"How Long Has This Been Going On?" was originally written as a duet by George and Ira Gershwin for a Broadway show called Smarty. It was a song for Adele Astaire and Jack Buchanan on the occasion of their first kiss. According to lyricist Ira Gershwin in his book Lyrics on Several Occasions, the musical received a lukewarm reception at the Philadelphia preview. Two weeks later the song was dropped from the show and replaced by "He Loves and She Loves" ("not as good a song as the former," says Gershwin, "but one that managed to get over.")
Neath the stars, at bazaars Often I've had to caress men Five or ten, dollars then, I'd collect from all those yes-men Don't be sad, I must add, that they meant no more than chess-men
Darling, can't you see? 'Twas for charity? Though these lips have made slips, it was never really serious Who'd have thought, I'd be brought to a state that's so delirious?
I could cry salty tears Where have I been all these years? Little wow, tell me now How long has this been goin' on?
There were chills up my spine And some thrills I can't define Listen sweet, I repeat How long has this been goin' on?
Oh, I feel that I could melt Into heaven I'm hurled I know how Columbus felt Finding another world
Kiss me once, then once more What a dunce I was before What a break, for heaven's sake How long has this been goin' on?
Kiss me twice, kiss me twice then once more That makes thrice, let's make it four What a break, for Heaven's sake How long has this been goin' on?
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
It was introduced by singers Grace Moore and John Steel late in the run of Berlin's third Music Box Revue and also was included in the following year's (1924) edition. In the lyrics, the singer questions how he or she will get by now that a recent romance has ended.
The song was used as a generalized theme in Nelson Riddle's Academy Award-winning period score for the 1974 film The Great Gatsby starring Robert Redford and Mia Farrow, sung by character actor William Atherton. It was sung by Mary Steenburgen in the 1991 movie, The Butcher's Wife, and was used as the theme tune to the British sitcom Birds of a Feather. An instrumental version of the song was used under the closing scene of "I Do, Adieu" (1987), the fifth season finale of the sitcom Cheers.
Gone is the romance that was so divine. 'Tis broken and cannot be mended. You must go your way and I must go mine. But now that our love dreams have ended...
(Verse 2) Do you remember a night filled with bliss? The moonlight was softly descending Your lips and my lips were sealed with a kiss A kiss with an unhappy ending...
What'll I do? When you are far away And I am blue What'll I do?
What'll I do? When I am wond'ring who Is kissing you What'll I do?
What'll I do with just a photograph To tell my troubles to?
When I'm alone With only dreams of you That won't come true What'll I do?
An Affair to Remember is a 1957 DeLuxe Color film starring Cary Grant and Deborah Kerr, and directed by Leo McCarey in CinemaScope. It was distributed by 20th Century Fox. The film is considered one of the most romantic movies of all time, according to the American Film Institute. The film was a remake of McCarey's 1939 film Love Affair, starring Irene Dunne and Charles Boyer.
Our love affair is a wondrous thing That we'll rejoice in remembering Our love was born with our first embrace And a page was torn out of time and space
Our love affair, may it always be A flame to burn through eternity So, take my hand with a fervent pray'r That we may live and we may share A love affair to remember
Lyrics ,Music:Jimmy Davis, Roger ("Ram") Ramirez, James Sherman
The song was publishe 1941.
It is particularly associated with Billie Holiday, for whom it was written, and her version was inducted into the Grammy Hall of Fame in 1989. Holiday's version reached #5 on the R&B chart and #16 on pop in 1945. In July 1946, Charlie Parker recorded a rendition of "Lover Man", considered by many to be one of his most passionate recordings, during which he was severely intoxicated. Dial Records producer Ross Russell had to hold Parker up to the microphone during the recording. Barbra Streisand recorded "Lover Man" for her 1967 album, Simply Streisand, with an arrangement by David Shire. She also sang the song live during her 1994 concert tour.
I don't know why but I'm feeling so sad I long to try something I never had Never had no kissin' Oh, what I've been missin' Lover man, oh, where can you be?
The night is cold and I'm so alone I'd give my soul just to call you my own Got a moon above me But no one to love me Lover man, oh, where can you be?
I've heard it's said That the thrill of romance Can be like a heavenly dream
I go to bed with a prayer That you'll make love to me Strange as it seems
Someday we'll meet And you'll dry all my tears Then whisper sweet Little things in my ears Hugging and a-kissing Oh, what I've been missing Lover man, oh, where can you be?
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.
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
The song was first performed at the premiere of Connie's Hot Chocolates at Connie's Inn in Harlem as an opening number by Margaret Simms and Paul Bass, and repeated later in the musical by Russell Wooding's Hallelujah Singers. Connie's Hot Chocolates transferred to the Hudson Theatre on Broadway in June 1929, where it was renamed to Hot Chocolates and where Louis Armstrong took over as orchestra director. The script also required Armstrong to play Ain't Misbehavin 'in a trumpet solo, and although this was initially slated to only be a reprise of the opening song, Armstrong's performance was so well received that the trumpeter was asked to climb out of the orchestra pit and play the piece on stage.
No one to talk with All by myself No one to walk with But I'm happy on the shelf Ain't misbehavin' I'm savin' my love for you
I know for certain The one I love I'm through with flirtin' It's just you I'm thinkin' of Ain't misbehavin' I'm savin' my love for you
Like Jack Horner In the corner Don't go nowhere What do I care? Your kisses are worth waitin' for Believe me
I don't stay out late Don't care to go I'm home about eight Just me and my radio Ain't misbehavin' I'm savin' my love for you
It was introduced in the 1941 film Babes on Broadway by Judy Garland and Mickey Rooney and has also featured in The Fisher King with Robin Williams. Richard Dreyfuss hums and sings part of the song in The Goodbye Girl. Anne Bancroft sings it in Don't Bother to Knock (1952). The music of the song appears in the film All About Eve (1950).
When a girl meets boy Life can be a joy But the note they end on Will depend on little pleasures they will share So let us compare
I like New York in June, how about you? I like a Gershwin tune, how about you? I love a fireside when a storm is due. I like potato chips, moonlight motor trips, how about you?
I'm mad about good books, can't get my fill And James Durante's* looks give me a thrill Holding hands in the movie show, when all the lights are low May not be new, but I like it, how about you?
I'd love to dream of fame, maybe I'll shine I'd love to see your name right beside mine I can see we're in harmony Looks like we both agree On what to do, and I like it How about you?
It's the song that Doris Day sang in a film, "Calamity Jane"(53) and won an Oscar. After confessing a hided love, the song would be very joyous and bright. In the film, Calamity Jane, who's stronger than a male, has accepted her love by Wild Bill Hickok, so she sings it. This musical western includes another beautiful song, that is "Black Hills of Dakota". Doris Day, that I saw at my age of 15-6 years-old, was so lovely and beautiful. She was one of the girls who I'd have loved to marry with. I had remembered the lyric of the song so immediately. The words like 'impatient, daffodil and often' were the ones that I looked up in a dictionary for the first time, then. I was pronouncing 'often' as oftn with 'f' sound. It wasn't to be wrong, though. That is very dear old song. And my secret love was Doris Day herself. I was shocked that I knew that this healthy and gay- American-girl-looking Doris had been already married that time. Ha ha, ha, ha... She was too much elder and too much far away girl of distant America for the young boy.
Once I had a secret love, That lived within the heart of me. All too soon my secret love, Became impatient to be free.
So I told a friendly star, The way that dreamers often do, Just how wonderful you are, And why I am so in love with you.
Now I shout it from the highest hills, I even told the golden daffodils. At last my hearts an open door, And my secret love's no secret anymore.
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
"My Ship" is a popular song written for the 1941 Broadway musical Lady in the Dark, with music by Kurt Weill and lyrics by Ira Gershwin. The music is marked "Andante espressivo"; Gershwin describes it as "orchestrated by Kurt to sound sweet and simple at times, mysterious and menacing at other". It was premiered by Gertrude Lawrence in the role of Liza Elliott, the editor of a fashion magazine. In the context of the show, the song comes in a sequence in which Elliott, in psychoanalysis, recalls a turn-of-the-century song she knew in her childhood.
The musical's theme of psychoanalysis is said to be based on Hart's own experiences with psychoanalyst Gregory Zilboorg. Except for the final song, all the music in the play is heard in three extended dream sequences: the Glamour Dream, the Wedding Dream, and the Circus Dream which, to some extent, become three small operettas integrated into a straight play. The final song, "My Ship", functions as a leitmotif for Liza's insecurity: as each dream commences, a snippet of the tune is heard, as it is a haunting melody which Liza recognizes but cannot name, or sing with words, until her anxiety is resolved.
My ship has sails that are made of silk The decks are trimmed with gold And of jam and spice There's a paradise in the hold
My ship's aglow with a million pearls And rubies fill each bin The sun sits high in a sapphire sky When my ship comes in
I can wait the years till it appears One fine day one spring But the pearls and such They don't mean much If there's missing just one thing
I do not care if that day arrives That dream need never be If the ship I sing Doesn't also bring My own true love to me
Lyrics ,Music:Lew Brown ,Buddy De Sylva ,Ray Henderson The song was publishe 1931.
"The Thrill Is Gone" has the distinction of being included on a 1931 landmark recording. According to David Ewen in his book, Great Men of American Popular Song, "Brunswick Records released a twelve-inch platter in which all the hit songs from this revue were recorded by Bing Crosby and the Boswell Sisters, marking the first attempt to reproduce the basic score of a single production in a recording."
The thrill is gone The thrill is gone I can see it in your eyes I can hear it in your sighs Feel your touch and realize The thrill is gone
The nights are cold For love is old Love was grand when love was new Birds were singing, skies were blue Now it don't appeal to you The thrill is gone
This is the end So why pretend And let it linger on The thrill is gone The thrill is gone
I Didn't Know What Time It Was Lyrics:Lorenz Hart Music:Richard Rodgers
The song was publishe 1939.
The song was written for the musical "Too Many Girls" (1939).
Early hit versions included Benny Goodman and Artie Shaw. The Crampton Sisters 1964 revival for the DCP label was a Hot 100 entry.
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.
Once I was young; yesterday, perhaps, Danced with Jim and Paul And kissed some other chaps. Once I was young, But never was naive. I thought I had a trick or two Up my imaginary sleeve. And now I know I was naive.
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.