Lyrics:Fred Fisher Music:Felix Bernard , Johnny S. Black
The song was published in 1919.
Band conductor Ben Selvin (1898–1980) led into the 1920s with his hit instrumental version of Dardanella. The song held the No. 1 spot on the U.S. charts for 13 weeks, and sold a seemingly incredible five million copies.
Down beside the Dardanella Bay, Where oriental breezes play, There lives a lonesome maid, Armenian. By the Dardanelles with glowing eyes, She looks across the seas and sighs, And weaves her love spell so sirenian. Soon I shall return to Turkestan. I will ask for her heart and hand.
Oh, sweet Dardanella, I love your harem eyes. I'm a lucky fellow to capture such a prize. Oh, Allah knows my love for you And he tells you to be true. Dardanella, oh hear my sigh, my oriental. Oh, sweet Dardanella, prepare the wedding wine. There'll be one girl in my harem when you're mine. We'll build a tent Just like the children of the orient, Oh, sweet Dardanella, my star of love divine.
When the Turkish sultan saw her eyes, Oh, he was taken by surprise. He said, "I'll buy her for my harem." I just told the sultan to be nice. She can't be brought for any price. She said to me she couldn't bear him. So beneath the oriental moon, I'll be wooing my love real soon.
It is still a standard with Dixieland and traditional jazz bands. The simple 32-bar chord sequence of its chorus also underpins many other tunes played mainly by jazz bands. Examples are "Over the Waves", "Washington and Lee Swing", "Bourbon Street Parade", "My Little Girl" and the final themes of "Tiger Rag" and "The Beer Barrel Polka".
Won't you come home, Bill Bailey, won't you come home I moan the whole night long I'll do the cookin', honey, I'll pay the rent I know I done you wrong
Remember that rainy eve' that I drove you out with nothin' but a fine tooth comb Yes, I know that I'm to blame, and ain't that a shame Bill Bailey, won't you please come home
Won't you come home, Bill Bailey, won't you come home I moan the whole night long I'm-a gonna do your cookin', honey, I'm-a gonna pay your rent I know that I've done you wrong
Remember that rainy eve' that I drove you out with nothin' but a fine tooth comb Well, I know that I'm to blame, and ain't that a dirty, low-down shame Bill Bailey, won't you please come home Come home, come home, Bill Bailey Bill Bailey, won't you please come on home Come home, Bill Bailey Bill Bailey, won't you please come on home Come on home
Pianist and composer Spencer Williams titled this number after the street where he lived as a youngster with his aunt. But the house he lived in was no ordinary house: it was Mahogany Hall, probably the most famous brothel of Storyville, New Orleans’ red light district. And Spencer’s aunt was the notorious madam Lulu White.
Williams composed the tune in 1928, eleven years after Storyville closed and seven years after Basin Street had been changed to North Saratoga Street by city fathers who wanted every trace of the Storyville “experiment” to disappear. (Ironically, they changed the name back in 1946, no doubt due in part to Williams’ song.)
Won't you come along with me to the Mississippi we'll take a boat to the land of dreams Steam down the river, down to New Orleans
The band's there to meet us Old friends there to greet us Where all the proud and elite folks meet Heaven on earth, they call it Basin Street
Basin Street is the street where the best folks always meet in New Orleans, land of dreams you'll never know how nice it seems, or just how much it really means
Glad to be, oh yes-siree Where welcome's free and dear to me Where I can lose, lose my Basin Street Blues
Basin Street, oh Basin Street Is the street, mama (scat) New Orleans, land of dreams
Jean Sargent introduced “Alone Together” in the Broadway musical, Flying Colors, while Clifton Webb and Tamara Geva danced. Flying Colors opened at the Imperial Theater on September 15, 1932, produced by Max Gordon and directed by Howard Dietz. The reviews were mixed, and it ran for 188 performances. The Harms sheet music from that era lists “Alone Together” as the top song, followed by “A Shine on Your Shoes,” “Smokin’ Reefers,” “Louisiana Hayride,” and “A Rainy Day.”
Alone together, beyond the crowd, Above the world, we're not too proud To cling together, We're strong As long as we're together.
Alone together, the blinding rain The starless night, were not in vain; For we're together, and what is there To fear together.
Our love is as deep as the sea, Our love is as great as a love can be, And we can weather the great unknown, If we're alone together.
Lyrics:Vinícius de Moraes Music:Antonio Carlos Jobim
The song was published in 1958.
It was first recorded by Elizete Cardoso on her album Canção do Amor Demais but the public did not take notice of that release. Gilberto's own recording, released in July, 1958 as a single, made it a hit.
It has been recorded by jazz and rock performers, with the English language title "No More Blues". English lyrics have been written by Jon Hendricks and Jessie Cavanaugh.
Vai minha tristeza, e diz a ela que, sem ela não pode ser.
Diz-lhe numa prece, que ela regrese, porque eu não posso mais sofrer.
Chega de saudade, a realidade é que sem ela não há paz não há beleza é só tristeza e a melancolia, que não sai de mim, não sai de mim, não sai.
Mais se ela volta, se ela volta, que coisa linda, que coisa louca.
Pois há menos peixinhos a nadar no mar, Do que os beijinhos que eu darei, na sua boca.
Dentro dos meus braços, os abraços hão de ser milhões de abraços.
Apertado assim, colado assim, calado assim, Abraços e beijinhos e carinhos sem ter fim
Que é pra acabar com esse negócio De viver longe de mim
Não quero mais esse negócio De você viver assim
Vamos deixar desse negócio De você viver sem mim
No more blues I'm going back home No, no more blues I promise no more to roam Home is where the heart is The funny part is, my heart's been Right here all alone
No more tears, and no more sighs No, no more fears- I'll say no more goodbye If travel beckons me, I swear I'm gonna refuse I'm gonna settle down, and there'll be no more blues
Everyday while I am far away My thoughts turn homeward, forever homeward I've traveled round the world in search of happiness But all the happiness I've found Is in my hometown
No more blues I'm going back home No, no more blues I'm through with all my wandering now I'll settle down and never roam And find a man and build a home When we settle down, there'll be no more blues Nothing but happiness When we settle down, there'll be no more blues
The Garrick Gaieties is a revue with music by Richard Rodgers and lyrics by Lorenz Hart, the first of many musicals by this songwriting team.
Summer journeys To Niag'ra And to other places Aggravate all our cares. We'll save our fares. I've a cozy little flat In what is known as old Manhattan. We'll settle down Right here in town.
We'll have Manhattan, The Bronx and Staten Island too. It's lovely going through The zoo. It's very fancy On old Delancey Street, you know. The subway charms us so When balmy breezes blow To and fro. And tell me what street Compares with Mott Street In July? Sweet pushcarts gently gliding by. The great big city's a wondrous toy Just made for a girl and boy. We'll turn Manhattan Into an isle of joy.
We'll go to Greenwich, Where modern men itch To be free; And Bowling Green you'll see With me. We'll bathe at Brighton The fish you'll frighten When you're in. Your bathing suit so thin Will make the shellfish grin Fin to fin. I'd like to take a Sail on Jamaica Bay with you. And fair Canarsie's lake We'll view. The city's bustle cannot destroy The dreams of a girl and boy. We'll turn Manhattan Into an isle of joy.
We'll go to Yonkers Where true love conquers In the wilds. And starve together, dear, In Childs'. We'll go to Coney And eat baloney On a roll. In Central Park we'll stroll, Where our first kiss we stole, Soul to soul. Our future babies We'll take to "Abie's Irish Rose." I hope they'll live to see It close. The city's clamor can never spoil The dreams of a boy and goil. We'll turn Manhattan Into an isle of joy.
We'll have Manhattan, The Bronx and Staten Island too. We'll try to cross' Fifth Avenue. As black as onyx We'll find the Bronnix Park Express. Our Flatbush flat, I guess, Will be a great success, More or less. A short vacation On Inspiration Point We'll spend, And in the station house we'll end, But Civic Virtue cannot destroy The dreams of a girl and boy. We'll turn Manhattan Into an isle of joy!
Originally titled My Best Girl, it is based on the 1955 novel Auntie Mame by Patrick Dennis and a 1956 Broadway play, by Lawrence and Lee, that had starred Rosalind Russell. Set in New York and spanning the Great Depression and World War II, it focuses on eccentric bohemian, Mame Dennis, whose famous motto is "Life is a banquet and most poor suckers are starving to death." Her fabulous life with her wealthy friends is interrupted when the young son of her late brother arrives to live with her. They cope with the Depression in a series of adventures.
The musical opened on Broadway in 1966, starring Angela Lansbury and Beatrice Arthur. The production became a hit and spawned a 1974 film with Lucille Ball in the title role and Arthur reprising her supporting role, as well as a London production, a Broadway revival, and a 40th anniversary revival at the Kennedy Center in 2006.
You coax the blues right out of the horn, Mame, You charm the husk right off of the corn, Mame, You've got that banjoes strummin' And plunkin' out a tune to beat the band, The whole plantation's hummin' Since you brought Dixie back to Dixie land. You make the cotton easy to pick, Mame, You give my old mint julep a kick, Mame, Who ever thought a Yankee would put A little Dixie mouse to shame. You've made us feel alive again, You've given us the drive again, To make the South revive again, Mame. Beauregard Burnside: You've brought the cake-walk back into style, Mame You make the weepin' willow tree smile, Mame, Your skin is Dixie satin, There's rebel in your manner and your speech, You may be from Manhattan, But Georgia never had a sweeter peach.
You make our black-eyed peas and our grits, Mame, Seem like the bill of fare at the Ritz, Mame, You came, you saw, you conquered And absolutely nothing is the same. You're special fascination'll prove to be inspirational, We think you're just sensational, Mame. Since you brought Dixie back to Dixie land. Since you brought Dixie back to Dixie land. You coax the blues right out of the horn, Mame, You charm the husk right off of the corn, Mame, You've got that banjoes strummin' And plunkin' out a tune to beat the band, The whole plantation's hummin' Since you brought Dixie back to Dixie land. You make the cotton easy to pick, Mame, You give my old mint julep a kick, Mame, Who ever thought a Yankee would put A little Dixie mouse to shame. You've made us feel alive again, You've given us the drive again, To make the South revive again, Mame. Mame! Mame! Mame! Mame!
Successfully entered the popular Hollywood actor Maurice Chevalier in France in 1928, a contract with Paramount in 1930. PARIS Playboy's first movie and sang this song as the theme song. Chevalier “Gigi” is probably its most famous movie.
Long ago my heart and mind Got together and designed The wonderful girl for me Oh what a fantasy
Thought the ideal of my heart Can't be ordered a la carte I wonder if she will be Always a fantasy
Will I ever find the girl in my mind? The one who is my ideal Maybe she's a dream and yet she might be Just around the corner waiting for me
Will I recognize the light in her eyes That no other eyes reveal Or will I pass her by and never even know That she was my ideal
Will I recognize the light in her eyes That no other eyes reveal Or will I pass her by and never even know That she is my ideal
Liza (All the Clouds'll Roll Away) Lyrics:Ira Gershwin , Gus Kahn Music:George Gershwin
The song was published in 1929.
One of George Gershwin’s favorite numbers was “Liza.” According to David Ewen’s biography George Gershwin: His Journey to Greatness, Gershwin “continually played it for friends, frequently with improvised variations.” Robert Kimball and Alfred Simon’s book, The Gershwins, directly quotes George regarding the writing of the music for Show Girl. “It was the greatest rush job I’ve ever had on a score. I was working on another show for Mr. Ziegfeld when he suddenly decided to drop that one and produce Show Girl immediately.” Ziegfeld wanted the score done in two weeks, much to Gershwin’s chagrin. According to George, Ziegfeld smiled and told the composer “just dig down in the trunk and pull out a couple of hits.” A savvy producer, Ziegfeld knew that Gershwin, like most songwriters, had little snippets and unpublished tunes filed away in the “trunk” and could undoubtedly put something together.
Everything is lovely When you start to roam; The birds are singin', the day that you stray, But later, when you are further away, Things won't seem so lovely When you're all alone; Here's what you'll keep saying When you're far from home:
Mammy, Mammy, The sun shines east, the sun shines west, I know where the sun shines best-- Mammy, My little mammy, My heartstrings are tangled around Alabammy. I'm comin', Sorry that I made you wait. I'm comin', Hope and trust that I'm not late, oh oh oh Mammy, My little Mammy, I'd walk a million miles For one of your smiles, My Mammy! Oh oh oh...
(SPOKEN) Mammy... My little Mammy. The sun shines east-- the sun shines west-- I know where-- the sun shines best! It's on my Mammy I'm talkin' about, nobody else's! (SUNG) My little Mammy, My heartstrings are tangled around Alabammy. (SPOKEN) Mammy-- Mammy, I'm comin'-- I'm so sorry that I made you wait! Mammy-- Mammy, I'm comin'! Oh God, I hope I'm not late! Look at me, Mammy! Don't you know me? I'm your little baby! (SUNG) I'd walk a million miles For one of your smiles, My Mammy!
Its melody is based on the 1890 piano piece Rêverie by the French classical composer Claude Debussy. A 1938 recording of the song by Clinton and his band with Bea Wain as the vocalist was a hit, reaching the top of the Billboard Record Buying Guide in the same year. "My Reverie" went on to be recorded by other vocalists including Mildred Bailey, Bing Crosby, Tony Bennett, Sarah Vaughan, Betty Carter, Helen Forrest, and Ella Fitzgerald, as well as bands led by Paul Whiteman, Dizzy Gillespie, Glenn Miller, Nelson Eddy, Esquivel, and Ray Conniff.
Our love Is a dream, but in my reverie I can see that this love was meant for me
Only a poor fool Never schooled in the whirlpool Of romance could be so cruel
As you are to me My dreams are as worthless as tin to me Without you life will never begin to be
So love me As I love you in my reverie Make my dream a reality Let's dispense with formality Come to me in my reverie
Original lyrics:Manuel Lliso Lyrics:Buddy Bernier Music:Nat Simon
The song was published in 1936.
The announcement was not given much time and rhythm of Latin music was popular in the early 1940s, partly due to age and prevalence of exotic surrounding it, by David Rose in 1944 called moody reputation of orchestral performances. Followed by Bing Crosby was a big hit singing popular songs. The title comes from the native to Madagascar, bright vermilion red flowers in early summer south.
Blow Tropic wind, sing a song to the trees Trees sigh to me, soon my love I will see
Poinciana, your branches speak to me of love Pale moon is casting shadows from above
Poinciana, somehow I feel the jungle heat Within me there grows a rhythmic savage beat
Love is ev'rywhere, its magic perfume fills the air To and fro you sway, my heart's in time, I've learned to care
Poinciana, though skies may turn from blue to gray My love will live forever and a day
Poinciana, from now until the dawning day I'll learn to love forever, come what may
The song was introduced in the 1943 movie Hello, Frisco, Hello where it is sung by Alice Faye. It was also performed by Faye in the 1944 film Four Jills in a Jeep. The song is often credited as Faye's signature song. However, Faye never made a recording of the ballad and, in later years, frequent covers of the song diminished her association with it.
It was recorded in 1943 by, among others, Frank Sinatra and Dick Haymes. Haymes’ version was a number one hit for four weeks on the R&B charts that year.
You'll never know just how much I miss you You'll never know just how much I care
And if I tried I still couldn't hide my love for you You ought to know for haven't I told you so A million or more times
You went away and my heart went with you I speak your name in my every prayer
If there is some other way to prove that I love you I swear I don't know how You'll never know if you don't know now
Lyrics:Alan Bergman, Marilyn Bergman Music:Marvin Hamlisch
The song was published in 1973.
The Way We Were is a 1973 American romantic dramatic film directed by Sydney Pollack. The screenplay by Arthur Laurents was based on his college days at Cornell University and his experiences with the House Un-American Activities Committee.
A box office success, the film was nominated for several awards and won the Academy Award for Best Original Score and the Academy Award for Best Original Song for The Way We Were. The soundtrack recording charted for 23 weeks on the Billboard Hot 100 and eventually sold in excess of one million copies.
Memories Light the corners of my mind Misty watercolor memories Of the way we were Scattered pictures Of the smiles we left behind Smiles we gave to one another For the way we were
Can it be that it was all so simple then Or has time rewritten every line If we had the chance to do it all again Tell me - Would we? Could we?
Memories May be beautiful and yet What's too painful to remember We simply choose to forget
So it's the laughter We will remember Whenever we remember The way we were
So it's the laughter We will remember Whenever we remember The way we were
Music:"Eastburn" Joseph Winner (Winner's middle name)
The song was published in 1869.
It was originally a drinking song. It remained well known as a folk song into the early 20th century. Like many songs which make reference to alcoholic beverages, it enjoyed new popularity during the Prohibition era. In 1939, bandleader Glenn Miller recorded and broadcast his swing instrumental arrangement of the tune with great success, and the number became one of the best known orchestrations of the American Big Band era.
His version did not have the lyrics. Kate Bush quoted the famous verse "Little Brown Jug, don't I love thee" in the song "A Coral Room" in her album Aerial.
The song's lyrics are about a man and his wife and their hard life due to alcoholism; however, the tone and tune are bright and cheerful.
Me and my wife live all alone In a little log hut we call our own; She loves gin and I love rum, And don't we have a lot of fun!
Ha, ha, ha, you and me, Little brown jug, don't I love thee! Ha, ha, ha, you and me, Little brown jug, don't I love thee!
When I go toiling on the farm I take the little jug under my arm; Place it under a shady tree, Little brown jug, 'tis you and me.
’Tis you that makes me friends and foes, ’Tis you that makes me wear old clothes; But, seeing you're so near my nose, Tip her up and down she goes.
If all the folks in Adam's race Were gathered together in one place, I'd let them go without a tear Before I'd part from you, my dear.
If I'd a cow that gave such milk, I'd dress her in the finest silk; Feed her up on oats and hay, And milk her twenty times a day.
I bought a cow from Farmer Jones, And she was nothing but skin and bones; I fed her up as fine as silk, She jumped the fence and strained her milk.
And when I die don't bury me at all, Just pickle my bones in alcohol; Put a bottle o' booze at my head and feet And then I know that I will keep.
The rose is red, my nose is too, The violet's blue and so are you; And yet, I guess, before I stop, We'd better take another drop.
Me, my wife, and my lil brown jug, went to cross a hickory log, log it broke and we fell in, lost my wife but I saved my gin.
Ha, ha, ha, hee hee hee, Little brown jug sings quite off key. Ha, ha, ha, hee hee hee, Little brown jug sings quite off key.
My wife and I drink lots of pop, Sometimes it seems we seldom stop, She drinks from a fancy mug, But I prefer my li'l brown jug.
Ha,ha,ha you and me, Little brown jug how I love thee! Ha,ha,ha you and me, Little brown jug how I love thee!
My wife and I drink lots of pop Sometimes it seem we seldom stop She drinks from a fancy mug But I prefer my li'l brown jug.
Ha ha ha you and me Little brown jug how I love thee Ha ha ha you and me Little brown jug how I love thee.
I's walkin' down the railroad track Little Brown Jug upon my back Stubbed my toe and down I fell Broke Little Brown Jug all to Well,now.