Speranza
Songs of the Aftermath
1946 onwards
1947
Frank Loesser.
I'D LOVE TO GET YOU ON A SLOW BOAT TO
CHINA
All to myself alone
Get you and keep you
In my arms ever
more
Leave all your lovers
Weepin' on a far away shore
Out on the
briny
With the moon big and shiny
Melting your heart of
stone
I'd love to get ya
On a slow boat to China
All to myself
alone
A twist in the rudder
And a rip in the sails
Drifting and
dreamin'
Honey throw the compass over the rail
Out on the ocean
Far
from all the commotion
Melting your heart of stone
Honey I'd love to get
you
On a slow boat to China
All to myself
alone
1947
M: Jay Livingston, w: Ray Evans. Ray
Evans.
east is east and west is west
& the wrong one I have
chose
let's go where I'll keep on wearin'
those frills and flowers and
BUTTONS & BOWS
rings and things and buttons and bows
don't bury me in
this prairie
take me where the cement grows
let's move down to some big
town
where they love a gal by the cut o' her clothes
and I'll stand
out
In BUTTONS & BOWS
I'll love you in buckskin
Or skirts that I've
homespun
But I'll love ya' longer, stronger where
Yer friends don't tote a
gun
My bones denounce the buckboard bounce
And the cactus hurts my
toes
Let's vamoose where gals keep usin'
Those silks and satins and linen
that shows
And I'm all yours in buttons and bows
Gimme eastern trimmin'
where women are women
In high silk hose and peek-a-boo clothes
And French
perfume that rocks the room
And I'm all yours in buttons and
bows
1947
Ralph Read. In “Underneath the arches”: a musical comedy
compiled by Roy Hudd.
STROLLING just STROLLING
in the cool of the evening
air
I don't envy the rich in their automobiles
for a motor car is phoney.
I'd rather have Shanks's pony, when I’m
STROLLING just STROLLING
with
the light of the moon above
ev'ry night I go out STROLLING
& I know
my luck is rolling,
when I'm STROLLING with the one I
love.
1947
Herbert/Vivian Ellis. “Bless the bride”.
Duetto.
SHE: I’ll remember I’ll remember
when the time
has come for happiness to pay
HE: sad and sighing,
…...old and
dying
BOTH: I’ll remember how we loved our lovely day.
This is my lovely
day
This is the day that I’ll remember the day I’m dying
They can’t get
this away
It will be always mine
The sun and the wine
The sea birds
crying
All happiness must pay
and when our ship goes down
she’ll go
with the flag still flying
please look at me and say
that you’ll remember
that this was your lovely day.
1948
Carmen Lombardo and Stanley
Rochinski.
POWDER YOUR FACE WITH SUNSHINE
put on a great big smile
make
up your eyes with laughter
folks will be laughing with you in a little
while
whistle a tune of gladness
blue never was in style
the future's
brighter when hearts are lighter
so SMILE SMILE SMILE
1949
Richard Rodgers/Lorenz Hart, “South Pacific: a musical comedy”.
SOME ENCHANTED EVENING
you may see a stranger
you may see a
stranger
across a crowded room
& somehow you know
you know even
then
that somewhere you’ll see her
again & again
SOME
ENCHANTED EVENING
someone may be laughing
you may hear her laughing
across a crowded room
& night after night
as strange as it
seems,
the sound of her laughter
will sing in your dreams
who
can explain it
who can tell you why?
fools give you reasons
wise men
never try.
SOME ENCHAN TED EVENING
when you find your true love
when
you feel her call you
across a crowded room
then fly to her side
&
make her your own.
or all thru your life
you may dream all alone.
once you have found her never let her go
once you have found her never
let her go
1953
Alexander Galbraith (“Sandy Wilson”), “The Boy
Friend: a musical comedy”. Londra
all we want is a room in Bloomsbury
just
a room that will do for you and me
SHE: I’ll sew the covers of two old cosy
armchairs
neighbours will love us for
……...we shall laugh at
our cares
HE: While I’m reading a book you’ll cook a stew
SHE: Then
I’ll bake a plumduff enough for two
BOTH: In our attic
we’ll
be ecstatic
as love birds up in a tree
In a dear little room in
Bloomsbury.
1953
♂: A life of wealth does not appeal to me at all
do you agree at all.
♀: I do
♂: the mere idea of living in a palace
is
so full of fallacies
♀: that's true
♂: I’ve got a very different
sort of scheme in mind
it’s just a dream designed
for two
would
you care to hear about it, dear?
♀: Would I care to can you doubt it dear
RITORNELLO
♀ ♂: All I want is a room --------a ----- ----------in Bloom
---------sburee ---------
just a room that will do ---------for you and me
one room's enough for us -----------------------------
♀: I’ll sew the
covers for ---- though is on the top floor -------------------------------two
old cosy armchairs. ---- life may be rough for us
-------------------------------neighbours will love us for ---- but its troubles
we'll ignore ---------------------------we shall laugh at our cares ---- on a
wintery night -------------------------------------while I’m reading a book
----- I'll light -------------------------------------------------I’ll cook
------a fire --------------------------------------------------a stew
-----everything I shall do ---------------------------------then I’ll bake a
plum duff ----- as you --------------------------------------------------enough
----- desire --------------------------------------------------for two ♀: You'll
be sitting ----------------------- ♂♀---------- in our attic ♂: And you'll be
knitting --------------------------------we’ll be ecstatic --- and so contented
we'll be -----------------------------as love birds up in a tree --- in our dear
little room ---------------------------------all we want is a room
------------------------in Bloom --------------------------sburee
---
1954
Walton/Hassall. “Troilus and Cressida”. Troilus and Cressida is
the first of the two operas by William Walton. The libretto was by Christopher
Hassall, his own first opera libretto, based on Chaucer's poem Troilus and
Criseyde. Walton dedicated the score to his wife,
Susana.
1954
w: Cross m: Cory,
about two amateur writers nostalgic for San Francisco after moving to New York.
Written for Claramae Turner, who used it as an encore.
I left my heart in
San Francisco
high on a hill, it calls to me.
to be where little cable
cars
climb halfway to the stars
the morning fog may chill the air
I
don't care
my love waits there in San Francisco
above the blue and windy
sea
when I come home to you San Francisco
your golden sun will shine for
me!
the loveliness of Paris seems somehow sadly gay
the glory that was
Rome is of another day
I've been terribly alone and forgotten in
Manhattan
I'm going home to my city by the bay.
1954
Julian
Slade
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.
They're
certain to miss us when we're gone, they're not worth much if they don't.
And
they'll beg us to visit them time after time - oh dear, maybe they
won't!
It's hard to forget the plays, the dances, the walks by the river in
Spring,
The Dons we placated, the lectures we missed, but soon they won't
mean a thing.
So if I let nostalgia blind me and me resolution is
slack
I'll remind you to remind me we said we wouldn't look back
We've
broken the ties, we've said the goodbyes, there's no more for us to
pack.
Don't turn round - we're outward bound - and we said we wouldn't look
back....
It's hard to forget the plays, the dances, the walks by the river in
Spring,
The Dons we placated, the lectures we missed, but soon they won't
mean a thing.
So if I let nostalgia blind me and me resolution is
slack
I'll remind you to remind me we said we wouldn't look
back
1954
Slade, “Salad Days: a musical comedy”, Londra. Duet.
We'll never be able to break the
spell, the magic will hold us still.
sometimes we may pretend to forget but
of course we never will.
three perfect years - perhaps there'll more Life's
only beginning you know
Oh yes it's not that I want to stay it's just that I
don't want to go
We mustn't look back no we mustn't look back whatever our
memories are.
we mustn't say these were our happiest days but our happiest
days so far.
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
and if
you should happen to find me with an outlook dreary and black
I'll remind
you to remind me we said we wouldn't look back
it's hard to forget the plays
the dances the walks by the river in spring
the dons we placated, the
lectures we missed, but soon they won't mean a thing.
so if I let nostalgia
blind me and me resolution is slack
I'll remind you to remind me we said we
wouldn't look back
they're certain to miss us when we're gone
they're not
worth much if they don’t
and they'll beg us to visit them time after time
oh dear maybe they won't
We've broken the ties
we've said the
goodbyes
there's no more for us to pack
don't turn round
we're
outward bound
and we said we wouldn't look
back....
1957
What’s opera
Doc?
1957
Puttin'
On the Style was a hit for skiffle artist Lonnie Donegan. It was recorded live
at the London Palladium and released as a double A side along with Gamblin’ Man
and reached #1 in the UK charts in June and July 1957, where it spent two weeks
in this
position
1958
Alexander
Galbraith (“Sandy Wilson”), “Valmouth: a musical comedy”, Londra. Libretto
adapted from Firbank’s novel, Lyric Theatre Hammersmith, London.
altho’ we
had our quarrels
they mattered not a pin
we may have different
morals
but we’re sisters under the skin -- and
And I will miss you,
Missus Tooke.
And I will miss you.
1959
Allan
Roberts, m: Doris Fisher. YOU ALWAYS HURT THE ONE YOU LOVE
1960
Lionel
Bart, “Oliver!”, tratto da Carlo Dickens, “Oliver Twist”.
consider yourself
at home
consider yourself one of the family
I’ve taken to you so
strong
It’s clear
We’re
Going to get along
Consider yourself well
in
Consider yourself part of the furniture
There isn’t a lot to
spare
Who cares
Whatever we’ve got we share
1960
Lionel
Bart, “Oliver Twist”, based on Charles Dickens.
I’d do anything for you
dear, anything
For you mean everything to me
I know that I’d go
anywhere
For your smile, anywhere for your smile
Everywhere I’d
see
Would you lace my shoe
Anything
Paint your face bright
blue
Anything
Catch a kangaroo
Anything
Go to Timbuctoo
And back
again.
1930
Johnny Burke
When the boots are on the last, Dolly
Gray,
And I have to mend them fast, Dolly Gray,
For I'm working
overtime
Where you see the big boot sign,
And I must be there in time,
Dolly Gray;
I've a pair to heel and sole, Dolly Gray,
Or they'll scratch
me off the roll, Dolly Gray,
In Tank Lane a girl I know
For three weeks
can't see her beau,
Not a slipper to her toe, Dolly Gray.
Goodbye, Dolly,
I must leave you,
Though it fills my ears with snow;
I can't wait today to
tease you,
To the workshop I must go.
Hush! I hear the foreman
calling,
For I can't make no delay;
Hark! I hear the cats a
bawling,
Goodbye, Dolly Gray.
Oh, we had flipper stew, Dolly
Gray,
And I kept a bit for you, Dolly Gray,
For I know now by your
smile,
You were always fond of swoil,
With a drop of olive oil, Dolly
Gray;
For the odour is immense, Dolly Gray,
When your wash is on the
fence, Dolly Gray,
And the swoil perfume is sweet
When I meet you on the
street,
That I hasten on my feet, Dolly Gray.
You were at the Easter Ball,
Dolly Gray,
That was in the Irish Hall, Dolly Gray;
And I now remember
well
They all said you were the belle,
You were such a heavy swell, Dolly
Gray;
For they say you went on tick, Dolly Gray,
And your milliner did
stick, Dolly Gray,
For the dunners next day tore
All the bell strings from
the door,
For the very dress you wore, Dolly Gray.
Goodbye, Dolly,
I must leave you,
Though it fills my ears with snow;
I can't wait today to
tease you,
To the workshop I must go.
Hush! I hear the foreman
calling,
For I can't make no delay,
Hark! I hear the cats a
bawling,
Goodbye, Dolly Gray.
1960
Lionel Bart, “Oliver
Twist”, based on Charles Dickens.
I’m reviewing the situation
Once a
villan you’re a villain to the end
Your light fingers, your
inspiration
What a team, am I your partner?
More a friend
For your
talent is employable
So make your life
enjoyable
1965
“Dad’s army”
WHO DO YOU
THINK YOU’RE KIDDING MR HITLER
if you think we are in the run
we are the
boys who will stop your silly games
we are the boys who will make you think
again -- so
WHO DO YOU THINK YOU’RE KIDDING MR HITLER
if you think old
England’s done
1958
Alexander Galbraith
(“Sandy Wilson”), “Valmouth: a musical comedy”, Londra. Libretto adapted from
Firbank’s novel, Lyric Theatre Hammersmith, London.
altho’ we had our
quarrels
they mattered not a pin
we may have different morals
but
we’re sisters under the skin -- and
And I will miss you, Missus
Tooke.
And I will miss you.
1960
Lionel Bart, “Oliver!”,
tratto da Carlo Dickens, “Oliver Twist”.
consider yourself at
home
consider yourself one of the family
I’ve taken to you so
strong
It’s clear
We’re
Going to get along
Consider yourself well
in
Consider yourself part of the furniture
There isn’t a lot to
spare
Who cares
Whatever we’ve got we
share
1960
Lionel Bart, “Oliver Twist”, based on Charles
Dickens.
I’d do anything for you dear, anything
For you mean everything
to me
I know that I’d go anywhere
For your smile, anywhere for your
smile
Everywhere I’d see
Would you lace my shoe
Anything Paint your
face bright blue
Anything
Catch a kangaroo
Anything
Go to
Timbuctoo
And back again.
1960
Lionel Bart, “Oliver Twist”, based on
Charles Dickens.
I’m reviewing the situation
Once a villan you’re a
villain to the end
Your light fingers, your inspiration
What a team, am I
your partner?
More a friend
For your talent is employable
So make your
life enjoyable
1966
m: Arthur Kent,w: Syliva Dee.
BRING ME SUNSHINE in your smile
bring me laughter all the
while
in this world where we live there should be more happiness
So much
joy you can give to each brand new bright tomorrow
make me happy thru the
years
never bring me, any tears
Let your arms be as warm as the sun from
up above
Bring me fun, bring me sunshine, bring me love.
Bring me
Sunshine, in your eyes,
Bring me rainbows, from the skies,
Life's too
short to be spent having anything but fun,
We can be so content, if we gather
little sunbeams,
Be light-hearted, all day long,
Keep me singing, happy
songs,
Let your arms be as warm as the sun from up above,
Bring me fun,
bring me sunshine, bring me love.
1966
Hello
Dolly
Say hello Dolly
It’s so nice to see you back where you
belong
You’re looking swell, Dolly,
I can tell, Dolly
You’re still
growing you’re still crowing
You’re still going strong
We hear the band’s
play
And the band sway
One of our favourite songs from way back
when
Gee Dolly
Find her an empty knee
No one can be like Dolly to me.
1966
R. & R. Sherman, “Mary Poppins”, tratto di Travers,
“Mary Poppins” (1910).
Oh it’s a jolly holy day with Mary
Mary
Mary makes your bright
The daffodils are smiling at the
When Mary
holds your hand
You feel so grand
1966
S.
Wonder.
Now if there's a smile on my faceIt's only they're trying to fool the
publicBut when it comes down to fooling youNow honey that's quite a different
subject
But don't let my glad expressionGive you the wrong impressionReally
I'm sad, oh sadder than sadYou're gone and I'm hurting so badLike a clown I
pretend to be glad
Now there's some sad things known to manBut ain't too much
sadder than the tears of a clownWhen there's no one around
Oh yeah baby, now
if I appear to be carefreeIt's only to camouflage my sadnessIn order to shield
my pride I tryTo cover this hurt with a show of gladness
But don't let my
show convince youThat I've been happy since you decided to goOh, I need you so,
I'm hurt and I want you to knowBut for others I put on a show
Now there's
some sad things known to manBut ain't too much sadder than the tears of a
clownWhen there's no one around, oh yeah
Just like Pagliacci didI try to keep
my sadness hidSmiling in the public eyeBut in my lonely roomI cry the tears of a
clownWhen there's no one around
Oh, yeah babyNow if there's a smile upon my
faceDon't let my glad expressionGive you the wrong impressionDon't let the smile
I wearMake you think that I don't careReally I'm sad I'm hurting so
bad
1964
From the French musical The
Umbrellas of Cherbourg, music was composed by Michel Legrand and its lyrics
written by Jacques Demy. English lyrics: Norman Gimbel.
If it takes forever
I WILL WAIT FOR YOU
for a thousand summers I WILL WAIT FOR YOU
till
you're back beside me till I'm holding you
till I hear you sigh here in my
arms
anywhere you wander, anywhere you go
everyday remember, how I
love you so
in your heart believe, what in my heart I know
that
forevermore, I'll wait for you
the clock will tick away the hours one by
one
then the time will come when all the waiting's done
the time when you
return and find me here and run
straight to my waiting arms
if it takes
forever, I will wait for you
for a thousand summers, I will wait for
you
till you're here beside me, till I'm touching you
and forevermore,
sharing our love
till your here beside me, till I'm touching you
and
forevermore, I will wait for
you
1964
Bricusse-Newley, “The roar of the
greasepaint, the smell of the crowd: a musical comedy.” Londra.
WHO
CAN I TURN TO
when nobody needs me
my heart wants to know
&so I
must go
where destiny leads me
with no star above me
and no one
beside me
I’ll go on my way
& after the day
the darkness will hide
me
& maybe tomorrow
I’ll find what I’m after
I’ll throw off my
sorrow
I’ll beg steal or borrow
my share of laughter
with you I could
learn to,
with you on a new day
but WHO CAN I TURN TO
if you turn
away.
1966
Ebb/Kander, “Chicago”
Isn’t
it great, isn’t it swell
NOWADAYS
And there’s blues everywhere
booze
NOWADAYS
You can like the life you’re living
You can live the
life you like
You can play around with Harry
But mess around with
Ike
And it’s good isn’t it swell
But nothing stays
In fifty years or so
it’s gonna change you know
But oh it’s heaven
nowadays.
1965
Ebber/Kander, “Cabaret”, based on
short stories by Christopher Isherwood, “Goodbye to Berlin”. First SallyBowles
in Londra: Judi Dench.
Wilkommen bienvenu welcome
I used to
have this girlfriend known as
Elsie
1966
Jerry Herman, “Mame: a musical
comedy”. New York.
you coax the blues right out of the horn,
Mame,
you charm the husk right off of the corn, Mame,
you’ve got the
banjoes strummin’
and plunkin’ out a tune to beat the band,
the whole
plantation’s hummin’
since you brought Dixie back to Dixie land.
you make
the cotton easy to pick, Mame,
you give my old mint julep a kick,
Mame,
who ever thought a Yankee would put
our little Dixie belles to
shame.
you’ve made us feel alive again,
you’ve given us the drive
again,
to make the South revive again, Mame.
well shut my mouth
& freeze my face
you’ve brought some elegance to the place
there’s
sowbelly, hominy, catfish and tripe, Mame
well shut my mouth & damn my
eyes
you’ve made the price of tobacco rise
the old watermelon is suddenly
ripe, Mame
& down on the levee a beautiful bevy of crinoline ladies has
flocked
the way that they’re squealin’, they give me the feelin’
the
Robert E. Lee must a’ docked.
the strummin’ and ringin’, the hummin’ and
singin’ is startin’ to get out of hand Since you brought Dixie back to Dixie
land.
you’ve brought the cake-walk back into style, Mame
you make the
weepin’ willow tree smile, Mame
your skin is Dixie satin,
there’s rebel in
your manner and your speech,
you may be from Manhattan,
but Georgia never
had a sweeter peach.
you make the old magnolia tree bud, Mame
you make
camellias bloom in the mud, Mame
you make the bougainvillea turn purple
at
the mention of your name
we’re baking pecan pies again
tonight the chicken
fries again
this time the South will rise again, Mame
you make our
black-eyed peas and our grits, Mame,
seem like the bill of fare at the Ritz,
Mame,
you came, you saw, you conquered
and absolutely nothing is the
same.
you’re special fascination’ll prove to be inspirational,
we think
you’re just sensational,
Mame.
1968
Rice/Webber, Joseph and the
amazing Technicolor dreamcoat: a pop oratorio. Londra.
Close every
door to me
Leave all the doors for me
Children of Israel will never be
lone.
1968
I know I stand in line
Until you find the time
To spend an evening with me
And if we go
someplace to dance
I know there’s a chance
You won’t be leaving with
me
And after a little drink or two
And then I go and spoiling all by
saying
SOMETHING STUPID like I love you.
1970
Maria Elena
Walsh
enciendanse las nuevas luces del viejo variete
puede volver
el bailarin que imitaba a Fred Astaire
hoy como ayer necesitamos olvido y el
placer de ver a los artistas
esos ilusionistas que hacen el mundo
desaparecer
Preparense frac trajinado y harapos de lame
siempre es
igual carton pintado y un fondo musical
disimular el espectaculo debe
continuar
La concurrencia espera sonrisas por afuer y por adentro ganas de
llorar
Tuvimos guerras y revoluciones
Perdimos unas cuantas
ilusiones
No las del cuento extraordinario
Que alguien recita desde un
scenario
Tuvimos padres que nos castigaron
Tuvimos hijos que nos
criticaron
Somos identicos delante
La feria magica de los
cantantes
El music hall es Judy Garland eternal como el sol
y el
nadie aquel que espera un dia cantar como Gardel una cancion
la moda cambia
no la fascinacion ahi llegan los artistas
mientras el mundo exista no se
suspende la function
Apaguense las nuevas luces del Viejo variete
No
volveran
Ni fidel Pintos ni la negra
Bozan
1972
In a little while
from
now
if I’m not feeling
any less sour
I promise myself to treat
myself
& visit a nearby tower
& climbing to the top will throw
myself off
In an effort to make it clear to who
Ever what it’s like when
you’re shattered
Left standing in the lurch at a church
Where people
saying: "My God, that’s tough
She's 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 &
gay
Looking forward to well wouldn’t do
The role I was about to
play
But as if to knock me down
Reality came around
& without so
much, as a mere touch
Cut me into little pieces
Leaving me to
doubt
Talk about God and His mercy
Or 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
Now 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 spoken
And when she passed
away
I cried and cried all day
Alone again, naturally
Alone again,
naturally
1975
Queen, Bohemian Rapsody. A night at the opera.
1975
Jesus
Christ Superstar
I don’t know how to love
him.
1977
“Saturday night fever”
I’m
in your light
In the morning sun
Happy you touch me in the pouring
rain
And the moment
And it’s me you need to show
How deep is your
love
1939
Included in
“Nice work if you can get it” (2012)
You say eether and I say either
You
say neether and I say neither
Eether either neether neither
Let’s call the
whole thing
off
1972
Bricusse-Newley,
“The goold old bad old days: a musical comedy.” London.
don't you realise we're living today
I'm happy to say in THE GOOD
OLD BAD OLD DAYS
taking the breaks & making mistakes
in the good old,
bad old ways
some people say they long for the old days
to take them way
back when
I'd sooner stay here with the gold days
than go through that
again
seems to me you're out or you're in
you lose or you win In these sad
glad old days
you're poor or you're rich
who knows which is which
anyways
we’re living on time we're having to borrow
------ no one knows if
we live to see tomorrow
-------never the less
I guess we've gotta confess
these are THE GOOD OLD BAD OLD DAYS
day to day you either up or you're
down a king or a clown
in THE GOOD OLD BAD OLD DAYS
it's heaven or hell,
hello or farewell
In THE GOOD OLD BAD OLD DAYS
looking around the world
that surrounds me I thank
good god above
for I have found one thing that
astounds me
the worlds still full of love
and I realise that come rain or
come shine
that you'll survive all these crazy, mad old days
in war or in
peace
they do never cease
to amaze
--
--
people will say when
they look back at today
those were THE GOOD OLD BAD OLD
DAYS
1975
M. Hamlish, “A Chorus Line: a musical
comedy.”
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 o 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
Rice/Webber. Evita. Role of
“Eva” created by Julie Covington (studio) and Elaine Paige (stage).
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.
1977
Peter Nichols/D. King,
“Privates on Parade: a musical comedy”, London.
REPRISE:
O we’ve been
content ----------------------------------------------we’re going back
tho’
we never had a cent -------------------------------------------to the homely
little shack
because I had you and you had me
-------------------------------on the sunny side of any street
and all the
troubles and care --------------------------------------we’ve been too long
seemed so much less hard to bear --------------------------------from the
laughter and the song
cause we shared them in each other’s companee
-------------that we’ll share with all the folks we’re going to meet
throught
the storms we’ve been true ---------------------------there is a lady sitting
there
to one another just we too----------------------------------------with
shining eyes and silver hair
but now the rainbow’s in the blue
-------------------------------and when she offers me a chair
the sun will
soon be shining thru --------------------------------I’m going to feel a
millionaire
and tho we too often strayed
-------------------------------------and thou we traveled around
from the
sunlight to the shade ------------------------------------now’s the time to
settle down
together we shall never more roam
-----------------------------& when we’re there we’ll never more
roam
from the hearth of home sweet home.
Tho’ we’ve been far from Sunnyside lane
You never heard us
complain
And now that we’re do and out of the rain
You’ll never see us
again
And once we’re d
Howdy guys
When mister blues is on the
run
You’ll find us greet us mster sun
=
1981
Webber, “Aspects of
Love”, an operetta. Londra. There is also a duet: “She’d be far better off with
you” (bar/tenor).
I want to be the first man you remember
I want
to be the last man you
forget.
2000
William Bolcom, “George”.
my friend George used to say
oh call me Georgia
hon
get yourselves a drink
& sang the best soprano
in our part of
town
in beads, brocade and pins
he sang if you happened in
thru the
door he never locked
& said get yourselves a drink.
& sang out
loud
Till tears fell in the cognac
And in the chocolate milk and
gin
And on the beads, brocade and pins
When strangers happened thru his
open door
George said stay but you gotta keep quiet
while I sing &
then a minute after,
And call me Georgia."
One fine day a stranger
In a
suit of navy blue
Took George's life
With a knife
George had placed
beside an apple pie he'd baked
And stabbed him in the middle
Of Un bel di
vedremo
Which he sang for this particular stranger
Who was in the United
States Navy.
The funeral was at the cocktail hour
We knew George would
like it that way
Tears fell on the beads, brocade and pins
In the
coffin
Which was white
Because George was a virgin
Oh, call him
Georgia, hon
Get yourself a drink
You can call me Georgia, hon
Get
yourself a drink!
Tuesday, December 4, 2012
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