The song is a popular standard, recorded by numerous artists. In the lyric, Berlin uses an interesting poetic technique by extending the sound of the word "forgot" into "forget me not" then placing the original word (forgot) and the base form of its opposite (remember) at the end of the next two lines:
Remember we found a lonely spot, And after I learned to care a lot, You promised that you'd forget me not, But you forgot To remember.
Making a very satisfying ending (happy ending).
One little kiss, a moment of bliss, then hours of deep regret One little smile, and after a while, a longing to forget One little heartache left as a token One little plaything carelessly broken
Remember the night, the night you said, "I love you" Remember
Remember you vowed by all the stars above you Remember
Remember we found a lonely spot And after I learned to care a lot
You promised that you'd forget me not But you forgot to remember
Into my dreams you wandered it seems, and then there came a day You loved me too, my dreams had come true, and all the world was May But soon the Maytime turned to December You had forgotten, do you remember?
According to Alec Wilder the song, 56 measures long, has a wonderful, soaring melodic line, free from pretentiousness, but full of passion and intensity which is superbly supported by the lyrics. Although the catch phrase "day in—day out" sounds like a dull routine, Mercer uses exotic images to contrast with the boring sound of the phrase.
Day in, day out, That same old voodoo follows me about That same old pounding in my heart, Whenever I think of you And darling, I think of you, Day in and day out
Day out, day in, I needn't tell you how my days begin When I awake I get up with a tingle, One possibility in view That possibility of maybe seeing you
Come rain, come shine, I meet you and to me the day is fine Then I kiss your lips, And the pounding becomes The ocean's roar, a thousand drums Can't you see it's love, Can there be any doubt When there it is, day in, day out
Spring has come. But it is not fun. Only melancholy. Bright music flows in the street corner, and see the lovers are Dearui, my heart sinks. Since I have not loved by anyone. Loneliness in the hustle and bustle. Nobody can care about me.
Richard Rodgers & Lorenz Hart of duo composed for the 1938 musical "I was married to an angel." Hart is a friend of Rodgers brother, two people writing songs from Columbia University era, was invincible hit maker until 1943 that Hart's death.
Once there was a thing called spring when the world was writng verses like yours and mine.
All the lads and girls would sing when we set a little tables and drank May wine.
Now April May and June are sadly out of tune life has stuck the pin in the baloon.
Spring is here! Why doesn’t my heart go dancing ? Spring is here! Why isn’t the waltz entrancing? No desire, no ambition leads me, Maybe it’s because nobody needs me.
Spring is here! Why doesn’t the breeze delight me? Stars appear, Why doesn’t the night invite me? Maybe it’s because nobody loves me. Spring is here I hear
The song was introduced in a 1931's film "Blonde Crazy."
The song was used in the 1991 film The Rocketeer, during the part where Neville Sinclair takes Jenny to The South Seas Club. This song is unusual in that, after a simple verse, it does not follow the usual 64-bar refrain that characterizes the structure of most pop music, but tells its entire story in 32 bars.
What good is the scheming, the planning and dreaming That comes with each new love affair The dreams that we cherish, so often might perish And leaves you with castles in air
When you're alone, Who cares for starlit skies When you're alone, The magic moonlight dies At break of dawn, There is no sunrise When your lover has gone
What lonely hours, The evening shadows bring What lonely hours, With memories lingering Like faded flowers, Life can't mean anything When your lover has gone
Arthur Herzog, Jr. did not write a lot of songs, but he penned some gems with vocalist Billie Holiday-- "Don't Explain" (1939) and "God Bless the Child" (1941) which are inextricably linked to her. The two also wrote the lesser known song "Somebody's on My Mind" (1947). With Irene Kitchings, who was the wife of pianist Teddy Wilson, Herzog collaborated on "Some Other Spring" (1939), "Ghost of Yesterday," and "I¡Çm Pulling Through" (1940), all of them initially recorded by Billie Holiday.
Some other spring I'll try to love Now I still cling To faded blossoms Fresh from worn Left chrushed and torn Like the love affair I mourn
Some other spring When twilight falls Will the night bring Another to me?
Not your kind But let me find It's not true that love is blind Sunshine's around me But deep in my heart it's cold as ice Love, once you've found me But can that story unfold twice?
Some other spring Will my heart awake? Stirring to sing Love's magic music Then forget the old duet Love in some other spring? Spring?
The tune is based on a Cuban folk tune "La canción del árbol" ("The song of the tree"). The poinciana tree itself, delonix regia, is a tree introduced to Cuba from Madagascar.
Glenn Miller performed it in the late 1930s with his civilian band and then again in 1943 using lush strings with his Army Air Force Band. Benny Carter and Bing Crosby both issued versions in 1944.
Blow...tropic wind... Sing a song...through 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 everywhere, it's magic perfume fills the air To and fro you sway, my heart's in time, I've learned to care Poinciana, from now until the dawning day I'll learn to love forever, come what may
Love is everywhere, it's magic perfume fills the air To and fro you sway, my heart's in time, I've learned to care Poinciana, from now until the dawning day I'll learn to love forever, come what may Poinciana
The song written in 1946 isn't very clear about the details of its history. It was played in a film, "Three Little Girls in Blue" (1946) instrulmentally, not sung then. Here's the only data of the first recording, that Bobby Byrne and His Orchestra did on May 20, 1946, and sung by Bob Hayden.
This isn't sometime, this is always This isn't maybe, this is always This is love, the real beginning of forever
This isn't just midsummer madness A passing glow, a moment's gladness Yes, it's love, I knew it on the night we met
You tied a string around my heart So how can I forget you? With every kiss I know that this is always
Yes, it's love, I knew it on the night we met You tied a string around my heart So how can I forget you? With every kiss I know that this is always, always, always
Stanley Donen had heard and been charmed by the "Baby Elephant Walk", so he decided to phone Mancini from London to tell him about his current picture. Donen had been directing famous musical films throughout the 1950s and he now intended to put his own slant on a Hitchcock-like thriller and he wanted a strong melody in the background score.
As Henry Mancini became a friend of Audrey Hepburn in Breakfast at Tiffany's, he composed the song for Charade thinking of her as he said: "Our next film together was 'Charade' in 1963. Stanley Donen directed Peter Stone's screenplay. There is a scene in the movie where Audrey returns from a happy winter holiday to her Paris flat to find it stripped of everything of value. Bare floors and the walls are all that remain. Her loutish husband had absconded with all of her worldly goods. She enters the dimly-lit apartment with her suitcase and surveys the scene. Her feelings are of sadness, loneliness and vulnerability. To me, it translated into a sad little Parisian waltz. With that image of Audrey in my mind, I went to the piano and within less than an hour 'Charade' was written. I played it for Audrey and Stanley. Both felt it was just right for the movie. Johnny Mercer added his poetry, and the song was nominated for an Oscar that year".
When we played our charade We were like children posing Playing at games, acting out names Guessing the parts we played
Oh what a hit we made We came on next to closing Best on the bill, lovers until Love left the masquerade
Fate seemed to pull the strings I turned and you were gone While from the darkened wings The music box played on
Sad little serenade Song of my heart's composing I hear it still, I always will Best on the bill, Charade
In 1931, the biggest-selling version was either by Russ Columbo or by Wayne King;both versions and recordings by Bennie Krueger's orchestra (with a vocal by Smith Ballew) and by Kate Smith all had significant popularity.
In 1946, three versions, by Tommy Dorsey's orchestra (with a vocal by Stuart Foster), by Frank Sinatra, and by Skinnay Ennis, all contended for popularity.
All day long you're asking me what I see in you All day long I'm answering, but what good does it do? I have nothing to explain I just love you, love you And I'll tell you once again
I don't know why I love you like I do I don't know why but I do I don't know why you thrill me like you do I don't know why but you do
You never seem to want my romancing The only time you hold me is when we're dancing
I don't know why I love you like I do I don't know why but I do
You never seem to want my romancing The only time you hold me is when we're dancing I don't know why I love you like I do I don't know why but I do
This song of Rogers=Hammerstein was written for the Broadway musical "South Pacific." It has been widely recorded as a jazz standard.
The song is performed in the first act by Lieutenant Cable when he makes love to his adored Liat, to whom he was only recently introduced by her mother Bloody Mary. The song's importance is due to the fact that it shows that love just happens and does not follow the rules of racial separation prevalent in the United States at that time.
I touch your hands And my arms grow strong, Like a pair of birds That burst with song. My eyes look down At your lovely face, And I hold a world In my embrace.
Younger than springtime, are you Softer than starlight, are you, Warmer than winds of June, Are the gentle lips you gave me. Gayer than laughter, are you, Sweeter than music, are you, Angel and lover, heaven and earth, Are you to me.
And when your youth And joy invade my arms, And fill my heart as now they do, Then younger than springtime, am I, Gayer than laughter, am I, Angel and lover, heaven and earth, Am I with you!
And when your youth And joy invade my arms, And fill my heart as now they do,
Then younger than springtime, am I, Gayer than laughter, am I, Angel and lover, heaven and earth, Am I with you.
An effusive expression of affection, “You’re My Everything” has its origins as the hit song of of a 1931-1932 two-act Broadway revue entitled The Laugh Parade, produced by and starring Ed Wynn, a comedian who twenty years later would provide the voice for the Mad Hatter in Disney’s Alice in Wonderland. The music for the play was composed by Harry Warren, with lyrics provided by Mort Dixon and Joe Young. It was French actress Jeanne Aubert and American actor Lawrence Gray who introduced the signature tune.
You're my everything underneath the sun You're my everything rolled up into one You're my only dream, my only real reality You're my idea of a perfect personality
You're my everything, everything I need You're the song I sing and the book I read You're a way beyond belief and just to make it brief You're my winter, summer, spring; my everything.
You're my everything Everything I need You're the song I sing And the book I read You're a way beyond belief And just to make it brief You're my winter, summer, spring; My everything
Then, this song is written for the film"Captain Carey, U.S.A." (1950) and won an Oscar for Best Original Song. The title and lyrics refer to the renaissance portrait Mona Lisa painted by Leonardo da Vinci. The song won the Academy Award for Best Original Song in 1950.
The soundtrack version by Nat King Cole spent eight weeks at number one in the Billboard singles chart in 1950. Cole's version of the song was inducted into the Grammy Hall of Fame in 1992.
In a villa in a little old Italian town Lives a girl whose beauty shames the rose. Many yearn to love her But their hopes all tumble down. What does she wants? No one knows...
Mona Lisa, Mona Lisa, men have named you. You're so like the lady with the mystic smile. Is it only 'cause you're lonely they have blamed you For that Mona Lisa strangeness in your smile?
Do you smile to tempt a lover, Mona Lisa, Or is this your way to hide a broken heart? Many dreams have been brought to your doorstep, They just lie there and they die there. Are you warm, are you real, Mona Lisa? Or just a cold and lonely, lovely work of art? Mona Lisa, Mona Lisa.
According to the Mel Tormé book The Other Side of the Rainbow with Judy Garland on the Dawn Patrol, Van Heusen originally wrote the song for Garland to sing at a CBS dinner. At that time, Garland had just signed to do The Judy Garland Show on CBS, and the intent of the song was to parody her well-known problems. Garland later sang the song on the seventh episode of the show.
Since I'm always making resolutions Seems every night for me is New Year's eve Things they chisel on those institutions These lofty thoughts I've never quite achieved Each time I take a bow when everything went well Things go alright and there am I saying I meant well
Call me irresponsible, call me unreliable Throw in undependable too Do my foolish alibis bore you Well, I'm not too clever, I just adore you
Call me unpredictable, tell me I'm impractical Rainbows, I'm inclined to pursue Call me irresponsible, yes, I'm unreliable But it's undeniably true I'm irresponsibly mad for you
Call me irresponsible, yes, I'm unreliable But it's undeniably true I'm irresponsibly mad for youCall Me Irresponsible
Lyrics:Buddy G. DeSylva ,Lew Brown Music:Ray Henderson
The song was publishe 1926.
It was later a hit for Frank Sinatra and was frequently performed by popular singers such as Bing Crosby, Sammy Davis, Jr., Shirley Bassey, Keely Smith, Jack Teagarden, Pearl Bailey, Deana Martin and Al Hirt. In 1965 Frank Sinatra, Dean Martin, Sammy Davis, Jr., and Johnny Carson performed it live at a televised session for "The Frank Sinatra Spectacular".
These are the blues, nothing but the blues. Oh, they say some people long ago Were searching for a different tune One that they could croon As only they can
They only had the rhythm So they started swaying to and fro They didn't know just what to use That is how the blues really began
They heard the breeze in the trees Singing weird melodies And they made that the start of the blues
And from a jail came the wail Of a down-hearted frail And they played that As part of the blues
From a whippoorwill Way up on a hill They took a new note Pushed it through a horn Until it was worn Into a blue note And then they nursed it, rehearsed it And they sent out the news That the Southland gave birth to the blues