The tune was written for the musical "Higher and Higher" (1940), where it was introduced by Shirley Ross.
The song is very old but my favorite: It's very beautiful.
I don't care if there's powder on my nose. I don't care if my hairdo is in place. I've lost the very meaning of repose. I never put a mudpack on my face. Oh, who'd have thought that I'd walk in the daze? Now I never go to shows at night, But just to matinees now. I see the show and home I go....
Once I laughed when I heard you saying That I'd be playing solitaire Uneasy in my easy chair It never entered my mind
Once you told me I was mistaken That I'd awaken with the sun And order orange juice for one It never entered my mind
You have what I lack myself Now I even have to scratch my back myself
Once you warned me that if you scorned me I'd say a lover's prayer again And wish that you were there again To get into my hair again It never entered my mind
It was Frank Sinatra's first hit recorded with the Tommy Dorsey Orchestra. The song is one of the top 100 most-frequently recorded jazz standards with arrangements by Gil Evans and others and notable recordings by Blue Mitchell, Wes Montgomery, Sarah Vaughan (for the 1954 album Sarah Vaughan with Clifford Brown, and the 1957 album Swingin' Easy), Lester Young, and many others. During the song's first year, a fashion designer even created a "Polka Dots and Moonbeams" fabric print as part of a series of prints inspired by popular music.
A country dance was being held in a garden I felt a bump and heard an "Oh, beg your pardon" Suddenly I saw polka dots and moonbeams All around a pug-nosed dream
The music started and was I the perplexed one I held my breath and said "May I have the next one?" In my frightened arms, polka dots and moonbeams Sparkled on a pug-nosed dream
There were questions in the eyes of other dancers As we floated over the floor There were questions but my heart knew all the answers And perhaps a few things more
Now in a cottage built of lilacs and laughter I know the meaning of the words "Ever after" And I'll always see polka dots and moonbeams When I kiss the pug-nosed dream
The song has become a pop and jazz standard, with many recorded versions.
It was a centerpiece in the 1941 musical Ziegfeld Girl, in which it was sung by Tony Martin and accompanied an iconic image of Lana Turner walking down a grand staircase. Although Turner never officially sang or recorded the song, it became her theme song during her peak years as one of Hollywood's top leading ladies, often played when she entered a nightclub or restaurant. The song is played in the film The Abominable Dr. Phibes (1971) during a murder scene.
I had a million dreams that never came true Until the lucky day I discovered you.
You stepped out of a dream You are too wonderful to be what you seem Could there be eyes like yours? Could there be lips like yours? Could there be smiles like yours, honest and truly?
You stepped out of a cloud I want to take you away, away from the crowd And have you all to myself, alone and apart Out of a dream, safe into my heart
You stepped out of a cloud I want to take you away, away from the crowd And have you all to myself, alone and apart Out of a dream, safe into my heart... Wa-dee-la-la Out of a dream!
The song is best known to English-speaking audiences as "I Wish You Love", with new lyrics by Albert A. Beach: introduced in 1957 by Keely Smith as the title cut of her solo debut album, "I Wish You Love" would become one of Smith's signature songs. Smith's debut album otherwise consisted of standards: she would recall: "[when] we sat down to select the songs [record producer] Voyle Gilmore...played a bunch of standards [then] said: 'I want to play you a really pretty French song...it won't mean nothing and you won't do it in the album but I just thought I'd play it for you' and he played 'I Wish You Love'. So, at the end of him playing all these songs...I said: 'Babe, I'll sing any 11 songs y'all want me to but I want to sing 'I Wish You Love'."
Goodbye, No use leading with our chins, This is where our story ends, Never lovers ever friends. Goodbye, Let our hearts call it a day, But before you walk away, I sincerely want to say.
I wish you bluebirds in the spring, To give your heart a song to sing, And then a kiss, but more than this, I wish you love.
And then July, lemonade To cool you in some leafy glade, I wish you health, and more than wealth, I wish you love.
My breaking heart and I agree That you and I could never be, So with my best, my very best, I set you free.
I wish you shelter from the storm, A cozy fire to keep you warm, Most of all, when snowflakes fall, I wish you love.
The song first appeared in the movie Vogues of 1938, actually released in 1937.
It was immediately a hit in a version recorded by Shep Fields and His Rippling Rhythm Orchestra, considered to have spent fourteen weeks on the charts in 1937, four at #1. (The charts did not actually exist in those days, but reconstructions of what they would have been give those statistics.) A version was also recorded by Jan Garber, which charted at #10.)
Last night I started out happy Last night my heart was so gay Last night I found myself dancing In my fav'rite cabaret you were completely forgotten Just an affair of the past Then suddenly something happened to me And I found my heart beating, oh, so fast
I saw you last night and got that old feeling When you came in sight, I got that old feeling The moment that you danced by, I felt a thrill And when you caught my eye, my heart stood still
Once again I seemed to feel that old yearning Then I knew the spark of love was still burning There'll be no new romance for me, it's foolish to start For that old feeling is still in my heart
Lyrics ,Music:Larry Shay, Mark Fisher, Joe Goodwin
The song was publishe 1928.
Many other recordings exist, for example those by Billie Holiday with Lester Young and Teddy Wilson in 1938, Studies in Swing No.3, Louis Prima, Frank Sinatra, Julia Lee, Nat King Cole and Patti Page. Cliff Bruner brought it to the country charts in 1939. It was adopted by Leicester City F.C. as the club anthem, and can be heard at many of the team's games. In 1961, Judy Garland performed the song at the Judy at Carnegie Hall concert. Andy Williams released a version on his 1963 album, Days of Wine and Roses and Other TV Requests. Dean Martin also sang it, sometimes parodying it as "When You're Drinkin'". Teddy Wilson & His Orchestra, with Billie Holiday, performed this classic on January 6, 1938, in New York City for Brunswick/Columbia, with Teddy Wilson on piano, Benny Morton on trombone, Buck Clayton on trumpet, Lester Young on tenor sax, Freddie Green on guitar, Walter Page on bass and Jo Jones on drums.
When you're smiling When you're smiling The whole world smiles with you
When you're laughing When you're laughing The sun comes shining through
But when you're crying You bring on the rain So stop that sighing Be happy again
Keep on smiling Cause when you're smiling The whole world smiles with you
It was written in 1919 for the unsuccessful musical Zip, Goes a Million. In 1920 it was published and reused in the musical Sally whence it was popularized by Marilyn Miller. Among others, the song was later covered several times by Judy Garland, whose version also became, and remains, well-known.
As I wash my dishes, I'll be following your plan, Till I see the brightness in ev'ry pot and pan. I am sure your point of view will ease the daily grind, So I keep repeating in my mind.
(verse #2) * Please don't be offended if I preach to you awhile, * Tears are out of place in eyes that were meant to smile. * There's a way to make your very biggest troubles small, * Here's the happy secret of it all.
Look for the silver lining When e'er a cloud appears in the blue. Remember some where the sun is shining, And so the right thing to do, Is make it shine for you.
A heart full of joy and gladness Will always banish sadness and strife. So always look for the silver lining, And try to find the sunny side of life.
The song was written for the film Swing Time (1936), where it was introduced by Fred Astaire and Ginger Rogers. Ginger plays a dance instructor whom Fred follows into her studio; he pretends to have "two left feet" in order to get her to dance with him. Fred sings the verse to her and she responds with the chorus. After an interlude, they dance to the tune. (Author John Mueller has written their dance "is one of the very greatest of Astaire's playful duets: boundlessly joyous, endlessly re-seeable.")
Please teacher, teach me something. Nice teacher, teach me something. I'm as awkward as a camel. That's not the worst. My two feet haven't met yet. But I'll be teacher's pet yet, 'Cause I'm going to learn to dance or burst.
Now nothing's impossible, I have found For when my chin is on the ground, I pick myself up, Dust myself off, And start all over again.
Don't lose your confidence if you slip, Be grateful for a pleasant trip, And pick yourself up, Dust off, Start all over again.
Work like a soul inspired Until the battle of the day is won. You may be sick and tired, But you be a man, my son.
Will you remember the famous men Who have to fall to rise again, So take a deep breath, Pick yourself up, Start all over again.
You got a work like a soul inspired Until the battle of the day is won. You may be sick and tired, But you be a man, my son.
Will you remember the famous men Who have to fall and rise again, So take a deep breath, Pick yourself up, Dust yourself off, Start all over again.
Will you remember the famous men Who have to fall and rise again, So take a deep breath, Pick yourself up, Dust yourself off, Start all over again.
The song is one of the oldest standards, It was published in 1927 and in 1928 became a huge hit sung by Gene Austin.
The music for "My Blue Heaven" was written in 1924: "Donaldson wrote it one afternoon at the Friars Club in New York while waiting for his turn at the billiard table." The song was written while Donaldson was under contract to Irving Berlin, working for Berlin's publishing company, Irving Berlin Inc. George Whiting wrote lyrics adapted for Donaldson's music, and for a while, performed it in his vaudeville act; three years later, Tommy Lyman started singing it on the radio as his theme song.
Day is ending, birds are wending Back to the shelter of Each little nest they love Nightshades falling, lovers calling What makes the World go round Nothing but love
Whippoorwills call, evenin' is nigh Hurry to my Blue Heaven Turn to the right, there's a little white light Will lead you to my, my Blue Heaven
You'll see a smiling face, a fireplace, a cozy room Little nest that's nestles where the roses bloom
Molly and me, and the baby makes three We're happy in my, in my Blue Heaven
You're gonna see a smilin' face, fireplace, cozy room And a little nest, nestled where the roses bloom
Just Molly and me, and the baby is three We're so happy in my Blue Heaven We're happy in my Blue Heaven We're happy in my Blue Heaven!
(Sinatra adds)"One thing's certain we ain't blue in My Blue Heaven!"
Lyrics ,Music:Sammy Fain ,Irving Kahal, Pierre Norman
The song was publishe 1930.
Since Fain was primarily a music writer and Kahal a lyricist, it may be assumed that the music was by Fain and lyrics were by Kahal, with Norman's contribution uncertain.
The song was introduced in the movie The Big Pond (1930) by Maurice Chevalier. The song has been used in other movies, including Monkey Business (1931), where the Marx Brothers steal Chevalier's passport and sing this song to try to prove they are Chevalier as they attempt to pass through US Customs. The song is a well-known standard, recorded by many artists, though Chevalier's and Frank Sinatra's versions are best known.
Sweet one, fairer than the flowers Never will I meet one sweeter than you Would you turn away or could you Really learn to care if I ever dare To say I love you
If the nightingales could sing like you They'd sing much sweeter than they do For you brought a new kind of love to me
And if the sandman brought me dreams of you I'd want to sleep my whole life through You brought a new kind love to me
I know that I'm the slave, you're the queen Still you can understand That underneath it all You're a maid and I am only a man
I would work and slave the whole day through If I could hurry home to you You brought a new kind of love to me
You know there was a novel that had almost the same title as the song. It's "The End of the Affair" by Graham Greene. When I heard the song by Sinatra (c. 1956), I think the Greene's books (in Japanese) were at the book-store already. But the song was published in 1950, that was older than Greene's 1951. I am never going to say anything that the song had influenced Greene: However, I guess something like that might have inspired for the title at some rate. When I heard the song Sinatra sang then, it didn't sound me in my mind, it's true. But in fact, the song is named "The End of a Love Affair."
I'm seeking someone for advice The situation isn't very nice I've found myself completely at a lost My heart and not my mind is base..
So I walk a little too fast And I drive a little too fast And I'm reckless it's true, But what else can you do At the End of a love affair?
So I talk a little too much, And I laugh a little too much And my voice is too loud, When I'm out in a crowd So that people are apt to stare.
Do they know, do they care, That it's only That I'm lonely and low as can be? And the smile on my face isn't really a smile at all.
So I smoke a little too much, And I drink a little too much And the tunes I request Are not always the best But the ones where the trumpets blare.
So I go at a maddening pace, And I pretend that it's taking her place But what else can you do, At the end of a love affair?
The song was written for the musical film, Swing Time, where it was co-introduced by Fred Astaire and Ginger Rogers. Astaire had a major record hit on Brunswick records. However, it was made most famous by Billie Holiday's recording, also done in 1936.
In Hollywood, Louis Armstrong and Ella Fitzgerald recorded their version of the song in the summer of 1957. In 1963, Fitzgerald included a solo rendition on her Verve Records album, Ella Fitzgerald Sings the Jerome Kern Songbook, produced by Norman Granz.
A fine romance, with no kisses A fine romance, my friend this is We should be like a couple of hot tomatoes But you're as cold as yesterday's mashed potatoes
A fine romance, you won't nestle A fine romance, you won't even wrestle I might as well play bridge with my old maid aunt I haven't got a chance This is a fine romance
A fine romance, my good fellow You take romance, I'll take jello You're calmer than the seals in the Arctic Ocean At least they flap their fins to express emotion
A fine romance with no quarrels With no insults and all morals I've never mussed the crease in your blue serge pants I never get the chance This is a fine romance
(* Sinatra's 2nd chorus) A fine romance, with no kisses A fine romance, my friend this is We two should be like clams in the dish of chowder But we just fizz like parts of settless powder
A fine romance with no clinches A fine romance with no flinches You're just as hard to land as the Ile de France I haven't got a chance. This is a fine romance
The song was featured in the Paramount film Romance in the Dark, which was released in 1938 starring John Barrymore and John Boles. In the film, it was performed by the lead actress Gladys Swarthout of Metropolitan Opera fame. However, some debate this origination.
The biggest selling 1938 version was recorded by the Glenn Miller orchestra, with a vocal by Ray Eberle. This recording first reached the Billboard magazine Best Seller chart on July 20, 1940.
Why do I just wither and forget all resistance When you and your magic pass by My heart's in a dither dear When you're at a distance But when you are near, oh my...
It's not the pale moon that excites me That thrills and delights me, oh no It's just the nearness of you
It isn't your sweet conversation That brings this sensation, oh no It's just the nearness of you
When you're in my arms And I feel you so close to me All my wildest dreams come true
I need no soft lights to enchant me If you'll only grant me the right To hold you ever so tight And to feel in the night The nearness of you