Relying on memory, which verge blur, while remembering Arekore that old nearly 40 years, but has written the "Jazz graffiti of my youth", you can hurt people, or was wounded people, some even such bitter memories It has been revived. If Kaerimire Become a now, still in the blue brat, thoughtful of shallow was youth, just facing just before, and stopped to afford to overlook around there was no youth, act as vertical only the earlier their emotions and feelings if the youth, and to know that it was wounded and could not apologize obedient youth was only droop and Shozen as damaged by underdog youth ......
And it is is that it also has no way regret from now, all the "Blame It On My Youth," "youth Sa-yue", or whether Let's translate even a "youthful indiscretion." This song, as "excuse" or "confession" of my youth, is also a song you want to hear. Well, I do not even worthy of repentance, you can either let it Never in trouble, how to ....
You were my adored one, Then you became the bored one, And I was like a toy that brought you joy one day, A broken toy that you preferred to throw away.
If I expected love when first we kissed Blame it on my youth If only just for you I did exist Blame it on my youth
I believed in everything Like a child at three You meant more than anything All the world to me
If you were on my mind all night and day Blame it on my youth If I forgot to eat and sleep and pray Blame it on my youth
If I cried a little bit When first I learned the truth Don't blame it on my heart Blame it on my youth
Lyrics: Betty Comden , Adolph Green Music:Leonard Bernstein
The song was publishe 1944.
On the Town is a musical with music by Leonard Bernstein and book and lyrics by Betty Comden and Adolph Green, based on Jerome Robbins' idea for his 1944 ballet Fancy Free, which he had set to Bernstein's music. The musical introduced several popular and classic songs, among them "New York, New York", "Lonely Town", "I Can Cook, Too" (for which Bernstein also wrote the lyrics), and "Some Other Time". The story concerns three American sailors on a 24-hour shore leave in New York City during wartime 1944. Each of the three sailors meets and quickly connects with a woman.
Where has the time all gone to? Haven't done half the things we want to Oh, well We'll catch up some other time
This day was just a token Too many words are still unspoken Oh, well We'll catch up some other time
Just when the fun is starting Comes the time for parting But let's be glad for what we had And what's to come
There's so much more embracing Still to be done but time is racing Oh, well We'll catch up some other time.
The song was a hit twice in 1949 with successful recordings by Billy Eckstine and Mel Tormé. In 1961, "Blue Moon" became an international number one hit for the doo-wop group The Marcels, on the Billboard Hot 100 chart and in the UK Singles chart.
Once upon a time Before I took up smiling I hated the moonlight! Shadows of the night That poets find beguiling Seemed flat as the moonlight
But no one to stay up for I went to sleep at ten Life was a bitter cup for The saddest of all men...
Blue moon, you saw me standin' alone Without a dream in my heart, Without a love of my own
Blue moon, you knew just what I was there for You heard me sayin' a prayer for Someone I really could care for
And then there suddenly appeared before me The only one my arms will ever hold I heard somebody whisper "please adore me" And when I looked, the moon had turned to gold
Blue moon, now I'm no longer alone Without a dream in my heart Without a love of my own
Although introduced by Red McKenzie and His Orchestra in October 1931, it first became a hit when singer Russ Columbo performed it with Leonard Joy’s Orchestra in 1932. It charted again the same year in a version by Ben Selvin and His Orchestra and has been recorded often since.
Just friends, lovers no more, Just friends, but not like before To think of what we've been, And not to kiss again Seems like pretending, It isn't the ending
Two friends, drifting apart, Two friends, but one broken heart We loved, we laughed, we cried, Then suddenly love died The story ends and we're just friends
We loved we laughed and we cried, Then suddenly love died The story ends and we're just friends.
The song was written for the musical St. Louis Woman, and was published in 1946.
Recordings were made in 1946 by Sy Oliver (with the Tommy Dorsey Orchestra), Dinah Shore, Helen Forrest and Dick Haymes, and Margaret Whiting and Ray Charles. Although the song did not actually make the charts in the period following its publication, it has become a standard.
I'm gonna love you like nobody's loved you Come rain or come shine High as a mountain, and deep as a river Come rain or come shine
I guess when you met me It was just one of those things But don't ever bet me 'Cause I'm gonna be true if you let me
You're gonna love me, like nobody's loved me Come rain or come shine Happy together, unhappy together And won't that be just fine
The days may be cloudy or sunny We're in or we're out of the money But I'm with you always I'm with you rain or shine
The original 1931 popular hit recording was made by Bing Crosby with the Gus Arnheim Orchestra, but the song has become a standard, recorded by many other artists since, including Frank Sinatra, Doris Day, Dean Martin, and Nico. Bing Crosby recorded the song four times over his career as well as performing its film debut in the Mack Sennett short, One More Chance (1931). An outtake from one of the sessions recorded in 1939 was preserved by blooper compiler Kermit Schafer in which Crosby swore at his producer for cutting eight bars without letting him know. That outtake was presented in the PBS American Masters episode Bing Crosby Rediscovered.
What price happiness? What price happiness? Who can truthfully say? But for every share, with tears we pay.
Love is happiness. I've had happiness, But it ended one day. Now I look at life a different way.
When skies are cloudy and gray They're only gray for a day So wrap your troubles in dreams And dream your troubles away
Until that sunshine peeps through There's only one thing to do Just wrap your troubles in dreams And dream all your troubles away
Your castles may tumble that's fate after all Life's really funny that way No use to grumble, smile as they fall Weren't you king for a day?
Just remember that sunshine Always follows the rain So wrap your troubles in dreams And dream your troubles away
Your castles may tumble that's fate after all Life's really funny that way But no need to grumble, smile as they fall Weren't you king for a day
Just remember that sunshine Always follows the rain So wrap your troubles in dreams And dream, dream your troubles away
The song was introduced by singer Minto Cato in the Broadway show Lew Leslie's Blackbirds of 1930. A 1930 version recorded by Louis Armstrong featuring Lionel Hampton is the first known use of the vibraphone in popular music.
A version of the song recorded by The Four Coins from the biopic The Benny Goodman Story reached #22 on the Billboard magazine chart in 1955. Robert Wyatt's version appears on his single "Shipbuilding", released in 1982, and was reissued on the CD Mid-Eighties (1993).
Doc Severinsen and the NBC Orchestra performed a moving, melancholy instrumental version on the final airing of The Tonight Show Starring Johnny Carson, May 22, 1992. The song played over a five-minute "scrapbook" tribute montage showing brief silent clips of some of Carson's favorite guests - seen interacting with the host through the years.
Why can't I forget like I should? Heaven knows I would if I could. But I just can't keep you off my mind. Though you're gone, I have to explain, All around me you still remain. Wonder why fate should be so unkind?
Waking skies at sunrise Every sunset, too, Seems to be bringing me Memories of you.
Here and there, everywhere Scenes that we once knew And they all just recall Memories of you.
How I wish I could forget those happy yesteryears That have left a rosary of tears. Your face beams in my dreams, 'Spite of all I do Everything seems to bring Memories of you.
Lyrics:Erich Maschwitz Music:Jack Strachey, Harry Link
The song was publishe 1936.
It is one of a group of "Mayfair songs", like "A Nightingale Sang in Berkeley Square". Maschwitz wrote the song under his pen name, Holt Marvell, for Joan Carr for a late-evening revue broadcast by the BBC. The copyright was lodged in 1936. Maschwitz was romantically linked to the Chinese-American actress Anna May Wong while working in Hollywood, and the lyrics are evocative of his longing for her after they parted and he returned to England.
A cigarette that bears a lipstick's traces An airline ticket to romantic places And still my heart has wings These foolish things remind me of you
A tinkling piano in the next apartment Those stumbling words that told you what my heart meant A fairground's painted swings These foolish things remind me of you
You came, you saw, you conquered me When you did that to me I knew somehow this had to be
The winds of March that make my heart a dancer A telephone that rings but who's to answer? Oh, how the ghost of you clings These foolish things remind me of you
The first daffodil and long excited cables And candle lights on little corner tables And still my heart has wings These foolish things remind me of you
The park at evening when the bell has sounded The 'Ile de France' with all the gulls around it The beauty that is Spring's These foolish things remind me of you
How strange, how sweet to find you still These things are dear to me They seem to bring you near to me
The sigh of midnight trains in empty stations Silk stockings thrown aside, dance invitations Oh, how the ghost of you clings These foolish things remind me of you
Gardenia perfume ling'ring on a pillow Wild strawb'ries only seven francs a kilo And still my heart has wings These foolish things remind me of you
The smile of Garbo and the scent of roses The waiters whistling as the last bar closes The song that Crosby sings These foolish things remind me of you
How strange, how sweet to find you still These things are dear to me They seem to bring you near to me
The scent of smould'ring leaves, the wail of steamers Two lovers on the street who walk like dreamers Oh, how the ghost of you clings These foolish things Remind me of you, just you
The words met with approval from Ellington, who described them as "wonderful—but not entirely fitted to my original conception." That original conception was inspired by three of Ellington's grade school teachers. "They taught all winter and toured Europe in the summer. To me that spelled sophistication." Duke Ellington and His Orchestra introduced Sophisticated Lady in 1933 with an instrumental recording of the song that featured solos by Toby Hardwick on alto sax, Barney Bigard on clarinet, Lawrence Brown on trombone and Ellington on piano. The recording entered the charts on 27 May 1933, and stayed there for sixteen weeks, rising to number three.
They say into your early life romance came And in this heart of yours burned a flame A flame that flickered one day and died away Then, with disillusion deep in your eyes You learned that fools in love soon grow wise The years have changed you, somehow I see you now
Smoking, drinking, never thinking of tomorrow, nonchalant, Diamonds shining, dancing, dining with some man in a restaurant Is that all you really want? No, sophisticated lady, I know, You miss the love you lost long ago And when nobody is nigh you cry