back to 1580, but the music went unpublished until the late 17th century. In The "MerryWives of Windsor" Shakespeare has Falstaff boom out, "Let the sky rain potatoes; let it thunder to the tune of "Greensleeves." r name was Jennie. The piece was written in the form of an "answer" to a then popular ballad, "Barney, Take Me Home Again." After the tragic death of her husband, the need to earn a living obliged Carrie Jacobs-Bond to become a one-woman music business - composer, lyricist, publisher, song-plugger and even sheet-music cover designer. Today her fame rests primarily on two songs, "I Love You Truly" and "A Perfect Day," both of which had to overcome initial public apathy before at last winning their rightful place in the public's affection. avorite, "When Irish Eyes Are Smiling," was first sung by the popular singingHad it not been for a show of temperament by actress Jessie Bartlett Davis, many of today's weddings might well be minus the majestic strains of "Oh, Promise Me." Following the Chicago premiere of Robin Hood in 1890, Miss Davis, who played the male role of Alan-a-Dale, threatened to quit the company if she were not given a new aria which would show off her deep contralto tones. Desperate, composer De Koven recalled a piece he had written some time before, but which had never been sung in public. The actress rehearsed "Oh, Promise Me" the next day, sang it that night, and scored the biggest success of the production. waving children marched behind "Pied Piper" Bobby, singing the happy words of this great hit as he trumpeted the perky tune. Gimby has worked with over 350,000 youngsters. This song became a hit in 1911, largely through the efforts of colorful Mose Gumble, one of the great song pluggers. He sometimes "worked" the Coney Island night spots, sometimes belted out songs from a Broadway horse-car. He plugged "In the Shade of the Old Apple Tree" to success in 1905 and persuaded Eva Tanguay to sing "I Don't Care" - making the song a smash and the lady a star. In the 1940's, still plugging, Gumble encouraged moviemakers to provide new vehicles for the great tunes of yesteryear. A Hollywood hit of 1949 - two years after Gumble's death - was the musical "Oh, You Beautiful Doll, starring Mark Stevens and June Haver. became a West Point class song under the title "Army Blues;" then, almost a hundred years after it was written, it re-emerged as the best selling title song of Elvis Presley's movie Love Me Tender. t of Heaven" and "Love Me And th hm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical "Lady, Be Good!" The career of composer Van Alstyne parallels that of many song writers during the early days of the century: musical prodigy, vaudeville pianist, staff pianist for a New York publishing house, then, after years of struggling, eventual success. A decade after his first hit, "In the Shade of the Old Apple Tree," Van Alstyne created another timeless masterpiece, "Memories," one of his first works to be written with lyricist Gus Kahn. In 1849, soon after Frederick Faber had left the Church of Englandin favor of the Church of Rome, he expressed his devotion to Cath-olicism in "Faith of Our Fathers." The text of the hymn has, how-ever, since been revised. Now the term "faith," rather than referring to a particular religion, is made to apply to the teachings of the Bible. thur Fiedler's recording with The Boston Pops Orchestra became the first "light classic" to reach a sale of one million records. Martin Luther not only reformed the church, he also reformed the musical services, primarily by substituting German for the Latin text and arranging a new order for the mass. An accomplished musician, he adapted many hymns, the most famous being his paraphrase of the 46th Psalm, "A Mighty Fortress." It was first published in 1529 and immediately became "The Battle Hymn of the Reformation," lifting the spirit and renewing the dedication of his followers. "Alice Hawthorne" was really Septimus Winner, one of the most versatile writers of the mid-19th century. Winner went from the bird calls of "Listen to the Mocking Bird" to the doggerel nonsense of "Oh, Where, Oh, Where Has My Little Dog Gone?" to the gentle and optimistic "Whispering Hope." and persuaded Eva Tanguay to sing "I Don't Care" - making the song a smash and the lady a star. In the 1940's, still plugging, Gumble encouraged moviemakers to provide new vehicles for the great It is always a bit surprising to discover that Sir Arthur Sullivan - of Gilbert and Sullivan - was the composer of "Onward, Christian Soldiers." Originally, however, Sabine Baring-Gould set his text to the accompaniment of the slow movement of the Haydn D-Major Symphony and as such it was first sung at a Children's Festival in 1864. Haydn was discarded in favor of Sullivan as soon as his stirring melody was published seven years later. Today, it remains one of the most celebrated marching hymns ever written. outhern mountain whites, this sorrowful tale was brought down to the Mississippi delta where it became identified with Negro dock workers. In 1921, W C Handy wrote his own version and called it "Loveless Love." ciently inspired, they dashed back to the publishing firm for which they worked and created their timeless ode to the simple joys of country living. ho can complete it. No problem at all when it turns out to be none other than dashing Captain Dick. In 1820, a young English clergyman, Henry Lyte, was visiting a dying friend who kept repeating the phrase "Abide With Me." Moved by the visit, Lyte wrote the hymn but thought little about it until some 27 years later when, failing in health, he had the song published. It was not, however, until 1861 when organist William Monk added his own music to the words that the beauty of the work first became appreciated. started singing with him" - and they've been singing together ever since. Augustus Toplady, a British Clergyman, wrote a poem in 1776 called "A Living and Dying Prayer for the Holiest Believer in the World," and the prolific American composer Thomas Hastings set it to music in 1832. This hymn, "Rock of Ages." and "Nearer, My God, to Thee" are probably the most frequently performed hymns at funerals. Calixa Lavallee spent a good part of his life in the United States before writing the music that was to become Canada's national anthem. As a 15 year old Montreal music student he ran away to New Orleans with a theatre troupe in 1857 and served as a Northern Army bandsman during the American Civil War. He later taught music in Montreal, was conductor and artistic director at the New York Grand Opera House and studied piano and composition in Paris. In 1880, back home again, he composed "O Canada." His melody and the lyrics written by Mr. Justice (later Sir) Adolphe Basile Routhier were first performed on June 24, 1880 in Quebec City. Some 45 English lyrics were written later; best known are the words by Robert Stanley Weir. New lyrics written in 1961 by Floyd Bartlett. 1949 - two years after Gumble's death - was the musical "Oh, You Beautiful Doll, starring Mark Stevens and June Haver. Based on traditional song 'Down by the Station' h h!h"h#h$h%h&h'h(h)h*h+h,h-h.h/h0h1h2h3h4h5h6h h?h@hAhBhChDhEhFhGhHhIhJhKhLhMhNhOhPhQhRhShThUhVhWhXhYhZh[h\h]h^h_h`hahbhch ghhhihjhkhlhmhnhohphqhrhshthuhvhwhxhyhzh{h|h}h~h iFROM CAMELOT Hollywood hit of 1949 - two years after Gumble's death - was the musical "Oh, You Beautiful Doll, starring Mark Stevens and June Haver. became a West Point class song under the title "Army Blues;" then, almost a hundred years after it was written, it re-emerged as the best selling title song of Elvis Presley's movie Love Me Tender. t of Heaven" and "Love Me And th hm. Fred and Adele Astaire first sang about it in the 1924 Broadway musical "Lady, Be Good!" Also known as "I'll Just Have a Cup of Coffee." Original Italian title was "Piano" arallels that of many song writers during the early days of the century: musical prodigy, vaudeville pianist, staff pianist for a New York publishing house, then, after years of struggling, eventual success. A decade after his first hit, "In the Shade of the Old Apple Tree," Van Alstyne created another timeless masterpiece, "Memories," one of his first works to be written with lyricist Gus Kahn. Believed to have originated as a religious folk song later turned into a formal Baptist hymn, entitled, "I'll Overcome Some Day." by C. Albert Tindley. New words and music arrangement by Zilphia Horton, Frank Hamilton, Guy Carawan, and Pete Seeger. n referring to a particular religion, is made to apply to the teachings of the Bible. thur Fiedler's recording with The Boston Pops Orchestra became the first "light classic" to reach a sale of one million records. Another English language version, with lyrics by Jobim, came later. writers of the mid-19th century. Winner went from the bird calls of "Listen to the Mocking Bird" to the doggerel nonsense of "Oh, Where, Oh, Where Has My Little Dog Gone?" to the gentle and optimistic "Whispering Hope." Originally entitled and released on records as "Jenny." Retitled for signature theme for British TV series "Stranger On The Shore." Winner of "Song of the Year" award in 1962 e in the United States before writing the music that was to become Canada's national anthem. As a 15 year old Montreal music student he ran away to New Orleans with a theatre troupe in 1857 and served as a Northern Army bandsman during the American Civil War. He later taught music in Montreal, was conductor and artistic director at the New York Grand Opera House and studied piano and composition in Paris. In 1880, back home again, he composed Inspired by passage from Mikhail Sholokhov's novel, "And Quiet Flows the Don." Additional verses by Jod Hickerson. in the World," and the prolific American composer Thomas Hastings set it to music in 1832. This hymn, "Rock of Ages." and "Nearer, My God, to Thee" are probably the most frequently performed hymns at funerals. Original Danish title was "Omkring et Flygel" ("Around the Piano"). dolphe Basile Routhier were first performed on June 24, 1880 in Quebec City. Some 45 English lyrics were written later; best known are the words by Robert Stanley Weir. Dedicated to Ira Hayes, American Pima Indian hero credited with raising the American flag at Iwo Jima in World War II. >h?h@hAhBhChDhEhFhGhHhIhJhKhLhMhNhOhPhQhRhShThUhVhWhXhYhZh[h\h]h^h_h`hahbhch ghhhihjhkhlhmhnhohphqhrhshthuhvhwhxhyhzh{h|h}h~h iPattie Page's first recording. Cup of Coffee." Jessie Cavanaugh was a pseudonym for Howard S Richmond. later. Lyrics adapted and title changed to "On Her Majesty's Service" for Cambridge Circus (English Review, 1964). Also used by Canadian Post Office in 1986? for ad to tell public to put sufficiant postage on mail or it would be `returned to sender.' o the gentle and optimistic "Whispering Hope." After Buck Owens made a big hit of this the Beatles recorded it on the B side of Yesterdays which turned out to be their second largest selling hit. These two made the composer a lot of money. I saw an interview with Johnny Russell on the Dan Miller show regarding this. Ipanema is a suburb of Rio de Janeiro. e in the United States before writing the music that was to become Canada's national anthem. As a 15 year old Montreal music student he ran away to New Orleans with a theatre troupe in 1857 and served as a Northern Army bandsman during the American Civil War. He later taught music in Montreal, was conductor and artistic director at the New York Grand Opera House and studied piano and composition in Paris. In 1880, back home again, he composed Subject of a legal dispute in which the writer and publishers of the song "Sunflower" (1948) claimed that the "Hello, Dolly!" melody was an infringement of their copywright. Case settled out of court. Music based on "Dance of the Hours," by Ponchielli. Winner of National Academy of Recording Arts and Sciences for "Best Comedy Performance," staff pianist for a New York publishing house, then, after years of struggling, eventual success. A decade after his first hit, "In the Shade of the Old Apple Tree," Van Alstyne created another timeless masterpiece, "Memories," one of his first works with lyricist Gus Kahn. JOHNSON, A TORONTO TEACHER, WROTE THIS FOR HIS BELOVED MAGGIE CLARK WHO LIVED IN A MILL ON A CREEK NEAR HAMILTON. THEY MARRIED IN 1865 AND MOVED TO CLEVELAND, OHIO WHERE MAGGIE DIED WITHIN A YEAR. HE CAME BACK TO TORONTO AND FOR THE REST OF HIS LIFE WAS ON THE FACULTY OF THE UNIVERSITY OF TORONTO. FOR A TIME HE WAS PRINCIPAL OF HAMILTON'S CENTRAL SCHOOL (WHERE DOROTHY, EUNICE'S SISTER ATTENDED LATER). HE DIED IN 1917 AND IS BURIED IN HAMILTON CEMETERY. This song, written by the black vaudeville team of Creamer and Layton, who also created "Way Down Yonder in New Orleans," became a standard almost before the ink was dry. Al Jolson introduced it at New York's Winter Garden in 1918, and both Sophie Tucker and Louis Armstrong included it in their repertoires during the 1920's. It became a Benny Goodman jazz classic in 1935 (he was to record it again many times), a Bing Crosby winner when he recorded it with Paul Whiteman's band, a Judy Garland favorite in the 1942 film "For Me and My Gal," and it even gave Shirley McLaine a chance to show her many talents in the 1958 film "Some Came Running." Though the song has been around for quite some time, the torch is still burning brightly. This grand old song comes from George M Cohen's musical comedy, "Forty-five Minutes from Broadway," which opened on Broadway in 1906. The characters in the story, which was set in New Rochelle, a suburb north of New York City, included a chronic gambler and horse-player, Kid Burns, and a housemaid with an inheritance, Mary Jane. Victor Moore, on his way to becoming one of Broadway's greatest comedians, played Burns, while opposite him was the vaudeville star Fay Templeton, making her musical comedy debut as the maid. When she introduced herself by singing "Mary's a Grand Old Name," the house came down, and an immortal tune was born. In 1942, the song achieved renewed popularity when it was featured in the Cohen film biography "Yankee Doodle Dandy," starring another immortal - James Cagney. d it to the seafaring men. men. Gus Edwards is a sterling example of just what an immigrant can make of himself in the USA with a lot of talent and a little luck. Born in Germany, he came here as a boy, first working in a cigar store, then plugging songs in Bowery pleasure gardens. In 1896, he went into vaudeville as part of a juvenile act. While entertaining troops during the Spanish-American War, he met Will Cobb, who became his collaborator on such songs as "I Can't Tell Why I Love You but I Do" and others. With Vincent Bryan, he wrote the famous "In My Merry Oldsmobile", in 1905 and two years later, with Cobb again, he wrote his most outstanding success, "School Days," which sold over 3 million copies of sheet music. Another Edward's hit is "By The Light of the Silvery Moon," which will be sung as long as there are soft shoes and straw hats. in Montreal, was conductor and artistic director at the New York Grand Opera House and studied piano and composition in Paris. In 1880, back home again, he composed Harry Von Tilzer, who's other hits include "Wait Till The Sun Shines Nellie," "A Bird in a Gilded Cage," and "Under the Yum Yum Tree," wrote songs during a time when sentiment was a hot commodity. Devotion to mother was a pet theme of his, and his most successful expression of those pre-Freudian values was this great sing-along gem written in 1911. During Word War II, a more cynical generation changed the title of the song to "I Want a Girl Just Like the Girl that Married Harry James" (who happened to be married at the time to Betty Grable). Incidentally, Von Tilzer, who is credited with inventing the term "Tin Pan Alley," is among the most prolific of all the composers in the Songwriter's Hall ofFame. He was also one of the first songwriters to start his own publishing company, an enterprise upon which he embarked in the early 1900's. Geoffrey O'Hara, who composed this great World War I comic song, used to delight his vaudeville audiences by performing it in various dialects: French-Canadian, Pidgin English, and others. He also wrote church hymns and patriotic songs, and in 1929 he copyrighted "The Star Spangled Banner" in a low pitched version because he felt the original key was too high for American voices. It was a gift from this Canadian born musician to his adopted country. The records are on file-ah. It's distresMusic by a Britisher, Smith, in 1777, there have been 80 some poems set to this music over the years. For a swell" and "And he fell/'N eath her spell." Ira Gershwin deliberately balanced "she fell" with "he fell," but thisis an unusual rhetorical device with him, as he customerily seeks variety in rhyme and harmonic sound. By the turn of the century, every important technological advance, news item or fashion trend was grist for Tin Pan Alley's voracious song writing mill. The first powered flight by Orville Wright at Kitty Hawk in 1903 brought air travel to the fore and songwriters did themselves proud with "Come Take a Trip in my Airship," "Up in a Balloon," "Up Up Up in My Aeroplane" and this song, the words of which are by Alfred Bryan, a native of Brantford, Ont. the New York opening and became a well"Shine On, Harvest Moon," probably the most often sung by folks sitting around the fireside, was written by the vaudeville team of Nora Bayes and her husband, Jack Norworth, in 1908. Later that year, the highly temperamental Miss Bayes interpolated the song in the Ziegfeld Follies, and it remained closely linked to her for the rest of her career. Ironically, although they insisted on being billed as "The Stage's Happiest Couple," they didn't remain happy for long and were divorced in 1913. According to Edgar Leslie, the last line of "Shine On, Harvest Moon" gave him the idea for his own famous song "For Me and My Gal." rmance," staff pianist for a New York publishing house, then, after years of struggling, eventual success. A decade after his first hit, "In the Shade of the Old Apple Tree," Van Alstyne created another timeless masterpiece, "Memories," one of his first works with lyricist Gus Kahn. Like many a Canadian musician of his day, black composer-lyricist Shelton Brooks left his native Amherstburg, Ontario to pursue a career in the USA. His 2 biggest hits were "Some of These Days," composed in 1910, and "The Darktown Strutters' Ball," written eight years later. Both numbers became closely identified with Sophie Tucker, whose success with the latter song was so great at Reisenweber's famous New York cabaret that the room in which she sang was renamed the Sophie Tucker Room. The granddaddy of all smash hits, "After The Ball" failed at its premier in 1892 because the singer forgot the words. Even so, Milwaukeean Charles K Harris paid to have his song interpolated in the show "A Trip to Chinatown." Though it bore no relation to the plot, it brought down the house. Soon a Boston music shop ordered 75,000 copies, and by year's end, Harris was using every available printing press in Milwaukee to satisfy the demand. Within a few years, 5 million copies had been sold, and in later life, Harris claimed to have made $10,000,000 from the song. ine a chance to show her many talents in the 1958 film "Some Came Running." Though the song has been around for quite some time, the torch is still burning brightly. According to the apocryphal chronicles of popular music, neither composer nor lyricist had ever seen a baseball game when the two men sat down in 1908 to write what was to become the anthem of our national sport. In fact, the story has it that 20 years elapsed before either man spent an afternoon at the diamond. Albert Von Tilzer's successful introduction of this number on the stage led to a contract to tour the Orpheum vaudeville circuit, while Jack Norworth and his wife, Nora Bayes, helped to popularize the song even further. It has been used since in virtually every motion picture about the game, and today, Norworth's first draft of the lyrics is in the Baseball Hall of Fame at Cooperstown, New York the Cohen film biography "Yankee Doodle Dandy," starring another immortal - James Cagney. d it to the seafaring men. men. Like "Three O'Clock in the Morning," this tuneful song has become a classic expression of an end-of-the-evening feeling. Unfortunately, it has had a long association with drunkards and saloon pianists, which is a shame, since it's really quite a beauty. Originally called "Melancholy," it was first heard around 1912 at the Dutch Mill in Denver, Colorada, then one of the more elegant spots in the west, and it went on to become a popular vaudeville number. Its red-eyed reputation was acquired during the late 20's, when it was frequently featured by Tommy Lyman, a cabaret singer whose habit was to begin work at midnight and continue to perform into the wee hours or until he was ready to pass out from sheer exhaustion. xlylzl{l mThe favorite pianist and drinking companion of prizefighter John L Sullivan, songwriter and vaudeville star, James Thornton was famous up and down Broadway for the alcoholic marathons and tipsy escapades that he enjoyed each night after the show. Steeped as well in Shakespeare and Irish blarney, he was married to another vaudevillian, Bonnie Thornton, who often administered the bromo while asking her wayward spouse if he still loved her. "Sure!", he replied on one occasion, "I Love You as I Did When You Were Sweet Sixteen." And in the morning, along with a hangover, a million copy song hit was born. ;nn?n@nAn CnDnEnFnGnHnInJn LnMnNnOnPnQn SnTnUnVnWn YnZn[n anbncndnenfngnhnin knlnmn qnrnsntnunvnwnxnynzn{n|n}n~n oPerhaps evem more than Johann Strauss's "Blue Danube" this lovely waltz is, to modern listeners at least, the song most evocative of Vienna. Composed by a Viennese music teacher named Rudolf Sieczynski (1879-1952) it was published as Opus 1 in 1914, on the eve of the war that was to destroy the Hapsburg Empire. Gratifyingly, it was an immediate hit, but it proved to be Sieczynski's only one. Nevertheless, it became the virtual theme song of the Austrian tenor, Richard Tauber, who sang it so often that many persons believed he had composed it. Of the several English versions, the one with English words by Kim Gannon comes closest to the spirit of the original. million copies of sheet music. Another Edward's hit is "By The Light of the Silvery Moon," which will be sung as long as there are soft shoes and straw hats. in Montreal, was conductor and artistic director at the New York Grand Opera House and studied piano and composition in Paris. In 1880, back home again, he composed Charles E King, Hawaii's first internationally known composer, was born on the estate of Queen Emma Kaleleonalani in 1874. Orphaned at an early age, he was adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 and became the best known and best loved of all his works. If you really want to hit in Honolulu, sing it in the original Hawaiian. " is among the most prolific of all the composers in the Songwriter's Hall ofFame. He was also one of the first songwriters to start his own publishing company, an enterprise upon which he embarked in the early 1900's. What "Vienna, My City of Dreams" is to the Austrian capital, what "Arrivederci, Roma" is to Rome, so "The River Seine" is to Paris: the glorious anthem of a glorius city. It began as "La Seine," written in 1948 by French composer Guy LaFarge. Five years later, with new English lyrics, "The River Seine" became one of Guy Lombardo's standards. When you listen to it you can almost hear the accordians and taxicabs outside a small Paris cafe. country. The records are on file-ah. It's distresNot accepted across Canada because the Maple doesn't grow well North and West of Lake Superior. Not accepted in Quebec because it starts out with reference to Britain's shore. Fame at Cooperstown, New York NAME IS JUST "BLUE CHRISTMAS" ry important technological advance, news item or fashion trend was grist for Tin Pan Alley's voracious song writing mill. The first powered flight by Orville Wright at Kitty Hawk in 1903 brought air travel to the fore and songwriters did themselves proud with "Come Take a Trip in my Airship," "Up in a Balloon," "Up Up Up in My Aeroplane" and this song, the words of which are by Alfred Bryan, a native of Brantford, Ont. the New York opening and became a wellWritten after the death of his bride of 5 months. On, Harvest Moon" gave him the idea for his own famous song "For Me and My Gal." rmance," staff pianist for a New York publishing house, then, after years of struggling, eventual success. A decade after his first hit, "In the Shade of the Old Apple Tree," Van Alstyne created another timeless masterpiece, "Memories," one of his first works with lyricist Gus Kahn. MACK AND MABEL MUSICAL ician of his day, black composer-lyricist Shelton Brooks left his native Amherstburg, Ontario to pursue a career in the USA. His 2 biggest hits were "Some of These Days," composed in 1910, and "The Darktown Strutters' Ball," written eight years later. Both numbers became closely identified with Sophie Tucker, whose success with the latter song was so great at Reisenweber's famous New York cabaret that the room in which she sang was renamed the Sophie Tucker Room. MACK AND MABEL MUSICAL ris claimed to have made $10,000,000 from the song. ine a chance to show her many talents in the 1958 film "Some Came Running." Though the song has been around for quite some time, the torch is still burning brightly. MACK AND MABEL MUSICAL when it was frequently featured by Tommy Lyman, a cabaret singer whose habit was to begin work at midnight and continue to perform into the wee hours or until he was ready to pass out from sheer exhaustion. really quite a beauty. Originally called "Melancholy," it was first heard around 1912 at the Dutch Mill in Denver, Colorada, then one of the more elegant spots in the west, and it went on to become a popular vaudeville number. Its red-eyed reputation was acquired MACK AND MABEL MUSICAL Sixteen." And in the morning, along with a hangover, a million copy song hit was born. ;nn?n@nAn CnDnEnFnGnHnInJn LnMnNnOnPnQn SnTnUnVnWn YnZn[n anbncndnenfngnhnin knlnmn qnrnsntnunvnwnxnynzn{n|n}n~n oMACK AND MABEL MUSICAL e of Mexico's two famous women song- writers, (her distinguished colleague being Maria Grever). A concert pianist as well as a popular artist, she wrote "Besame Mucho" (Kiss Me Much) in 1941, and it first reached American audiences through Jimmy Dorsey's 1944 hit recordings featuring vocals by Kitty Kallen and Bob Eberly, with English lyrics by Sunny Skylar. That disk sold well over a million copies, but a test recording by the young Andy Russell, releasedFROM "MACK AND MABEL" s believed he had composed it. Of the several English versions, the one with English words by Kim Gannon comes closest to the spirit of the original. million copies of sheet music. Another Edward's hit is "By The Light of the Silvery Moon," which will be sung as long as there are soft shoes and straw hats. in Montreal, was conductor and artistic director at the New York Grand Opera House and studied piano and composition in Paris. In 1880, back home again, he composed MACK AND MABEL MUSICAL y" is in their tradition - with a distinctive Gershwin touch. The wistful beginning of the verse with the shifted diction of "My Guardian Angel's holding out on me" is typical Ira Gershwin whimsey, while the whole song is charmingly innocent in the manner of Wodehouse. Incidentally, being compared to Wodehouse would not displease Ira Gershwin; Wodehouse has not onlyalways been his friend, he achieved a lyric excellence and charm -especially in trick rhymes - whichSTEVENS IS A PSEUDONYM FOR HAROLD R RAGSDALE. RECORD AND SONG OF THE YEAR. i, Roma" is to Rome, so "The River Seine" is to Paris: the glorious anthem of a glorius city. It began as "La Seine," written in 1948 by French composer Guy LaFarge. Five years later, with new English lyrics, "The River Seine" became one of Guy Lombardo's standards. When you listen to it you can almost hear the accordians and taxicabs outside a small Paris cafe. country. The records are on file-ah. It's distresDENVER IS A PSEUDONYM FOR HENRY JOHN DEUTSCHENDORF JR. l advance, news item or fashion trend was grist for Tin Pan Alley's voracious song writing mill. The first powered flight by Orville Wright at Kitty Hawk in 1903 brought air travel to the fore and songwriters did themselves proud with "Come Take a Trip in my Airship," "Up in a Balloon," "Up Up Up in My Aeroplane" and this song, the words of which are by Alfred Bryan, a native of Brantford, Ont. the New York opening and became a wellHARRISON WAS SUCCESFULLY SUED FOR PLAGIARISM BY OWNER OF COPYRIGHT ON "HE'S SO FINE" ROM THE HAPPY ENDING YOUR HEART) ALSO KNOWN AS "LOOK WHAT THEY'VE DONE TO MY SONG". oser-lyricist Shelton Brooks left his native Amherstburg, Ontario to pursue a career in the USA. His 2 biggest hits were "Some of These Days," composed in 1910, and "The Darktown Strutters' Ball," written eight years later. Both numbers became closely identified with Sophie Tucker, whose success with the latter song was so great at Reisenweber's famous New York cabaret that the room in which she sang was renamed the Sophie Tucker Room. SONG WRITTEN ABOUT HIS EX-PARTNER, PAUL MCCARTNEY. ,000,000 from the song. ine a chance to show her many talents in the 1958 film "Some Came Running." Though the song has been around for quite some time, the torch is still burning brightly. ORIGINALLY A COCA-COLA COMMERCIAL: "I'D LIKE TO GIVE THE WORLD A COKE" a cabaret singer whose habit was to begin work at midnight and continue to perform into the wee hours or until he was ready to pass out from sheer exhaustion. really quite a beauty. Originally called "Melancholy," it was first heard around 1912 at the Dutch Mill in Denver, Colorada, then one of the more elegant spots in the west, and it went on to become a popular vaudeville number. Its red-eyed reputation was acquired CLIVE DAVIS IS CREDITED WITH CHANGING THE FIRST INITIAL OF THE SON G TO "M" BEFORE THE BARRY MANILOW RECORDING THAT MADE IT FAMOUS. DnEnFnGnHnInJn LnMnNnOnPnQn SnTnUnVnWn YnZn[n anbncndnenfngnhnin knlnmn qnrnsntnunvnwnxnynzn{n|n}n~n oDENVER IS A PSEUDONYM FOR HENRY JOHN DEUTSCHENDORF, JR ong- writers, (her distinguished colleague being Maria Grever). A concert pianist as well as a popular artist, she wrote "Besame Mucho" (Kiss Me Much) in 1941, and it first reached American audiences through Jimmy Dorsey's 1944 hit recordings featuring vocals by Kitty Kallen and Bob Eberly, with English lyrics by Sunny Skylar. That disk sold well over a million copies, but a test recording by the young Andy Russell, releasedDENVER IS A PSEUDONYM FOR H. J. DEUTCHENDORF, JR Also known as "The Summer Knows." heir tradition - with a distinctive Gershwin touch. The wistful beginning of the verse with the shifted diction of "My Guardian Angel's holding out on me" is typical Ira Gershwin whimsey, while the whole song is charmingly innocent in the manner of Wodehouse. Incidentally, being compared to Wodehouse would not displease Ira Gershwin; Wodehouse has not onlyalways been his friend, he achieved a lyric excellence and charm -especially in trick rhymes - whichCOUNTRY SONG OF THE YEAR HENRY JOHN DEUTSCHENDORF JR. l advance, news item or fashion trend was grist for Tin Pan Alley's voracious song writing mill. The first powered flight by Orville Wright at Kitty Hawk in 1903 brought air travel to the fore and songwriters did themselves proud with "Come Take a Trip in my Airship," "Up in a Balloon," "Up Up Up in My Aeroplane" and this song, the words of which are by Alfred Bryan, a native of Brantford, Ont. the New York opening and became a wellINTRODUCED BY MICHELLE LEE IN "SEESAW" MUSICAL. AUSTRALIAN ABOUT HIS EX-PARTNER, PAUL MCCARTNEY. ,000,000 from the song. ine a chance to show her many talents in the 1958 film "Some Came Running." Though the song has been around for quite some time, the torch is still burning brightly. IN "THE STING" 1973 ED WITH CHANGING THE FIRST INITIAL OF THE SON G TO "M" BEFORE THE BARRY MANILOW RECORDING THAT MADE IT FAMOUS. SONG OF THE YEAR 1972 OR HENRY JOHN DEUTSCHENDORF, JR INOR, OPUS 66 SONG OF THE YEAR 1971 OR H. J. DEUTCHENDORF, JR COUNTRY SONG OF THE YEAR 1970 heir tradition - with a distinctive Gershwin touch. The wistful beginning of the verse with the shifted diction of "My Guardian Angel's holding out on me" is typical Ira Gershwin whimsey, while the whole song is charmingly innocent in the manner of Wodehouse. Incidentally, being compared to Wodehouse would not displease Ira Gershwin; Wodehouse has not onlyalways been his friend, he achieved a lyric excellence and charm -especially in trick rhymes - whichACTUALLY SPELLED JOE LEE IN "SEESAW" MUSICAL. s works. If you really want to hit in Honolulu, sing it in the original Hawaiian. COUNTRY SONG OF THE YEAR IN "SEESAW" MUSICAL. ded Jack ("Vas you dere, Sharlie?") Pearl and Lyda Roberti. "My Cousin in Milwaukee," which is as close to special material as the Gershwins ever came to writing, was huskily intoned by Miss Roberti to an ensemble of policemen. The references to Milwaukee, so far as the plot was concerned, was perhaps tied in with the beer background of the musical. So far as Ira Gershwin was concerned, however, they allowed the rhymes of `squawkyFUNNY LADY FILM T HIS EX-PARTNER, PAUL MCCARTNEY. ,000,000 from the song. ine a chance to show her many talents in the 1958 film "Some Came Running." Though the song has been around for quite some time, the torch is still burning brightly. FROM "A CHORUS LINE" MUS 64 439 HELLO MUDDUH, HELLO FADDUH (CAMP LETT) *SHERMAN, ALLAN BUSCH, LOU (ADAPTED) 1963SHERMAN, ALLAN 333 HOLD ME TIGHT (ENGLISH) LENNON, JOHN W/M MCCARTNEY, PAUL W/M 1963BEATLES, THE HOW INSENSITIVE (BRAZILIAN) GIMBEL, NORMAN (ENG) JOBIM, ANTONIO CARLO 1963GILBERTOM ASTRUD I CALL YOUR NRECORD OF THE YEAR OR HENRY JOHN DEUTSCHENDORF, JR INOR, OPUS 66 COUNTRY SONG OF THE YEAR 1988 NNY 1971CASH, JOHNNY OFFERSON, KRISS Both wrote words & music. YTON, TURNER W/M 1918GOODMAN, BENNY 374 MARY'S A GRAND OLD NAME * COHEN, GEORGE M COHEN, GEORGE M 1906 378 SCHOOL DAYS * COBB, WILL D EDWARDS, GUS 1907 380 I CAN'T TELL WHY I LOVE YOU BUT I DO COBB, WILL EDWARDS, GUS Song of the year. E YEAR IN "SEESAW" MUSICAL. ded Jack ("Vas you dere, Sharlie?") Pearl and Lyda Roberti. "My Cousin in Milwaukee," which is as close to special material as the Gershwins ever came to writing, was huskily intoned by Miss Roberti to an ensemble of policemen. The references to Milwaukee, so far as the plot was concerned, was perhaps tied in with the beer background of the musical. So far as Ira Gershwin was concerned, however, they allowed the rhymes of `squawkyORIGINAL SPANISH WORDS BY THOMAS FUNDERA SONG OF THE YEAR 1976 MUS 64 439 HELLO MUDDUH, HELLO FADDUH (CAMP LETT) *SHERMAN, ALLAN BUSCH, LOU (ADAPTED) 1963SHERMAN, ALLAN 333 HOLD ME TIGHT (ENGLISH) LENNON, JOHN W/M MCCARTNEY, PAUL W/M 1963BEATLES, THE HOW INSENSITIVE (BRAZILIAN) GIMBEL, NORMAN (ENG) JOBIM, ANTONIO CARLO 1963GILBERTOM ASTRUD I CALL YOUR NFrom "On A Clear Day You Can See Forever" S, MICHAEL 1976FRANKS, MICHAEL ROOTS OF MY RAISING, THE COLLINS, TOMMY COLLINS, TOMMY 1976HAGGARD, MERLE SAY YOU'LL STAY UNTIL TOMORROW MASON, BARRY W/M GREENAWAY, ROGER W/M 1976JONES, TOM THIS MASQUERADE RUSSELL, LEON RUSSELL, LEON ON A CLEAR DAY YOU CAN SEE FOREVER Love theme from "The Sandpiper" Winner of award "Best Country and Western song," 1966 "NON...C'EST RIEN RDS BY THOMAS FUNDERA ANNIVERSARY SONG (BASED ON DANUBE WAVES)JOLSON, AL ADAPTATIO CHAPLIN, SAUL ADAPT BOTH ON W/M 1946 ANY PLACE I HANG MY HAT IS HOME MERCER, JOHNSONG OF THE YEAR 1966 L ADAPTATIO CHAPLIN, SAUL ADAPT BOTH ON W/M 1946 ANY PLACE I HANG MY HAT IS HOME MERCER, JOHNFROM MUSICAL "MAME" You Can See Forever" TTLE, KATHLEEN 8 AIN'T THAT GOOD NEWS BATTLE, KATHLEEN 8 YOU ARE MY HEART'S DELIGHT (LEHAR, FRANZINSTRUMENTAL 8 of the " :zz,zz#: " records." "PRIMARY SORT FIELD: " :@@@@@@@@@@@@: "SELECTION CRITERIA: " NFROM MUSICAL "MAME" N SEE FOREVER SOUND TRACK TO DR. ZIVAGHO OREVER You never know what will catch on overnight. Sinatra's reording of this song reached Number 1 on the Billboard Pop charts and forced an album to be built around it. | | | HOW LONG ON HIT PARADE? | | | |YEARS WEEKS #1 | |FROM "HAIR" RD "BEST COUNTRY AND WESTERN SONG," 1966 FROM "HAIR" RDS BY THOMAS FUNDERA ANNIVERSARY SONG (BASED ON DANUBE WAVES)JOLSON, AL ADAPTATIO CHAPLIN, SAUL ADAPT BOTH ON W/M 1946 ANY PLACE I HANG MY HAT IS HOME MERCER, JOHNACADEMY AWARD WINNING SONG L ADAPTATIO CHAPLIN, SAUL ADAPT BOTH ON W/M 1946 ANY PLACE I HANG MY HAT IS HOME MERCER, JOHNThe earliest known use of this music was for the hymn, "Say Brothers, Will You Meet Me," attributed to William Steffe. The same melody was used for the anti-slavery song, "John Brown's Body." Also known as "Glory Glory Hallelujah." Became a best selling popular record in 1959 by the Mormon Tabernacle Choir. Revived in 1968 with best selling record by Andy Williams. WINNER "SONG OF THE YEAR" AWARD 1969 O PROGRAM THEME SONG SONG OF THE YEAR 1968. BEST COUNTRY AND WESTERN SONG 1968 r, was born on the estate of Queen Emma Kaleleonalani in 1874. Orphaned at an early age, he was adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 Winner of "Song of the Year," 1970. TTLE, KATHLEEN 8 AIN'T THAT GOOD NEWS BATTLE, KATHLEEN 8 YOU ARE MY HEART'S DELIGHT (LEHAR, FRANZINSTRUMENTAL 8 of the " :zz,zz#: " records." "PRIMARY SORT FIELD: " :@@@@@@@@@@@@: "SELECTION CRITERIA: " NAcademy Award winner. SEE FOREVER ADAPTED FROM A RUSSIAN FOLK SONG Country song of the year 1981. ND WESTERN SONG," 1966 COUNTRY SONG OF THE YEAR 1980 L ADAPTATIO CHAPLIN, SAUL ADAPT BOTH ON W/M 1946 ANY PLACE I HANG MY HAT IS HOME MERCER, JOHNFROM "YENTL" 1983 use of this music was for the hymn, "Say Brothers, Will You Meet Me," attributed to William Steffe. The same melody was used for the anti-slavery song, "John Brown's Body." Also known as "Glory Glory Hallelujah." Became a best selling popular record in 1959 by the Mormon Tabernacle Choir. Revived in 1968 with best selling record by Andy Williams. HOWARD CLAIMED FOR YEARS TO HAVE WRITTEN THIS BUT IN 1947 ORLOB CLAIMED HE HAD WRITTEN THE MELODY HIMSELF AND SOLD IT TO HOWARD. HE SUED AND WON HIS CASE. s adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 This was a straight theft of Chopin's Fantasie Impromptu in C-Sharp Minor, Opus 66. EWS BATTLE, KATHLEEN 8 YOU ARE MY HEART'S DELIGHT (LEHAR, FRANZINSTRUMENTAL 8 of the " :zz,zz#: " records." "PRIMARY SORT FIELD: " :@@@@@@@@@@@@: "SELECTION CRITERIA: " NFUNNY GIRL d winner. SEE FOREVER Fidel Castro's favorite song. NE Charles E King, Hawaii's first internationally known composer, was born on the estate of Queen Emma Kaleleonalani in 1874. Orphaned at an early age, he was adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 and became the best known and best loved of all his works. If you really want to hit in Honolulu, sing it in the original Hawaiian. lody was used for the anti-slavery song, "John Brown's Body." Also known as "Glory Glory Hallelujah." Became a best selling popular record in 1959 by the Mormon Tabernacle Choir. Revived in1968 with best selling record by Andy Williams. SOUND TRACK FROM DR. ZIVAGHO D 1969 sYEAR HITS_BY WORLD WE KNEW, THE (OVER & OVER) (GERMANSIGMAN, CARL (ENG) KAEMPFERT, BURT REHBEA NATIVE OF CLEVELAND, OHIO WHO LIVED FROM 1879 TO 1927. IRVING BERLIN, IRVING 1947 DREAM OF OLWEN, THE (ENGLISH) MAY, WINIFRED WILLIAMS, CHARLES 1947 EARLY IN THE MORNIN' HICKMAN, LEO W/M JORDAN, LOUIS W/M BARTLEY, DALLAS W/M ALL WROTE W/M 1947 EVERLASTING HILLS OF OKLAHOMA, THE SPRICE WAS FROM MONTREAL. SONG WAS FROM FIRST WAR. N 1947 ORLOB CLAIMED HE HAD WRITTEN THE MELODY HIMSELF AND SOLD IT TO HOWARD. HE SUED AND WON HIS CASE. s adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 MOULIN ROUGE EDDY CANTOR AS HIS RADIO PROGRAM THEME SONG FROM SNOW WHITE AND THE SEVEN DWARFS tionally known composer, was born on the estate of Queen Emma Kaleleonalani in 1874. Orphaned at an early age, he was adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 MOULIN ROUGE aight theft of Chopin's Fantasie Impromptu in C-Sharp Minor, Opus 66. EWS BATTLE, KATHLEEN 8 YOU ARE MY HEART'S DELIGHT (LEHAR, FRANZINSTRUMENTAL 8 of the " :zz,zz#: " records." "PRIMARY SORT FIELD: " :@@@@@@@@@@@@: "SELECTION CRITERIA: " NSEITZ WAS A CONCERT PIANIST AND CONDUCTOR AND DISTINGUISHED MEMBER OF THE FACULTY OF THE TORONTO CONSERVATORY OF MUSIC From "Poor Little Rich Girl." NE Revised by Elliott Shapiro. and best loved of all his works. If you really want to hit in Honolulu, sing it in the original Hawaiian. lody was used for the anti-slavery song, "John Brown's Body." Also known as "Glory Glory Hallelujah." Became a best selling popular record in 1959 by the Mormon Tabernacle Choir. Revived in1968 with best selling record by Andy Williams. "Where Is Your Heart" is the title. Composer kived from 1879 to 1927. He was not Irish - a native of Cleveland, Ohio. BERLIN, IRVING 1947 DREAM OF OLWEN, THE (ENGLISH) MAY, WINIFRED WILLIAMS, CHARLES 1947 EARLY IN THE MORNIN' HICKMAN, LEO W/M JORDAN, LOUIS W/M BARTLEY, DALLAS W/M ALL WROTE W/M 1947 EVERLASTING HILLS OF OKLAHOMA, THE SPCOMPOSER LIVED FROM 1879 TO 1927. HE WAS NOT IRISH BUT A NATIVE OF CLEVELAND, OHIO TTEN THE MELODY HIMSELF AND SOLD IT TO HOWARD. HE SUED AND WON HIS CASE. s adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 FROM HOLIDAY INN D THE SEVEN DWARFS tionally known composer, was born on the estate of Queen Emma Kaleleonalani in 1874. Orphaned at an early age, he was adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 FROM HOLIDAY INN T PIANIST AND CONDUCTOR AND DISTINGUISHED MEMBER OF THE FACULTY OF THE TORONTO CONSERVATORY OF MUSIC From "Lady Be Good" with Ann Sothern, Eleanor Powell, Robert Young, Red Skelton, Phil Silvers, Lionel Barrymore. From "Lady Be Good," with Ann Sothern, Eleanor Powell, Robert Young, Red Skelton, Phil Silvers, Lionel Barrymore. Commonly known as "I Dream of Jeannie With The Light Brown Hair." Frank and Gene Kelly sang and danced to this song in Frank's 1973 TV special "Ol' Blue Eyes Is Back." ing it in the original Hawaiian. This title suggested by Dick Johnston. s not Irish - a native of Cleveland, Ohio. This song suggested by Dick Johnston On McKellar's album "Highland Journey" eanor Powell, Robert Young, Red Skelton, Phil Silvers, Lionel Barrymore. ? ? On McKellar's album "Highland Journey" onally known composer, was born on the estate of Queen Emma Kaleleonalani in 1874. Orphaned at an early age, he was adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 On McKellar's album "Highland Journey" On McKellar's album "Highland Journey" DURING THE WEDDING SCENES OF AN EPISODE OF "THIRTY SOMETHING" THAT I RECORDED FOR LINDA On McKellar's album "Highland Journey" On McKellar's album "Highland Journey" leanor Powell, Robert Young, Red Skelton, Phil Silvers, Lionel Barrymore. From the album "Watertown." danced to this song in Frank's 1973 TV special "Ol' Blue Eyes Is Back." ing it in the original Hawaiian. From the album "Watertown." ohnston From the album "Watertown." Journey" onally known composer, was born on the estate of Queen Emma Kaleleonalani in 1874. Orphaned at an early age, he was adopted by his mother's family and taken under the wing of good Queen Emma, who encouraged him to study music. King later became a prominent music educator and conductor, as well as a composer, arranger and collector of over 200 Hawaiian songs. His "Song of the Islands," the quintessential melody of the South Pacific, was composed in 1915 From the album "Watertown." Journey" DURING THE WEDDING SCENES OF AN EPISODE OF "THIRTY SOMETHING" THAT I RECORDED FOR LINDA From the album "Watertown." Journey" reading last record Error incrementing field : %s From the album "Watertown." Valid range: %s to %s Entry is not valid From the album "Watertown." LOANS IDN LOANS INA LOANS RLN LOANS UDN LOANTITLNDX SONGCOMPNDX SONGS BNA SONGS DBF SONGS DBT SONGS IDN SONGS INA SONGS RNA SONGS SNA SONGS SNB SONGS SNC From the album "Watertown." SONGS SNE SONGS UDN SONGTITLNDX SONGYEARNDX VIDCTGRYNDX VIDEOVHSBNA VIDEOVHSDBF VIDEOVHSHDB VIDEOVHSIDN VIDEOVHSINA VIDEOVHSNDS VIDEOVHSPRO VIDEOVHSRNA VIDEOVHSSNA VIDEOVHSSNB Famous World War I song that everyone of my age knows. e e!e"e#e$e%e&e'e(e)e*e+e 0e1e2e3e4e5e6e 9e:e;ee FeGeHeIe QeReSe UeVeWeXeYeZe becede iejekelemeneoepeqereseteuevewexeyeze{e|e}e~e fFrom Annie - The Sun Will Come Out Tomorrow. "The night is young and you're so beautiful.. Here among the flowers.. Beautiful lady - Open your heart." reading last record Error incrementing field : %s I don't know who wrote which on this one. Won song of the year but what year? TTLE, KATHLEEN 8 AIN'T THAT GOOD NEWS BATTLE, KATHLEEN 8 YOU ARE MY HEART'S DELIGHT (LEHAR, FRANZINSTRUMENTAL 8 of the " :zz,zz#: " records." "PRIMARY SORT FIELD: " :@@@@@@@@@@@@: "SELECTION CRITERIA: " NGoodbye Dear, I'll be Back in a Year, Cause I'm In the Army Now Everybody's Had The Blues Haggard, Merle Haggard, Merle 1973Haggard, Merle Goodbye Yellow Brick Road (English) John, Elton W/M Taupin, Bernie 1973John, Elton He's Good For Me Fields, Dorothy Coleman, Cy 1973 From a theme by Chopin. Sung by Art Hallman Too many entries! Out of Memory! Unable to build composite bufr One of the songs Dick Todd recorded. 1880 290 Above And Beyond (The Call Of Love) Howard, Harlan Howard, Harlan 1959Owens, Buck Big Iron Robbins, Marty Robbins, Marty 1959Robbins, Marty Don't Be Angry Jackson, Wade Jackson, Wade 1957Jac"Darling - you and I - know the reason why - the summer skies are blue". Actually, I don't know whether these were the first words to this song or the other one I have listed with the same title. Taken from Tchaikovsky's 1st piano concerto. Too Beautiful For Words Grossman, Bernie W/MColumbo, Russ W/M Stern, Jack W/M All Wrote W/M 1934 Trust In Me Wever, Ned Schwartz, Jean Ager, Milton 1934 Two Cigarettes In The Dark Webster, Paul Franci Pollack, Lew 1934 Taken from Tchaikovsky's 5th Symphony, Second Movement. Taken from a theme of Frederic Chopin 1940 This Is The Beginning Of The End Gordon, Mack Gordon, Mack 1940 Trade Winds Friend, Cliff Tobias, Charlie Both Wrote W/M 1940 Tuxedo Junction * Feyne, Buddy Hawkins, Erskine (M)Johnson, William Dash, JuliThere is a conflict between my source for composers of the song under this title and the composers for the title Day O as given on the credits on the CD of Belefonte at Carnegie Hall. The song is unquestionably the same one under both names. Sigman, Carl 1948 Everybody Loves Somebody Taylor, Irving Lane, Ken 1948 Ev'ry Day I Love You (Just A Little This song was written and recorded by Merle Travis in the late 40s but never went anywhere. Ernie Ford used it often in his live performances but it wasn't till he recorded it in the mid 50s with the finger popping effect that it became big, selling over a million copies in less than three weeks. A/Gibbs, Geo Ace In The Hole Porter, Cole Porter, Cole 1941 Air Mail Special Many think the title of this song is "Beautiful Girl." MELODY1 NDX SONGHITSNDX SONGLYR2NDX SONGLYRINDX SONGS BNA SONGS BNB SONGS DBF SONGS DBT SONGS GNA SONGS GNB SONGS GND SONGS GNE SONGS IDN SONGS INA The correct title of this song is "This is All I Ask." Details under the correct title. SONGHITSNDX SONGLYR2NDX SONGLYRINDX SONGS BNA SONGS BNB SONGS DBF SONGS DBT SONGS GNA SONGS GNB SONGS GND SONGS GNE SONGS IDN SONGS INA This was a Number 1 single for four straight weeks. MELODY1 NDX SONGHITSNDX SONGLYR2NDX SONGLYRINDX SONGS BNA SONGS BNB SONGS DBF SONGS DBT SONGS GNA SONGS GNB SONGS GND SONGS GNE SONGS IDN SONGS INA From the musical "Gypsy." %/&/'/(/)/*/+/,/-/ 2/3/4/5/ 7/8/9/:/;// @/A/B/C/D/E/F/G/H/I/ O/P/Q/R/S/T/U/V/W/X/Y/Z/[/\/]/^/_/`/ b/c/d/e/f/g/h/i/j/k/l/m/n/o/p/q/r/s/t/u/ w/x/y/z/{/|/}/~/ 0Sinatra's recording of this tune done in 1974 but not released until 1990 turns out to be a treasure of treasures, a deeply felt rendering of a dark tune, the vocal filled with longing and regret. A not-to-be-miss ed Sinatra moment. 1933 Lazy Bones Mercer, Johnny Carmichael, Hoagy 1933 Learn To Croon Coslow, Sam "Empty Tables," Johnny Mercer's last lyric, with Sinatra very much in mind. A boozy Van Heusen melody, and Sinatra's second record of it, done in 1976 and one of the two piano-only Sinatra records made in a recording studio. The other, "Send In The Clowns," was done at the same session, with Bill Miller repeating as pianist. Sinatra's recording of this in 1976, a sexy waltz, was a tribute to Barbara Sinatra, though the song was actually written by Coleman and Stewart for a Broadway show called "I Love My Wife." At the time of its release, Sinatra's concert performance of it elicited warm laughter from understanding audiences. He slowed it down and acted it out and gave it a whiff of charming dignity that had absolutely nothing to do with any part of himself previously exhibited. Harrison's "Something" got around after its release on the Beatle's album, Abbey Road. It wound up on Sinatra's desk and he recorded it with a somewhat disappointing arrangement by the late Lennie Hayton just before Sinatra's spangled retirement. Back on the road again in the 1970s, "Something" showed up as a Sinatra staple. He sang it wherever he went, extolling its virtue as "one of the greatest love songs ever written." Gone was the Lennie Hayton chart, and in its place a haunting new Nelson Riddle arrangement that dug deeply into the song and made Sinatra's hyperbolic affection for it at least palatable. The Sinatra-ization of "Something," "You stick around, Jack, it might show" has irritated Rock & Roll purists and his identification of Lennon/McCartney as writers went uncorrected for years. But still, when the second recording of it was made for Trilogy in 1979, Sinatra found the very centre of the material and issued a performance that many believe is one of his finest. R R!R"R#R$R%R&R'R(R)R*R+R,R-R.R/R0R1R2R3R4R5R6R 8R9R:R;RR?R@RARBRCRDRERFRGRHRIRJRKRLRMRNRORPRQRRRSRTRURVRWRXR ZR[R\R]R^R_R`RaRbRcRdReRfRgRhRiRjRkRlRmRnRoRpRqRrR tRuRvRwRxRyRzR{R|R}R~R The "B" side of "Here's To The Band," and the only Sinatra record ever made with just a guitar. Jule Styne wrote the wandering, lovely melody, and a woman named Susan Burkenhead added the intimate lyric. Sinatra's 1983 almost conversational reading is accompanied by Tony Mottola. ?From the musical "One Touch of Venus." Berlin, Irving Where Is The Song Of Songs For Me Berlin, Irving Berlin, Irving Just A Little Longer Berlin, Irving Berlin, Irving 1926 Once Upon A Time Adams, Lee StFrom "Annie Get Your Gun." 1939 If I Only Had A Brain (Scarecrow Dance) Harburg, E Y Arlen, Harold 1939 I'll Keep On Loving You Tillman, Floyd Tillman, Floyd 1939 I'll Pray For You (English) * King, Roy Hill, Stanley 1939 From "The King And I," with Yul Brynner and Gertrude Lawrence. Simon, Carly Simon, Carly 1972Simon, Carly You're The Best Thing That Ever Hap To MWeatherly, Jim Weatherly, Jim 1972Price, Ray All In Love Is Fair Wonder, Stevie Wonder, Stevie 1973Streisand, Barbra Behind Closed Doors From the musical "Wonderful Town." MELODY1 NDX SONGHITSNDX SONGLYR2NDX SONGLYRINDX SONGS BNA SONGS BNB SONGS DBF SONGS DBT SONGS GNA SONGS GNB SONGS GND SONGS GNE SONGS IDN SONGS INA From the musical "Mr. Wonderful." sell, Rosalind 468 OO! What You Do To Me Twomey,Kay W/M Wise, Fred W/M Weisman, Ben W/M All Wrote W/M 1953Page, Patti Open Up Your Heart Hamblen, Stuart Hamblen, Stuart 1953 Rags To Riches Adler, Richard W/M Ross, Jerry W/M Both Wrote W/M 1953Bennett, Tony From the Broadway Musical "Fade Out - Fade In." Lane, Burton 1950 Unwanted Sign Upon Your Heart Snow, Hank Snow, Hank 1950Snow, Han Use Your Imagination Porter, Cole Porter, Cole 1950 When The World Was Young (Ah, The Apple)Mercer, Johnny From the musical "Man of La Mancha." Van Heusen, Jimmy I Won't Men Old Folks At Home Foster, Stephen Foster, Stephen 1851 Lonely World From the musical "Applause," with Lauren Bacall and Boys. MELODY1 NDX SONGHITSNDX SONGLYR2NDX SONGLYRINDX SONGS BNA SONGS BNB SONGS DBF SONGS DBT SONGS GNA SONGS GNB SONGS GND SONGS GNE SONGS IDN SONGS INA From the musical, "Jesus Christ Superstar." Kahal, Irving Fain, Sammy 1937 I Double Dare You Shand, Terry Eaton, Jimmy 1937 I See Your Face Before Me Dietz, Howard Schwartz, Arthur 1937 If It's The Last Thing I Do CahFrom the musical "Evita." I Gotta Have My Baby Back Tillman, Floyd Tillman, Floyd 1949 I Just Don't Like This Kind Of Livin' Williams, Hank Williams, Hank 1949 I Love You Because Payne, Leon Payne, Leon 1949 I This is a familiar melody that few seem to know the name of. Loudermilk, John Loudermilk, John 1962 Where I Ought To Be Howard, Harlan Howard, Harlan 1962 Boots Of Spanish Leather Dylan, Bob Dylan, Bob 1963 Break Up SFrom the musical "Brigadoon." - 1947 ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e g h i j k l m n o p q r s u v w x y { | } ~ From the 1947 musical "Brigadoon." All about the pastries marketed under the trade name of Sara Lee. A really cute song.