%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.
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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
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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
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!Chosen as the official song of Royal Canadian Air Force.
)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."
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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.
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&New Ashmolean Marching Society and Students Conservatory Band.
)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.
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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.
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&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.
;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."
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NSung by Jolson in 1918 but copywrited in 1920. Adapted from Puccini
aria from Tosca.
o 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.
Violinsky was a pseudonym for Sol Ginsberg.
A musical comedy called Shuffle Along came down from Harlem in 1921 to
become the first all-Negro production ever to achieve a lengthy run on
Broadway, thus setting the vogue for many such attractions in the 1920s.
Among the ragtime pleasures was the strutting "I'm Just Wild About
Harry," who's irresistible beat and easy-to-remember words have kept it
an all-time favorite.
Music based on a theme from Franz Schubert's "Unfinished Symphony"
with Edgar Sampson credited as composer.
"King Zany" was a pseudonym for Jack Dill
ogether 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.
"Inspired" by the role played by Lon Chaney in "Shadows."
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.
weeks.
Introduced in London in A to Z (revue, 1921). Not published in the United States until 1938.
eman Rankers" and adopted it as themeof the Whiffenpoof Society in 1909. First published version in 1919. Rudy Vallee brought his slightly revised version to attention of general public in 1935.
Kahn used the pseudonym "Gilbert Keys" for this one.
rter (1942) or "Hey, Good Lookin'" by Hank Williams (1951)
Full title is "You Know You Belong to Somebody Else so Why Don't You
Leave Me Alone.
ald M Armitage, also known as Noel Gay.
Adapted from a folk song of the southern United States of the 1870's,
according to Carl Sandburg. New version by Bill Lewis.
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."
A portion of a concert piano composition, "Visions of Sleep", by
Adam Geibel (Hence Lebieg)
d as composer.
Orchestrated by Ferde Grofe - introduced Feb 12, 1924
ano piece subtitled "An American Idyll," and exactly 20 years later lyricistDubin 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."
"A dummy lyric" is a temporary set of words put together to help
lyricists 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."
"Lady, Be Good" successfully launched the Broadway team of George and
Ira Gershwin, but it was "Tip Toes" the following year that demonstrated
unquestionably that Broadway had at last found a successor to the great
team of Bolton, Wodehouse and Kern. Practically every review of "Tip
Toes" made this assertion, and every reviewer singled out "Looking For a
Boy" as proof. The scores to the Princess shows are, alas, nowadays
almost forgotten; but to those who cherish their memory it is clear that
"Looking For a Boy" 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 only always been his friend, he achieved a
lyric excellence and charm - especially in trick rhymes - which the
literary Gershwin himself has emulated.
1920. Adapted from Puccini
aria from Tosca.
o 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.
"King" was a pseudonym for Reg Connelly and Jimmy Campbell.
ough-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.
When Allen Kearns and Queenie Smith sang this duet in "Tip-Toes," the
trick that made the song unusual was its phrasing. This recording shows
how the song's original impulse can be lost vocally and yet the number
retain charm and beauty. Instead of using the breathless sliding of
words, which the lyricist had outlined, Ella gives the phrases a steady
and direct beat; and she shows that the lines, with their rhymes and
balances, are still valid. As for the orchestral arrangement, Nelson
Riddle retains the rhythmic pattern of the original song, and it is
against this that Ella sings.
s compelling theme for star crossedlovers 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
Adapted from a song believed to have been composed by William Percy
French, under the title, "Abdulla Bulbul Ameer," in Dublin, Ireland in
1876.
"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.
"Horatio Nicholls" was a pseudonym for Lawrence Wright
talgic 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.
"Neil Moret" was a pseudonym for Charles N Daniels
offered the touching romance between a Victorian English 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 by the hero and heroine.
Melody, composed by Youmans while he was in the United States Navy
during the First World War, was performed for several years by Navy
bands.
fe, 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 music
No lyric writer has ever enjoyed a greater reputation for intricate,
polysyllabic rhyming than Lorenz Hart. Yet Hart could also be both
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 revue in 1927, the ballad was later heard in the
Broadway musical "A Conneticut Yankee."
t of words put together to help lyricists 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."
A 1941 version had lyrics and music by S.K.Russell and Don Redman; a 1943 version had lyrics by Ervin Drake and Marty Tenney; and a 1944 version had lyrics by Ray Gilbert.
U"Neil Moret" was a pseudonym for Charles N. Daniels.
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WAdapted from traditional bawdy songs.
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XOriginal title, "Love, Your Spell is Everywhere," changed by the publisher in 1953.
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[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.
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^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.
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_First recorded for the Library of Congress archives by Leadbelly (Huddie
Ledbetter) while he was a prisoner at the Angola, Louisiana, State
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.
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WVersion without lyrics, entitled "Robbins' Nest," dedicated to disc
jockey Fred Robbins, copywrited in 1948.
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["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.
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_Adapted from the aria, "Vesti la Giubba," from Leoncavallo's opera,
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."
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
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
WWritten as a result of a title idea sent to Mercer by Mrs. Sadie Vimmerstedt, a Yougstown, Ohio housewife.
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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.
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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
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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.
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
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.
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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.
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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.
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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 "
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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 "
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<SELECT*>
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 "
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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 "
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" records."
"PRIMARY SORT FIELD: "
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<SELECT*>
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
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From the album "Watertown."
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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
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9e:e;e<e=e>e
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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
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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 "
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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
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