Annals of Song

Speranza 1580. Henry VIII. GREENSLEEVES was all my joy/Greensleeves was my delight/Greensleeves was my heart of gold/and who but my lady Greensleeves. Alas my love ye do me wrong to cast me off discourteously and I have loved you so long delighting in your company. A broadside ballad by the name of "Greensleeves" 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. C. Marlowe. 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. 1608. Monteverdi, ADRIANNA. LASCIATEMI MORIRE. 1616. B. Jonson, VOLPONE. 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. 1648. Cavalli, DELIZIE CONTENTE. 1648. Herrick, from "Hesperides". 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. 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. 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 BARBARA ALLEN. Farewell she said, ye virgins all. 1680. Legrenzi, ETEOCLE E POLINICE. CHE FIERO COSTUME. Gia il sole dal Gange. Scarlatti, “Li amori sfortunati”. When I am laid am laid on earth/Remember me but forget my fate/Henry Purcell, “Dido and Aeneas: an opera” 1682. Lasciati di piagarmi Scarlatti,POMPEO. 1701. Sebben crudele. Caldara, “Aminta” 1709. 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. 1711. For auld lang syne, my jo/for auld lang syne,/we’ll tak a cup o’ kindness yet,/for auld lang syne. 1723. Per la Gloria d’adorarvi. Bononcini, GRISELDA 1727. E sia di primavera/d’ogni gioir foriera/il nostro canto. Vivaldi, “Dorilla in Tempe” 1728. Let us take the road. Gay, The Beggar’s Opera. 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. I shall love you all the day/Every day we’ll kiss and play/If we never stray/Over the hills and far away . 1733. Ombra mai fu di vegetabile cara ed amabile soave non piu. Handel, Serse 1744. Rule, Britannia, Britannia rule the waves Britons never shall be slaves. 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. 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. Premiered on the 9th March, 1748 at the Covent Garden Theatre, London. 1759. Garrick/Boyce: 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. 1768. Gluck, Orfeo. 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. 1780. C. Didbin. 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. Written on the death of his eldest brother Captain Thomas Dibdin at whose invitation he had planned his visit to India. 1786. Da Ponte/Mozart, "Don Giovanni". 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. 1787. O don’t deceive me/o never leave me/how could you use/a poor maiden so. 1789. Da Ponte/Mozart. Cosi fan tutte: 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. 1799. Weigh heigh and up she rises -- early in the morning. This shanty is believed to originate in 1799 , when ships' crews were sufficiently large to permit hauling a rope whilst simply marching along the deck 1799. Mozart, Il flauto magico: "O cara imago e senza egual/Non v’a simil idea mortal/Io sento nel petto Un ignoto celeste moto m’agita il cor." 1802. T. Oliphant, "The Bardic Museum": "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." 1804. W. Blake, "Milton": "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." 1813. Planes/Parera. Oíd, mortales, el grito sagrado/libertad, libertad, libertad/Oíd el ruido de rotas cadenas.ved en trono a la noble igualdad/Ya su trono dignísimo abrieron/las Provincias Unidas del Sud/y los libres del mundo responden/al gran pueblo argentino, salud/sean eternos los laureles/que supimos conseguir/coronados de gloria vivamos/o juremos con gloria morir. 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. 1816. Rossini, "Il barbiere di Seviglia". Ecco ridente in cielo/spunta la bella aurora/E tu non sorge ancora E puo dormir cosi/Viene la dolce speme/Vieni bell’idolo mio/Rendi men crudo, o dio/Lo stral che me feri. 1823 Bishop: "Clari, the maid of Milan": Home, home,/sweet sweet home/there’s no place like home/there’s no place like home. 1823. Webber, "L'arciero": "Lieto il prato il colle il bosco./Io scorreva in altri di/Tuto addesso tuto e fosco/Ogni luci dispari. 1826. R. Heber. Holy holy holy/lord God almighty/early in the morning our song shall rise to thee/holy holy holy merciful and mightyGod in three persons blessed trinity. 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. Donizetti, "L'elisir d'amore". 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. 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. 1835. Bellini, "I puritani". Creadeasi misera/da me tradita/Traea su vita/in tal martir/O sfido il fulmine/disprezzo il fato/Si teco alato/potro morir. 1835. Donizetti, "Lucia di Lammermoor". 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/Se divisi fuimo in terra/ne conjunga il nume in ciel. 1836. Donizetti, "La favorita del re": Spirto gentil/de sogno meie/Brillasti un di/ma te perdei/Larve de amor. 1837. Donizetti, "La figlia del reggimento": O destin o tal favor/La sua mano e eil mio cor. 1841. From "Vocal Melodies of Scotland": 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'. 1842. Verdi, "Nabuccodonosor": "O t'ispiri il Signore un concento che ne infonda al patire virtù. 1843. Verdi, "I lombardi alla prima crociata": O fresche aure. volanti sui vaghi/ruscelletti dei prati lombardi/fonti eterne ! Purissimi laghi!/o vigneti indorati di sole 1844. Verdi, "Ernani": Sorga alfine radiante di gloria/sorga un giomo a brillare su noi/sarà Iberia feconda d'eroi/dal servaggio redenta sarà. Donizetti, "Don Pasquale": 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. 1847. Lyte. 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. 1847. C. Alexander. There is a green hill far away/outside a city wall/where the dear Lord was crucified/who died to save us all. O Susannah o don't you cry for me/for I come from Alabama with a banjo on my knee. 1848. Flotow: "Marta": "Marta, Marta tu sparisti/e il mio cor col tuo n'ando!/Tu la pace mi rapisti,/di dolor io morirò." 1849. Cottreau. Comme se frícceca la luna chiena/lo mare ride ll'aria è serena/e' pronta e lesta la varca mia Santa Lucia, Santa Lucia. 1850. Wagner, "Il cavaliere del cigno": "Resta a godere coppia fedele/Dove la gioie ti serba amor Eterno ben nel ostel 1851. Verdi, "Rigoletto, ossia il Duca di Mantova": "La donna e mobile qual piuma al vento/muta d’accento e di pensiero/sempre un’amabile leggiadro viso /in pianto in riso e mezognero. 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. The song has a long history: ancestral versions were known in Civil War times.. 1853. Verdi, "Il trovadore": "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. "La traviata; ossia la signora dalle camelie": "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 1856. Gounod, "Fausto": "Salve o casta e pia dimora/Di colei che m’innamora 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 1858. Linley/Foley. Ever of thee I'm fondly dreaming/thy gentle voice my spirit can cheer/thou wert the star that mildly beaming/shone o'er my path when all was dark and drear/still in my heart thy form I cherish/ev'ry kind thought like a bird flies to thee/h! never till life and mem'ry perish/can I forget how dear thou art to me/morn, noon and night where-e'er I may be/fondly I'm dreaming ever of thee. 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. 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. 1868. J. Winner. Ha ha ha/you and me/little brown jug/don't I love thee 1870. Bring back bring back, bring back my bonnie to me to me. The origin of the song is unknown, but people were requesting the song at sheet music stores in the 1870s. 1871. Verdi, "Aida". Celeste Aïda, forma divina/mistico serto di luce e fior/del mio pensiero tu sei regina/tu di mia vita sei lo splendor/il tuo bel cielo vorrei ridarti/Le dolci brezze del patrio suol/un regal serto sul crin posarti/ergerti un trono vicino al sol. 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. 1875. Bizet, "Carmen". Il fior che avevi a me gitato. Gilbert/Sullivan, "Trial by jury": But this he is willing to say if it will appease her sorrow/He’ll marry this lady today and marry the other tomorrow. 1877. Gilbert/Sullivan, "HMS Pinafore": "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. 1877. Procter/Sullivan. 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. 1878. Gilbert/Sullivan, "Pirates". When a felon’s not engaged in his engagement 1880. Turco/Denza. Aieressera, oì Nanninè me ne sagliette/tu saie addò/addò 'stu core 'ngrato cchiù dispietto/farme nun pò/addò lo fuoco coce ma si fuie/te lassa sta/e nun te corre appriesso nun te struie/sulo a guardà/Jamme jamme 'ncoppa jamme jà/funiculì funiculà. Cowan. 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. 1881. Gilbert/Sullivan, "Patience". 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 way. Then steadily shoulder to shoulder/Steadily blade by blade!/Ready and strong, marching along/Like the boys of the old Brigade! 1883. Alive alive o alive alive o/crying cockles and mussels/alive alive o. 1884. Bingham/Molloy. 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, comes love's old SWEET song. 1885. G. Ware, for Nelly Power. 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. 1886. W. Jerome, for his wife, Maude Nugent. 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. C. Coborn, Paragon Theatre, Mile End Road, Two lovely black eyes/o what a surprise/only for telling a man he was wrong. 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. 1888. Gilbert/Sullivan, "Ruddygore": 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 free/For the pretty little flower and the great oak tree. 1890. Mascagni, "Cavalleria rusticana": O pietosa tu che sufristi tanto/vedi o vedi il mio penar/nell’ cruele ambasce d’un infinito pianto/Deh no m’abbandonar. 1891. Harris, "A trip to Chinatown". 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. 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. From "A Gaiety Girl: a musical comedy". 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!. 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. Leoncavallo, "Pagliacci": Ridi pagliaccio sul tuo amore infranto ridi del duol che t'avvelena il cor. F. Gilbert. 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. Weatherly/Maybrick. Jerusalem, Jerusalem/sing for the night is o'er/Hosanna in the highest/hosanna for evermore. 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. Chevalier & Chevalier. 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. 1895. Sidney Jones, "The Geisha". 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. 1896. Puccini, Scene della vita di boemia: Talor del mio forziere rubban tutti i gioelli due ladri gli occhi belli. 1898. Barrett. 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. Cobb/Barnes, for the Spanish war. 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. A Runaway girl: 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. Capurro/Di Capua/Alfredo Mazzucchi (1878–1972). CHE BELLA COSA NA JURNATA 'E SOLE/n'aria serena doppo na tempesta/pe' ll'aria fresca pare giá na festa/che bella cosa na jurnata 'e sole/ma n'atu sole/cchiù bello, oje né/'o sole mio/sta 'nfronte a te/'o sole/'o sole mio/sta 'nfronte a te/sta 'nfronte a te. 1899. She'll be coming 'round the mountain when she comes/when she comes. Barret, "Florodora". 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! 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. Puccini, "Tosca". 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. 1901. Teresa del Riego. 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. "Bluebell in Fairyland". 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. L. Hope, "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?/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. 1902. Benson/Elgar. 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. Cannon. 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. Edward German, "Merrie England". 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. Walter Raleigh’s Aria. 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! 1903. Villoldo, "The corn cob, premiered at "El Americano", on 966 Cangallo, w/Roncallo's orchestra. 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.Mills/Castling. 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. Mr. Pottipher, Ingrave, Essex. 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. 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. J. England, Hambridge, Somerset. 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. 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. 1904. Madden/Morse. 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. Puccini, "Madama Butterfly". O dolce notte quante stele/non la vidi mai si belle. Dix/Barron. 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'." Chick chick will you marry me chick. From: “The Country Girl” 1905 Weatherly, Thora. J. Taylor, Brigg, Lincolnshire. It was on the fifth of August-er/the weather fine and fair/unto Brigg Fair I did repair for love I was inclined./For it's meeting is a pleasure, and parting is a grief, but an inconstant 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. 1906. "Our Miss Gibbs". 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! -- Leigh/Pether. 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. Lehar/Fontana, "La vedova allegra". 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. 1907. I’ve a little pink petty from Peter. From: “Miss Hook of Holland”. M. Sheridan. 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. 1908. Collins/Godfrey. 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. Hartford/Marshall. 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. Cecil Spring-Rice/Holst. 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. 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. Has anybody here seen Kelly/K – E- double L – Y/Tell me if you can. J. Norworth, "The Ziegfield Follies". 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. Illica/Panizza, "Aurora". 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. 1909. Follow follow follow 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”. 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”. Carrie Jacobs-Bond. 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? Lillian Lorraine. 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. 1910. Young/Olcott/Ball. 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. Weatherly. 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. When a bad bad boy like me/meets a good good girl like you. From: “The Quaker Girl”. Yes we will come to the ball. From: “The Quaker Girl”."The Quaker Girl". When a bad bad boy likes me meets a good good girl like you/well the girl may turn away and say/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. 1911. Newton/Tate. Night and the stars are gleaming/tender and true/dearest, my heart is dreaming/dreaming of you. 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. 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! Strauss, Il cavaliere della rosa. 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. 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. 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 From "The Honeymoon Express: a revue", Broadway. You made me love you. /I didn’t want to do it/I didn’t want to do it You made me love you. 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. 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.' Weatherly/Sanderson. Tell me tell me where are you sailing/Shipmates o’mine. You made me love you I didn’t want to do it. 1914. God be with our boys tonight. Sanderson. 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. Weston/Darewski. 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. There’s a long long trail awinding into the land of your dreams/Where the nightingales are singing and the pale moon beams. "The Girl from Utah": And when they ask us, how dangerous it was/O 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/O we'll never tell them, oh, we'll never tell them/There was a front, but damned if we knew where. Ford/Novello. 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. 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. 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. 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. 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. Wood/Weatherly. 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. "Chu Chin Chow". 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. "The Bing Boys are Here". 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. 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. 1917. Noel Coward. Ev’ry peach/out of reach/is attractive. 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. 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. Salmon/Del Riego. All things come home at eventide/like birds weary of their roaming/and I would hasten to thy side/Homing. "The maid of the mountains". 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. 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/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. 1918. Puccini, "Gianni Schicchi". 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. 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/O 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. Sung in London on 11 Nov., Armistice Night. 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. Penn. 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. "The Passing SHow of 1918" Helen Carrington. 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. 1919. Collins/Leigh. 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/dallied 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. 1921. I’m the sheik of Araby. ---- Inspired by Valentino, “The sheik”. "A to Z". Furber/Brahman. Duetto Gertrude Lawrence/Jack Buchanan. O Limehouse kid o o o limehouse kid/Doing the same that the others did./Limehouse blues. 1922. Bennett/Wood. 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. 1924. Everybody loves my baby/but my baby don’t love nobody but me. Parisian Pierot the rue of the day the rue the la Paix is under your sway The As soon as the clock turns one. Friml, "Rose Marie" 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. "Show business". 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. 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. Campbell/Connelly. 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/whereever I may roam/on land or sea or foam/you will always hear me singing this song/show me the way to go home. 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/ellas she can't get/must be fellas she ain't met/Georgia claimed her, Georgia named her/Sweet Georgia Brown. "No, no, Nanette". 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. Kahn/Donaldson. 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. 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. Weintrop/Allen. 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. Wright/Sternadale Bennett, Wateringbury, Kent. 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. Barrie/Coates. 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. 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/o what hard luck stories they all hand me/make my bed and light the light/I'll arrive late tonight,Blackbird, bye, bye. Woods. 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. Puccini, TURANDOT. 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. 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? Dixon/Woods. 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. Cole Porter, "Paris". Let’s misbehave. 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. Vejvoda. 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. Sanders/Vedani/Cochran. 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. 1928. Gershwin, "Treasure Girl". 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. Cole Porter, "Let's do it". Some argentines without means do it. "The New Moon". Lover, come back to me. Noel Coward, "This Year of Grace", Beatrice Lillie. World weary. Gershwin, "East is West: an operetta". 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. WILL-O-THE-WHISPERS. 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. 1929. Ain’t misbehaving. Freed/Brown, "The Hollywood Revue of 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. At words poetic I’m so pathetic. You’re the top. Cole Porter – From “Anything goes”.Noel Coward, BITTER SWEET. 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. MISTER CINDERS, a musical comedy. 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. 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. "The gold diggers of Broadway: a film". 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 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. FOR THE LOVE OF MIKE. 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. 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 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. 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. 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. Noel Coward, OPERETTE. THE STATELY HOMES OF ENGLAND/how beautiful they stand/To prove the upper classes/Have still the upper hand. HOLD MY HAND, West End musical comedy. 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. Dorsey and his orchestra. 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. From "Music in the Air", Tenor: Tullio Carminati. 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 film, "The Crooner", In a shanty in old shanty town. 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. 1933. From film "Sitting pretty". 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 "Roberta". They asked me how I knew/my true love was true/oh I of course replied/something here inside cannot be denied/they 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. 1934 Grever/Adams. WHAT A DIFF'RENCE 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 made 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. Film DAMES. 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. 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. From film, "A fire has been arranged". They’re building flats where the arches used to be. From film "Top Hat" w/G. Rogers and F. Astaire. Berlin. Heaven, I'm in heaven. Cheek to cheek. Heaven... I'm in heaven,And my heart beats so that I can hardly speak. And I seem to find the happiness I seek, When we're out together dancing cheek to cheek. Heaven... I'm in heaven, And the cares that hung around me through the week, Seem to vanish like a gambler's lucky streak, When we're out together dancing cheek to cheek. Oh, I love to climb a mountain, And to reach the highest peak. But it doesn't thrill me half as much As dancing cheek to cheek. Oh, I love to go out fishing In a river or a creek. But I don't enjoy it half as much As dancing cheek to cheek. Dance with me! I want my arms about you. The charms about you Will carry me through to... Heaven... I'm in heaven, And my heart beats so that I can hardly speak. And I seem to find the happiness I seek, When we're out together dancing cheek to cheek. 1936. THE ZIEGFRIED FOLLIES OF 1936. Bob Hope. I’m a gloom one, it’s explainable I CAN'T GET STARTED WITH YOU. 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. 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 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). 1937. V. Ellis, HIDE AND SEEK B. Howes. 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. Hassall/Novello, CREST OF THE WAVE. 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. 1938. Warren/Mercer, from film "Hard to Get", sung by D. Powell. You must have been a beautiful baby/you must have been a wonderful child/when you were only starting to go to kindergarten/I bet you drove the little boys wild/and when it came to winning blue ribbons/you must have shown the other kids how/I can see the judges' eyes as they handed you the prize/You must have made the cutest bow/you must've been a beautiful baby/'cause baby look at you now. 1939. Carr/Kennedy. Arthur Askey, the two Leslies, Flanagan/Allen, Champ and Dave. 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. Noel Gay, "Me and My Girl", Staney Lupino, Lupino Lane. 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. Hammerstein/Kern, VERY WARM FOR MAY. Hiram Sherman, Frances Mercer, Hollace Shaw, and Ralph Stuart). 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 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. 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. THE LITTLE DOG LAUGHED. RUN RABBIT RUN/rabbit run run run/We’ll give him fun fun fun. 1940. Cavanaugh/Redmond/Weldon. 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./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. 1941. Maschwitz/Carr. 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. 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.There’ll be blue birds 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.LADY IN THE DARK. The saga of Jenny. 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. 1942. Noel Coward, SIGH NO MORE. SENORITA NINA/from Argentina/Knew all the answers, although the friends. 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. 1944. Gregg (on seeing the German Doodlebugs flying over London). 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. 1945. Piaf. Quand il me prend dans ses bras/il me parle tout bas/je vois la vie en rose/il me dit des mots d'amour/des mots de tous les jours/et ca me fait quelque chose/il est entre dans mon coeur/une part de bonheur/dont je connais la cause/c'est toi pour moi. Moi pour toi/Dans la vie/Il me l'a dit, l'a jure pour la vie/et des que je l'apercois/Alors je sens en moi/Mon coeur qui bat. 1947. Herbert/Ellis, BLESS THE BRIDE. 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. 1953. Galbraith, THE BOY FRIEND. 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. 1954. Cross/Cory, for Claramae Turner. 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. 1955. Slade, SALAD DAYS. 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. 1964. Bricusse-Newley, THE ROAR OF THE GREASEPAINT, THE SMELL OF THE CROWD. WHO CAN I TURN TO WHEN NOBODY NEEDS ME/my heart wants to know and so I must go/Where destiny leads me. 1966. MAME. 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. 1968. Tim Rice/Andrew Lloyd Webber, "Joseph and the amazing technicolor dreamcoat". Colet Court, London. Close every door to me/hide all the world from me/bar all the windows/And shut out the light/Do what you want with me/Hate me and laugh at me/Darken my daytime/And torture my night/If my life were important/I would ask will I live or die/But I know the answers lie/Far from this world/Close every door to me/Keep those I love from me/Children of Israel/Are never alone/For I know I shall find/My own peace of mind/For I have been promised/A land of my own. 1969. From film "Butch Cassidy and the Sundance Kid". Hal David and Burt Bacharach. Raindrops keep fallin' on my head/and just like the guy whose feet are too big for his bed/nothin' seems to fit/those raindrops are fallin' on my head, they keep fallin'/so I just did me some talkin' to the sun/and I said I didn't like the way he got things done/sleepin' on the job/those raindrops are fallin' on my head, they keep fallin'/but there's one thing I know/the blues they send to meet me won't defeat me/it won't be long till happiness steps up to greet me/raindrops keep fallin' on my head/but that doesn't mean my eyes will soon be turnin' red/cryin's not for me/'cause I'm never gonna stop the rain by complainin'/because I'm free/nothin's worryin' me. Luna/Ramirez. Por la blanda arena que lame el mar/su pequeña huella no vuelve mas/un sendero solo de pena y silencio llego/hasta el agua profunda/un sendero solo de penas mudas llego/hasta la espuma/Sabe dios que angustia te acompaño/que dolores viejos callo tu voz/para recostarte arrullada en el canto/de las caracolas marinas/la cancion que canta en el fondo oscuro del mar/la caracola/te vas alfonsina con tu soledad/que poemas nuevos fuiste a buscar/una voz antigua de viento y de sal/te requiebra el alma y la esta llevando/y te vas hacia alla como en sueños/dormida, alfonsina, vestida de mar/cinco sirenitas te llevaran/por caminos de algas y de coral Y fosforecentes caballos marinos haran/una ronda a tu lado/y los habitantes del agua van a jugar/pronto a tu lado/bajame la lampara un poco mas/dejame que duerma nodriza en paz/y si llama el no le digas que estoy/dile que alfonsina no vuelve/y si llama el no le digas nunca que estoy/di que me he ido. 1971. Tim Rice/Andrew Lloyd Webber, "Jesus Christ Superstar: an oratorio, Mark Hellinger Theatre. I don't know how to love him/what to do, how to move him/I've been changed, yes really changed/in these past few days, when I've seen myself, I seem like someone else/ I don't know how to take this/I don't see why he moves me. He's a man. He's just a man/And I've had so many men before/In very many ways, He's just one more/Should I bring him down?/should I scream and shout?/Should I speak of love,/Let my feelings out?/I never thought I'd come to this/What's it all about?/Don't you think it's rather funny/I should be in this position/I'm the one who's always been/so calm, so cool, no lover's fool/running every show/he scares me so. Yet, if he said he loved me/I'd be lost. I'd be frightened/I couldn't cope, just couldn't cope/I'd turn my head. I'd back away/I wouldn't want to know/He scares me so/I want him so/I love him so. 1972. Gilbert O'Sullivan. In a little while from now/if I'm not feeling any less sour I promise myself to treat myself/and visit a nearby tower/and climbing to the top/will throw myself off/in an effort to/make it clear to whoever/wants to know what it's like/when you're shattered/left standing in the lurch at a church/were people saying, My God, that's tough/She stood him up/no point in us remaining/we may as well go home/as I did on my own/ALONE AGAIN, NATURALLY/to think that only yesterday/I was cheerful, bright and gay/looking forward to who wouldn't do/the role I was about to play/but as if to knock me down/reality came around/and without so much as a mere touch/cut me into little pieces/leaving me to doubt/talk about, God in His mercy/Oh, if he really does exist/why did he desert me/in my hour of need/I truly am indeed/alone again, naturally/it seems to me that/there are more hearts/broken in the world/that can't be mended/left unattended/what do we do/what do we do/alone again, naturally/looking back over the years/and whatever else that appears/I remember I cried when my father died/never wishing to hide the tears/and at sixty-five years old/my mother, God rest her soul/couldn't understand why the only man/she had ever loved had been taken/leaving her to start/with a heart so badly broken/despite encouragement from me/no words were ever/and when she passed away/I cried and cried all day/alone again, naturally/alone again, naturally. Bricusse/Newley. THE GOOD OLD BAD OLD DAYS, London. 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 1975. A CHORUS LINE. 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. 1977, Nichols/King, PRIVATES ON PARADE. WE'RE GOING BACK TO THAT HOMELY LITTLE SHACK/on the sunny side of any street we’ve been too long/from the laughter and the song that we’ll share with all the folks we’re going to meet/there is a lady sitting there/with shining eyes and silver hair/and when she offers me a chair/I’m going to feel a millionaire/and tho' we traveled around now’s the time to settle down/and when we’re there we’ll never more roam/from the hearth of home sweet home. 1978. Tim Rice/Andrew Lloyd Webber, "Evita", Prince Theatre, London. Please, gentle Eva, will you bless a little child/for I love you--tell Heaven I'm doing my best/I'm praying for you, even though you're already blessed/Please, mother Eva, will you look upon me as your own?/Make me special, be my angel, be my everything wonderful perfect and true/And I'll try to be exactly like you/Please, holy Eva, will you feed a hungry child?/For I love you--tell Heaven I'm doing my best/Get them while they're young, Evita, get them while they're young/I'm praying for you, even though you're already blessed. 1984. Andrew Lloyd Webber, "Starlight Express". Only you have the power within you/just believe in yourself, the sea will part before you/stop the rain, turn the tide/if only you use the power within you/needn't beg the world to turn around and help you/If you draw on what you have within you/Somewhere deep inside/Starlight express, you must confess/Are you real, yes or no?/Starlight express, answer me yes I don't want you to go/Rusty, you're blind, look in your mind/I'm there, nothing's new The Starlight Express is no more, nor less/Than you, Rusty, I am you.