"We Kiss in a Shadow" is a show tune from the 1951 Rodgers and Hammerstein musical, The King and I.
In this song, Tuptim and Lun Tha declare their love for each other, even though they fear that the King of Siam would know about it.
In the original Broadway production it is sung by Doretta Morrow and Larry Douglas. In the 1956 film version it was sung by Reuben Fuentes dubbing for Carlos Rivas and Leona Gordon dubbing for Rita Moreno.
We kiss in the shadow, We hide from the moon, Our meetings are few And over too soon.
We speak in a whisper, Afraid to be heard, When people are near, We speak not a word.
Alone in our secret, Together we sigh For one smiling day to be free.
To kiss in the sunlight, And say to the sky, Behold and believe what you see, Behold how my lover loves me.
Alone in our secret, together we cry For one smiling day to be free. To kiss in the sunlight, and say to the sky, Behold and believe what you see, Behold how my lover loves me.
今のところ、予約が可能な地域は日本国内だけだが、海外のニュースでも取り上げられ、 米国在住のファンに特に好評だという。 ネット上には、「Oh my god, I want one. Shut up and take my money. 」 「Why do we not have this in America?! 」などと嘆く熱い思いが書き込まれている。 同社は今後、こうした海外のファンの要望にも対応できる商品展開を 検討していきたいと話す。
It was introduced by Ella Logan in the original Broadway production of Finian's Rainbow.
There is no actual Glocca Morra in Ireland (though there is a Glockamara). In a television interview late in his life, Harburg revealed that the name "Glocca Morra" was made up by composer Lane, who had devised a dummy lyric beginning with the line, "There's a glen in Glocca Morra". Harburg liked the name but insisted on changing the line to, "How are things in Glocca Morra?", as this is more personal and immediately evocative of nostalgia and homesickness. However, James Stephens' work, The Crock of Gold (first published in 1912) refers to "the leprechauns of Gort na Gloca Mora" ("the field of the big rock" in Gaelic), and there would appear to be little doubt that this formed the basis for the place-name of the song's title.
I hear a bird, Londonderry bird, It well may be he's bringing me a cheering word. I hear a breeze, a River Shanon breeze, It well may be it's followed me across the seas. Then tell me please:
How are things in Glocca Morra? Is that little brook still leaping there? Does it still run down to Donny cove? Through Killybegs, Kilkerry and Kildare?
How are things in Glocca Mora? Is that willow tree still weeping there? Does that lassie with the twinklin' eye Come smilin' by and does she walk away, Sad and dreamy there not to see me there?
So I ask each weepin' willow and each brook along the way, And each lass that comes a-sighin' Tooralay How are things in Glocca Morra This fine day?
Fred Astaire sang it in a film, "A Damsel in Distress" (1937).
It was originally titled "A Foggy Day (In London Town)", and is often still referred to as such.
I was a stranger in the city Out of town were the people I knew I had that feeling of self pity What to do? What to do? What to do? The outlook was decidedly blue But as I walked through the dreary streets alone It turned out to be the luckiest day I've known
A foggy day, in London town Had me low, and it had me down I viewed the morning, with much alarm The British Museum, it lost its charm
How long I wondered, could this thing last? But the age of miracles, it hadn't past For suddenly, I saw you standing right there And in foggy London town, the sun was shining everywhere
The song was introduced by Richard Kollmar and Marcy Westcott in the musical Too Many Girls. It was performed by Trudy Erwin – dubbing for Lucille Ball in the 1940 film version produced by RKO – and interpolated into the score of the 1957 film Pal Joey, where it was sung by Frank Sinatra.
I didn't know what time it was, Then I met you Oh what a lovely time it was, How sublime it was too!
I didn't know what day it was, Then you held my hand. Warm like the month of May it was And I'll say it was grand.
Grand to be alive, to be young, To be mad, to be yours alone! Grand to see your face, feel your touch, Feel your voice say I'm all your own!
I didn't know what year it was, Life was no prize. I wanted love and here it was Shining out of your eyes. I'm wise and I know what time it is now. I'm wise and I know what time it is now. I'm so wise and I know what time it is now.
Lyrics ,Music:Victor Young, Joseph Young, Ned Washington
The song was publishe 1933.
The song is about how one should enjoy life because what is done won't matter in a hundred years. It evokes images of a young man using that argument with his date, typified by both the opening lines of the main song:
"Don't save your kisses, just pass them around. You'll find my reason is logically sound. Who's gonna know that you passed them around a hundred years from today?" and the closing lines: "The moon is shining and that's a good sign. Cling to me closer and say you'll be mine. Remember darling, we won't see it shine a hundred years from today."
It also has an intro which is frequently omitted: "Life is such a great adventure. Learn to live it as you go. No one in the world can censure what we do here below."
Jack Teagarden recorded at least four versions of it, one from 1932-1935 that is featured in the album, Jack Teagarden, King of the Blues Trombone, one in "A Hundred Years from Today'," an early 1940s single which is, as of this writing, on YouTube, that omits the intro, and one in his last album. The first is sung by Teagarden in the style of smooth singers of the time, the last is bluesy.
Joni James covered the song as part of her 1956 songbook album Songs of Victor Young and Frank Loesser. Several other artists have also recorded it, including a boozy version by Dean Martin, apparently done on his 1970's TV show, that omits the intro and is, as of this writing, on YouTube.
Life is such a great adventure Learn to live it as you go No one in the world can censure What we do here belong Hey don't save your kisses just pass 'em around You'll find my reason is logically sound Who's gonna know that you past them around A hundred years from today
And why crave a penthouse that's fit for a queen You're nearer heaven on mamma Earth's green If you had millions, what would they all mean? One hundred years from today
So laugh and sing make love the thing Be happy while you may There's always one beneath the sun Who's bound to make you feel that way
The moon is shining and that's a (very) good sign Cling to me closer; say (that) you'll be mine Remember baby we won't see it shine A hundred years from today, a hundred years from today
The song was first introduced in the film, "Born To Dance" (1946) and sung by Virginia Bruce. The song had nominated as an Oscar, but it went to "The Way You Look Tonight" ('Swing Time') sung by Fred Astaire.
It was nominated for the Academy Award for Best Song that year. It became a signature song for Frank Sinatra and, in 1966, became a top 10 hit for The Four Seasons. It has been recorded by many leading pop artists and jazz musicians.
I've got you under my skin. I've got you deep in the heart of me. So deep in my heart that you're really a part of me. I've got you under my skin.
I'd tried so not to give in. I've said to myself this affair never will go so well. But why should I try to resist when, baby, I know damn well That I've got you under my skin?
I'd sacrifice anything come what might For the sake of havin' you near In spite of a warnin' voice comes in the night And repeats, repeats in my ear:
Don't you know, you fool, you never can win? Use your mentality, wake up to reality. But each time I do just the thought of you Makes me stop before I begin Because I've got you under my skin.
I would sacrifice anything come what might For the sake of havin' you near In spite of the warnin' voice comes in the night And repeats - how it yells in my ear: Don't you know, you fool, ain't no chance to win? Why not use your mentality - get up, wake up to reality? And each time I do just the thought of you Makes me stop just before I begin Because I've got you under my skin. And I like you under my skin.
The song was introduced in a film, "Kiss Me Kate" (1953), danced by Bob Fosse and two guys with Ann Miller: Bob also sang with them.
Originally, the song had been written by Cole Porter for the Broadway show, "Out of This World" (1950), but it hadn't been played until it was performed in that film for the first time. Why this fine tune like this hadn't used then, I wonder.
From this moment on You for me, dear Only two for tea, dear From this moment on
From this happy day No more blue songs Only hoop-dee-doo songs From this moment on
For you've got the love I need so much You've got the skin that I love to touch Got the arms to hold me tight Got those sweet lips to kiss me goodnight
From this moment on You and I, babe We'll be ridin' high, babe Every care is gone From this moment on
For you've got the love that I need so much Yeah, you've got the kind of skin that I love to touch And you've got the arms that can hold me tight You've got those lovely lips just to kiss me goodnight
From this moment on You and I, babe We'll be ridin' high, babe Every one of our cares are gone From this moment From this very moment From this moment on
The film Broadway Melody of 1940 introduced “I Concentrate on You” which was sung by Douglas McPhail. In his book The Song Is Ended: Songwriters and American Music, 1900-1950, William G. Hyland says, “The song] had an exotic flavor and in the film was used as a ballet for Eleanor Powell, dancing on a darkened stage with only a spotlight on her, while the melody was sung by a masked harlequin; then she is joined by Fred Astaire for the remainder of the number.”
Whenever skies look gray to me And trouble begins to brew Whenever the winter winds become too strong I concentrate on you
When fortune cries "Nay, nay" to me People declare "You're through" Whenever the blues become my only songs Concentrate on you
On your smile, so sweet, so tender When at first my kiss you do decline On the light in your eyes when you surrender And once again our arms intertwine
And so when wise men say to me That love's young dream never comes true To prove that even the wise men can be wrong I concentrate on you
Lyrics:John La Touche ,Ted Fetter Music:Vernon Duke
The song was publishe 1940.
It was introduced in the 1940 show Cabin in the Sky, a ground-breaking Broadway musical with an all black cast, where it was performed by Ethel Waters and Dooley Wilson. A feature film version Cabin in the Sky, starring Waters and Eddie "Rochester" Anderson, was released in 1943 and featured the song. A Benny Goodman cover featuring Helen Forrest reached #1 in 1943.
Here I go again, I hear those trumpets blow again. All aglow again , takin' a chance on love. Here I slide again, about to take that ride again. Starry-eyed again, takin' a chance on love.
I thought that cards were a frame-up, I never would try. Now I'm taking that game up and the ace of hearts is high. Things are mending now, I see a rainbow blending now. We'll have a happy ending now, takin' a chance on love.
Here I slip again, about to take that trip again. I got that grip again, takin' a chance on love. Now I prove again that I can make life move again. Um - I'm in the groove again, takin' a chance on love.
I walk around with a horse shoe, in clover I lie. And brother rabbit of course you better kiss your ... foot good-bye. On that ball again I'm ridin' for a fall again. I'm gonna give my all again takin' a chance on love.
I thought that I had written this song before, but I hadn't done yet! This is the song of a bio-film of Jane Froman, "With A Song in My Heart" (1957). The song had been already written for a Broadway Show named "Spring Is Here " (1929). In the film, Susan Hayward sings but dubbed by Ms. Froman herself.
Though I know that we meet ev'ry night And we couldn't heve change since the last time, To my joy and delight, It's a new kind of love at first sight. Though it's you and it's I all the time Ev'ry meeting's marvelous pastime. You're increasingly sweet, So whenever we happened to met I greet you ...
With a song in my heart I behold your adorable face. Just a song at the start But it soon is a hymn to your grace. When the music swells I'm touching you hand It tells that your're standing near, and ..
At the sound of your voice Heaven opens his portals to me. Can I help but rejoice That a song such as ours came to be? But I always knew I would live life through With a song in my heart for you.
The song is featured in the film The Abominable Dr. Phibes (1971), during a murder scene, and in the 1996 BBC TV detective series "The Mrs Bradley Mysteries" which starred Diana Rigg. The song was the end of transmission tune of Radio MonteCarlo in the '60's.
Hush, my child Don't you cry Go to sleep you little baby When you awake you will have All the pretty little horsies
Close your eyes, Rest your head on my shoulder and sleep Close your eyes, And I will close mine.
Close your eyes, Let's pretend that we're both counting sheep Close your eyes, This is divine!
Music, play something dreamy for dancing While we're here romancing It's love's holiday and love will be our guide
Close your eyes, When you open them dear I'll be near By your side, So won't you close your eyes?
The song, composed for the film Green Dolphin Street (which was based on a 1944 novel of the same name by Elizabeth Goudge), went on to become a jazz standard after being recorded by Miles Davis in 1958.
It seems like a dream Yet I know it happened A man made a kiss And then goodbye Romance was the theme and We were the prayers I never think of this without a sigh
Lover, One lovely day, Love came planning to stay Green Dolphin Street supplied the setting The setting for nights beyond forgetting
And through these moments apart Memories live in my heart When I recall the love I found on I could kiss the ground on Green Dolphin Street.