Annals of Song

Speranza 1580 Greensleeues was all my ioy Greensleeues was my delight Greensleeues was my hart of gold and who but Ladie Greensleeues alas my loue ye do me wrong, to cast me off discurteously and I haue loued you so long delighting in your companie I haue been readie at your hand, to grant what euer you would craue. I haue both waged life and land, your loue and good will for to haue. I bought three kerchers to thy head, that were wrought fine and gallantly: I kept thee both boord and bed, which cost my purse wel fauouredly, I bought thee peticotes of the best, the cloth so fine as might be: I gaue thee iewels for thy chest, and all this cost I spent on thee. Thy smock of silk, both faire and white, with gold embrodered gorgeously: thy peticote of Sendall right: and thus I bought thee gladly. Thy girdle of gold so red, with pearles bedecked sumptuously: The like no other lasses had, and yet thou wouldst not loue me, Thy purse and eke thy gay guilt kniues, thy pincase gallant to the eie: No better wore the Burgesse wiues, and yet thou wouldst not loue me. Thy crimson stockings all of silk, with golde all wrought aboue the knee, Thy pumps as white as was the milk, and yet thou wouldst not loue me. Thy gown was of the grossie green, thy sleeues of Satten hanging by: which made thee be our haruest Queen, and yet thou wouldst not loue me. Thy garters fringed with the golde, And siluer aglets hanging by, Which made thee blithe for to beholde, And yet thou wouldst not loue me. My gayest gelding I thee gaue, To ride where euer liked thee, No Ladie euer was so braue, And yet thou wouldst not loue me. My men were clothed all in green, And they did euer wait on thee: Al this was gallant to be seen, and yet thou wouldst not loue me. They set thee vp, they took thee downe, they serued thee with humilitie, Thy foote might not once touch the ground, and yet thou wouldst not loue me. For euerie morning when thou rose, I sent thee dainties orderly: To cheare thy stomack from all woes, and yet thou wouldst not loue me. Thou couldst desire no earthly thing. But stil thou hadst it readily: Thy musicke still to play and sing, And yet thou wouldst not loue me. And who did pay for all this geare, that thou didst spend when pleased thee? Euen I that am reiected here, and thou disdainst to loue me. Wel, I wil pray to God on hie, that thou my constancie maist see: And that yet once before I die, thou wilt vouchsafe to loue me. Greensleeues now farewel adue, God I pray to prosper thee: For I am stil thy louer true, come once againe and loue me. A broadside ballad by this name was registered at the London Stationer's Company in September 1580, by Richard Jones, as “A Newe Northen Dittye of ye Ladye Greene Sleves” (Cfr. “A new Courtly Sonet, of the Lady Green sleeues. To the new tune of Greensleeues”, in “A handful of pleasant delights” (1584). 1593 Come live with me and be my Love, and we will all the pleasures prove that hills and valleys, dale and field, and all the craggy mountains yield there will we sit upon the rocks and see the shepherds feed their flocks, by shallow rivers, to whose falls melodious birds sing madrigals. there will I make thee beds of roses and a thousand fragrant posies, a cap of flowers, and a kirtle embroider'd all with leaves of myrtle. a gown made of the finest wool which from our pretty lambs we pull, fair linèd slippers for the cold, with buckles of the purest gold. a belt of straw and ivy buds with coral clasps and amber studs: and if these pleasures may thee move, come live with me and be my Love. thy silver dishes for thy meat as precious as the gods do eat, shall on an ivory table be prepared each day for thee and me. the shepherd swains shall dance and sing for thy delight each May-morning: if these delights thy mind may move, then live with me and be my Love. 1608 Lasciatame morir Monteverdi, “Adrianna” 1616 Drink to me only with thine eyes and I will pledge with mine or leave a kiss within the cup and I'll not ask for wine the thirst that from the soul doth rise doth ask a drink divine but might I of Jove's nectar sip I would not change for thine. I sent thee late a rosy wreath, not so much honouring thee as giving it a hope that there it could not withered be; but thou thereon didst only breathe, and sent'st it back to me; since when it grows, and smells, I swear, not of itself but thee! 1648 Delizie contente Cavalli 1648 Bid me to live, and I will live thy Protestant to be; or bid me love, and I will give a loving heart to thee. a heart as soft, a heart as kind, a heart as sound and free as in the whole world thou canst find, that heart I'll give to thee. bid that heart stay, and it will stay, to honour thy decree; or bid it languish quite away. and 't shall do so for thee. bid me to weep, and I will weep while I have eyes to see; and having none, yet I will keep a heart to weep for thee. bid me despair, and I'll despair, under that cypress tree; or bid me die, and I will dare e'en Death, to die for thee. thou art my life, my love, my heart, the very eyes of me, and hast command of every part, to live and die for thee. ----------------------- Herrick – From “Hesperides” (1648). 1660 Are you going to Scarborough fair parsley, sage, rosemary, and thyme remember me to one who lives there for once she was a true love of mine. Tell her to make me a cambric shirt, Parsley, sage, rosemary, and thyme; Without any seam or needlework, Then she shall be a true lover of mine. Tell her to wash it in yonder well, Parsley, sage, rosemary, and thyme; Where never spring water or rain ever fell, And she shall be a true lover of mine. Tell her to dry it on yonder thorn, Parsley, sage, rosemary, and thyme; Which never bore blossom since Adam was born, Then she shall be a true lover of mine. Now he has asked me questions three, Parsley, sage, rosemary, and thyme; I hope he'll answer as many for me Before he shall be a true lover of mine. Tell him to buy me an acre of land, Parsley, sage, rosemary, and thyme; Betwixt the salt water and the sea sand, Then he shall be a true lover of mine. Tell him to plough it with a ram's horn, Parsley, sage, rosemary, and thyme; And sow it all over with one pepper corn, And he shall be a true lover of mine. Tell him to shear it with a sickle of leather, Parsley, sage, rosemary, and thyme; And bind it up with a peacock feather. And he shall be a true lover of mine. Tell him to thrash it on yonder wall, Parsley, sage, rosemary, and thyme, And never let one corn of it fall, Then he shall be a true lover of mine. When he has done and finished his work. Parsley, sage, rosemary, and thyme: Oh, tell him to come and he'll have his shirt, And he shall be a true lover of mine. 1666 In Scarlet town where I was born there was a fair maid dwellin’ made ev'ry youth cry well-a-day her name was Barb'ra Allen. all in the merry month of May when green buds they were swellin', young Jemmy Grove on his death-bed lay for love of Barb'ra Allen. then slowly, slowly she came up, and slowly she came nigh him, and all she said when there she came "young man, I think you're dying". as she was walking o'er the fields she heard the dead-bell knellin', and ev'ry stroke the dead-bell gave cried "Woe to Barb'ra Allen!" when he was dead and laid in grave her heart was struck with sorrow. "O mother, mother, make my bed, for I shall die tomorrow." "Farewell," she said, "ye virgins all, and shun the fault I fell in; henceforth take warning by the fall of cruel Barb'ra Allen." The earliest known mention of the song is in Samuel Pepys' diary for January 2. 1666 where he refers to the “little Scotch song of 'Barbary Allen'” – arranged by Roger Quilter in 1921. 1680 Che fiero costume Legrenzi, Eteocle. 1680 Gia il sole dal Gange Scarlatti, “Li amori sfortunati” 1680 When I am laid am laid on earth Remember me but forget my fate Henry Purcell, “Dido and Aeneas: an opera” 1682 Lasciate piagarmi Scarlatti, POMPEO. 1701 Sebben crudele Caldara, “Aminta” 1709 For he's a jolly good fellow -- for he's a jolly good fellow -- for he's a jolly good fellow and so say all of us -- and so say all of us -- and so say all of us for he's a jolly good fellow -- for he's a jolly good fellow -- for he's a jolly good fellow and so say all of us. The tune was originally composed the night after the Battle of Malplaquet in 1709. It became a French folktune and was later popularized by Marie Antoinette after she heard one of her maids singing it.The melody became so popular in France that it was used to represent the French defeat in Ludwig van Beethoven's composition "Wellington's Victory" Opus 91 written in 1813. The melody also became popular in the United Kingdom, for example as a harpsichord exercise, and by the 19th century it was being sung with the words "For he's a jolly good fellow." 1711 for auld lang syne, my jo for auld lang syne, we’ll tak a cup o’ kindness yet, for auld lang syne. Should auld acquaintance be forgot, and never brought to mind ? Should auld acquaintance be forgot, and auld lang syne? And surely ye’ll be your pint-stowp ! and surely I’ll be mine ! And we’ll tak a cup o’ kindness yet, for auld lang syne. We twa hae run about the braes, and pu’d the gowans fine ; But we’ve wander’d mony a weary fit, sin auld lang syne. We twa hae paidl’d i' the burn, frae morning sun till dine ; But seas between us braid hae roar’d sin auld lang syne. And there’s a hand, my trusty fiere ! and gie's a hand o’ thine ! And we’ll tak a right gude-willy waught, for auld lang syne. 1723 Per la Gloria d’adorarvi Bononcini, GRISELDA 1727 e sia di primavera d’ogni gioir foriera il nostro canto dell’aura al sussurrar dell’onda al mormorar dell’onda al mormorar cantiamo con piacer della bella stagion l’onor ed il vanto Vivaldi, “Dorilla in Tempe” 1728 Let us take the road, hark I hear the sound of coaches the hour of attack approaches to your arms, brave boys, and load see the ball I hold let the chemists toil their asses our fire their fire surpasses and turn our lead to gold Gay, The Beggar’s Opera. 1728 When the heart of a man is depressed with cares the mist is dispelt when a woman appears roses and lilies her cheeks disclose but her ripe are more sweet than those kiss her and press her caress her fill you with pleasure and sweet repose. Gay, The Beggar’s Opera 1728. 1728 I shall love you all the day Every day we’ll kiss and play If we never stray Over the hills and far away . Gay, The Beggar’s Opera. 1738 Ombra mai fu di vigitabile cara ed amabile soave piu. Handel, Serse 1744 Rule, Britannia, Britannia rule the waves Britons never shall be slaves. when Britain first at hea’en’s command arose from the azure main this was the charter, the charter of the land and guardian angels sang this strain Arne. Il Re Alfredo. 1745 God save our gracious Queen long live our noble Queen God save the Queen send her victorious happy and glorious long to reign over us God save the Queen o Lord, our God, arise scatter her enemies and make them fall confound their politics frustrate their knavish tricks on Thee our hopes we fix God save us all thy choicest gifts in store on her be pleased to pour long may she reign may she defend our laws and ever give us cause to sing with heart and voice God save the Queen. First sung with Thomas Arne writing a setting of the tune for the Drury Lane Theatre, London. 1747 See the conquering hero comes Sound the trumpets beat the drums Sports prepare the laurel bring Songs of triumph to the hero sing. Handel Giosè: oratorio. Composed between 19 July 1747 and 19 August 1747, it premiered on the 9th March, 1748 at the Covent Garden Theatre, London. 1759 Come cheer up, my lads! 'tis to glory we steer, To add something more to this wonderful year; To honour we call you, not press you like slaves, For who are so free as the sons of the waves? Heart of oak are our ships, heart of oak are our men; We always are ready, steady, boys, steady! We'll fight and we'll conquer again and again. We ne'er see our foes but we wish them to stay, They never see us but they wish us away; If they run, why we follow, and run them ashore, For if they won't fight us, we cannot do more. Heart of oak are our ships, heart of oak are our men; We always are ready, steady, boys, steady! We'll fight and we'll conquer again and again. They swear they'll invade us, these terrible foes, They frighten our women, our children, and beaus; But should their flat bottoms in darkness get o'er, Still Britons they'll find to receive them on shore. Heart of oak are our ships, heart of oak are our men; We always are ready, steady, boys, steady! We'll fight and we'll conquer again and again. We'll still make them fear, and we'll still make them flee, And drub 'em on shore, as we've drubb'd 'em at sea; Then cheer up, my lads! with one heart let us sing: Our soldiers, our sailors, our statesmen and Queen. Heart of oak are our ships, heart of oak are our men; We always are ready, steady, boys, steady! We'll fight and we'll conquer again and again. Music by William Boyce. Words by actor David Garrick, 1759. 1764 Che faro senz’Euridice dove’andro senz’il mio bene. Che faro dove andro che faro senza il mio bene dove andro senza il mio ben. Gluck Orfeo 1780 Here a sheer hulk, lies poor Tom Bowling the darling of our crew; no more he’ll hear the tempest howling for death has broached him to his form was of the manliest beauty, his heart was kind and soft; faithful below Tom did his duty and now he's gone aloft and now he's gone aloft. Tom never from his word departed his virtues were so rare: his friends were many and true hearted his Poll was kind and fair; and then he'd sing so blithe and jolly ah, many's the time and oft; but mirth is turn'd to melancholy for Tom is gone aloft for Tom is gone aloft. Yet shall poor Tom find pleasant weather when He who all commands shall give to call life's crew together the word to pipe all hands thus Death who kings and tars despatches in vain Tom’s life hath doff'd for tho' his body's under hatches his soul is gone aloft his soul is gone aloft. Charles Didbin. Written in 1780 on the death of his eldest brother Captain Thomas Dibdin at whose invitation he had planned his visit to India. 1786 Dalla sua pace la mia dipende chel che a lei piace vita mi rende chel che le encresce morte mi da s’ella sospira sospiro anch’io e mia quell ira quell pianto e mio e non ha bene s’ella non ha. Mozart/Da Ponte, Don Giovanni 1787 o don’t deceive me o never leave me how could you use a poor maiden so. Early one morning Just as the sun was rising, I heard a young maid sing, In the valley below. Remember the vows, That you made to your Mary, Remember the bow'r, Where you vowed to be true, Oh Gay is the garland, And fresh are the roses, I've culled from the garden, To place upon thy brow. Thus sang the poor maiden, Her sorrows bewailing, Thus sang the poor maid, In the valley below. 1789 un’aura amorosa del nostro tesoro un dolce ristoro al cor porgera al cor che nodrito di speme d’amore d’un esca migliore bisogno non ha. Mozart/Da Ponte Cosi fan tutte 1799 weigh heigh and up she rises --- weigh heigh and up she rises --- weigh heigh and up she rises early in the morning what shall we do with a drunken sailor----------------------------------/the Queen o’ Sheba/a limejuice skipper. what shall we do with a drunken sailor what shall we do with a drunken sailor early in the morning. chuck him in the long boat till he's sober ---- put him in the long-boat and make him bale her ---- lock him in the guard room 'til he gets sober. put him in the scuppers with a hose-pipe on him. ---- pull out the plug and wet him all over ----- tie him to the taffrail when she's yardarm under[12] ------ Heave him by the leg in a runnin' bowline.[12] ----- Scrape the hair off his chest with a hoop-iron razor.[2] ------ Give 'im a dose of salt and water.[2] ----- Stick on his back a mustard plaster.[2] ---- Keep him there and make 'im bale 'er.[2] ----- Give 'im a taste of the bosun's rope end.[2] ----- Soak him in oil till he sprouts a flipper. ----- [2]Shave his chin with a rusty razor. ----- [19]Shave his belly with a rusty razor.[20] ----- Give 'im a hair of the dog that bit him.[21] ----- Put him in the bilge and make him drink it.[22] ------ Put him in bed with the captain's daughter.[23] The shanty was sung to accompany certain work tasks aboard sailing ships, especially those that required a bright walking pace. It is believed to originate in 1799 , when ships' crews were sufficiently large to permit hauling a rope whilst simply marching along the deck 1799 O cara imago e senza egual Non v’a simil idea mortal Io sento nel petto Un ignoto celeste moto m’agita il cor. Mozart Il flauto magico 1802 The ash grove how graceful, how plainly 'tis speaking the harp through its playing has language for me. whenever the light through its branches is breaking, a host of kind faces is gazing on me. the friends from my childhood again are before me each step wakes a memory as freely I roam. with soft whispers laden the leaves rustle o’er me the ash grove, the ash grove alone is my home. Down yonder green meadow where streamlets meander when twilight is fading I pensively roam or in the bright noon tide in solitude wander amid the dark spaces of that lonely ash grove. ‘twas there while the black bird was cheerfully singing I first met my dear one the joy of my heart around us for gladness the blue bells were springing the ash grove, the ash grove that sheltered my home. my lips smile no more, my heart loses its lightness; no dream of the future my spirit can cheer. I only can brood on the past and its brightness the dear ones I long for again gather here. from ev'ry dark nook they press forward to meet me; I lift up my eyes to the broad leafy dome, and others are there, looking downward to greet me the ash grove, the ash grove, again is my home. From: "The Bardic Museum", 1802. Words by Thomas Oliphant. 1804 And did those feet in ancient time. Walk upon England's mountains green: And was the holy Lamb of God, On England's pleasant pastures seen! And did the Countenance Divine, Shine forth upon our clouded hills? And was Jerusalem builded here, Among these dark Satanic Mills? Bring me my Bow of burning gold; Bring me my Arrows of desire: Bring me my Spear: O clouds unfold! Bring me my Chariot of fire! I will not cease from Mental Fight, Nor shall my Sword sleep in my hand: Till we have built Jerusalem, In England's green & pleasant Land William Blake, “Milton” (1804). Set by Parry in 1916. 1815 When I was a bachelor, I liv'd all alone I worked at the weaver's trade and the only only thing that I ever did wrong was to woo a fair young maid. I wooed her in the wintertime and in the summer too and the only, only thing that I did that was wrong was to keep her from the foggy foggy dew. One night she came to my bedside When I was fast asleep. She laid her head upon my bed And she began to weep. She sighed, she cried, she damn near died She said what shall I do? So I hauled her into bed and covered up her head Just to keep her from the foggy foggy dew. So, I am a bachelor, I live with my son and we work at the weaver's trade. And every single time that I look into his eyes He reminds me of that fair young maid. He reminds me of the wintertime And of the summer, too, And of the many, many times that I held her in my arms Just to keep her from the foggy, foggy, dew.[6] 1816 Ecco ridente in cielo spunta la bella aurora. E tu non sorge ancora E piu dormir cosi Viene la dolce speme Vieni bell’idolo mio Rendi men crudo, o dio Lo stral che me feri. Rossini Il barbiere di Siviglia 1823 Home, home, sweet sweet home there’s no place like home there’s no place like home. Midpleasures and domes that we may roam Be it ever so humble there’s no place like home Bishop, Clari, the maid of Milan. 1823 Lieto il prato il colle il bosco. Io scorreva in altri di Tuto addesso tuto e fosco Ogni luci dispari. Webber. L’arciero 1826 Holy holy holy lord God almighty early in the morning our song shall rise to thee holy holy holy merciful and mighty God in three persons blessed trinity. Holy, Holy, Holy all the saints adore Thee Casting down their golden crowns around the glassy sea Cherubim and Seraphim falling down before Thee Which wert, and art, and evermore shalt be. Holy, Holy, Holy though the darkness hide Thee Though the eye of sinful man Thy glory may not see Only Thou art holy, there is none beside Thee Perfect in power, in love, and purity. Holy, Holy, Holy Lord God Almighty All Thy works shall praise thy name in earth and sky and sea Holy, Holy, Holy! Merciful and Mighty God in Three Persons, blessed Trinity! ----------------------------R. Heber, died 1826. 1827 Villikins and His Dinah was sung by the Cockney comedian Sam Cowell. The song started life as a broadside based on the murder of Maria Marten in 1827, “William and Maria”, “a serious street ballad” which, Stephen Sedley writes, “was so awful in itself that the text barely had to be changed to achieve a handsome send- up”. 1832 Quanto e bella quanto e cara Piu la vedo e piu mi piace Ma in quel cor non son capace Lieve affeto a ispirar Ella legge studia impara Non a lei cosa ignota Io son sempre un idiota Io non so che sospirar. Donizetti L’elisir d’amore. 1832 Una furtiva lagrima de suioi bei occhi spunto che le festose giovanne invidiar sembro Che piu cercando io vo M’ama lo vedo Un solo istante I palpiti nei bel cuor sentir E miei sospir confondere per poco con suo sofrir. Cielo si puo morir. Di piu non chiedo. Donizetti. L’elisir d’amore. 1832. 1835 Creadeasi misera da me tradita Traea su vita in tal martir O sfido il fulmine disprezzo il fato Si teco alato potro morir. Bellini, I Puritani. 1835 Tu che a Dio spiegasti l’ali O bell’alma inamorata Te rivolge a me placata Teco ascend ail tuo fedel A se l’ira dei mortali Fece a noi si cruda Guerra Si divisi fuimo in terra Ne conjunga il nume in ciel. Donizetti, Lucia di Lammermoor. 1835 1836 Spirto gentil de sogno meie. Brillaste un di ma te perdei Larve de amor. Donizetti. La Favorita. VICTORIAN SONGS 1837-1901 1837 O destin o tal favor La sua mano e eil mio cor. Donizetti. “La figlia del reggimento” 1841 O ye'll tak' the high road, and Ah'll tak' the low road and Ah'll be in Scotlan' afore ye fir me an' my true love will ne-er meet again on the bonnie, bonnie banks o' Loch Lomon'. By yon bonnie banks an' by yon bonnie braes whaur the sun shines bright on Loch Lomond where me and my true love were ever lak tae gae on the bonnie, bonnie banks o' Loch Lomon'. 'twas there that we perted in yon shady glen on the steep, steep sides o' Ben Lomon' whaur in soft purple hue, the hielan hills we view an' the moon comin' oot in the gloamin’. the wee birdies sing an' the wild flouers spring an' in sunshine the waters are sleeping but the broken heart, it kens nae second spring again tho' the waeful may cease frae their greetin'. --- From “Vocal Melodies of Scotland”, 1841. 1842 Va' pensiero sull'ali dorate Va' ti posa sui clivi sui colli ove olezzano tepide e molli l’aure dolci del suolo natal! del Giordano le rive saluta, di Sionne le torri atterrate. o mia Patria, sì bella e perduta! o membranza sì cara e fatal! arpa d'or dei fatidici vati, perché muta dal salice pendi? le memorie del petto riaccendi, ci favella del tempo che fu! o simile di Solima ai fati, traggi un suono di crudo lamento; o t'ispiri il Signore un concento che ne infonda al patire virtù. che ne infonda al patire virtù al patire virtù Verdi, “Nabucco”. 1843 o signore, dal tetto natìo ci chiamasti con santa promessa noi siam corsi all'invito di un pio giubilando per, l'aspro sentier ma la fronte avvilita e dimessa hanno i servi già baldi e valenti deh non far che ludibrio alle genti siano Cristo, i tuoi figli guerrieri o fresche aure. volanti sui vaghi ruscelletti dei prati lombardi ! fonti eterne ! Purissimi laghi! o vigneti indorati di sole dono infausto, crudele è la mente che vi pinge sì veri agli sguardi ed al labbro più dura e cocente fa la sabbia di un arido suol. fa la sabbia - fa la sabbia di un arido suol d'un arido suol - d'un arido suol! Verdi, I Lombardi alla prima crociata 1844 si ridesti il leon di Castiglia e d'Iberia ogni monte, ogni lito eco formi al tremendo ruggito, come un dì contro i Mori oppressor. siamo tutti una sola famiglia, pugnerem colle braccia, co' petti; schiavi inulti più a lungo e negletti non sarem finché vita abbia il cor. morte colga o n'arrida vittoria, pugnerem, ed il sangue de' spenti nuovo ardir ai figliuoli viventi, forze nuove al pugnare darà. sorga alfine radiante di gloria, sorga un giomo a brillare su noi... sarà Iberia feconda d'eroi, dal servaggio redenta sarà. Verdi Ernani 1844 Sogno soave a casto De miei prim’anni addio Bramai richezze faste Solo por te amor mio Povero abbandonato caduto in basso stato Pria che vederti misera Cara renunzio a te. Donizetti. Don Pasquale. 1847 Abide with me fast falls the eventide the darkness deepens Lord with me abide when other helpers fail and comforts flee help of the helpless o abide with me. Swift to its close ebbs out life's little day; Earth's joys grow dim; its glories pass away; Change and decay in all around I see; O Thou who changest not, abide with me. Not a brief glance I beg, a passing word, But as Thou dwell'st with Thy disciples, Lord, Familiar, condescending, patient, free. Come not to sojourn, but abide with me. Come not in terrors, as the King of kings, But kind and good, with healing in Thy wings; Tears for all woes, a heart for every plea. Come, Friend of sinners, thus abide with me. Thou on my head in early youth didst smile, And though rebellious and perverse meanwhile, Thou hast not left me, oft as I left Thee. On to the close, O Lord, abide with me. I need Thy presence every passing hour. What but Thy grace can foil the tempter's power? Who, like Thyself, my guide and stay can be? Through cloud and sunshine, Lord, abide with me. I fear no foe, with Thee at hand to bless; Ills have no weight, and tears no bitterness. Where is death's sting? Where, grave, thy victory? I triumph still, if Thou abide with me. Hold Thou Thy cross before my closing eyes; Shine through the gloom and point me to the skies. Heaven's morning breaks, and earth's vain shadows flee; In life, in death, O Lord, abide with me. ------- Written by Lyte in 1847 and set to music while he lay dying from tuberculosis; he survived only a further three weeks after its completion. 1847 there is a green hill far away outside a city wall where the dear Lord was crucified who died to save us all. o dearly, dearly, has He loved, and we must love Him, too, and trust in His redeeming blood, and try His works to do. we may not know, we cannot tell, what pains He had to bear; put we believe it was for us he hung and suffered there. he died that we might be forgiv’n, he died to make us good, that we might go at last to Heav’n, saved by His precious blood. there was no other good enough to pay the price of sin; he only could unlock the gate of heaven and let us in. Cecil Alexander wrote this hymn in 1847 as she sat up one night with her seriously sick daughter. Many times, traveling to town to shop, she had passed a small grassy mound, just outside the old city wall of Derry, Ireland. It always made her think of Calvary, and it came to mind as she wrote this hymn.. 1847 o Susannah o don't you cry for me for I come from Alabama with a banjo on my knee. I come from Alabama with a banjo on my knee I'm going to Louisiana my true love for to see. It rained all night the day I left the weather it was dry The sun so hot, I froze to death, Susannah, don't you cry. I had a dream the other night when everything was still I dreamed I saw Susannah dear a-coming down the hill. The buckwheat cake was in her mouth the tear was in her eye Says I, I'm coming from the south, Susannah, don't you cry. In 1846, Stephen Foster moved to Cincinnati, Ohio, and became a bookkeeper with his brother's steamship company. While in Cincinnati, Foster wrote "Oh! Susanna", possibly for his men's social club.The song was first performed by a local quintet at a concert in Andrews' Eagle Ice Cream Saloon in Pittsburgh, Pennsylvania on September 11, 1847 1848 M'appari tutt' amor, il mio sguardo l'incontrò; bella si che il mio cor, ansioso a lei volo; mi ferì, m'invaghì quell' angelica beltà, sculta in cor dall'amor cancellarsi non potrà: il pensier di poter palpitar con lei d'amor, puo sopir il martir che m'affana e strazia il cor. M'appari tutt'amor, il mio sguardo l'incontrò; bella si che il mio cor ansioso a lei volo; Marta, Marta tu sparisti e il mio cor col tuo n'ando! Tu la pace mi rapisti, di dolor io morirò. Flotow. Martha, ossia il mercato a Richmond. 1947 1850 Resta a godere coppia fedele Dove la gioie ti serba amor Eterno ben nel ostel Eterno de gran virtu Splenda eternal la gioventu Di nostro giorno De goie adorno Che virtu sembro Wagner, Lohengrin. 1851 la donna e mobile qual piuma al vento muta d’accento e di pensiero sempre un’amabile leggiadro viso in pianto in riso e mezongero. Verdi Rigoletto. 1853 I ain't go study war no more study war no more ain't go study war no more I ain't go study war no more study war no more, ain't go study oh war no more. Gonna lay down my burden-----------gonna lay down my sword and shield down by the riverside down by the riverside down by the riverside gonna lay down my burden----------gonna lay down my sword and shield down by the riverside down by the riverside. Gonna try on my long white robe ---- Gonna try on my starry crown ---- Gonna put on my golden shoes Gonna talk with the Prince of Peace ---- Gonna shake hands around the world The song has a long history: ancestral versions were known in Civil War times.. 1853 squilli echeggi la tromba guerriera chiami all'armi, alle pugne all'assalto: fia domani la nostra bandiera di quei merli piantata sull'alto no giammai non sorrise vittoria di più liete speranze finor ivi l’util ci aspetta e la gloria ivi opimi la preda e l'onor. ----------------------------------------------------------------------------Verdi. Il trovatore 1853 Libiamo libiamo ne'lieti calici che la bellezza infiora e la fuggevol fuggevol ora s'inebrii a voluttà libiam ne'dolci fremiti che suscita l'amore, poiché quell'ochio al core onnipotente va. libiamo, amore, amor fra i calici più caldi baci avrà Verdi. La Traviata 1855 Salve o casta e pia dimora Di colei che m’innamora Gounod, “Fausto”. 1855 What a friend we have in Jesus When this lousy war is over No more soldiering for me When I get my civvy clothes on Oh, how happy I shall be No more church parades on Sunday No more putting in for leave I shall kiss the sergeant-major How I'll miss him, how he'll grieve 1862 beautiful dreamer wake unto me starlight and dewdrops are waiting for thee sounds of the rude world heard in the day lulled by the moonlight have all passed away beautiful dreamer, wake unto me. Beautiful dreamer, queen of my song, List while I woo thee with soft melody; Gone are the cares of life's busy throng, Beautiful dreamer awake unto me! Beautiful dreamer, awake unto me! Beautiful dreamer, out on the sea, Mermaids are chaunting the wild lorelei; Over the streamlet vapors are borne, Waiting to fade at the bright coming morn. Beautiful dreamer, awake unto me! Beautiful dreamer, beam of my heart, E'en as the morn on the streamlet and sea; Then will the clouds of sorrow depart, Beautiful dreamer awake unto me! Beautiful dreamer, awake unto me! Foster. 1865 Onward Christian Soldiers Forward Joe Soap's army marching without fear With our old commander safely in the rear. He boasts and skites from morn till night and thinks he's very brave but the men who really did the job are dead and in their grave forward Joe Soap's army, marching without fear with our old commander, safely in the rear. 1867 O he floats through the air with the greatest of ease this daring young man on the flying trapeze; his actions are graceful, all girls he does please, my love he has purloined away. O SHE floats through the air with the greatest of ease, you'd think her a man on the flying trapeze, she does all the work while he takes his ease, and that's what's become of my love. Once I was happy, but now I'm forlorn, Like an old coat that is tattered and torn; Left in this wide world o weep and to mourn, Betrayed by a maid in her teens. Now this girl that I loved, she was handsome, And I tried all I knew, her to please, But I never could please her one quarter so well As the man on the flying trapeze. He'd play with a miss like a cat with a mouse, His eyes would undress every girl in the house. Perhaps he is better described as a louse, But the people they came just the same. Oh, he'd smile from his perch on the people below And one day he smiled on my love. She blew him a kiss and she hollered, "Bravo!" As he hung by his nose up above. Oh, I wept and I whimpered, I simpered for weeks, While she spent her time with the circus's freaks. The tears were like hailstones that rolled down my cheeks, Alas, and alack, and alacka! I went to this fellow, the blackguard, and said, "I'll see that you get your desserts!" He put up his thumb to his nose with a sneer, He sneered once again, and said, "Nertz!" One night to his tent he invited her in, He filled her with compliments, kisses, and gin And started her out on the road to ruin, Since then l have known no repose. But e'en now l loved her, I said, "Take my name! I'll gladly forgive and forget;" She rustled her bustle without any shame, Saying, "Well, maybe later, not yet." One night as usual I went to her home, And found there her father and mother alone, I asked for my love and it soon was made known, To my horror, that she'd run away. Without any trousseau she'd fled in the night With him with the greatest of ease, From two stories high he'd lowered her down To the ground on his flying trapeze. Some months after that I went into a hall, And to my surprise, I found there on the wall, A bill in red letters which did my heart gall, That she was appearing with him. Oh, he'd taught her gymnastics, and dressed her in tights, To help him to live at his ease, He'd made her take on a masculine name, And now she goes on the trapeze. 1869 ha ha ha you and me little brown jug don't I love thee Me and my wife live all alone In a little log hut we call our own; She loves gin and I love rum, And don't we have a lot of fun! When I go toiling on the farm I take the little jug under my arm; Place it under a shady tree, Little brown jug, 'tis you and me. ’Tis you that makes me friends and foes, ’Tis you that makes me wear old clothes; But, seeing you're so near my nose, Tip her up and down she goes. If all the folks in Adam's race Were gathered together in one place, I'd let them go without a tear Before I'd part from you, my dear. If I'd a cow that gave such milk, I'd dress her in the finest silk; Feed her up on oats and hay, And milk her twenty times a day. I bought a cow from Farmer Jones, And she was nothing but skin and bones; I fed her up as fine as silk, She jumped the fence and strained her milk. And when I die don't bury me at all, Just pickle my bones in alcohol; Put a bottle o' booze at my head and feet And then I know that I will keep. The rose is red, my nose is too, The violet's blue and so are you; And yet, I guess, before I stop, We'd better take another drop. Joseph Winner, 1869. 1870 bring back bring back bring back my bonnie to me to me my Bonnie lies over the ocean my Bonnie lies over the sea my Bonnie lies over the ocean o bring back my Bonnie to me Last night as I lay on my pillow last night as I lay on my bed last night as I lay on my pillow I dreamt that my bonnie was dead O blow the winds o'er the ocean and blow the winds o'er the sea O blow the winds o'er the ocean and bring back my Bonnie to me The winds have blown over the ocean the winds have blown over the sea the winds have blown over the ocean and brought back my Bonnie to me. The origin of the song is unknown, though it is often suggested that the subject of the song may be Charles Edward Stuart ('Bonnie Prince Charlie') published sheet music for "Bring Back My Bonnie To Me". Theodore Raph in American song treasury: 100 favorites, writes that people were requesting the song at sheet music stores in the 1870s. 1872 Dear Lord and Father of mankind, Forgive our foolish ways! Reclothe us in our rightful mind, In purer lives Thy service find, In deeper reverence, praise. In simple trust like theirs who heard Beside the Syrian sea The gracious calling of the Lord, Let us, like them, without a word Rise up and follow Thee. O Sabbath rest by Galilee! O calm of hills above, Where Jesus knelt to share with Thee The silence of eternity Interpreted by love! With that deep hush subduing all Our words and works that drown The tender whisper of Thy call, As noiseless let Thy blessing fall As fell Thy manna down. Drop Thy still dews of quietness, Till all our strivings cease; Take from our souls the strain and stress, And let our ordered lives confess The beauty of Thy peace. Breathe through the heats of our desire Thy coolness and Thy balm; Let sense be dumb, let flesh retire; Speak through the earthquake, wind, and fire, O still, small voice of calm! 1875 Il fior che avevi a me gitato. Bizet, “Carmen”. 1875 But this he is willing to say if it will appease her sorrow He’ll marry this lady today and marry the other tomorrow. Gilbert/Sullivan, Trial by Jury. 1877 For he himself has said it and it’s greatly to his credit That he is an Englishman – for he might have been a Russian A French or turk or proosian or perhaps Italian But in spite of all temptations to belong to other nations He remains an Englishman. Gilbert/Sullivan, HMS Pinafore 1877 Seated one day at the organ, I was weary and ill at ease, And my fingers wandered idly Over the noisy keys. I know not what I was playing, Or what I was dreaming then; But I struck one chord of music, Like the sound of a great Amen. It flooded the crimson twilight, Like the close of an angel's psalm, And it lay on my fevered spirit With a touch of infinite calm. It quieted pain and sorrow, Like love overcoming strife; It seemed the harmonious echo From our discordant life. It linked all perplexèd meanings Into one perfect peace, And trembled away into silence As if it were loth to cease. I have sought, but I seek it vainly, That one lost chord divine, Which came from the soul of the organ, And entered into mine. It may be that death's bright angel Will speak in that chord again, It may be that only in Heav'n I shall hear that grand Amen. Sullivan. 1878 When a felon’s not engaged in his engagement Gilbert/Sullivan Pirates. 1880 I hear thee speak of a better land: Thou call’st its children a happy band; Tell me where is that radiant shore, Shall we not seek it and weep no more? Is it where the flower ot the orange blows And the fire-flies dance through the myrtle boughs? Oh no ‘tis not there, not there, not there. Not there, not there, my child. Is it far away, in some region old, Where the rivers wander o’er sands of gold, Where the burning rays of the ruby shine, And the diamonds lights up the secret mine, And the pearl gleams forth from the coral strand, Is it there, my brother, that better land? Oh no ‘tis not there, not there, not there, Not there, not there, not there. For eye hath not seen it my gentle boy, Ear hath not heard its deep songs of joy; Dreams cannot picture a world so fair Sorrow and death may not enter there: Time cannot breathe on its fadeless bloom For beyond the clouds and beyond the tomb Is it there? ‘Tis there, my child. Is it there? ‘Tis there, my child. ‘Tis there, ‘tis there, that better land. Cowen 1881 Prithee pretty maiden prithee tell me true Hey but I’m doleful willow willow waly Have you got a lover a-dangling o’er you hay willow willow way I would fain discover if you had a lover hey willow waly ay. Gilbert/Sullivan. Patience 1881 Then steadily shoulder to shoulder, Steadily blade by blade! Ready and strong, marching along Like the boys of the old Brigade! Where are the boys of the old Brigade, Who fought with us side by side? Shoulder to shoulder, and blade by blade, Fought till they fell and died! Who so ready and undismayed? Who so merry and true? Where are the boys of the old Brigade? Where are the lads we knew? Over the sea far away they lie, Far from the land of their love; Nations alter, the years go by, But Heav’n still is Heav’n above, Not in the abbey proudly laid Find they a place or part; The gallant boys of the old Brigade, They sleep in old England’s heart. 1883 Alive alive o alive alive o crying cockles and mussels alive alive o. In Dublin's fair city, Where the girls are so pretty, I first set my eyes on sweet Molly Malone, As she wheeled her wheel-barrow, Through streets broad and narrow, Crying, "Cockles and mussels, alive, alive, oh!" She was a fishmonger, But sure 'twas no wonder, For so were her father and mother before, And they each wheeled their barrow, Through streets broad and narrow, Crying, "Cockles and mussels, alive, alive, oh!" She died of a fever, And no one could save her, And that was the end of sweet Molly Malone. Now her ghost wheels her barrow, Through streets broad and narrow, Crying, "Cockles and mussels, alive, alive, oh!" 1884 just a song a twilight when the lights are low and the flick’ring shadows softly come and go tho’ the heart be weary sad the day and long still to us at twilight comes love's old song. once in the dear dead days beyond recall when on the world the mists began to fall out of the dreams that rose in happy throng low to our hearts love sang an old sweet song and in the dusk where fell the firelight gleam softly it wove itself into our dream. even today we hear love's song of yore deep in our hearts it dwells forevermore footsteps may falter, weary grow the way still we can hear it at the close of day so till the end when life's dim shadows fall love will be found the sweetest song of all. ---------------------Words: Bingham, Music: Molloy. 1885 the boy I love is up in the gallery, the boy I love is looking now at me there he is, can't you see waving his handkerchee as merry as a robin that sings on a tree. I'm a young girl, and have just come over Over from the country where they do things big, And amongst the boys I've got a lover, And since I've got a lover, why I don't care a fig. The boy that I love, they call him a cobbler, But he's not a cobbler, allow me to state. For Johnny is a tradesman and he works in the Boro'1 Where they sole and heel them, whilst you wait. Now, If I were a Duchess and had a lot of money, I'd give it to the boy that's going to marry me. But I haven't got a penny, so we'll live on love and kisses, And be just as happy as the birds on the tree. George Ware, 1885 – written for the music hall star Miss Nelly Power. 1886 Sweet Rosie O' Grady, My dear little Rose. She's my steady lady, Most ev 'ryone knows; And when we are married, How happy we'll be; I love Sweet Rosie O' Grady and Rosie O' Grady loves me. Down around the corner Of the street where I reside, There lives the cutest little girl That I have ever spied. Her name is Rose O' Grady And I don't mind telling you That she's the sweetest little rose This garden ever grew I never shall forget the day She promised to be mine As we sat telling love-tales In the golden summertime 'Twas on her finger then I placd a small engagement ring While in the trees, the little birds, This song they seemed to sing: Written by Wiliam Jerome (1865-1932). Several publishers refused to publish it and it was only through his wife Maude Nugent's performances that it became a hit, and finally published in 1896. 1886 two lovely black eyes o what a surprise only for telling a man he was wrong. Strolling so happy down Bethnal Green, This gay youth you might have seen, Tompkins and I with his girl between, Oh what a surprise ....... I prais'd the Conservatives frank and free, Tompkins got angry so speedilee, All in a moment he handed to me, Two lovely black eyes ....... Next time I argued I thought it best, To give the conservative side a rest, The merits of Gladstone I freely pressed, When oh, what a surprise! The chap I had met was a Tory true, Nothing the Liberals right could do, This was my share of that argument too, Two lovely black eyes! The moral you've caught I can hardly doubt, Never on politics rave and shout, Leave it to others to fight it out, If you would be wise. Better, far better it is to let, Lib'rals and Tories alone, you bet, Unless you're willing and anxious to get, Two lovely black eyes! ------------------------------Charles Coborn, 1886 first sung at the Paragon Theatre, in the Mile End Road. 1887 we were comrades, comrades ever since we were boys, sharing each other’s sorrows sharing each other’s joys, comrades when manhood was dawning faithful whatev'er might betide, when danger threatened my darling old comrade was there by my side. We from childhood play'd together, My dear comrads Jack and I. We would fight each other's battles, To each other's aid we'd fly;-- And in boyish scrapes and troubles, You would find us ev'ry where, Where one went the other followed, Naught could part us for we were, When just budding into manhood, I yearn'd for a Soldier's life, Night and day I dream'd of glory, Longing for the battle's strife; I said, "Jack I'll be a Soldier, 'Neath the Red the White and Blue, Goodbye Jack!" said he, "no, never! If you go, then I'll go too." I enlisted, Jack came with me, And ups and downs we shared, For a time our lives were peaceful, But at length war was declared; England's flad had been insulted, We were ordered to the front, And the Reg'ment we belong'd to Had to bear the battle's brunt. 1888 Sing hay lackaday let the tears go free For the pretty little flower and the great oak tree Sing hey lackaday let the tears go fry For the pretty little flower and the great oak tree. Gilbert/Sullivan, Ruddygore 1890 O pietosa tu che sufristi tanto vedi o vedi il mio penar Nell’ cruele ambasce d’un infinito pianto Deh no m’abbandonar Mascagni Cavalleria Rusticana 1891 After the ball is over, after the break of morn – after the dancers' leaving; after the stars are gone; many a heart is aching, if you could read them all; many the hopes that have vanished after the ball. A little maiden climbed an old man's knee, Begged for a story – "Do, Uncle, please. Why are you single; why live alone? Have you no babies; have you no home?" "I had a sweetheart years, years ago; Where she is now pet, you will soon know. List to the story, I'll tell it all, I believed her faithless after the ball." Bright lights were flashing in the grand ballroom, Softly the music playing sweet tunes. There came my sweetheart, my love, my own – "I wish some water; leave me alone." When I returned dear there stood a man, Kissing my sweetheart as lovers can. Down fell the glass pet, broken, that's all, Just as my heart was after the ball. Long years have passed child, I've never wed. True to my lost love though she is dead. She tried to tell me, tried to explain; I would not listen, pleadings were vain. One day a letter came from that man, He was her brother – the letter ran. That's why I'm lonely, no home at all; I broke her heart pet, after the ball. Harris. From: “A Trip to Chinatown” 1891 Taraboomdeay. 1892 Daisy Daisy give me your answer do I’m half crazy all for the love of you It won’t be a stylish marriage I can’t afford a carriage but you’d look sweet on the seat of a bicycle built for two Michael Michael This is my answer dear I can’t cycle it makes me feel so queer if you can’t afford a carriage forget the blooming marriage for I’ll be damned if I’ll be jammed in a bicycle built for two. There is a flower within my heart, Daisy, Daisy, Planted one day by a glancing dart, Planted by Daisy Bell. Whether she loves me or loves me not Sometimes it's hard to tell, And yet I am longing to share the lot Of beautiful Daisy Bell. We will go tandem as man and wife, Daisy, Daisy, Ped'ling away down the road of life, I and my Daisy Bell. When the road's dark, we can both despise P'licemen and lamps as well. There are bright lights in the dazzling eyes Of beautiful Daisy Bell. I will stand by you in wheel or woe Daisy, Daisy, You'll be the bell which I'll ring you know Sweet little Daisy Bell You'll take the lead on each trip we take Then if I don't do well I will permit you to use the brake beautiful Daisy Bell 1892 O Tommy, Tommy Atkins, you're a "good un," heart and hand; you're a credit to your calling, and to all your native land; may your luck be never failing, may your love be ever true! God bless you, Tommy Atkins, here's your Country's love to you! O, we take him from the city or the plough, And we drill him, and we dress him up so neat, We teach him to uphold his manly brow, And how to walk, and where to put his feet. It doesn't matter who he was before, Or what his parents favor'd for his name; Once he's pocketed the shilling, And a uniform he's filling, We'll call him Tommy Atkins, all the same. In time of peace he hears the bugle call And in Barracks, from "Revally" to "Lights Out!" If "Sentry go" and "Pipeclay" ever pall, There's always plenty more of work about. On leave o’nights you meet him in the streets As happy as a school boy, and as gay; Then back he goes to duty, All for Country, Home and Beauty And the noble sum of half a crown a day. In wartime then, it's "Tommy to the Front!" And we ship him off, in "Troopers" to the fray, We sit at home while Tommy bears the brunt, A fighting for his country - and his pay. And weather he's on India's coral strand Or pouring out his blood in the Soudan, To keep our flag a-flying He's a doing, and a dying, Ev'ry inch of him a soldier and a man From: “A Gaiety Girl: a musical comedy” 1892 Daddy wouldn’t buy me a bow wow I’ve got a little cat And I’m very fond of that But I’d rather have a bow wow ow. 1892 Ridi pagliaccio sul tuo amore infranto Leoncavallo. 1892 As I walk along the Bois Boolong with an independent air you can hear the girls declare he must be a millionaire you can hear them sigh and wish to die you can see them wink the other eye at the man who broke the bank at Monte Carlo. I've just got here, through Paris, from the sunny southern shore; I to Monte Carlo went, just to raise my winter's rent. Dame Fortune smiled upon me as she'd never done before, And I've now such lots of money, I'm a gent. Yes, I've now such lots of money, I'm a gent. I stay indoors till after lunch, and then my daily walk To the great Triumphal Arch is one grand triumphal march, Observed by each observer with the keenness of a hawk, I'm a mass of money, linen, silk and starch – I'm a mass of money, linen, silk and starch. I patronised the tables at the Monte Carlo hell Till they hadn't got a sou for a Christian or a Jew; So I quickly went to Paris for the charms of mad'moiselle, Who's the loadstone of my heart - what can I do, When with twenty tongues she swears that she'll be true? Written by Fred Gilbert. 1892 ------------------------------------------------------Jerusalem, Jerusalem lift up your gates and sing hark, how the angels sing sing for the night is o'e --------------------------------------------------------Hosanna in the highest hosanna to your king hosanna to your king hosanna for evermore Last night I lay a-sleeping there came a dream so fair, I stood in old Jerusalem beside the temple there. I heard the children singing, And ever as they sang, Methought the voice of angels From heav'n in answer rang. And then methought my dream was chang'd, The streets no longer rang, Hush'd were the glad Hosannas The little children sang. The sun grew dark with mystery, The morn was cold and chill, As the shadow of a cross arose Upon a lonely hill. And once again the scene was chang'd; New earth there seemed to be; I saw the Holy City Beside the tideless sea; The light of God was on its streets, The gates were open wide, And all who would might enter, And no one was denied. No need of moon or stars by night, Or sun to shine by day; It was the new Jerusalem That would not pass away. Weatherly/Maybrick 1892 By the old Moulmein Pagoda, lookin' lazy at the sea, There's a Burma girl a-settin', and I know she thinks o' me; For the wind is in the palm-trees, and the temple-bells they say: "Come you back, you British soldier; come you back to Mandalay!" Come you back to Mandalay, Where the old Flotilla lay: Can't you 'ear their paddles chunkin' from Rangoon to Mandalay? On the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay! 'Er petticoat was yaller an' 'er little cap was green, An' 'er name was Supi-yaw-lat — jes' the same as Thebaw's Queen, An' I seed her first a-smokin' of a whackin' white cheroot, An' a-wastin' Christian kisses on an 'eathen idol's foot: Bloomin' idol made o' mud — Wot they call the Great Gawd Budd — Plucky lot she cared for idols when I kissed 'er where she stud! On the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay! When the mist was on the rice-fields an' the sun was droppin' slow, She'd git 'er little banjo an' she'd sing "Kulla-lo-lo!" With 'er arm upon my shoulder an' 'er cheek agin my cheek We useter watch the steamers an' the hathis pilin' teak. Elephints a-pilin' teak In the sludgy, squdgy creek, Where the silense 'ung that 'eavy you was 'arf afraid to speak! On the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay! But that's all shove be'ind me — long ago an' fur away, An' there ain't no 'buses runnin' from the Bank to Mandalay; An' I'm learnin' 'ere in London what the ten-year soldier tells: "If you've 'eard the East a-callin', you won't never 'eed naught else." No! you won't 'eed nothin' else But them spicy garlic smells, An' the sunshine an' the palm-trees an' the tinkly temple-bells; On the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay! I am sick o' wastin' leather on these gritty pavin'-stones, An' the blasted English drizzle wakes the fever in my bones; Tho' I walks with fifty 'ousemaids outer Chelsea to the Strand, An' they talks a lot o' lovin', but wot do they understand? Beefy face an' grubby 'and — Law! wot do they understand? I've a neater, sweeter maiden in a cleaner, greener land! On the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay! Ship me somewheres east of Suez, where the best is like the worst, Where there aren't no Ten Commandments an' a man can raise a thirst; For the temple-bells are callin', an' it's there that I would be — By the old Moulmein Pagoda, looking lazy at the sea; On the road to Mandalay, Where the old Flotilla lay, With our sick beneath the awnings when we went to Mandalay! O the road to Mandalay, Where the flyin'-fishes play, An' the dawn comes up like thunder outer China 'crost the Bay! 1892 we’ve been together now for forty years an’ it don’t seem a day too much there ain't a lady livin’ in the land as I’d swop for my dear old dutch. I've got a pal a reg’lar out an' outer, she's a dear good old gal, I'll tell yer all about 'er. It's many years since fust we met, 'Er 'air was then as black as jet, It's whiter now, but she don't fret, Not my old gall I calls 'er Sal, 'Er proper name is Sairer, An' yer may find a gal As you'd consider fairer. She ain't a angel — she can start A-jawin' till it makes yer smart, She's just a woman, bless 'er eart, Is my old gal! Sweet fine old gal, For worlds I wouldn't lose 'er, She's a dear good old gal, An' that's what made me choose 'er. She's stuck to me through thick and thin, When luck was out, when luck was in, Ah wot a wife to me she's been, An' wot a pal! I sees yer Sal — Yer pretty ribbons sportin' Many years now, old gal, Since them young days of courtin'. I ain't a coward, still I trust When we've to part, as part we must, That Death may come and take me fust To wait... my pal. 1892. Lyrics were written by Albert Chevalier. Music composed by his brother Auguste under the name Charles Ingle. A tribute to Chevalier's wife Florrie. The song's title refers to a 1880s colloquialism for a partner or friend. The phrase has a number of etymologies; two Cockney rhyming slang explanations identify the phrase as coming from "dutch plate" ("mate") or "Duchess of Fife" ("wife"). Chevalier, however, claimed that his wife's face reminded him of the clock face of a Dutch clock. 1895 Dream, O my dearest, till we meet once more, Day-dreams of happiness again in store, Dreams of a future that our fates may hold, Pass'd in the wonderland of love untold! How can I wait - when she I worship only, Friendless and fair, my help may sorely need? How can I wait, and leave her sad and lonely, Counting the hours that all too slowly speed? Earth has no grace that does not cling about her - Life has no charm, if mine she may not be; Star of my soul! I cannot live without her; O grant this day may give her back to me! Glory of flow'rs and fairy-land around me, Over my path the joyous sunlight falls; Yet is my dear, whose charms so fast have bound me, Caged like a bird within those gilded walls. Would I could break the cruel bonds that hold her, Snap ev'ry chain that keeps us two apart! Star of my soul! the half I have not told her Of all the love that fills my beating heart! ----From: “The Geisha” 1896 Talor del mio forziere Puccini – “Scene della vita di boemia” 1898 She's my lady love, she is my dove my baby love, she's no gal for sitting down to dream, she's the only queen Laguna knows; I know she likes me I know she likes me becase she says so; she is ma Lily of Laguna. she is ma Lily and ma Rose. It's de same old tale of a palpatating niggar ev'ry time, ev'ry time; It's de same old trouble of a coon Dat wants to be married very soon; It's de same old heart dat is longing for it's lady ev'ry time, yes ev'ry time, But not de same gal, not de same girl She is ma Lily, ma Lily, ma Lily gal! She goes ev'ry sundown, yes, ev'ry sundown Callin' in de cattle up de mountain; I go kase she wants me, yes, 'kase she wants me Help her do de callin' and de countin'. She plays her music To call de lone lambs dat roam above, But I'm de black sheep and I'm waitin' For de signal of ma little lady love. When I first met Lil it was down at old Laguna at de dance, oder night; So she says: "Say, ah'm curious for to know When ye leave here de way yer goin' to go, 'Kase a wants to see who de lady is dat claims ye all way home, way home tonight." I says, "I've no gal, never had one," And den ma Lily, ma Lily, ma Lily gal! She says, "Kern't believe ye, a kern't believe ye, Else I'd like to have ye shaperoon me; Dad says he'll escorcht me, says he'll escorcht me, But it's mighty easy for to lose him. Since then each sun-down I wander down here and roam around Until I know ma little lady wants me, Till I hear de music ob de signal sound. Barrett 1898 Goodbye Dolly I must leave you tho’ it breaks my heart to go something tells me I am needed at the front to fight the foe see the boys in blue are marching and I can no longer stay hark I hear the bugle calling goodbye Dolly Gray. I have come to say goodbye, Dolly Gray, It's no use to ask me why, Dolly Gray, There's a murmur in the air you can hear it everywhere, It's the time to do and dare, Dolly Gray. So if you hear the sound of feet, Dolly Gray, Sounding through the village street, Dolly Gray, It's the tramp of soldiers' true in their uniforms so blue, I must say goodbye to you, Dolly Gray. Cobb and Barnes, written during the Spanish War. 1898 O listen to the band How merrily they play O don't you think it grand Hear ev'rybody say Oh, listen to the band! Who doesn't love to hark To the shout of "Here they come!" And the banging of the drum? Oh, listen to the soldiers in the park. Where's the music that is half so sweet-- As the trample of the soldiers' feet? Come and listen to the march they play-- I can hear them from afar, With their gay tarantara, And I know they're coming nearer, for they always pass this way. How the children and the nursemaids run, See their faces as they cry "What fun!" Crowds are flocking from the Marble Arch, And they race across the grass Just to see the soldiers pass, For there's magic in the music of a military march. ---- From: “The Runaway Girl” 1899 She'll be coming 'round the mountain when she comes when she comes She'll be coming 'round the mountain when she comes when she comes She'll be coming 'round the mountain she'll be coming 'round the mountain she'll be coming 'round the mountain when she comes when she comes). She'll be drivin' six white horses when she comes. Oh we'll all come out to meet her when she comes. She'll be wearing pink pajamas when she comes. We will kill the old red rooster when she comes. We'll all be shoutin' "Halleluja" when she comes. She'll be comin' down a road that's five miles long. Written in 1899. 1899 Men: Tell me pretty maiden, Are there any more at home like you? Girls: There are a few, kind sir, But simple girls, and proper too. Men: Then tell me pretty maiden, What these very simple girlies do. (Girls: Kind sir, their manners are perfection, (Men: Then tell . . . me, maiden, (Girls: And the opposite of mine. . . . (Men: What the girlies . . do. . . . Men: Then take a little walk with me, And then I can see What a most particular girl (should be (Girls: I may love you too well to let you go And flirt with those at home, you know. Men: Well, don't mind little girl, You'll see I'll only want (but you. (Girls: It's not quite fair to them If you told them that you were (Girls: true Men: I won't Care a pin for your sisters if you love (Men: me (Girls: What would you say If I said I liked you well? Men: I'd vow to you Girls: On bended knee! Men: On bended knee! Girls: If I loved you, Would you tell me what I ought to do To keep you all mine alone, To always be true to me? If I loved you, Would it be a silly thing to do? For I must love some one, Men: Then why not me? Girls: Yes, I must love some one, really, And it might as well be you! Girls: Tell me, gentle stranger, Are there any more at home like you? Men: There are a few, sweet maid, And hotter boys you never knew. Girls: Then tell me gentle sir, The things these very rakish fellows do: Men: Dear maid, (Girls: Then (Men: they flirt with girls too freely, (Girls: tell . . . . me, tell me (Men: And it's not the same girl twice. (Girls: What these fe . .llows do! Then take me round and let them show, For an hour or so, How far such fellows can rea(lly go! (Men: I never introduce them to a girl, I intend To be my most particular friend. Girls: I won't mind what they do - No man . . would ever flirt (with me. (Men: It's not worth risking it - I know with them you won't (agree. (Girls: I don't want to know them, if you will do the flirting (Men: Of course I will try, for we're doing very well. Girls: I'll vow to you - Men: On bended knee - Girls On bended knee - Men: If I loved you, Would you tell me what I ought to do To keep you all mine alone, To always be true to me? If I loved you, Would it be a silly thing to do? For I must love some one, Girls: Then why not me? Men: Yes, I must love some one, really. And it might as well be you! ------------------------------------------------------------- From: “Florodora”. 1900 She was s dear little dicky bird, “Chip, Chip, Chip,” she went, Sweetly she sang to me Till all my money was spent; Then she went off song We parted on fighting terms. She was one of the early birds, And I was one of the worms. It was at the Pantomime Sweet Mabel and I did meet She was in the ballet front row And I in a five shilling seat; She was dressed like a dicky bird, Beautiful wings she had on, Fighure divine, wished she were mine, On her I was totally gone. At the stage door ev’ry night, I waited with my boquet, Till my bird had moulted, and then We’d drive in a hansom away. Oyster suppers and sparkling “Cham” Couldn’t she go it! What ho Fivers I spent, tenners I lent, For to her I couldn’t say “No”. Elskin coats and diamond rings Knocked holes in my purse alone, She would have ‘em and in the end I got hers by pawning my own. When at last I was fairly broke, ‘Twixt us a quarrel arose, Mabel the fair pulled out my hair, And clawed all the skin off my nose. Full of love and poverty, And armed with a carving knife, I dark night I knelt in the mud And asked if she’d be my wife. Something struck me behind the ear, Someone said “Now go and get Wife of your own, leave me alone!” And that was the last time we met. 1900 O dolci baci o languide carezze Mentr’io fremente le belle forme discioglie dai veli Svani per smpre il sogno mio d’amore L’ora e fuggita e muoi disperato. Puccini Tosca Edwardian Songs 1901-1910 1901 O dry those tears and calm those fears life is not made for sorrow ’twill come alas but soon 'twill pass clouds will be sunshine tomorrow O lift thine eyes to the blue skies see how the clouds do borrow brightness each one straight from the sun so is it ever with sorrow. ’twill come alas but soon twill pass clouds will be sunshine tomorrow. Teresa del Riego. 1901 You are my honey, honeysuckle, I am the bee, I’d like to sip the honey sweet From those red lips, you see I love you dearly, dearly, And I want you to love me, You are my honey, honeysuckle, I am the bee. On a summer afternoon, Where the honeysuckles bloom, When all nature seemed at rest. ‘Neath a little rustic bower, Mid the perfume of the flower, A maiden sat with one she loved the best. As they sang the songs of love, >From the arbour just above, Came a bee which lit upon the vine; As it sipped the honey-dew, They both vowed they would be true, Then he whispered to her words she thought divine. So beneath that sky so blue, These two lovers fond and true, With their hearts so filled with bliss, As they sat there side by side, He asked her to be his bride, She answered “Yes” and sealed it with a kiss. For her heart had yielded soon, ‘Neath the honeysuckle bloom, And thro’ life they’d wander day by day. And he vowed just like the bee, “I will build a home for thee,” And the bee then seemed to answer them and say: From: “Bluebell in Fairyland”. 1901 Pale hands I loved beside the Shalimar, Where are you now? Who lies beneath your spell? Whom do you lead on Rapture's roadway, far, Before you agonise them in farewell? Pale hands, pink-tipped, like lotus-buds that float On those cool waters where we used to dwell, I would have rather felt you round my throat Crushing out life than waving me farewell! L. Hope, The Garden of Kama. 1903 I touch your lips and all at once the sparks go flying Those devil lips that know so well the art of lying And though I see the danger, still the flame grows higher I know I must surrender to your kiss of fire Just like a torch, you set the soul within me burning I must go on, I'm on this road of no returning And though it burns me and it turns me into ashes My whole world crashes without your kiss of fire I can't resist you, what good is there in trying? What good is there denying you're all that I desire? Since first I kissed you my heart was yours completely If I'm a slave, then it's a slave I want to be Don't pity me, don't pity me Give me your lips, the lips you only let me borrow Love me tonight and let the devil take tomorrow I know that I must have your kiss although it dooms me Though it consumes me, your kiss of fire, "El Choclo" ("The Corn Cob") by Ángel Villoldo -- premiered in Buenos Aires, Argentina in 1903 at"El Americano" on 966 Cangallo Street by the orchestra led by Jose Luis Roncallo. 1904 goodbye my blue bell farewell to you. one last fond look into your eyes so blue ’mid camp fires gleaming ’mid shot and shell I will be dreaming of my own Blue Bell. Blue Bell, the dawn is waking, Sweetheart you must not sigh, Blue Bell, my heart is breaking, I've come to say goodbye, Hear how the bugle's calling Calling to each brave heart, Sweetheart your tears are falling, Blue Bell, we two must part. Blue Bell, they are returning, Each greets a sweetheart true, Blue Bell, your heart is yearning, Never a one greets you, Sadly they tell the story, Tell how he fought and fell No tho't of fame or glory, Only of his Blue Bell. Madden/Morse. 1906 I'm such a silly when the moon comes out; I hardly seem to know what I'm about; Skipping, hopping, never never stopping, I can't keep still, although I try. I'm all a-quiver when the moonbeams glance; That is the moment when I long to dance. I can never close a sleepy eye When the moon comes creeping up the sky! From: “Our Miss Gibbs “. \ 1907 O I do like to be beside the seaside I do like to be beside the sea I do like to stroll upon the prom prom prom where the brass bands play tiddely-om-pom-pom So just let me be beside the seaside I'll be beside myself with glee and there's lots of girls beside I should like to be beside beside the seaside beside the sea Everyone delights to spend their summer's holiday Down beside the side of the silvery sea I'm no exception to the rule In fact, if I'd my way I'd reside by the side of the silvery sea. But when you're just the common or garden Smith or Jones or Brown At bus'ness up in town You've got to settle down. You save your money all the year till summer comes around Then away you go To a place you know Where the cockle shells are found. William Sykes the burglar, He'd been out to work one night Filled his bag with jewels, cash, and plate. Constable Brown felt quite surprised when William hove in sight Said he: "The hours you're keeping are far too late." So he grabbed him by the collar and lodged him safe and sound in jail Next morning looking pale Bill told a tearful tale. The judge said, "For a couple of months I'm sending you away!" Said Bill: "How kind! Well! If you don't mind Where I spend my holiday!" First rec. by Mark Sheridan in 1909 1909 When you come to the end of a perfect day, And you sit alone with your thought, While the chimes ring out with a carol gay, For the joy that the day has brought, Do you think what the end of a perfect day Can mean to tired heart, When the sun goes down with a flaming ray, And the dear hearts have to part? Well, this is the end of a perfect day, Near the end of a journey, too, But it leaves a thought that is big and strong, With a wish that is kind and true. For mem'ry has painted this perfect day With colors that never fade, And we find at the end of a perfect day, The soul of a friend we've made. Carrie Jacobs-Bond. 1906 There was I, waiting at the church waiting at the church waiting at the church when I found he'd left me in the lurch. lor, how it did upset me all at once, he sent me round a note here's the very note, this is what he wrote: Can't get away to marry you today, My wife, won't let me. I'm in a nice bit of trouble, I confess; Somebody with me has had a game. I should by now be a proud and happy bride, But I've still got to keep my single name. I was proposed to by Obadiah Binks In a very gentlemanly way; Lent him all my money So that he could buy a home, And punctually at twelve o'clock to-day- Lor, what a fuss Obadiah made of me When he used to take me in the park! He used to squeeze me till I was black and blue, When he kissed me he used to leave a mark. Each time he met me he treated me to port, Took me now and then to see the play; Understand me rightly, When I say he treated me, It wasn't him but me that used to pay. Just think how disappointed I must feel, I'll be off me crumpet very soon. I've lost my husband - the one I never had! And I dreamed so about the honeymoon. I'm looking out for another Obadiah, I've already bought the wedding ring, There's all my little fal-the-riddles Packed up in my box Yes, absolutely two of ev'rything. Words: Fred W. Leigh. Melody: Henry E. Pether, 1906 1908 he used to come and court his little Mary Anne I used to think that he was my young man but mother caught his eye and they got married on the sly now I 'ave to call him Father I used to be as 'appy as the pigeons on the trees That's when I was courtin' and me mind was well at ease I used to feel so loving with me 'Enery by me side Looking forward to the day when I should be his Bride But now he's thrown me over and I'm full of misery Someone else has done me out of William 'Enery He used to call me 'Dreamy Eyes' and take me on his knee Kiss me little ruby lips and make a fuss of me He bought a second-handed home to comfort me through life Now he's thrown me over for a second-handed wife And on the Weddin' Day when he was married to Mama He said, "Go and wash your face, and kiss your new Papa" When I got home this afternoon, it broke my 'art to see William cuddlin' Mother as he used to cuddle me At ten o'clock last night I felt I'd like to punch his head When he said to me, "Pop off, it's time to go to bed" The next young man I get, I'll let him see me to the door But I'll never introduce one to me Mother anymore Charles Collins and Fred Godfrey 1919 my old man said: "Foller the van, and don't dilly-dally on the way". off went the van wiv me 'ome packed in it. I walked be'ind wiv me old cock linnet. but I dillied and dallied, ballied and dillied; lost me way and don't know where to roam. you can't trust a "Special" like the old-time copper when you can't find your way home. We had to move away 'Cos the rent we couldn't pay. The moving van came round just after dark. There was me and my old man, Shoving things inside the van, Which we'd often done before, let me remark. We packed all that could be packed In the van, and that's a fact. And we got inside all that we could get inside. Then we packed all we could pack On the tailboard at the back, Till there wasn't any room for me to ride. I gave a helping hand With the marble wash hand-stand, And straight, we wasn't getting on so bad. All at once, the car-man bloke Had an accident and broke, Well, the nicest bit of china that we had. You'll understand, of course, I was cross about the loss. Same as any other human woman would. But I soon got over that, What with "two out" and a chat, 'Cos it's little things like that what does you good. Oh! I'm in such a mess. I don't know the new address - Don't even know the blessed neighbourhood. And I feel as if I might Have to stay out here all night. And that ain't a goin' to do me any good. I don't make no complaint But I'm coming over faint, What I want now's a good substantial feed, And I sort 'o kind 'o feel, If I don't soon have a meal, I shall have to rob the linnet of its seed! Collins-Leigh. Madden/Morse. 1906 I'm such a silly when the moon comes out; I hardly seem to know what I'm about; Skipping, hopping, never never stopping, I can't keep still, although I try. I'm all a-quiver when the moonbeams glance; That is the moment when I long to dance. I can never close a sleepy eye When the moon comes creeping up the sky! From: “Our Miss Gibbs “. \ 1907 O I do like to be beside the seaside I do like to be beside the sea I do like to stroll upon the prom prom prom where the brass bands play tiddely-om-pom-pom So just let me be beside the seaside I'll be beside myself with glee and there's lots of girls beside I should like to be beside beside the seaside beside the sea Everyone delights to spend their summer's holiday Down beside the side of the silvery sea I'm no exception to the rule In fact, if I'd my way I'd reside by the side of the silvery sea. But when you're just the common or garden Smith or Jones or Brown At bus'ness up in town You've got to settle down. You save your money all the year till summer comes around Then away you go To a place you know Where the cockle shells are found. William Sykes the burglar, He'd been out to work one night Filled his bag with jewels, cash, and plate. Constable Brown felt quite surprised when William hove in sight Said he: "The hours you're keeping are far too late." So he grabbed him by the collar and lodged him safe and sound in jail Next morning looking pale Bill told a tearful tale. The judge said, "For a couple of months I'm sending you away!" Said Bill: "How kind! Well! If you don't mind Where I spend my holiday!" First rec. by Mark Sheridan in 1909 1909 When you come to the end of a perfect day, And you sit alone with your thought, While the chimes ring out with a carol gay, For the joy that the day has brought, Do you think what the end of a perfect day Can mean to tired heart, When the sun goes down with a flaming ray, And the dear hearts have to part? Well, this is the end of a perfect day, Near the end of a journey, too, But it leaves a thought that is big and strong, With a wish that is kind and true. For mem'ry has painted this perfect day With colors that never fade, And we find at the end of a perfect day, The soul of a friend we've made. Carrie Jacobs-Bond. 1908 I hear you calling me you called me when the moon had veiled her light before I went from you into the night I came do you remember back to you for one last kiss beneath the kind star’s light I hear you calling me and oh the ringing gladness of your voice the words that made my longing heart rejoice you spoke, do you remember and my heart still hears the distant music of your voice I hear you calling me though years have stretched their weary length between and on your grave the mossy grass is green I stand do you behold me listening here hearing your voice thorugh all the years between -------------------------- Words: Harold Harford, Music: Charles Marshall. 1908 I vow to thee my country all earthly things above Entire and whole and perfect, the service of my love The love that asks no question, the love that stands the test, That lays upon the altar the dearest and the best; The love that never falters, the love that pays the price, The love that makes undaunted the final sacrifice. I heard my country calling, away across the sea, Across the waste of waters she calls and calls to me. Her sword is girded at her side, her helmet on her head, And round her feet are lying the dying and the dead. I hear the noise of battle, the thunder of her guns, I haste to thee my mother, a son among thy sons. And there's another country, I've heard of long ago, Most dear to them that love her, most great to them that know; We may not count her armies, we may not see her King; Her fortress is a faithful heart, her pride is suffering; And soul by soul and silently her shining bounds increase, And her ways are ways of gentleness, and all her paths are peace. ---------------- set by Gustav Holst. The origin of the lyric is a poem by diplomat Cecil Spring-Rice which he wrote in 1908 whilst posted to the British Embassy in Stockholm. Then called Urbs Dei or The Two Fatherlands, the poem described how a Christian owes his loyalties to both his homeland and the heavenly kingdom. 1908 O o Antonio he's gone away left me alone-ee-o all on my own-ee-o I want to meet him with his new sweetheart then up will go Antonio and his ice-cream cart In quaint native dress an Italian maid Was seeping distress as the streets she strayed Searching in every part for her bold sweetheart And his ice-cream cart Her English was bad It cannot be denied And so to herself In Italian she cried So sad grew the plight of this fair young lass She'd faint at the sight of an ice-cream She dreamed nigh every day he'd come back to stay Then he'd fade away. Her old hurdy-gurdy All day she'd parade And this she would sing, Sweet tunes that it played 1908 Has anybody here seen Kelly K – E- double L – Y Tell me if you can. 1908 O shine on shine on harvest moon up in the sky I ain't had no lovin’ since April, January, June or July. snow time ain't no time to stay outdoors and spoon So shine on shine on harvest moon -- for me and my gal. The night was mighty dark so you could hardly see, For the moon refused to shine. Couple sitting underneath a willow tree, For love they did pine. Little maid was kinda 'fraid of darkness So she said, "I guess I'll go." Boy began to sigh, looked up at the sky, And told the moon his little tale of woe I can't see why a boy should sigh when by his side Is the girl he loves so true, All he has to say is: "Won't you be my bride, For I love you, I can't see why I'm telling you this secret, When I know that you can guess." Harvest moon will smile, Shine on all the while, If the little girl should answer "yes." Jack Norworth – From “Ziegfeld Follies” 1909 by the light of the silvery moon I want to spoon to my honey I'll croon love's tune Honeymoon keep a-shining in June your silvery beams will bring love dreams we'll be cuddling soon by the silvery moon. Place park, scene dark, silvery moon is shining through the trees; Cast two, me, you, sound of kisses floating on the breeze. Act one, begun. Dialogue, "Where would you like to spoon?" My cue, with you, underneath the silvery moon. Act two, scene new, roses blooming all around the place; Cast three, you, me, Preacher with a solemn looking face. Choir sings, bell rings, Preacher: "You are wed for evermore." Act two, all through, every night the same encore. ---------------------------------------------------- First performed on stage by Lillian Lorraine. 1911 Dusk and the shadows falling o'er land and sea; somewhere a voice is calling, calling for me. night and the stars are gleaming tender and true dearest, my heart is dreaming, dreaming of you. --------------------------------------------------------Words: Eileen Newton, music: Arthur F. Tate, 1911. 1911 When the golden sun sinks in the hills and the toil of a long day is o'er though the road may be long in the lilt of a song I forget I was weary before far ahead, where the blue shadows fall I shall come to contentment and rest and the toils of the day will be all charmed away in my little grey home of the west There are hands that will welcome me in there are lips I am burning to kiss there are two eyes that shine just because they are mine and a thousand things other men miss it's a corner of heaven itself though it's only a tumble-down nest but with love brooding there why no place can compare with my little grey home in the west I've a little wet home in a trench Where the rainstorms continually drench, There's a dead cow close by With her feet in towards the sky And she gives off a terrible stench. Underneath, in the place of a floor, There's a mass of wet mud and some straw, But with shells dropping there, There's no place to compare, With my little wet home in the trench. 1911 o you beautiful doll you great big beautiful doll let me put my arms about yo, I could never live without you o you beautiful doll you great big beautiful doll if you ever leave me how my heart would ache I want to hug you but I fear you'd break o o o o you beautiful doll! Honey dear,want you near, Just turn out the lights and then come over here! Nestle close,up to my side, My heart's afire,with love's desire In my arms,rest complete, I never thought that life could ever be so sweet 'Til I met you,some time ago, But now you know, I love you so! Precious prize,close your eyes, Now we're goin' to visit lover's paradise, Press your lips, Again to mine, For love is king of ev'rything Squeeze me dear,I don't care! Hug me just as if you were a grizzly bear This is how I'll go through life, No care or strife,when you're my wife... 1902 Land of hope and glory mother of the free How shall we extoll thee who was born of thee Mighy and mighty shall thy bounds be set God who made thee mighty made thee mightier yet. First sung by Clara Butt in June 1902 1902 won't you come home Bill Bailey won't you come home she moans the whole day long I’ll do the cooking darling I’ll pay the rent I knows I’ve done you wrong member that rainy eve that I drove you out with nothing but a fine tooth comb I know I'se to blame well ain’t that a shame Bill Bailey won't you please come home. On one summer's day, the sun was shining fine. The lady love of old Bill Bailey was hanging clothes on the line In her back yard, and weeping hard. She married a B & O brakeman that took and throw'd her down. Bellering like a prune-fed calf with a big gang hanging 'round; And to that crowd she yelled out loud. Bill drove by that door in an automobile, A great big diamond coach and footman, hear that big wench squeal; "He's all alone," I heard her groan. She hollered through that door, "Bill Bailey is you sore? Stop a minute; won't you listen to me? Won't I see you no more?" Bill winked his eye, as he heard her cry: Cannon 1903 Just watch the ivy on that old garden wall Clinging so tightly what e'er may befall; As you grow older I'll be constant and true, And just like the ivy I'll cling to you. Mills/Castling 1903 Through bushes and briars I've lately made my way all for to hear the small birds sing and the lambs to skip and play all for to hear the small bird sings and the lambs to skip and play. I overheard my own true love her voice it was so clear long time have I been waiting for the coming of my dear long time have I been waiting for the coming of my dear. sometimes I am weary And troubled in my mind sometimes I think I'll go to him and tell to him my mind. but if I should go to my love my love he would say nay if I showed to him my boldness he'd ne'er love me again if I showed to him my boldness he’d ne’er love me again Through bushes and through briars… Sung by Mr. Pottipher (Shepherd), at Ingrave, near Brentwood, Essex, Dec. 3rd, 1903. 1903 I sowed the seeds of love and I sowed them in the Spring. I gathered them up in the morning so soon while the small birds do sweetly sing. my garden was planted well with flowers everywhere, but I had not the liberty to choose for myself of the flowers that I love so dear. the gardener was standing by and I asked him to choose for me. he choosed for me the violet, the lily and the pink, but those I refused all three. the violet I did not like because it bloomed so soon. the lily and the pink I really overthink; so I vowed that I'd stay till June. In June there was red rose-bud and that's the flower for me I oftentimes have plucked that red rose-bud Till I gained the willow tree. The willow tree will twist and the willow tree will twine. I have oftentimes wished I was in that young man's arms that once had the heart of mine. Come all you false young men, Do not leave me here to complain, For the grass that have been oftentimes trampled underfoot, Give it time it will rise up again. Noted by Cecil Sharp from John England, in Hambridge, Somerset, in 1903. "Sharp was sitting in the vicarage garden talking to Charles Marson, when he heard John England quietly singing to himself as he mowed the vicarage lawn. Cecil Sharp whipped out his notebook and took down the tune; and then persuaded John to give him the words. He immediately harmonised the song; and that same evening it was sung at a choir supper by Mattie Kay, Cecil Sharp accompanying. The audience was delighted; as one said, it was the first time that the song had been put into evening dress." The song has been widespread in England in various forms and under many different names, also turning up in the USA and Scotland. William Chappell (Popular Music of the Olden Time, 1859), names it, along with Cupid's Garden and Early One Morning, as "one of the three most popular songs among the servant-maids of the present generation", and mentions its appearance on the London stage, sung by Mrs. Honey, in a play entitled The Loan of a Lover. He also quotes a passage from Whittaker's History of the Parish of Whalley (1801) which ascribes the lyric to a Mrs. Fleetwood Habergham, of Habergham Hall, Lancashire, who is supposed to have written the song to console herself when, in 1689, her husband's extravagances finally led to the loss of the family's estates. This apocryphal story is not generally taken too seriously nowadays. There are two broadside examples at Bodleian Library Broadside Ballads, the more legible being Harding B 11(1657): I sowed the seeds of love Printed between 1819 and 1844 by J. Pitts, wholesale Toy and Marble warehouse, 6, Gt. St. Andrew Street, Seven Dials [London]. In his Additions and Corrections to vol.V of the English and Scottish Popular Ballads, Child quotes material supplementary to no.219, The Gardener, which Baring Gould had sent him; two Scottish texts of Braw Sailing, and Dead Maid's Land from Devon, all of which overlap to some degree with both song-groups; Steve Roud's Folk Song Index assigns them to the Seeds of Love group rather than to Child 219 (Roud 339); which would presumably be current consensus. Ewan MacColl (Travellers' Songs from England and Scotland, R & K P, 1977) suggests that the Seeds of Love/ Sprig of Thyme group is a worn-down lyric descendant of the ballad, which he considers to be Scottish in origin. This does not seem to be an opinion generally held. 1904 O dolce notte quante stele Non la vidi mai si belle. Puccini. Madama Butterfly 1905 Thora Weatherly. 1905 It was on the fifth of August-er the weather fine and fair unto Brigg Fair I did repair for love I was inclined. I rose up with the lark in the morning with my heart so full of glee, of thinking there to meet my dear long time I'd wished to see. I took hold of her lily-white hand o and merrily was her heart: “and now we're met together, I hope we ne'er shall part” for it's meeting is a pleasure, and parting is a grief, but an unconstant lover is worse than any thief. the green leaves they shall wither and the branches they shall die if ever I prove false to her to the girl that loves me. Recorded in April 1905 from Joseph Taylor shortly after a music festival in Brigg, North Lincolnshire. Arr. Grainger. 1906 Tace il labbro t’amo dice il violin Le sue note dicon tutte mai d’amar Dell’amor la stretta chiaro dice a me Si e ver tu m’ami sit u m’ami e ver. Lehar/Fontana La vedova allegra 1902 And nations to eastward And nations to westward As foemen did curse them The bowmen of England No other land could nurse them But their mother land old England And on her broad bossom did they ever thrive. From “Merrie England” 1902 Walter Raleigh’s Aria. Dan Cupid hath a garden Where women are the flow'rs, And lovers' laughs and lovers' tears The sunshine and the show'rs. And oh! the sweetest blossom That in the garden grows, The fairest queen, it is , I ween, The perfect English rose, The fairest queen, it is , I ween, The perfect, the perfect English rose. Let others make a garland Of ev'ry flow'r that blows! But I will wait till I may pluck My dainty English rose. In perfume, grace, and beauty, The rose doth stand apart, God grant that I, before I die, May wear one on my heart! God grant that I, before I die, May wear one, may wear one on my heart! ------------------------------------------------- From: “Merrie England” 1913 On Sunday I walk out with a Soldier, On Monday I'm taken by a Tar, On Tuesday I'm out with a baby Boy Scout, On Wednesday a Hussar; On Thursday a gang oot wi' a Scottie, On Friday, the Captain of the crew; But on Saturday I'm willing, if you'll only take the shilling, To make a man of any one of you. On Sunday I walk out with a Bo'sun. On Monday a Rifleman in green, On Tuesday I choose a 'sub' in the 'Blues', On Wednesday a Marine; On Thursday a Terrier from Tooting, On Friday a Midshipman or two, But on Saturday I'm willing if you'll only take the shilling, To make a man of any one of you. The Army and the Navy need attention, The outlook isn't healthy you'll admit, But I've got a perfect dream of a new recruiting scheme, Which I think is absolutely it. If only other girls would do as I do I believe that we could manage it alone, For I turn all suitors from me but the sailor and the Tommy, I've an army and a navy of my own. I teach the tenderfoot to face the powder, That gives an added lustre to my skin, And I show the raw recruit how to give a chaste salute, So when I'm presenting arms he's falling in. It makes you almost proud to be a woman. When you make a strapping soldier of a kid. And he says 'You put me through it and I didn't want to do it But you went and made me love you so I did.' 1913 Tell me tell me where are you sailing Shipmates o’mine The morn is cold Weatherly/Sanderson. 1913 You made me love you I didn’t want to do it. 1901 There’s a little white cot lying over the hill In a little by the sea While two eyes of blue Come smiling thru at me. 1908 Alta pel cielo un aquila guerriera Ardita s’erge in volo tronfale Ha un’ala azzurra del color del mare Ha un ala azzurra del color del cielo. -----------------------From: Illica/Panizza, Aurora 1910 Sure I love the dear silver that shines in your hair and the brow that's all furrowed and wrinkled with care I kiss the dear fingers so toil-worn for me O God bless you and keep you mother Machree. There's a spot in my heart, Which no colleen may own. There's a depth in my soul, Never sounded or known; There's a place in my mem'ry, My life, that you fill, No other can take it, No one ever will. Ev'ry sorrow or care In the dear days gone by, Was made bright by the light Of the smile in your eye, Like a candle that's set In the window at night, Your fond love has cheered me And guided me right. Lyric by Rida Johnson Young, Music by Chauncey Olcott and Ernest R. Ball,1910. Interestingly - Chauncey Olcott was also involved with My Wild Irish Rose and When Irish Eyes are Smiling - quite prolific. 1910 Oh, Danny boy, the pipes, the pipes are calling From glen to glen, and down the mountain side The summer's gone, and all the roses falling 'Tis you, 'tis you must go and I must bide. But come ye back when summer's in the meadow Or when the valley's hushed and white with snow 'Tis I'll be there in sunshine or in shadow Oh, Danny boy, oh, Danny boy, I love you so. And when you come, and all the flowers are dying If I am dead, as dead I well may be You'll come and find the place where I am lying And kneel and say an "Ave" there for me. And I shall hear, tho' soft you tread above me And all my grave will warmer, sweeter be For you will bend and tell me that you love me And I shall sleep in peace until you come to me. The words to "Danny Boy" were written by Frederic Weatherly in 1910. Although the lyrics were originally written for a different tune, he modified them to fit the "Londonderry Air" in 1913, after his sister-in-law in the US sent him a copy. 1904 Trumpeter, what are you sounding now? (Is it the call I'm seeking?) "You'll know the call," said the Trumpeter tall, "When my trumpet goes a-speakin'. I'm rousin' 'em up; I'm wakin' 'em up, The tents are astir in the valley, And there's no more sleep with the sun's first peep, For I'm soundin' the old 'Reveille!'" Trumpeter, what are you sounding now? (Is it the call I'm seeking?) "Can't mistake the call," said the Trumpeter tall, "When my trumpet goes a-speakin'. I'm urgin' 'em on, They're scamperin' on, There's a drummin' of hoofs like thunder. There's a madd'nin' shout as the sabres flash out, For I'm sounding the 'Charge' no wonder." Trumpeter, what are you sounding now? (Is it the call I'm seeking?) "Lucky for you if you hear it at all For my trumpet's but faint in speakin', I'm callin' 'em home! Come home! Come home! Tread light o'er the dead in the valley, Who are lyin' around face down to the ground, And they can't hear me sound the 'Rally'. But they'll hear it again in a grand refrain, When Gabriel sounds the last 'Rally'." Dix – Barron. 1904 Chick chick will you marry me chick. From: “The Country Girl” 1910 When a bad bad boy like me meets a good good girl like you From: “The Quaker Girl” 1910 Yes we will come to the ball From: “The Quaker Girl”. 1907 I’ve a little pink petty from Peter. From: “Miss Hook of Holland” 1909 Follow follow follo the merry merry pipes of Pan The magic reed that charms at need the heart of maid and man Away away they seem to say and catch us if you can Come follow follow where they lead the merry merry pipes of Pan. From: “The Arcadians”. 1909 It’s nice and warm I think that we shall have a lovely day Very very warm for May, eighty in the shade they say (Just fancy) It almost looks as tho’ the sun had really come to stay O what very charming weather. From: “The Arcadians”. 1910 when a bad bad boy likes me meets a good good girl like you well the girl may turn away and say 1910 Yes we will come to the ball None but will answer the call All of us long for the waltz that whirls Dashing your lovers and dainty girls Ah let us come to the ball There will be joy for us all Chance for a dance and romance At the ball, at the ball. From: “The Quaker Girl” 1911 Di rigori armato il seno contra amor mi ribellai ma fui vinto in un baleno in mirar due vaghi rain ah che resiste puoco a stral di fuoco cor di gelo di fuoco a sral. Strauss, Il Cavaliere della Rosa 1911 It’s a long way to Tipperary it’s a long way to go It’s a long way to Tipperary to the sweetest girl I know Good bye Piccadilly farewell Leicester Square It’s a long long way to Tipperary but my heart’s right there. 1911 Come to me, my melancholy baby cuddle up and don't be blue all your fears are foolish fancies maybe you know honey I'm in love with you every cloud must have a silver lining just wait until the sun shines through smile, my honey dear while I kiss away each tear or else I shall be melancholy too. 1912 we were sailing along on moonlight bay we could hear the voices ringing they seemed to say you have stolen her heart now don't go ’way as we sang love's old sweet song on moonlight bay Voices hum, crooning over Moonlight Bay Banjos strum, tuning while the moonbeams play All alone, unknown they find me Memories like these remind me Of the girl I left behind me Down on Moonlight Bay Candle lights gleaming on the silent shore Lonely nights, dreaming till we meet once more Far apart, her heart, is yearning With a sigh for my returning With the light of love still burning As in of days of yore 1912 You made me love you. I didn’t want to do it I didn’t want to do it You made me love you. From the Broadway revue, “The Honeymoon Express” Songs from 1914-1918 1914 God be with our boys tonight Sanderson. 1914 She only answered ting-a-ling-a-ling The Bells of Hell go ting-a-ling-a-ling For you but not for me: For me the angels sing-a-ling-a-ling, They've got the goods for me. Oh! Death, where is thy sting-a-ling-a-ling? Oh! Grave, thy victory? The Bells of Hell go ting-a-ling-a-ling For you but not for me. 1914 Sister Susie's sewing shirts for soldiers Such skill at sewing shirts our shy young sister Susie shows Some soldiers send epistles say they'd sooner sleep in thistles Than the saucy soft short shirts for soldiers sister Susie sews. Sister Susie's sewing in the kitchen on a "Singer", There's miles and miles of flannel on the floor And up the stairs, And father says it's rotten getting mixed up with the cotton, And sitting on the needles that she leaves upon the chairs. And should you knock at our street door Ma whispers, "Come inside." Then when you ask where Susie is, She says with loving pride: Piles and piles and piles of shirts she sends out to the soldiers, And sailors won't be jealous when they see them, Not at all. And when we say her stitching will set all the soldiers itching, She says our soldiers fight best when their back's against the wall. And little brother Gussie, he who lisps when he says "yes", Says "Where's the cotton gone from off my kite? Oh, I can gueth!" I forgot to tell you that our sister Susie's married, And when she isn't sewing shirts She's sewing other things. Then little sister Molly says, "Oh, sister's bought a dolly. She's making all the clothes for it With pretty bows and strings." Says Susie: "Don't be silly" As she she blushes and she sighs. Then mother smiles and whispers with a twinkle in her eyes: R. P. Weston. Music by Herman Darewski, 1914. 1914 There’s a long long trail awinding into the land of your dreams Where the nightingales are singing and the pale moon beams 1914 And when I told them how beautiful you were They didn’t believe me your eyes your hair Is in a class beyond compare. From: “The Girl from Utah” And when they ask us, how dangerous it was, Oh, we'll never tell them, no, we'll never tell them: We spent our pay in some cafe, And fought wild women night and day, 'Twas the cushiest job we ever had. And when they ask us, and they're certainly going to ask us, The reason why we didn't win the Croix de Guerre, Oh, we'll never tell them, oh, we'll never tell them There was a front, but damned if we knew where. 1915 Pack up your troubles in your own kit bag and smile smile smile While you’ve a Lucifer to light your fag smile boys that’s the style What’s the use of worrying it never was worthwile Pack up your troubles in your own kit bag and smile smile smile. 1915 I'm gonna buy a paper doll that I can call my own a doll that other fellas cannot steal and then those flirt flirty guys with their flirty flirty eyes will have to flirt with dollies that are real when I come home at night she'll be waiting she'll be the truest doll in all this world. I'd rather have a paper doll to call my own than have a fickle-minded real-life girl. I tell you boy, it's tough to be alone, and it's tough to love a doll that's not your own. I'm through with all of them, I'll never fall again, 'cos this is what I'm gonna do 1916 Green hills o’ Somerset green hills o’ Somerset when shall we walk by you green hills once more. Green hills o' Somerset! Green hills o' Somerset! No more we'll walk by you, Green hills, once more! O the green hills o' Somerset go rolling to the shore; `twas there we said that we'd get wed, when spring came round once more. `twas there we kissed and said goodbye beside the kirkyard wall, and the song the blackbird sang to us was the sweetest song of all. O the green hills o' Somerset Go rolling to the sea, And still today the violets Are blooming there for me. The shadows kiss the waving grass, Beside the kirkyard wall, But the song the blackbird sings to me Is the saddest song of all. 1916 everybody loves a baby that's why I’m in love with you pretty baby pretty baby and I’d like to be your sister brother dad and mother too pretty baby pretty baby won’t you come and let me rock you in my cradle of love and we'll cuddle all the time o I want a lovin’ baby and it might as well be you pretty baby of mine 1914 keep the home fires burning while your hearts are yearning tho’ the lads are far away they dream of home. there's a silver lining, thru the dark clouds shining turn the dark cloud inside out till the boys come home. They were summoned from the hillside, They were called in from the glen, And the country found them ready At the stirring call for men. Let no tears add to their hardship, As the soldiers pass along, And although your heart is breakingm Make it sing this cheery song: Novello. 1916 Roses are shining in Picardy in the hush of the silvery dew. Roses are flow'ring in Picardy but there's never a rose like you! And the roses will die with the summertime and our roads may be far apart, But there's one rose that dies not in Picardy’tis the rose that I keep in my heart She is watching by the poplars, Colinette with the sea blue eyes, She is watching and longing and waiting Where the long white roadway lies. And a song stirs in the silence, As the wind in the boughs above. She listens and starts and trembles. 'Tis the first little song of love... And the years fly on forever, 'Til shadows veil their skies, But he loves to hold her little hands And look in her sea blue eyes. And she sees the road by the poplars, Where they met in the bygone years, For the first little song of the roses Is the last little song she hears: Wood—Weatherly. 1918 Knees up Mother Brown Knees up Mother Brown Under the table you must go Ee-aye, Ee-aye, Ee-aye-oh If I catch you bending I'll saw your legs right off Knees up, knees up Never get the breeze up Knees up Mother Brown Oh my, what a rotten song What a rotten song What a rotten song Oh my, what a rotten song And what a rotten singer Too-oo-ooh There came a girl from France Who didn't know how to dance The only thing that she could do Was knees up Mother Brown Oh, knees up Mother Brown Knees up Mother Brown Knees up, knees up, never let the breeze up, Knees up Mother Brown Oh, hopping on one foot Hopping on one foot Hopping, hopping, never stopping Hopping on one foot Oh, knees up Mother Brown Knees up Mother Brown Knees up, knees up, never let the breeze up, Knees up Mother Brown Oh, prancing up and down Prancing up and down Prancing, prancing, never dancing Prancing up and down Oh, knees up Mother Brown Knees up Mother Brown Knees up, knees up, never let the breeze up, Knees up Mother Brown And whirling round and round Whirling round and round Whirling, whirling, never twirling Whirling round and round Oh, knees up Mother Brown Knees up Mother Brown Knees up, knees up, never let the breeze up, Knees up Mother Brown Oh, knees up Mother Brown Knees up Mother Brown Knees up, knees up, never let the breeze up, Knees up Mother Brown Sung widely in London on 11 November of 1918, Armistice Night, at the end of the Great War. 1918 K-K-K-Katy, beautiful Katy you're the only g-g-g-girl that I adore When the m-m-m-moon shines over the cowshed I'll be waiting at the k-k-k-kitchen door. Jimmy was a soldier brave and bold, Katy was a maid with hair of gold, Like an act of fate, Kate was standing at the gate, Watching all the boys on dress parade. Jimmy with the girls was just a gawk, Stuttered ev'ry time he tried to talk, Still that night at eight, He was there at Katy's gate, Stuttering to her this love sick cry. No one ever looked so nice and neat, No one could be just as cute and sweet, That's what Jimmy thought, When the wedding ring he bought, Now he's off to France the foe to meet. Jimmy thought he'd like to take a chance, See if he could make the Kaiser dance, Stepping to a tune, All about the silv'ry moon, This is what they hear in far off France. 1918 There's a little brown road windin' over the hill To a little white cot by the sea: There's a little green gate at whose trellis I wait, While two eyes of blue come smilin' through At me! There's a grey lock or two in the brown of the hair; There's some silver in mine, too, I see; But in all the long years, when the clouds brought their tears, Those two eyes of blue kept smilin' through At me! And if ever I'm left in this world all alone I shall wait for my call patiently For if Heaven be kind I shall wake there to find Those two eyes of blue still smilin' through At me! Penn. 1918 I'm forever blowing bubbles pretty bubbles in the air, they fly so high, nearly reach the sky then like my dreams they fade and die. fortune's always hiding I've looked everywhere, I'm forever blowing bubbles pretty bubbles in the air. I'm dreaming dreams, I'm scheming schemes, I'm building castles high. They're born anew, Their days are few, Just like a sweet butterfly. And as the daylight is dawning, They come again in the morning. When cattle creep, When I'm asleep, To lands of hope I stray. Then at daybreak, When I awake, My bluebird flutters away. Happiness new seemed so near me, Happiness come forth and heal me. ---------------------------------From “The Passing Show of 1918” – sung by Helen Carrington. 1916 Youth is the time for loving So poets always say The contrary I’m proving Look at us two today Love has no charm no meaning till man has reached his prime Surely it is so You ought to know Anytime’s kissing time. --- From Chu Chin Chow 1916 If you were the only girl in the world and I was the only boy Nothing else would matter in this world today We would go on loving in the same old day A garden of Eden just made for two with nothing to mar our joy I would say such wonderful things to you There would be such wonderful things to do If you were the only girl in the world and I was the only boy. From: “The Bing Boys are here”. 1916 Let the great big world keep turning Never mind if I’ve got you For I only know that I love you so And there’s no one else will do You have simply set me yearning And forever I’ll be true Let the great big world keep on turning (round) Now I found someone like you. From: “The Bing boys are here”. 1917 Ev’ry peach Out of reach Is attractive. Noel Coward 1917 Goodbye-ee, goodbye-ee, Wipe the tear, baby dear, from your eye-ee, Tho' it's hard to part I know, I'll be tickled to death to go. Don't cry-ee, dont sigh-ee, there's a silver lining in the sky-ee, Bonsoir, old thing, cheer-i-o, chin, chin, Nah-poo, toodle-oo, Goodbye-ee. Brother Bertie went away To do his bit the other day With a smile on his lips and his Lieutenant's pips upon his shoulder bright and gay As the train moved out he said, 'Remember me to all the birds.' Then he wagged his paw and went away to war Shouting out these pathetic words: At the hospital at Kew, The convalescents, dressed in blue, Had to hear Lady Lee who had turned eighty-three, Sing all the old, old songs she knew. Then she made a speech and said, "I look on you boys with pride, And to thank you all I'm going to kiss each one", Then they all grabbed a stick and cried 1917 Poor butterfly, neath the blosooms waiting Poor butterfly for she loved him so The moments pass into hours The hours pass into years And tho’ she smiles thru her tears She murmurs low The moon and I know that he’ll be faithful That’ll he come back to me by-and-bye But if he don’t come then I’ll never sigh or cry I must just die, poor Butterfly 1917 All things come home at eventide, like birds weary of their roaming and I would hasten to thy side, Homing. oh, dearest, I have wandered far, from day break to the twilight gloaming, I come back with the evening star, Homing. thou art my hunger and my need, the goal and solace of my roaming, be thou my haven when I speed, Homing. A. L. Salmon – Teresa del Riego. 1924 It had to be you it’s got to be you I wondered around and suddenly found The someone will make me feel bad And even be sad just for the sad thinking of you Some others I’ve seen mean Want to be boss or cross But they wouldn’t do for nobody else gave me that thrill With all your faults I love you still It’s got to be you, wonderful you. ----- From “Show Business” 1917 At seventeen he falls in love quite madly with eyes of tender blue At twenty four he gets it rather badly with yes of a different hue At thirty five, you’ll find him flirting sadly with two or three or more When he fancies he is past love it is then he meets his last love And he loves her as he’s never loved before. From: “The maid of the mountains”. 1917 If I only had the key to your heart I’d give you the key to mine It’d open the door to a wonderful dream of a life and a love divine No barrier then could keep us apart and daydreams would all come true For the key to your heart is the key to the door of a paradise of two. From: “The Maid of the Mountains”. 1917 What’ever befall I still recall the sunlight mountain side Where skies are blue and hearts are true and love’s the only guide If faithful to my trust I stay no thought can fill me with dismay Love holds the key to set me free and love will find the way. From “The Maid of the Mountains”. 1918 O mio babbino caro mi piace e bello bello V’andare in Porta rosse a comperar l’anello Si si ci voglio andare e se l’amassi indarno Andre sul ponte vecchio ma per buttarmi in Arno. Puccini Gianni Schicchi Songs from 1921 I’m the sheik of Araby. ---- Inspired by Valentino, “The sheik”. 1921 O Limehouse kid o o o limehouse kid Doing the same that the others did. Limehouse blues. ---- From “A to Z”. The area of Limehouse inspired Douglas Furber (lyricist) and Philip Braham (composer) in 1921 to write “Limehouse Blues”, introduced by Jack Buchanan and Gertrude Lawrence in the musical revue "A to Z". 1922 All through the night there's a little brown bird singing, singing in the hush of the darkness and the dew. would that his song through the stillness could go winging, could go winging to you, to you. All through the night-time my lonely heart is singing sweeter songs of love than the brown bird ever knew. would that the song of my heart could go a-winging, Could go a-winging to you, To you. Harry Rodney Bennett – H. Wood. 1924 Everybody loves my baby But my baby don’t love nobody but me. 1927 Roll out the barrel we'll have a barrel of fun roll out the barrel we’ve got the blues on the run zing boom tararrel ring out a song of good cheer now's the time to roll the barrel for the gang's all here There's a garden, what a garden, Only happy faces bloom there, And there's never any room there, For a worry or a gloom there Oh there's music and there's dancing, And a lot of sweet romancing When they play the polka They all get in the swing Every time they hear that oom-pa-pa, Everybody feels so tra-la-la They want to throw their cares away, They all go lah-de-ah-de-ay Then they hear a rumble on the floor, It's the big surprise they're waiting for And all the couples form a ring, For miles around you'll hear them sing... Music composed by Czech musician Jaromír Vejvoda in 1927. 1927 Adiós, muchachos, compañeros de mi vida, barra querida de aquellos tiempos. Me toca a mí hoy emprender la retirada, debo alejarme de mi buena muchachada. Adiós, muchachos. Ya me voy y me resigno... Contra el destino nadie la talla... Se terminaron para mí todas las farras, mi cuerpo enfermo no resiste más... Acuden a mi mente recuerdos de otros tiempos, de los bellos momentos que antaño disfruté cerquita de mi madre, santa viejita, y de mi noviecita que tanto idolatré... ¿Se acuerdan que era hermosa, más linda que una diosa y que ebrio yo de amor, le di mi corazón, mas el Señor, celoso de sus encantos, hundiéndome en el llanto me la llevó? Es Dios el juez supremo. No hay quien se le resista. Ya estoy acostumbrado su ley a respetar, pues mi vida deshizo con sus mandatos llevandome a mi madre y a mi novia también. Dos lágrimas sinceras derramo en mi partida por la barra querida que nunca me olvidó y al darles, mis amigos, mi adiós postrero, les doy con toda mi alma mi bendición... Adiós, muchachos, compañeros de mi vida, barra querida de aquellos tiempos. Me toca a mí hoy emprender la retirada, debo alejarme de mi buena muchachada. Adiós, muchachos. Ya me voy y me resigno... Contra el destino nadie la talla... Se terminaron para mí todas las farras, mi cuerpo enfermo no resiste más... When we are dancing And you're dangerously near me I get ideas, I get ideas. I want to hold you So much closer than I dare do. I want to scold you 'Cause I care more than I care to. And when you touch me and there's fire in every finger I get ideas, yes I get ideas. And after we have kissed goodnight and still you linger I kinda think you get ideas too. Your eyes are always saying The things you're never saying. I only hope they're saying That you could love me too. For that's the whole idea, it's true, The lovely idea That I'm falling in love with you. Music: Julio Cesar Sanders credited in the U.S. as "Lenny Sanders"), words by Cesar Felipe Vedani. English words by Dorcas Cochran, 1951. Songs from 1929 Keep your sunny side up, up. Hide the side that gets blue. If you have nine sons in a row Baseball teams make money, you know. Keep you funny side up, up. Let your laughter ring through, through. Stand upon you legs. Be like two fried eggs. Keep you sunny side up. Keep your sunny side up,up Hide the side that gets blue When their team is knocking you flat smile and say'we're beter than that" You got keep your sunny side up, up Let your laughter shine through ,do stand upon your legs Be like two fried eggs keep your sunny side up 1929 Tiptoe through the window By the window, that is where I'll be Come tiptoe through the tulips with me Oh, tiptoe from the garden By the garden of the willow tree And tiptoe through the tulips with me Knee deep in flowers we'll stray We'll keep the showers away And if I kiss you in the garden, in the moonlight Will you pardon me? And tiptoe through the tulips with me From film“The Gold Diggers of Broadway”. 1926 Underneath the arches we dream our dreams away Underneath the arches on cobblestones we lay Happy when the daylight comes creeping Heralding the dawn Sleeping when it’s rainy and sleeping when it’s fine Trains rattling by above Pavement is our pillow no matter where we stray Underneath the arches we dream our dreams away. 1926 Sowin's pretty good reapin' ain't so bad scarin' off the crows suits a farmer's lad but if you ask'es me the thing that suits a fellow is a little bit of straw to suck to keep your fancies mellow when you're leanin' on the gate beside the pond that lies beside the side of farmer's stacks of new mown hay it's just atwix the ricks beside the barn where farmers sticks inside the chicks he only hatch'd today leanin', leanin' I'm champion down our way they say at leanin' on the gate beside the pond that lies beside the side of farmer's stacks of new mown hay that he's been gleanin' while I've been leanin' ..... all day Had a lurcher once better than a gal poacher? Well, a bit but 'e was a pal now there's just a mound underneath the el-lum reckon folks would laugh at I if I was to tell 'em. why I'm leanin' on the gate beside the pond that lies beside the side the hedge where my old dog would play it's just a'cos from there I see the sunlight glintin' through the tree upon the grave where 'e do lie sleepin', sleepin' goodbye is hard to say that's why I'm leanin' on the gate beside the pond that lies beside the side of farmer's stacks of new-mown hay and at the gleanin' he'll find me leanin' ..... all day (Hugh E. Wright / Thomas Case Sterndale Bennett) T C Sterndale Bennett was inspired by the area of the mill and ponds, particularly the lower mill pond in Wateringbury, Kent. The gate mentioned in the song was apparently towards the beginning of the track, at the upper mill end, leading to Warden House. 1926 over the quiet hills slowly the shadows fall far down the echoing vale birds softly call; slowly the golden sun sinks in the dreaming west; bird songs at eventide call me to rest. love, though the hours of day sadness of heart may bring, when twilight comes again sorrows take wing; for when the dusk of dreams comes with the falling dew, bird songs at eventide call me to you. Royden Barrie – Eric Coates. 1924 Parisian Pierot the rue of the day the rue the la Paix is under your sway The As soon as the clock turns one. --- 1924. 1924 When I’m calling you will you answer too That means I offer my life to be your own If you refuse me I will be blue I’ve waited all alone But if when you hear my love call ringing clear And I hear your answering echo so dear Then I will know our love will come true You’ll belong to me, I’ll belong to you. Friml “Rosa-Maria” 1925 O we ain't got a barrel of money, maybe we're ragged and funny but we'll travel along singing a songs side by side don't know what's comin' tomorrow maybe it's trouble and sorrow but we'll travel the road sharing our load side by side. through all kinds of weather what if the sky should fall? just as long as we're together it doesn't matter at all when they've all had their quarrels and parted we'll be the same as we started just a-traveling along singing a song side by side. See that sun in the morning, peeking over the hill I'll bet you're sure it always has and sure it always will. that's how I feel about someone, how somebody feels about me. we're sure we love each other that's the way we'll always be. We're all hunting for something Something we don't know what 'Cause none of us are satisfied with things we know we've got. We all forget about moonlight, As soon as we've given our vow But we'd all be so happy if we'd start and sing right now: 1925 Show me the way to go home I'm tired and I want to go to bed I had a little drink about an hour ago and it's gone straight up to my head where ever I may roam on land or sea or foam you will always hear me singing this song show me the way to go home Indicate the way to my abode I'm fatigued and I want to retire I had a spot of beverage sixty minutes ago And it went right to my cerebellum Wherever I may perambulate On land, or sea or atmospheric vapour You can always hear me crooning the melody Indicate the way to my abode Lead me to my bed I'm knackered and I want to get some kip I had a bit of booze about an hour ago And it went right to my cop Wherever I may stroll To the pub, or to the dole You will always hear me making this noise Lead me to my bed Folk song, adapted in 1925 by "Irving King" (the British songwriting team James Campbell and Reginald Connelly, written on a railroad train journey from London. They were tired from the traveling and had a few alcoholic drinks during the journey, hence the lyrics. 1925 No gal made has got a shade on sweet Georgia brown, two left feet, oh, so neat, has sweet Georgia brown! they all sigh, and want to die, for sweet Georgia brown! I'll tell you just why, You know I don't lie, not much: It's been said she knocks 'em dead, When she lands in town! Since she came, why it's a shame, How she cools them down! Fellas she can't get Must be fellas she ain't met! Georgia claimed her, Georgia named her, Sweet Georgia Brown. -- All those gifts those courters give, To sweet Georgia brown, They buy clothes at fashion shows, With one dollar down, Oh, boy! tip your hat! Oh, joy! she's the cat! Who's that, mister? 'tain't a sister! Sweet Georgia Brown. 1925 Picture me upon my knee Just tea for two and two for tea Just me for you and you for me alone Nobody near us to see us or hear us No friends or relations on weekend vacations We won’t have it known dear that we own a telephone. No no Nanette. 1925 Yes sir, that's my baby No sir, I don't mean maybe Yes sir, that's my baby now Yes, ma'm, we've decided No ma'm, we won't hide it Yes, ma'm, you're invited now By the way, by the way When we meet the preacher I'll say Yes sir, that's my baby No sir, I don't mean maybe Yes sir, that's my baby now The song was written when Donaldson & Kahn were visiting Eddie Cantor. Cantor's daughter Marjorie brought out one of her favorite toys, a walking mechanical pig. She wound it up and it started walking in rhythm while 2 notes kept coming from the little creature. Kahn was inspired and started working lyrics to these notes in rhythm with the pig, coming up with the title and opening line of the chorus in short order. 1925 On Mother Kelly's doorstep, Down Paradise Row. I sit alonga Nellie, She sits alonga Joe. She's got a little hole in her frock, Hole in her shoe, Hole in her sock Where her toe peeps through, But Nellie was the smartest down our alley. On Mother Kelly's doorstep, I'm wondering now If little girl Nellie Remembers Joe, Her beau, And does she love him like she used to On Mother Kelly's doorstep, Down Paradise Row? 1926 Pack up all my cares and woes, Here i go, singing low, Bye, bye, blackbird. Where somebody waits for me, Sugar is sweet, so is she, Bye, bye, blackbird. No one here can love and understand me, Oh, what hard luck stories they all hand me. Make my bed and light the light, I'll arrive late tonight, Blackbird, bye, bye. There is much speculation about the meaning of the song.[6] At least two commentators (using the same source) attribute the song to a prostitute's leaving the business and going home to her mother.[7][8] As such, it is the opposite of "House of the Rising Sun," where the prostitute returns to the business.[9] The reason for the song's apparent ambiguity is that the opening verse and the verses about the bluebird are rarely sung. 1926 When the red, red robin comes bob, bob, bobbin' along, along There'll be no more sobbin' when he starts throbbin' his old sweet song Wake up, wake up you sleepy head Get up, get out of your bed Cheer up, cheer up the sun is red Live, love, laugh and be happy What if I were blue now I'm walking through fields of flowers Rain may glisten but still I listen for hours and hours I'm just a kid again doing what I did again, singing a song When the red, red robin comes bob, bob, bobbin' along Woods 1927 Ain't she sweet See her walking down the street Now I ask you very confidentially Ain't she sweet Ain't she nice Look her over once or twice Now I ask you very confidentially Ain't she nice Just cast an eye in her direction Oh me, oh my ain't that perfection I repeat Don't you think she's kind of sweet Now I ask you very confidentially Ain't she sweet? Ain't he sweet When he passes down the street everybody whispers confidentially, ain't he sweet!". ain't he cute! in his brand new chequered suit, now I ask you very confidentially, ain't he cute? Oh can't you see How I adore him? If he wants me I'm right here for him When we meet, Just knock me off my feet! And I ask you very confidentially, Ain't he sweet? There she is! There she is! There's what keeps me up at night Oh, gee whiz! Oh, gee whiz! There's why I can't eat a bite Those flaming eyes! That flaming youth! Oh, mister oh, sister, tell me the truth... Tell me where, tell me where Have you seen one just like that I declare, I declare That sure is worth looking at Oh, boy, how sweet those lips must be Gaze on it, doggonit! Now answer me Look who's here, Look who's here, There's a boy I'm mad about! Oh my dear, When he's near, I just feel like passin' out! So big and strong, So full of youth, Oh momma, Oh poppa, Tell me the truth! What a man, I'll say! How he can, hey-hey! Look him up, and down, There's the handsomest man in town! What a smile he's got, Get that style, it's hot! Me for him, no joke, I could love him if he was broke! 1927 I'm looking over a four-leaf clover That I overlooked before. One leaf is sunshine, the second is rain, Third is the roses that grow in the lane. No need explaining, the one remaining Is somebody I adore. I'm looking over a four-leaf clover That I overlooked before Dixon-Woods. 1927 Let’s misbehave. Cole Porter. Paris. 1927 me and my shadow strolling down the avenue, me and my shadow, not a soul to tell our troubles to and when it’s twelve o’clock, we climb the stair we never knock for nobody’s there. just me and my shadow all alone and feelin’ blue 1928 I've got a crush on you sweetie pie all the day and night-time give me sigh I never had the least notion that I could fall with so much emotion could you coo, could you care for a cunning cottage we could share the world will pardon my mush 'cause I have got a crush my baby on you. How glad the many millions of Annabelles and Lillians Would be to capture me But you had such persistence you wore down my resistance I fell and it was swell I'm your big and brave and handsome Romeo How I won you I shall never never know It's not that you're attractive But, oh, my heart grew active when you came into view. ------------------- Gershwin -- From: “Treasure Girl”. 1928 Some argentines without means do it. 1928 Lover come back to me From: “The New Moon”. 1928 World weary Noel Coward. From: “This year of Grace”, sung by Beatrice Lillie. 1929 Ain’t misbehaving. 1929 you were meant for me, I was meant for you nature fashioned you, and when she was done you were all those good things rolled into one you're like a plaintive melodee that never lets me be I’m content , the angels must have sent you and they meant you just for me Life was a song You came along I lay awake the whole night through If I should dare To think you care This is what I'd say to you Music by Nacio Herb Brown with lyrics by Arthur Freed, --- From: “The Hollywood Revue of 1929” 1928 Embrace me my sweet embraceable you Embrace me you irreplaceable you Just one look at you My heart grew tipsy in me You and you alone Bring out the gypsy in me I love all the many charms about you Above all, I want these arms about you Don't be a naughty baby Come to papa, come to papa do My sweet embraceable you ---- From “East is West: an operetta”. Gershwin. 1930 my heart is sad and lonely for you it sighs for you dear only why haven't you seen it I’m all for you body and soul I spend my days in longin' and wond’ring why it's me you're wronging I tell you I mean it I’m all for you body and soul I can't believe it it's hard to conceive it that you turn away romance are you pretending it looks like the ending unless I could have one more chance to prove, dear my life a wreck you're making you know I'm yours for just the taking I'd gladly surrender myself to you body and soul 1931 I don’t know why I love you like I do. I don’t know why you thrill me like you do I don’t know why you just 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, I just do. 1931 Hey folks here's the story 'bout Minnie the Moocher she was a red-hot hoocie coocher she was the roughest toughest rail but Minnie had a heart as big as a whale she messed around with a bloke named Smokie she loved him though he was cokey he took her down to Chinatown and showed her how to kick the gong around she had a dream about the king of Sweden he gave her things that she was needin' he gave her a home built of gold and steel a diamond car with platinum wheels he gave her his townhouse and his racing horses each meal she ate was a dozen courses had a million dollars worth of nickels and dimes she sat around and counted them all a million times 1931 Life is just a bowl of cherries Don’t make it serious, Life’s too mysterious. People are queer, they’re always crowing Bothering about Why don’t they take this way Why are we here We better It’s a holiday. 1932 In a shanty in old shanty town. --- From film, “The Crooner”, 1932 1932 She was only a fisherman’s s daughter No wonder dad was angry No wonder dad was wild She never had no father poor little orphan child Written and composed by the Western Brothers (Kenneth & George), 1932. 1931 I'm through with love, I'll never fall again. Said adieu to love, Don't ever call again. For I must have you or no one. And so I'm through with love. I've locked my heart, I'll keep my feelings there. I have stocked my heart, with icy, frigid air. And I mean to care for no one, Because I'm through with love. Why did you lead me to think you could care? You didn't need me for you had your share of slaves around you to hound you and swear with deep emotion and devotion to you. Goodbye to spring and all it meant to me It can never bring the thing that used to be. For I must have you or no one And so I'm through with love. I have given you my true love, But you love a new love. What am I supposed to do now With you now, you're through? You'll be on your merry way And there's only this to say: 1932 never thought I’d fall but when I hear you call I’m getting sentimental over you things you say and do just thrill me through and through I’m getting sentimental over you. I thought I was happy I could live without love, now I must admit love is all I'm thinking of. won't you please be kind and just make up your mind that you'll be sweet and gentle, be gentle with me cause I'm getting sentimental over you. Dorsey and his orchestra. 1932 I hear music when I look at you; a beautiful theme of ev'ry dream I ever knew. down deep in my heart I hear it play. I feel it start, then melt away. I hear music when I touch your hand; a beautiful melody from some enchanted land. down deep in my heart, I hear it say, is this the day? I alone have heard this lovely strain, I alone have heard this glad refrain: must it be forever inside of me, why can't I let it go, why can't I let you know, why can't I let you know the song my heart would sing? that beautiful rhapsody of love and youth and spring, the music is sweet, the words are true - the song is you. ------ From: “Music in the Air -- sung by Tullio Carminati 1933 Did you ever see a dream walking? Well, I did. Did you ever hear a dream talking? Well, I did. Did you have a dream thrill you With "Will you be mine?" Oh, it's so grand, And it's too, too divine! Did you ever see a dream dancing? Well, I did. Did a ever see a dream romancing? Well, I did! Did you see heaven right in your arms, Saying, "I love you, I do!" Well, the dream that was walking, And the dream that was talking, The heaven in my arms was you. From film, “Sitting pretty” 1933 they asked me how I knew my true love was true oh I of course replied something here inside cannot be denied tey said someday you'll find all who love are blind oh when your heart's on fire you must realize smoke gets in your eyes so I chaffed them and I gaily laughed to think they could doubt my love yet today my love has flown away I am without my love now laughing friends deride tears I can not hide oh, so I smile and say when a lovely flame dies smoke gets in your eyes From: “Roberta”. 1934 Cuando vuelva a tu lado No me niegues tus besos Que el amor que te he dado No podrás olvidar No me preguntes nada Que nada he de explicarte Que el beso que negaste Ya no lo puedes dar Cuando vuelva a tu lado Y estés sola conmigo Las cosas que te digo No repitas jamás, por compasión Une tu labio al mío Y estréchame en tus brazos Y cuenta a los latidos De nuestro corazón What a difference a day made twenty-four little hours brought the sun and the flowers where there used to be rain my yesterday was blue, dear today I'm part of you, dear my lonely nights are through, dear Since you said you were mine what a difference a day makes there's a rainbow before me skies above can't be stormy since that moment of bliss, that thrilling kiss it's heaven when you find romance on your menu What a difference a day made And the difference is you By Maria Grever and Stanley Adams 1934 are the stars out tonight? I don't know if it's cloudy or bright 'cause I only have eyes for you, dear the moon may be high but I can't see a thing in the sky 'cause I only have eyes for you. I don't know if we're in a garden or on a crowded avenue you are here, so am I maybe millions of people go by but they all disappear from view and I only have eyes for you ---- From film “Dames”. 1934 The very thought of you and I forget to do the little ordinary things that everyone ought to do I may be living in a daydream I’m happy as a king and foolish as it may seem the mere idea of you the longing here for you you never know how slow the hours pass 1935 They’re building flats where the arches used to be. From Film: “A fire has been arranged”. 1936 I’m a gloom one, it’s explainable I can’t get started. From “The Ziegfried follies of 1936” – first sung by Bob Hope. 1936 Be sure it’s true when you say, “I love you” It’s a sin to tell a lie Millions of hearts have been broken Just because these words were spoken I love you, yes I do, I love you. If you break my heart I’ll die So be sure it’s true When you say, I love you, It’s a sin to tell a lie. 1926 Ma il mio mistero e chiuse in me Il nome mio nessun spara Solo quando la luce splendera Sulla tua bocca lo diro fremente Ed il mio bacio sciogliera Il silenzio che ti fa mia. Puccini “Turandot”. 1929 At words poetic I’m so pathetic You’re the top. Cole Porter – From “Anything goes”. 1928 I built my hopes on mountains high There was no ceiling to my sky But I never dreamt you’d fall in love with me. “Will-o-the-Whispers”. 1929 I’ll see you again whenever Spring comes thru again Time may lie heavy between but what has been Is past forgetting this sweet memory across the years will come back to me Tho’ the world may go awry in my heart will ever lie Just the echo of a sigh, goodbye. Noel Coward. From: “Bitter Sweet”. 1929 Even when the darkest clouds are in the sky You mustn’t sigh and you mustn’t cry Just spread a little happiness as you go by, please try- From: “Mister Cinders”. 1936 Everytime it rains it rains pennies from heaven Don’t you realize each cloud contains pennies from heaven You’ll find your fortune falling all over town Be sure that your umbrella is upside down Trade them for a package of sunshine and flowers If you want the things you love you must have showers So when you hear it thunder don’t run under a tree There’ll be pennies from heaven for you and me. A long time ago a million years bc The best things in life were absolutely free. 1936 A cigarette that bears some lipstick’s traces An airline ticket to romantic places And still my heart has wings These foolish things remind me of you. 1932 The stately homes of England How beautiful they stand To prove the upper classes Have still the upper hand. Noel Coward -- From“Operette”. 1932 Hold my hand no matter what the weather Just you hold my hand we’ll walk thru life together For you’ll find in me that kind of a friend Who will see you thru to the end So if you’ll hold my hand we both shall walk more steady For understand you hold my heart already In that dreamland where I have planned That I shall hold your hand forever ----- ---- From “Hold my Hand” – West End Show. 1931 Got a date with an angel got to meet her at seven Got a date with an angel and I’m on my way to heaven She’s so lovely beside me and whatever betide me Got an angel to guide me and I’m on my way to heaven. From: “For the love of Mike”. 1937 She’s my lovely, my Venus and don’t you agree, sir? she’s my lovely serene as any Mona Lisa she’s the sunset hour when nothing looks grey she’s the one set hour I long for each day for she’s my lovely a hush that brings the pearly dawning she’s my lovely a thrush that sings at early morning and the loveliest thing about her, you see is she’s so lovely to me Ellis – Hide and Seek. Howes. 1937 rose of England thou shall fade not here proud and bright from growing year to year red shall thy petals be as wich wine untold shared by thy warriors who served thee of old rose of England breathing England’s air flower of chivalry beyond compare while hands and heart endure to cherish thy prime thou shalt blossom to the end of time. Hassall/Novello -- From: “Crest of the Wave”. Songs from 1939 we’re gonna hang out the washing on the Siegfried line have you any dirty washing, mother dear we’re gonna hang out the washing on the Siegfried line ‘cause the washing day is here. whether the weather may be wet or fine we'll just ride along without a care we're gonna hang out the washing on the Siegfried line If that Siegfried line's still there* Mother dear, I'm writing you from somewhere in France Hoping this finds you well. Sergeant says I'm doing fine - a soldier and a half Here's a song that we all sing This'll make you laugh... Michael Carr/ Jimmy Kennedy. Recorded by: Arthur Askey; Chas & Dave; Flanagan & Allen; The Two Leslies. 1939 Anytime you’re Lambeth way any evening any day You’ll find yourself doing the Lambeth walk Every little Lambeth gal with her little Lambeth pal You’ll find them all doing the Lambeth walk. 1940 I came, I saw, I conga'd I came, I saw, I conga'd It's plain to see you conquered me. Each time I shake a shoulder, I get a little bolder. A dance like this deserves a kiss. My sweet muchacha, when I gotcha in my arms This Cuban hotcha adds so mucha to your charms. The bongos beat the rhythm, maracas shake it with `em That Latin riff is too "terriff"; I came, I saw, I conga'd I came, I saw, I conga'd I can't dany it's got that I, yi, Conga, I, yi, Conga, I, yi, Conga, yi. ----- James Cavanaugh / John Redmond / Frank Weldon. 1941 although some people say he's just a crazy guy to me he means a million other things for he's the one who taught this happy heart of mine to fly he wears a pair of silver wings and though it's pretty tough, the job he does above I wouldn't have him change it for a king’s an ordinary fellow in a uniform of blue he wears a pair of silver wings I'm so full of pride when we go walking every time he's home on leave he with those wings on his tunic me with my heart on my sleeve but when I'm left alone and we are far apart I sometimes wonder what tomorrow brings for I adore that crazy guy who taught my happy heart to wear a pair of silver wings. 1941 That certain night the night we met there was magic abroad in the air the angels dancing at the Ritz and a nightingale sang in Berkeley square. 1944 maybe it’s because I’m a Londoner that I love London so maybe it’s because I’m a Londoner that I think of her wherever I go I get a funny feeling inside of me when walking up and down maybe it’s because I'm a Londoner that I love London town. Composed by Hubert Gregg on seeing the German Doodlebugs flying over London, which became a London folk anthem. 1941 there’ll be bluebirds over the white cliffs of Dover tomorrow just you wait and see there’ll be love and laughter and peace ever after tomorrow when the world is free the shepherd will tend his sheep the valley will bloom again and Jimmy will go to sleep in his own little room again I'll never forget the people I met Braving those angry skies I remember well as the shadows fell The light of hope in their eyes And though I'm far away I still can hear them say Bombs up... But when the dawn comes up 1939 you are the angel glow that lights a star the dearest things I know are what you are some day my happy arms will hold you and some day I'll know that moment divine when all the things you are, are mine time and again I've longed for adventure, something to make my heart beat the faster. what did I long for? I never really knew. finding your love I've found my adventure, touching your hand, my heart beats the faster, all that I want in all of this world is you. you are the promised kiss of springtime that makes the lonely winter seem long. you are the breathless hush of evening that trembles on the brink of a lovely song. Oscar Hammerstein II//Jerome Kern. “Very Warm for May”-- sung by Hiram Sherman, Frances Mercer, Hollace Shaw, and Ralph Stuart. 1939 We’ll meet again don’t know where don’t know when but I know we’ll meet again some sunny day keep smiling thru just like you always do till the far away so will you please say hello to the folks that I know tell them I won’t be long they’ll be happy to know that as you saw me go I was singing this song. 1939 Run rabbit run rabbit run run run We’ll give him fun fun fun. From: “The Little Dog Laughed”. 1941 Jenny made her mind up at thirty nine She would take a trip to the Argentine She was only on vacation but the latins agreed Jenny was the one who started the good neighbor policy. From: “Lady in the dark” 1942 Senorita Nina from Argentina Knew all the answers, although the friends. From: “Sigh no more” 1943 mairzy doats and dozy doats and liddle lamzy divey a kiddley divey too wouldn't you if the words sound queer and funny to your ear a little bit jumbled and jivey, sing mares eat oats and does eat oats and little lambs eat ivy I know a ditty nutty as a fruitcake Goofy as a goon and silly as a loon Some call it pretty, others call it crazy But they all sing this tune: Songs from 1947 I’ll remember I’ll remember When the time has come for happiness to pay Sad and sighing, old and dying I’ll remember how we loved our lovely day. From: “Blesss the bride” 1953 All we want is a room in Bloomsbury Just a room that will do for you and me I’ll sew the covers of two old cosy armchairs Neighbours will love us for We shall laugh at our cares While I’m reading a book I’ll cook a stew Then I’ll bake a plumduff enough for two In our attic we’ll be ecstatic as love birds up in a tree In a dear little room in Bloomsbury. Sandy Wilson. The Boy Friend. 1954 I left my heart in San Francisco high on a hill, it calls to me. to be where little cable cars climb halfway to the stars the morning fog may chill the air I don't care my love waits there in San Francisco above the blue and windy sea when I come home to you San Francisco your golden sun will shine for me! The loveliness of Paris seems somehow sadly gay the glory that was Rome is of another day I've been terribly alone And forgotten in Manhattan I'm going home to my city by the bay. Music by Cory, words by Cross, about two amateur writers nostalgic for San Francisco after moving to New York. Written for Claramae Turner, who used it as an encore. 1955 If I start looking behind me and begin retracing my track I’ll remind you to remind me We said we wouldn’t look back. Julian Slade. From: “Salad Days”. 1964 Who can I turn to when nobody needs me My heart wants to know and so I must go Where destiny leads me ----- ----- Bricusse-Newley; The roar of the greasepaint the smell of the crowd 1966 you coax the blues right out of the horn, Mame you charm the husk right off of the corn Mame you’ve got the manjoes strumming and plunkin’ out a tune to beat the band the whole planation is hummng since you brought Dixie back to Dixieland. Mame 1972 don't you realise we're living today I'm happy to say in the good old, bad old days taking the breaks and making mistakes in the good old, bad old ways some people say they long for the old days to take them way back when I'd sooner stay here with the gold days than go through that again seems to me you're out or you're in you lose or you win In these sad glad old days you're poor or you're rich who knows which is which anyways we’re living on time we're having to borrow No one knows if we live to see tomorrow never the less I guess we've gotta confess these are good old, bad old days day to day you either up or you're down a king or a clown in the good old, bad old days it's heaven or hell, hello or farewell In the good old, bad old days looking around the world that surrounds me I thank good god above for I have found one thing that astounds me the worlds still full of love and I realise that come rain or come shine that you'll survive all these crazy, mad old days in war or in peace they do never cease to amaze -- -- people will say when they look back at today those were the good old bad old days -------------------------------------------------------------------------------- Bricusse-Newley, The good old bad old days. 1975 One singular sensation every little step she takes one thrilling combination every move that she makes one smile and suddenly nobody else will do you know you'll never be lonely with you know who one moment in her presence and you can forget the rest for the girl is second best, to none, son oooh sigh give her your attention do I really have to mention she's the one she walks into a room and you know she's uncommonly rare, very unique peripatetic, poetic and chic she walks in to a room and you know from her Maddening poise, effortless whirl she's a special girl strolling, can't help all of her qualities extolling loaded with charisma is my jauntily, sauntering, ambling, shambler she walks into a room and you know you must shuffle along join the parade she's the quintessence of making the grade this is whatcha call trav'ling oh strut your stuff! can't get enough, of her, love her I'm a son-of-a-gun, she is one-of-a-kind. ---------------------------------------------------------------------------------------------------From A “Chorus Line” 1977 REPRISE: O we’ve been content ----------------------------------------------we’re going back tho’ we never had a cent -------------------------------------------to the homely little shack because I had you and you had me -------------------------------on the sunny side of any street and all the troubles and care --------------------------------------we’ve been too long seemed so much less hard to bear --------------------------------from the laughter and the song cause we shared them in each other’s companee -------------that we’ll share with all the folks we’re going to meet throught the we’ve been true -------------------------------------there is a lady sitting there to one another just we too----------------------------------------with shining eyes and silver hair but now the rainbow’s in the blue -------------------------------and when she offers me a chair the sun will soon be shining thru --------------------------------I’m going to feel a millionaire and tho we too often strayed -------------------------------------and thou we traveled around from the sunlight to the shade ------------------------------------now’s the time to settle down together we shall never more roam -----------------------------and when we’re there we’ll never more roam from the hearth of home sweet home. Tho’ we’ve been far from Sunnyside lane You never heard us complain And now that we’re do and out of the rain You’ll never see us again And once we’re d Howdy guys When mister blues is on the run You’ll find us greet us mster sun Nichols/King. Privates on parade 1977