"So in Love" is a popular song, written by Cole Porter, from his musical Kiss Me, Kate, (opening on Broadway in 1948) based on Shakespeare's Taming of the Shrew. It was sung in the show by Patricia Morison, reprised by Alfred Drake and further popularized by Patti Page in 1949.
Other versions which were popular that year were by Gordon MacRae and Dinah Shore.
The song has been recorded by many other significant female singers, including Peggy Lee and Ella Fitzgerald.
Strange dear, but true, dear When I'm close to you, dear The stars fill the sky So in love with you am I
Even without you My arms fold about you You know, darling, why So in love with you am I
In love with the night mysterious The night when you first were there In love with my joy delirious When I knew that you could care
So taunt me and hurt me Deceive me, desert me I'm yours 'til I die So in love So in love So in love with you, my love, am I
The Rhythm Boys, accompanied by the Duke Ellington orchestra, sang it in the 1930 Amos 'n' Andy film Check and Double Check, which Kalmar and Ruby co-wrote along with J. Walter Ruben. The song also figured prominently in the film Three Little Words, a 1950 biopic about Kalmar and Ruby.
The song was also recorded by Django Reinhardt on June 14, 1938.
Three little words Oh what I'd give for that wonderful phrase To hear those three little words That's all I'd live for the rest of my days
And what I feel in my heart They tell sincerely No other words can tell it half so clear-early
Three little words Eight little letters Which simply mean I love you-ou
And what I feel in my heart They tell sincerely No other words can tell it half so clear-early
Three little words Eight little letters Which simply mean I love you Simply mean I-I love you-ou
"How Deep Is the Ocean " is a popular song written by Irving Berlin in 1932, and can be heard in the background of the 1933 film The Life of Jimmy Dolan. The song was introduced by Paul Whiteman and His Orchestra with vocals by Jack Fulton.
The song was written at a low point in Berlin's professional and personal life, and is among the select few of his numbers introduced on the radio rather than onstage or in film. The song is a series of questions posed in succession to one another, with the only exception being the second line, "I'll tell you no lie."
How much do I love you? I'll tell you no lie How deep is the ocean? How high is the sky?
How many times a day do I think of you? How many roses are sprinkled with dew?
How far would I travel To be where you are? How far is the journey From here to a star?
And if I ever lost you How much would I cry? How deep is the ocean? How high is the sky?
Marilyn Monroe sings it in the film, "Gentlemen Prefer Blonds."
The boy who might be kissed is named Tommy Noonan. Oh, how much I'm longing that I were Tommy. Jane Russell sings the song before Marilyn in the film. This one is from the soundtrack from the movie by Jane Russell.
Bye bye baby, remember you're my baby When they give you the eye. Although I know that you care, won't you write and declare That though on the loose, you are still on the square.
I'll be gloomy, but send that rainbow to me, Then my shadows will fly Though you'll be gone for a while, I know that I'll be smiling with my baby, by and by. (Bye, bye baby, so long!) Bye bye baby (just you remember that you're my baby when.) When they give you the eye. (And although we know that you care, you just write and declare) That though on the loose, you are still on the square. I'll be gloomy (gloomy), but send that rainbow to me. (Then the shadows will fly) Though you'll be gone for a while, I know that I'll be smiling With my baby by and by (bye, bye baby)
I'll be in my room alone Evry Post Meridian And I'll be with my diary And that book by Mister Gideon
Bye, Bye Baby, Remember youre my baby When they give you the eye, And just to show that I care, I will wirte and declare That I'm on the loose, But I'll stay on the square,
I'll be lonely But even though Im lonely There'll be no other guy, Though I'll be gone for a while I know that I'll be smiling With my baby bye and bye With my baby, bye and bye.
"The Way You Look Tonight" is a song featured in the film Swing Time, originally performed by Fred Astaire.
Billie Holiday recorded this song in the same year as the film; her version can be found on several collections including her Columbia box set from 2001.
Additional early covers include recordings by Leslie Hutchinson, Tony Bennett, Mel Torme, Chad & Jeremy, The Coasters, Perry Como in 1961, James Darren, Doris Day, Ella Fitzgerald, Peggy Lee in 1941, Johnny Maestro of The Crests, Johnny Pace, Frank Sinatra in 1964, Arthur Tracy in 1937, Sal Viviano and Andy Williams.
Some day, when I'm awfully low When the world is cold I will feel a glow just thinking of you And the way you look tonight
Yes, you're lovely, with your smile so warm And your cheeks so soft There is nothing for me but to love you And the way you look tonight
With each word your tenderness grows Tearin' my fear apart And that laugh wrinkles your nose Touches my foolish heart
Lovely ... Never, never change Keep that breathless charm Won't you please arrange it? 'cause I love you Just the way you look tonight
And that laugh that wrinkles your nose It touches my foolish heart
Lovely ... Don't you ever change Keep that breathless charm Won't you please arrange it ? 'cause I love you A-just the way you look tonight Mm... Mm... Just the way you look tonight
Originally written for but dropped from the musical Billy Rose's Jumbo (1935), it was then used in On Your Toes (1936), where it was introduced by Ray Bolger and Doris Carson and also interpolated in the film version of Pal Joey (1957) with a fine Frank Sinatra-Nelson Riddle collaboration.
There's a small hotel With a wishing well I wish that we were there together
There's a bridal suite One room bright and neat Complete for us to share together
Looking through the window You can see that distant steeple Not a sign of people -- who wants people?
When the steeple bell Says, "Good night, sleep well," We'll thank the small hotel together
The song was written in the then small French fishing village of Le Lavandou now a favourite resort for British holidaymakers and second-home owners shortly before the outbreak of the Second World War. According to Maschwitz, the title was "stolen" from a story by Michael Arlen. The song had its first performance in the summer of 1939 in a local bar, where the melody was played on piano by Manning Sherwin with the help of the resident saxophonist. Maschwitz sang the words while holding a glass of wine, but nobody seemed impressed. In the spring of 2002, an attempt was made to find the bar where this song was first performed with a view to having a blue plaque set up. With the help of the local tourist office, elderly residents were questioned, but it proved impossible to identify the venue.
When two lovers meet in Mayfair, so the legands tell Songbirds sing and winter turns to spring Every winding street in Mayfair falls beneath the spell I know such enchantment can be 'Cause it happened one evening to me
That certain night, the night we met, There was magic abroad in the air, There were angels dining at the Ritz, And a nightingale sang in Berkeley Square.
I may be right, I may be wrong, But I'm perfectly willing to swear That when you turn'd and smiled at me A Nightingale Sang In Berkley Square
The moon that lingered over London town; Poor puzzled moon, he wore a frown How could he know we two were so in love, The whole darn world seemed upside down
The streets of town were paved with stars, It was such a romantic affair, And as we kissed and said goodnight, A Nightingale Sang In Berkley Square
Our homeward step was just as light As the tap dancing feet of Astair And like an echo far away, A Nightingale Sang In Berkley Square I know 'cause I was there, that night in Berkley Square
Insert song of the 1934 Leo McCarey director movie "I'm Tsumiji~yanai (Belle of the Nineties)". Actress Mae West is starring also doubles as a screenplay. Where diva Ruby jazz band was washed ashore in New Orleans, slapstick comedy that happen to come in for chance there former lover of boxer also title fight. Ruby of the backing band is actually in the Duke Ellington Orchestra, song Ellington orchestra has worked all. "My Old Flame" is during the war Ellington is playing in consolation play, became a standard.
The music seemed to be so reminiscent I knew I'd heard it somewhere before I racked my recollections as I listened When suddenly I remembered once more
My old flame I can't even think of his name But it's funny now and then How my thoughts go flashing back again To my old flame
My old flame My new lovers all seem so tame For I haven't met a gent So innocent or elegant As my old flame
I've met so many men with fascinating ways A fascinating gaze in their eyes Some who took me up to the skies But their attempts at love Were only imitations of
My old flame I can't even think of his name But I'll never be the same Untill I discover what became Of my old flame
It was released in 1972 at the same time as, but not on, the album, Back to Front. In total, the single spent six weeks, non-consecutively, at #1 on the United States Billboard Hot 100 singles chart. Billboard ranked it as the No. 2 song for 1972.
In Casey Kasem's American 'Top 40 of the 1970s', "Alone Again (Naturally)" ranked as the fifth most-popular song of the decade (Debby Boone's "You Light Up My Life" was #1). "Alone Again (Naturally)" also spent six weeks at number one on the Easy Listening chart.
In a little while from now, If I'm not feeling any less sour I promised myself to treat myself And visit a nearby tower, And climbing to the top, Will throw myself off In an effort to make it clear to who Ever what it's like when you're shattered Left standing in the lurch, at a church Where people saying, "My God that's tough, she stood him up! No point in us remaining. May as well go home." As I did on my own, Alone again, naturally
To think that only yesterday, I was cheerful, bright and gay, Looking forward to, but who wouldn't do, The role I was about to play But as if to knock me down, Reality came around And without so much as a mere touch, Cut me into little pieces Leaving me to doubt, All about God and His mercy For if He really does exist Why did He desert me In my hour of need? I truly am indeed, Alone again, naturally
It seems to me that There are more hearts Broken in the world That can't be mended Left unattended What do we do? What do we do?
Now looking back over the years, And what ever else that appears I remember I cried when my father died Never wishing to have cried the tears And at sixty-five years old, My mother, God rest her soul, Couldn't understand, why the only man She had ever loved had been taken Leaving her to start with a heart So badly broken Despite encouragement from me No words were ever spoken And when she passed away I cried and cried all day Alone again, naturally Alone again, naturally
Its chord progression, known as the "rhythm changes", is the foundation for many other popular jazz tunes such as Charlie Parker's and Dizzy Gillespie's Bebop standard "Anthropology (Thrivin' on a Riff)".
The song is featured in the 1951 musical film An American in Paris. Gene Kelly sang the song and tap-danced, while French-speaking children whom he had just taught a few words of English shouted the words "I got" each time they appeared in the lyrics. This version finished at #32 in AFI's 100 Years...100 Songs survey of top tunes in American cinema.
Ethel Merman sang this song in a 1930's Broadway show, "Girl Crazy". It was originally written as a slow song for "Treasure Girl" (1928).
Days can be sunny, With never a sigh ; Don't need what money can buy. Birds in the tree sing Their dayful of song, Why shouldn't we sing along ? I'm chipper all the day, Happy with my lot. How do I get that way ? Look at what I've got :
I got rhythm I got music I got my girl Who could ask for anything more ?
I got daisies In green pastures, I got my girl Who could ask for anything more ?
Ol'Man Trouble, I don't mind him. You won't find him 'Round my door.
I got starlight, I got sweet dreams, I got my girl, Who could ask for anything more ? Who could ask for anything more ?
First performed by Belle Baker over the radio and recorded in December 1931 by Ruth Etting, it has become one of the most recorded songs of its era, with notable versions by Russ Columbo, Bing Crosby, Billie Holiday, Louis Armstrong, Mildred Bailey, Benny Goodman, Teddy Wilson in 1941, The Count Basie Orchestra, Ella Fitzgerald, Sarah Vaughan (for the 1957 album, Swingin' Easy), Dean Martin, Frank Sinatra, Frankie Laine in 1947, Dinah Washington at the 1958 Newport Jazz Festival, Shirley Bassey in 1962, The Blue Diamonds, Della Reese, Johnnie Ray, Django Reinhardt, Erroll Garner, Willie Nelson, Jean Frye Sidwell, João Gilberto (Disse Alguém), Michael Bublé, Miss Montreal in 2012 and The Rockin' Berries. Ani DiFranco covered the song in 2012 for the Documentary, Love, Marilyn. It is also covered by Eric Clapton on his 2013 album Old Sock with Paul McCartney. In an episode of the 1970s television show Sanford and Son, Redd Foxx (joined by Scatman Crothers on guitar) sings a short but memorable version. "All of Me" is also performed in the Muppet Show episode guest starring Paul Williams. The song is featured prominently in the 1984 Steve Martin/Lily Tomlin film of the same name.
You took my kisses and all my love You taught me how to care Am I to be just remnant of a one side love affair All you took I gladly gave There is nothing left for me to save
All of me, why not take all of me? Can't you see I'm no good without you? Take my lips, I want to lose them. Take my arms, I'll never use them.
Your good-bye left me with eyes that cry. How can I go on, dear, without you? You took the part that once was my heart, So why not take all of me?
All of me, come on, get all of me. Can't you see I'm no good without you? Take my lips, I want to lose them. Take my arms, I'll never use them.
Your good-bye left me with eyes that cry. How can I go on, dear, without you? You took the part that once was be my heart, So why not take all of me?
This is a song that has doubtless been used on many a stag night and played at many a wedding since it was introduced in the 1956 Broadway musical My Fair Lady.
It is sung by the cockney character Alfred P. Doolittle, a dustman, the father of the show's main character Eliza Doolittle. He has received a surprise bequest of four thousand pounds a year from an American millionaire, raising him to middle-class respectability.
Consequently he feels he must marry Eliza's "stepmother", the woman with whom he has been "living in sin" for many years. Doolittle and his friends have one last spree before the wedding and the song is a plea to his friends not to let his drunken merriment forget his good intentions and make sure he gets to his wedding.
I'm gettin' married in the morning Ding-dong the bells are gonna chime We'll have a whopper, pull out the stopper Get me to the church on time
I've got to get there in the morning Spruced up and lookin' in my prime Girls come and kiss me, say that you'll miss me Get me to the church on time
If I am dancing, roll up the floor If I am whistling, out the door
I'm gettin' married in the morning Ding-ding-dong they're gonna chime Don't lose your compass, kick up a rompass Get me to the church, get me to the church Pete's Sake, Get me to the church on time
If I am dancing roll up the floor If I am whistling, right out the door
I'm gettin' married in the morning Ding-dong they're gonna chime Girls come and kiss me, say that you'll miss me Get me to the church, get me to the church For Pete's Sake, Get me to the church on time Ding-Dong, Ding-Dong, Ding-Dong, Ding-Dong, Ding-Dong, Ding-Dong, Ding-Dong... Ding-Dong