Melopea -- Annali della Canzone

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.

1582. Vincenzo Galilei, Lamento d'Ugolino della Gherardesca (tratto del Dante) Firenze, Palazzo Pitti, Firenze.
TRA I TRADITORI POSCIA CHE FUMMO AL QUARTO DI VENUTI
Gaddo mi si gettò disteso a’ piedi
e disse: “Padre mio, ché non m’aiuti?
Quivi morì; e come tu mi vedi
vid’io cascar li tre ad uno ad uno
tra il quinto dì e’l sesto; ond’io mi diedi
già cieco, a brancolar sovra ciascuno
e due dì li chiamai, poi che fur morti
poscia, più che il dolor, poté il digiuno.
Quand’ebbe detto ciò, con li occhi tort
riprese ‘l teschio misero co’ denti
che furo a l’osso, come d’un can, forti.

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.

1600. Rinuccini/Peri, Orfeo. Palazzo Pitti, Firenze
NEL PURO ARDOR DELLA PIU BELLA STELLA
aurea facella
di bel foco accendi
e qui discendi
su l'aurate piume
giocondo nume
e di celeste fiamma
l'anime infiamma.
Cavalli, ANIMA E CORPO, Roma.
Ahi, chi mi dà consiglio
a qual di due m'appiglio
l'anima mi conforta
il senso mi trasporta
la carne mia mi tenta
l’eterno mi spaventa
misero che far deggio
attaccarommi al peggio
no, no che non è giusto
per un fallace gusto
per breve piacer mio
perder 'l ciel, la vita eterna, e dio
sicché ormai alma mia
con teco in compagnia
cercarò con amore
il ciel, la vita eterna, e ’l mio signore.

1607. Steggio/Monteverdi, L'Orfeo, Mantova.
TU SE' MORTA, MIA VITA, ED IO RESPIRO
tu se’ da me partita
per mai più non tornare, ed io rimango
 o, che se i versi alcuna cosa ponno
n’andrò sicuro a’ più profondi abissi
e intenerito il cor del re de l’ombre
meco trarrotti a riveder le stelle
o se ciò negherammi empio destino
rimarrò teco in compagnia di morte
a dio, terra; a dio, cielo; e sole, a dio.

1608. Monteverdi, Adrianna. LASCIATEMI MORIRE e che volete che mi conforte in così dura sorte, in così gran martire.

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.

1624. Torquato Tasso/Claudio Monteverdi, Il combattimento di Tancredi e Clorinda (dal Canto IV della Gerusalemme liberata) Venezia.
NOSTRA AVENTURA E BEN CHE QUI S'IMPIEGHI
tanto valor, dove silenzio il copra
ma poi che sorte rea vien che ci neighi
e lode e testimon degni de l’opra
pregoti se fra l'armi han loco i preghi
che'l tuo nome e'l tuo stato a me tu scopra
acciò ch’io sappia, o vinto o vincitore
chi la mia morte o vittoria onore

1648 Herrick, 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.

1649. Cavalli, Giasone.
DELIZIE CONTENTE che l'alma beate
fermate su questo mio core
deh più deh più non stillate
le gioie d'amore delizie mie care
fermatevi
qui non so più bramare
mi basta così
in grembo agli amori fra dolci catene morir
morir mi conviene
dolcezza omicida a morte,
a morte mi guida,
mi guida
in braccio al mio bene.

1653. Cavalli. Elena rapita da Teseo, Venezia.
SOSPIRI DI FOCO
aurette legere
che l’aure infiammate
che udite il mio duolo
leggeri volâte
portâtevi a volo
intorno al mio bene
al sen di chi adoro
e l’aspre mie pene
e dite ch’io moro
narrategli un poco
in doglie severe
sospiri sospiri di foco
aurette aurette leggere
sospiri sospiri di foco
aurette aurette leggere.
1656. Antonio Cesti. L'Orontea, Venezia. Floridano, principe di Fenicia, tenore (Cesti).
INTORNO ALL'IDOL MIO SPIRATE
al mio ben che riposa pur spirate
su l’ali della quiete aure aure soavi e grate
grati grati sogni assistete e nelle guancie elette
e il mio racchiuso ardore baciatela per me
svelate gli per me cortesi cortesi aurette
o larve o larve d’amore e nelle guancie elette
e il mio riacchiuso ardore baciatelo per me
svellate gli per me baciatela per me
svellate gli per me cortesi cortesi
o larve o larve baciatelo per me
d’amor d’amor.

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 and shun the fault I fell in henceforth take warning by th fall of cruel Barbara Allen.

1680. Legrenzi, Eteocle e Polinice.
CHE FIERO COSTUME
d'aligero nume
che a forza di pene
si faccia adorar
e pur nell' ardore
 il dio traditore
un vago sembiante
mi fe' idolatrar
che crudo destino
che un cieco bambino
con bocca di latte
si faccia stimar
ma questo tiranno
con barbaro inganno
entrando per gli occhi
mi fe' sospirar.
Scarlatti, Li amori sfortunati.
GIA IL SOLE DAL GANGE
già il sole dal Gange
già il sole dal Gange
già il sole dal Gange
più chiaro, più chiaro sfavilla Più chiaro sfavilla più chiaro, più chiaro sfavilla e terge ogni stilla dell'alba che piange dell'alba che piange, dell'alba che piange dell'alba che piange, col raggio dorato col raggio dorato ingemma, ingemma ogni stelo e gli astri del cielo dipinge del prato.
Purcell, Dido and Aeneas: an opera.
WHEN I AM LAID am laid ON EARTH
may my wrongs create no trouble
no trouble in thy breast
remember me, remember me
but ah forget my fate
remember me
but ah forget my fate.
1682. Scarlatti, Pompeo.
O CESSAGE DI PIAGARMI
o lasciatemi morir
o lasciatemi morir.
luc'ingrate
dispietate,
luc'ingrate
dispietate
più del gelo e più del marmi
fredde e sordea' miei martir,
fredde e sordea' miei martir.
o cessate di piagarmi
o lasciatemi morir
o lasciatemi morir
più d’un angue, più d’un aspe
crudi e sordi a’ miei sospir
luc’ ingrate
dispietate
luc'ingrate
dispietate
occhi alteri, ciechi e fieri
più del gelo e più de' marmi 
voi potete risanarmi
fredde e sorde a’ miei martir.
e godete al mio languir
fredde e sorde a’ miei martir
o cessate di pagarmi
o lasciatemi morir
o lasciatemi morir
o cessate di pagarmi
o lasciatemi morir
o lasciatemi morir.
luc' ingrate dispietate
luc'  ingrate
dispietate
piu del gelo e piu de’ marmi
fredde e sorde a’ miei martir
fredde e sorde a’ miei martir
 o cessate di piagarmi
o lasciatemi morir
o lasciatemi morir.

1701. Tasso-Caldara, Aminta. SEBBEN CRUDELE mi fai languir sempre fedele sempre fedele ti voglio amar con la lunghezza del mio servir la tua fierezza saprò stancar,

1709. Malplaquet. FOR HE'S A JOLLY GOOD FELLOW and so say all of us.

1711. R. Burns, FOR AULD LANG SYNE my jo/for auld lang syne,/we’ll tak a cup o’ kindness yet,/for auld lang syne.
* Rossi-Hill-Handel, Rinaldo. LET US TAKE THE ROAD.

1715. Scarlatti, Il Tigrane, Napoli.
SENTO NEL CORE CERTO DOLORE certo dolore
che la mia pace turbando va
nel core nel core sento nel core certo dolore certo dolore
che la mia pace turbando va
che la mia pace turbando va
splende una face che l'alma accende
se non è amore amor sarà
amor amor sarà
splende una face, che l'alma accende
se non è amore, amor sarà
se non è amore, amor sarà
sento nel core certo dolore, certo dolore
che la mia pace turbando va
nel core nel core sento nel core certo dolore certo dolore che la mia pace turbando va che la mia pace turbando va. Scarlatti.
1723. Boccaccio-Bononcini, Griselda.
PER LA GLORIA D'ADORARVI
voglio amarvi o luci care
amando penero
ma sempre v'amerò
sì, sì, nel mio penare
penerò v'amerò
luci care
senza speme di diletto vano affetto è sospirare
ma i vostri dolci rai chi vagheggiar può mai e non
e non v'amare.

1727. Vivaldi, Dorilla. E SIA DI PRIMAVERA d'ogni gioir foriera il nostro canto.

1728. Gay-Pepusch, The Beggar's Opera. When the heart of a man is depressed with cares/the mist is dispelt when a woman appears. ROSES AND LILLIES 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.
 ♂ WERE I LAID ON GREENLAND'S COAST -- ♀ Were I sold on Indian soil
and in my arms embrac’d my lass----------------------------soon as the burning day was clos’d
warm amidst eternal frost—---------------------------------- I could muck the sultry toil
too soon the half year’s night would pass-------------------when on my charmer’s breast repos’d------
RITORNELLO:
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. Handel, Serse. OMBRA MAI FU di vegetabile cara ed amabile soave non piu.

1744. Arne, Il Re Alfredo.
RULE BRITANNIA, Britannia rule the waves
Britons never shall be slaves.

1745. Arne, Drury Lane Theatre, London.
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.

1748. Handel, Giosè: oratorio,Covent Garden Theatre, London.
SEE THE CONQUERING HERO COMES
sound the trumpets, beat the drums
sports prepare, the laurel bring,
songs of triumph to the hero sing.

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.
                                                                                       
1770. Mozart. Mitridate.
SE DI LAURI IL CRINE ADORNO
fide spiaggie, a voi non torno
tinto almen non porto il volto
di vergogna e di rossor
anche vinto e anche oppresso
io mi serbo ognor l'istesso
e vi reco in petto accolto
sempre eguale il mio gran cor.
Se di regnar sei vago già pago è il tuo desìo, e se vendetta vuoi
di tutti i torti tuoi
da te dipenderà
di chi ti volle oppresso
già la superbia è doma
mercè il valor di Roma
mercè quel fatto istesso
che ognor ti seguirà.

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.

1786. Mozart, Le nozze del Figaro.
In quegl'anni, in cui val poco
la mal pratica ragion
ebbi anch'io lo stesso foco
fui quel pazzo ch'or non son
che col tempo e coi perigli
donna flemma capitò
e i capricci, ed i puntigli
della testa mi cavò
presso un piccolo abituro
seco lei mi trasse un giorno
e togliendo giù dal muro
del pacifico soggiorno
una pella di somaro
prendi disse, o figlio caro
poi disparve, e mi lasciò
mentre ancor tacito guardo quel dono,
il ciel s'annuvola rimbomba il tuono
mista alla grandine scroscia la piova
ecco le membra coprir mi giova
col manto d'asino che mi donò
finisce il turbine, nè fo due passi
che fiera orribile dianzi a me fassi
già già mi tocca l'ingorda bocca
già di difendermi speme non ho
ma il finto ignobile del mio vestito
tolse alla belva sì l'appetito
che disprezzandomi si rinselvò
così conoscere mi fè la sorte
ch'onte, pericoli, vergogna, e morte
col cuoio d'asino fuggir si può.
1786. Da Ponte/Mozart, DON GIOVANNI.
DALLA SUA PACE la mia dipende
quel che a lei piace vita mi rende
quel 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. EARLY ONE MORNING.
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.

1791. 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.
1792. Cimarosa, Il matrimonio segreto.
PRIA CHE SPUNTI IN CIEL L'AURORA
cheti cheti, a lento passo
scenderemo fin abbasso
che nessun ci sentirà
sortiremo pian pianino
dalla porta del giardino
tutta pronta una carrozza là da noi si troverà
chiusi in quella il vetturino per schivar qualunque intoppo
i cavalli di galoppo
senza posa caccerà
da una vecchia mia parente buona donna e assai pietosa
ce n'andremo, cara sposa
e staremo cheti là
come poi s'avrà da fare penseremo a mente cheta
sposa cara, sta pur lieta
che l'amor ne assisterà.


1799. WHAT SHALL WE DO WITH THE DRUNKEN SAILOR.
Weigh heigh and up she rises early in the morning.
Salieri, Falstaff (Mr. Ford)
VICINO A RIVEDERE
 la dolce, amata sposa
di gioia, e di piacere
comincio a palpitar
ma o dio chi sa se in petto
mi serba eguale affetto
chi sa se brama, o teme
vedermi ritornar
ah no dubbio funesto
ah non venir molesto
a disturbar il giubilo
che il cor vorria provar.




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.
AND DID THOSE FEET.
Bring me my bow of burning gold
bring me my arrow 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 and pleasant land.

1813. Planes/Parera.
OID 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 Siviglia.
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.
* 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 mighty
God in three persons blessed trinity.

1827. Sam Cowell. Villikins and his Dinah. SINGING TOO LA REE.
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 di Scozia.
CREDEASI MISERA da me tradita
traea su vita in tal martir
o sfido il fulmine, disprezzo il fato
se teco alato potro morir.
* Donizetti, Lucia di Lammermoor.
TU CHE A DIO SPIEGASTI L'ALI
o bell’alma inamorata
ti rivolgi 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 di sogni 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, Nabucco.
VA PENSIERO.
O t'ispiri il signore un concento che ne infonda al patire virtù.

1843. Verdi, I Lombardi alla Prima Crociata
O SIGNORE DAL TETTO NATIO.
O fresche aure volanti sui vaghi
ruscelletti dei prati lombardi
fonti eterne, plurissimi laghi,
o vigneti indorati di sole.

1844. Verdi, Ernani.
SI RIDESTI IL LEON DI CASTIGLIA.
Sorga alfine radiante di gloria
sorga un giorno a brillare su noi
sarà Iberia feconda d'eroi
dal servaggio redenta sarà.
*Donizetti, Don Pasquale
SOGNO SOAVE E CASTO di 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.
* C. Alexander.
THERE IS A GREEN HILL FAR AWAY
without a city wall
where the dear Lord was crucified
who died to save us all.
Foster.
O SUSANNAH o don't you cry for me
for I come from Alabama with a banjo on my knee.

1848. Flotow, Marta.
M'APPARI TUTT'AMOR
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
è pronta e lesta
la varca mia
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. DOWN BY THE RIVERSIDE.
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.
* 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.

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.

1856. Gounod, "Fausto":
SALVE O CASTA E PIA DIMORA
di colei che m’innamora

1858. Linley/Foley, in Trelawny of the "Wells".
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
o 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. S. Foster.
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

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.
Ha ha ha, you and me
little brown jug, don't I love thee. (Winner).

1870. Bring back bring back,
bring back my bonnie to me to me.

1871. Verdi, Aida.
CELESTE AIDA 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.
L'amor e un augello
* 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.
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.
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.
* Weatherly. Where are the boys of the old brigade.
Then steadily shoulder to shoulder
steadily blade by blade
ready and strong, marching along
like the boys of the old Brigade.

1883. MOLLY MALONE. IN DUBLIN'S FAIR CITY.
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.
two lovely black eyes.

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

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. Dacre.
DAISY BELL.
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’ll look sweet
upon the seat
of a bicycle built for two.
* From "A Gaiety Girl: a musical comedy".
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 swap 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. Valser.

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.

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. von Tilzer.
Come, come, come and make eyes at me/down at THE OLD BULL AND BUSH come, come, drink some port wine with me, Down at the Old Bull and Bush, Hear the little German Band, Just let me hold your hand dear,Do, do come and have a drink or two down at the Old Bull and Bush.
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?

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.
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 HAVE 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".
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.
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.

1909. The Arcadians. 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.
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.
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? .
1910. Teschemacher/Sanderson.
No rose in all the world UNTIL you came
no star until you smiled upon life's sea
no song in all the world until you spoke
no hope until you gave your heart to me
O rose, bloom ever in my lonely heart
o star, shine steadfast with your light divine
ring on, O song, your melody of joy
life's crowned at last, and love, and love is ever mine.
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
God bless you and keep you MOTHER MACHREE
Weatherly. DANNY BOY
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 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. SOMEWHERE A VOICE IS CALLING.
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

1914. Murphy.
HOLD YOUR HAND OUT NAUGHTY BOY
last night, in the pale moonlight/I saw you, I saw you/with a nice girl in the park/You were strolling full of joy/and you told here you'd never kissed a girl before/hold your hand out, naughty boy.
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. Lee.
HELLO, HELLO, WHO'S YOUR LADY FRIEND
Who's the little girl by your side? I've seen you with a girl or two/Oh! Oh! Oh! I AM surprised at you/Hello! Hello! Stop your little games/Don't you think your ways you ought to mend?/This isn't the girl I saw you with at Brighton/Who? Who? Who's your lady friend?
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. TAKE ME BACK TO DEAR OLD BLIGHTY
put me on the train for London town/take me over there/drop me ANYWHERE/Liverpool, Leeds, or Birmingham, well, I don't care/I should love to see my best girl/Cuddling up again we soon should be,WHOA!!!Tiddley iddley ighty,Hurry me home to Blighty, Blighty is the place for me.
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
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". Sometimes when I feel blue.
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.
Love they say must come to one and all.
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.
There's no song within my heart but of love for you.
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 FOR 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 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' thru 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./O 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 had to be you
I wandered around and suddenly found
the someone who will make me feel bad
and even be sad just for the sad thinking of you
some others I’ve seen
have never been mean
or 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 had to 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.
A ROOM WITH A VIEW and you
and no-one to worry us, no one to hurry us through this dream we've found/we'll gaze at the sky and try to guess what it's all about then we will figure out why the world is round/we'll be as happy and contented as birds upon a tree/high above the mountains and the sea/we'll bill and we'll coo-ooo-oo/and sorrow will never come Oh, will it ever come true Our room with a view?
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. Carmichael.
And now the purple dusk of twilight time/steals across the meadows of my heart/high up in the sky the little stars climb/always reminding me that we're apart/you wander down the lane and far away/leaving me a song that will not die/love is now the stardust of yesterday/the music of the years gone by/Sometimes I wonder why I spend/The lonely night dreaming of a song/The melody haunts my reverie/And I am once again with you/When our love was new/And each kiss an inspiration/But that was long ago Now my consolation/Is in the stardust of a song/Beside a garden wall/When stars are bright/You are in my arms/The nightingale tells his fairy tale of paradise where roses grew/Though I dream in vain/In my heart it always will remain/My STARDUST melody/The memory of love's refrain. 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 THRU 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 THRU 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. N. Coward, WORDS AND MUSIC: A revue. Joyce Barbour, Steffi Duna, Norah Howard and Doris Hare.
I'm MAD ABOUT THE BOY
it's simply scrumptious to be mad about the boy/I know that quite sincerely Housman really Wrote 'The Shropshire Lad' about the boy/In my English Prose/I've done a tracing of his forehead and his nose/and there is, honour bright, a certain slight effect of Galahad about the boy/I've talked to Rosie Hooper/she feels the same as me/she says that Gary Cooper/doesn't thrill her to the same degree. In 'Can Love Destroy?' when he meets Garbo in a suit of corduroy he gives a little frown and knocks her down/Oh dear, oh dear, I'm mad about the boy.
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",
It's only 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. "Porgy and Bess".
Summertime and the livin' is easy
fish are jumpin' and the cotton is high
o yo' daddy's rich an' yo' ma is good lookin'
so hush little baby don' you cry.
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.
I'LL BE SEEING YOU in all the old familiar places/that this heart of mine embraces/all day through/in that small café/the park across the way/the children's carousel/the chestnut trees/the wishing well/I'll be seeing you/In every lovely summer's day/In everything that's light and gay/I'll always think of you that way I'll find you in the morning sun/And when the night is new/I'll be looking at the moon But I'll be seeing you. Annette Mills. Hands knees and Boomps-a-Daisy/I like a bustle that bends/Hands knees and Boomps-a-Daisy/What is a boomp between friends/Hands knees now don't be lazy/et's make the party a WoW/And it's hands knees and Boomps-a-Daisy!/Turn to your partner and bow - Bow Wow.
Warren/Mercer, from film Hard to Get (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. I'm LEANING ON A LAMP maybe you think, I look a tramp/Or you may think I'm hanging 'round to steal a motor-car/but no I'm not a crook, And if you think, that's what I look/I'll tell you why I'm here, And what my motives are. I'm leaning on a lamp-post at the corner of the street/In case a certain little lady comes by/Oh me, oh my, I hope the little lady comes by/I don't know if she'll get away, She doesn't always get away/But anyhow I know that she'll try/Oh me, oh my, I hope the little lady comes by/There's no other girl I would wait for, But this one I'd break any date for/I won't have to ask what she's late for, She wouldn't have to leave me flat, She's not a girl like that/Oh, she's absolutely wonderful, and marvellous and beautiful/And anyone can understand why I'm leaning on a lamp-post at the corner of the street In case a certain little lady passes by. 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 world's 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 into 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
tho' we traveled aroun'
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 tho' 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
I'm praying for you even tho' 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.