Speranza
Songs of the Roaring Twenties
1920
When Caruso comes to
town.
1920
I
want to know where Tosti went (when he said
goodbye).
1920
James
Kendis & James Brockman.
SUNNY WEATHER FRIENDS
they're all good
fellows while the sun shines
but when clouds appear, they are nowhere
near
oh give me a pal like father's only gal
who'd share the stormy days
without a frown
but all I have are SUNNY WEATHER FRIENDS
they leave me
when the sun goes down.
I have been spending,I have been
lending,
Helping those who were in need,
How they caress'd me,Thanked me
and bless'd me,
Friends in need are friends indeed,
Now a million things
run through my mind,
When misfortune comes to me I find.
All I have are
sunny weather friends,
sunny weather friends,
I may not show it,
well do I know it,
Fate has been real kind to me,
They may regret it, I
can't forget it,
Best I got was sympathy,
You've a million friends when
you have one.
But when you've a million you have none.
1920
M: Vincent Rose, w: Richard
Coburn.
NIGHTINGALE when you are singing tenderly
oh tell her
nightingale
that it's a lover's melody
just so when ever you are
singing
she'll know the message you are bringing
nightingale bring back my
love to me
Somewhere the nightingale is singing from
above
He promised that he'd be my messenger of love
And I am yearning for
his returning
It seems that all I'm thinking of
The nightingale knows why
I'm feeling sad and blue
Somehow I know that he is feeling lonesome
too
That's why he's heeding my tender pleading
And sings to her the whole
night thru.
1920
M: John H. Densmore, w: George
Elmoor.
I KNOW WHERE A
GARDEN GROWS
Jonquil, hyacynth and rose:
Warmed by languid summer
breeze,
Whispering softly through the trees.
I know where a maiden
sweet,
In this garden waits to meet
Her lover: in this garden
bower,
She's fairer far than any flower.
I know where a garden
grows,
Jonquil, hyacynth and rose:
She makes them fair, in fragrance
rare,
My sweetheart, who is waiting there.
And that is why I go each
day,
And why each night, I ever pray:
Pray, we two may ever stay
In
this garden, in this garden,
I know where.
1920
M: Louis A. Hirsch, w: Julian Mitchell.
just a LOVE NEST cozy & warm
like a dove rest down on a farm
a veranda with some sort of clinging vine
then a kitch- en where some
rambler roses twine
then a small room tea set of blue
best of all room
dream room for two
better than a palace with a gilded dome
is a LOVE NEST
you can call home.
many builders there have been
Since
the world began
Palace, cottage, mansion, Inn
They have built for a man
some were small, and some were tall
long or wide or low
but the best
one of them all
Jack built long ago
'twas built in bygone days
yet
millions sing its praise.
Building houses still goes on
Now a well as
then Ancient Jack and Jill are gone
Yet return again Ever comes the question
old
Shall we build for pride, Or shall brick and mortar
hold Warmth and
love inside?
The an- swer you may know
Jack solved it long ago.
1920
M: Raymond Hubbell, w: R. H.
Burnside.
land of the brave and free where all find liberty
& hope beaming like a star gleaming
through the clouds above
from ocean to ocean we'l1 prove our devotion
fair land of freedom You're
THE LAND I LOVE
Lest we forget These states are still United
here wrongs are righted good deeds requited
to make it free, men fought
and died
their name and fame is nation wide
lest we forget It has a
wondrous story
though grim and gory 'Tis filled with glory
and so to day
The U.S.A.
is still a land that where we all say:
Lest we forget since
we have been a nation
Emancition Was our salvation
When Lincoln said that
right is might
His cause was just he won the fight
Lest we forget what
they went over there for
and did their share for All that they care for
ow we can boast from coast to just one
land:
1920
M: Hugo Felix, w: Anne
Caldwell.
you said you'd always love me the same DIDN’T YOU
you said
you'd like to give me your name DIDN’T YOU
you kissed me DIDN’T YOU
You've
missed me, Havn't you?
You should have been true dear,
Shouldn't you?
Couldn't you?
Tell me why, wouldn't you?
You found you care a lot for me
yet DIDN’T YOU
You found you thought of me all the time DIDN’T YOU
You
kissed me DIDN’T YOU
You've missed me, Havn't you?
You should forgive me
dear,
Shouldn't you? Couldn't you?
Tell me why, wouldn't you?
Shouldn't
you? Couldn't you?
Tell me why, wouldn't you? Now.
In
that little cafe where candle lights were rosy,
You drank with me, A cup of
tea;
By the little pink ray I saw a pretty posy,
That bloomed in grace
your charming face,
It must have been a bit stronger than the usual cup of
tea,
I can't remember all I said (Nat) I'll refresh your memory:
little
maid brewed our tea and went to fetch it
We were alone, You'd bolder
grown:
When your little hand stole away I tried to catch it,
A pressure
slight said" "all is right,"
You leaned a little bit closer as I looked into
your eyes,
Then straight away that Little cafe turned into
paradise:
1920
Irving Berlin.
AFTER YOU GET WHAT YOU WANT YOU DON’T WANT
IT
If I gave you the moon, You'd grow tired of it soon.
You're like a
ba-by You want what you want when you want it,
But af-ter you are
pre-sent-ed with what you want you're dis-con-tent-ed.
You're al-ways
wish-ing and want-ing for some-thing,
When you get what you want You don't
want what you get.
And tho' you sit up-on my knee, You'll grow tired of me,
'Cause, Af-ter you get what you want
you don't want what you want-ed at
all.
Lis-ten to me hon-ey dear
Some-thing's wrong with you I fear
It's
get-ting hard-er to please you
Hard-er and hard-er each year.
I don't
want to make you blue
But you need a talk-ing to
Like a lot of peo-ple I
know,
Here's what's wrong with you.
Don't you say that I'm
un-kind
Think it o-ver and you'll find
You've got a change-a-ble
na-ture
You're al-ways chang-ing your mind
There's a long-ing in your
eye
That is hard to sat-is-fy
You're un-hap-py most of the time
Here's
the rea-son why.
1922
Irving
Berlin
HOMESICK I know just what's the matter
I'm
HOMESICK that's all
I see that cozy little shack & the little red
school
daddy on the back of a funny old mule
God vless our home on the
wall
the fields of clover they seem to say
why don't you come over pay us
a call
I miss the cows & the chickens & the apple tree shady
&
there's that little old lady
do you wonder why I'm HOMESICK.
I feel ver-y
blue, yes I do can't you tell,
Wor-ry quite a lot 'cause I'm not feel-ing
well
Friends have come to me, say-ing
"We can see, You need com-pan-y,"
but I'm not lone-ly, I'm on-ly
My poor heart will stop when I hop off
the train,
Such a hap-py soul when I stroll down the lane
I can't wait
'til then, to be there a-gain,
In the twi-light when the sun is set-ting I'm
get-ting
1925
Irving Berlin.
Always
was the beginning of a parade of hits that never seemed to stop. Here are just a
few from the following years: 1930 - Puttin' On The Ritz (Remember Young
Frankenstein?) 1932 - How deep is The Ocean, Let's Have Another Cup Of Coffee
1933 - Easter Parade 1935 - Cheek To Cheek 1937 - I've Got My Love To Keep Me
Warm
1939 - God Bless America 1942 - White Christmas 1945 - All Of My Life
1946 - There's No Business Like Show Business
1954 - Count Your Blessings
Instead of Sheep 1957 – Sayonara 1962 - In Our Hideaway
1920
Sitwell/Walton.
“Façade”. Don Pasquito. The "entertainment" Façade, in which Sitwell's poems are
recited over an instrumental accompaniment by Walton, was first given privately
in the Sitwell family's London house on 24 Jan. 1922. The first public
performance was given at the Aeolian Hall, London, on 12 June 1923. On both
occasions, the author recited the verse and the composer conducted the
ensemble.
WHEN DON PASQUITO ARRIVED AT THE SEASIDE
Where the
donkey's hide tide brayed, he
Saw the bandito Jo in a black cape
Whose
slack shape waved like the sea -
Thetis wrote a treatise noting wheat is
silver like the sea,
The lovely cheat is sweet as foam,
Erotis notices
that she will steal the
Wheat-kings luggage, like Babel
Before the League
of Nations grew -
So Jo put the luggage and the label
In the pocket of Flo
the Kangaroo.
Through trees like rich hotels that bode
Of dreamless ease
fled she,
Carrying the load and goading the road
Through the marine scene
to the sea.
'Don Pasquito, the road is eloping
With your luggage though
heavy and large,
You must follow and leave your moping
Bride to my
guidance and charge!'
When Don Pasquito returned from the road's end
Where
vanilla coloured ladies ride
From Sevilla, his mantilla'd bride and young
friend
Were forgetting their mentor and guide.
For the lady and her friend
from Le Touquet
In the very shady trees on the sand
Were plucking a white
satin bouquet
Of foam, while the sand's brassy band
Blared in the wind.
Don Pasquito
Hid where the leaves drip with sweet...
But a word stung him
like a mosquito...
For what they hear, they
repeat!
1921
Jack McGowan & Edgar Moran.
BIRDS OF
A FEATHER
just you & I
someday together
away we'll fly
off to a
love nest
like love birds do
somewhere I'll build
one for you,
who
knows then
maybe two birds will sing
rockabye baby
what joy 'twill
bring
BIRDS OF A FEATHER
can never go wrong
helping each other along.
I'm a lonesome little bird
Looking for a mate
If the
right one says the word
I won't hesitate.
When she he comes flying my
way
Here's what I'm going to say:
All around the world I've
sought
Someone of my kind
Two hearts with a single thought
Have been
hard to find.
I know I'll meet her him some day
Here's what I'm going to
say:
1921
Jack Stanley/Geo. A Little. They needed a song
bird in heaven, so God took Caruso away.
1921
M:
Vincent Youmans, w: Arthur Francis & Schuyler Greene, “Two little girls in
blue: a musical comedy.”
DOLLY sad or gay
there is something charm ing
about you
something sweet that seems to say
life would be empty for me
without you
DOLLLY DOLLY when you're near
clouds & shadows all
disappear
& the stars above you spell the words I love you
DOLLY DOLLY
dear.
little lady of my dreams
since the day we met
ev'ry other
girly seems easy to forget
on this heart of mine
I have placed a sign no
room to let
with your sweet & winning smiles
& your tender
eyes
you have brought me miles & miles
nearer paradise.
ev 'ry joy
know here on earth be low
I know I owe to you dear
DOLLY
1921
M: Louis Silvers, w: B. G. De
Sylva, “Bombo: a musical comedy”, Broadway, where it was performed by Al Jolson.
The British comedians Morecambe and Wise performed a skit featuring the song
which involved a light sprinkling of water drizzling on straight man Ernie Wise
whenever he sung it but a bucket of water being thrown over Eric Morecambe
whenever he did the same.
tho’ APRIL SHOWERS may come your way
they bring
the flowers that bloom in May
so if it’s raining have no regrets
because
it isn’t raining rain you know -- it's raining violets
& where you see
clouds upon the hills
you soon will see crowds of daffodils
so keep on
looking for a blue bird & list'ning for his song
whenever APRIL SHOWERS
come along
Life is not a highway strewn with flowers
still it holds a
goodly share of bliss
when the sun gives way to April showers
here is the
point you should never miss
1921
Sidney Clare/Con Conrad.
MA HE’S
MAKING EYES AT ME
ma he's awful nice to me
ma he's almost breaking my
heart
I'm beside him
mercy let his conscience guide him
ma he wants to
marry me
be my honey bee
every minute he gets bolder
now he's leaning
on my shoulder
ma he's kissing me.
Ma, he's making eyes at me
Ma, he's
awful nice to me
Ma, he's almost breaking my heart
If you peek in, can't
you see
I'm goin' to weaken
Ma, he wants to marry me,
Be my honey
bee
Ma I'm meeting with resistance
I shall holler for assistance
Ma,
he's kissing me
1921
Ted Snyder. Inspired by Valentino, “The Sheik”.
I'm THE SHEIK OF ARABY
your love belongs to me
at nights when
you're asleep
into your tent I creep
the stars that shine above
will
light our way to love
you rule this world with me
I'm THE SHEIK OF ARABY
1921
m: Philip Braham, w: Douglas
Furber, “A to Z” a musical revue, London – inspired by the area of Limehouse.
Introduced by Jack Buchanan and Gertrude Lawrence.
o Limehouse
kid
o o Limehouse kid
goin' the way
that the rest of them did
poor
broken blossom
& nobody's child
haunting & taunting
you're just
kind of wild
o LIMEHOUSE BLUES
I've the real LIMEHOUSE BLUES
can't
seem to shake off
those real China blues
rings on your fingers
&
tears for your crown
that is the story
of old
Chinatown
& those weird China blues
never go
away
Sad mad blues
For all the while they seem to
say
1922
Roy Turk & Lou Handman.
MY SWEETIE WENT AWAY
but she didn't say where
she didn'y say when she didn't say why
or bid
me goodbye & I'm as blue as can be.
I know she loves another one but she
didn't say who
she didn't say which she didn't say what
her papa has got
that took my sweetie from me.
I'm like a little lost sheep & I can't
sleep
but I keep tryin' to forget
my triflin' mamma left her papa all
alone
I groan
MY SWEETIE WENT AWAY
but she didn't say where
she
didn't say when she didn't say why
I know that I'll die why don't she hurry
back home
I've got a lovesick tale to tell to you,
'Tho' it's no affair of mine.
It's 'bout a gal named Sue and boy named
Lou,
They were fighting all the time.
Lou came home one
afternoon,
Found an empty dining room;
Without a word his turtle dove had
flown,
So he began to moan:
You oughta see this lovesick fellow,
Lou,
Doesn't do a thing but sigh.
And while he's wond'ring what became of
Sue,
He's a sight for any eye.
Bought some poison, bought a gun,
Says,
"goodby," to ev'ryone;
And while he's doping out some way to die,
He can't
forget to cry:
1922
Irving Berlin.
SOME SUNNY DAY with
a smile on my face
I'll go back to that place far away
back to that shack
& that red headed hen
she'll say "How have you be'n"
then go back to
the hay & lay me my breakfast
SOME SUNNY DAY I'll be on That express
flying away to my little bunch of happiness
oh how I pine for those lips
sweet as wine
the'll be pressed close to mine
SOME SUNNY
DAY
My heart goes pitter patter,
No one knows what's
the matter.
Just received a telegram from Alabam' my home.
That's why I'm
gonna worry
'till the time when I hurry,
Right back to that cabin
door,
Never more to roam.
Sunny spring is the season When birds
sing,
there's a reason Rolling stones who hear their song,
begin to long
for home.
Lohengrin Mister Verdi
don't begin with a birdie
Telling
you to go back home,
Never more to roam.
1922
Ray Brown
& Ray Klages
O those early in the morning
when the day is dawning
blues
big ben upon the table
ringing out unwelcome news
you hate to
leave your bed so warm
on a cold and frosty morn
& even tho' you're
late
you want to hesitate
you start to stretch & yawn
the clock
keeps on a callin
you keep on a stallin' too
you haven't got another
minute to lose
then you bid your bed a fond adieu
& wish you could
take it down to work with you
O those early in the morning
when the day is
dawning blues.
I'm not sad, and I never feel bad,
I'm as happy as
I can be
I won't fret, for I never have yet
There is nothing that worries
me.
but Oh,Oh, there's a time when I feel so blue
that's why I am singing
the blues to you
soon I'll go, where its forty below
To the land of the
ice and snow
In a hut, where I'll do nothing but
Live the life of an
Eskimo
For I know that's the only place I belong
Up there Where the nights
are all six months long.
Birds are a-singing, and steam
pipes are a ringing,
While you're tucked away in the hay,
Roosters are
crowing and the clock gets a going,
Then your dreams all will vanish away
Then you get out of bed, Wishing that you were dead,
Feeling as tired as
a Turk,You get so mad,
until you make up your mind to kill The guy who
invented work.
1922
Ted Koehler, Frank Magine & C. Naset.
play that DREAMY MELODY
that soothing refrain
play it sweet &
tenderly
I don't know why
it haunts me so
I seem to hear it
ev'rywhere I go
play that magic harmony
'twill li-ger forever
just like a memory
O let me dream &
play for me that mel-o-dy
I'm in love with a mel-o-dy
that cap-tured me
It's a part of
my heart
Haunt-ing me and
I'm for-ev-er say-ing
Night and day like a
mag-ic charm
That mel-o-dy Comes to me con-stant-ly
Thrill-ing me and
that's why I keep say-ing
1922
o that KISS IN THE
DARK
was to him just a lark
but to me ’twas a thrill supreme
just A
KISS IN THE DARK
but it kindled the spark
the awak'ning of love's young
dream
I re-call the mad de-light
Of a love-ly dance
And a
stroll in-to a night
Tremb-ling with ro-mance.
There he told me of my
charms
How could I re-sist
Sud-den-ly with-in his arms
I was held and
kissed!
That was love in all its pow'r
Yet to-day it seems
Like a
sweet but fleet-ing hour
In the land of dreams,
There we part-ed in the
dawn
He had played a part
But the mem-'ry lin-gered on
In my
tremb-ling heart.
1922
Haydn Wood. Lyrics by Harry
Rodney-Bennett.
all thru the night
there's a little BROWN
BIRD SINGING
singing in the hush
of the darkness & the dew
singing
in the hush of the darkness & the dew
would that his song thru the
stillness
could go a-winging
could go a-winging to you to you.
all
thru the night time
my lonely heart is singing
sweeter songs of love
than the BROWN BIRD ever knew
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.
1923
E. Ray
Goetz.
hmmmmmmm SO THIS IS LOVE
I'm sure it is & yet
I but seem in
a dream since we met
to thrill at thought of someone
a thrill I never
knew
hmmmmmmm If this is Love sweet heart
then someone's in love with
you
We met, we spoke, and I awoke
To some emotion
new
We met again, We parted,
then I thought and thought of you
Then
came the a wakening,
Brought by your first kiss
I've dreamed,I've sought
but never thought
That love could be like
this
We met, we spoke, though love a woke
We only met to part
We'll
meet, we'll speak
But smiles will seek
To hide the tears that start
now with the awak'ning
Strange though It may seem
I find that I can
smile goodbye
To every hope and dream.
1923
w.m.
Cecil Mack & James P. Johnson. Inspiration for a dance craze.
CHARLESTON
CHARLESTON made in Carolina.
some dance, some prance, I'll say, there's
nothing finer
than the Charleston, Charleston. Lord, how you can
shuffle.
ev'ry step you do leads to something new, man, I'm telling you it's
a lapazoo.
Buck dance, wing dance, will be a back number,
But the
Charleston, the new Charleston, that dance is surely a comer.
Sometime you'll
dance it one time, the dance called the Charleston,
Made in South
Caroline.
Charleston! Charleston! Made in Carolina.
Some dance, some
prance, I'll say, there's nothing finer
Than the Charleston, Charleston.
Lord, how you can shuffle.
Ev'ry step you do leads to something new, man, I'm
telling you it's a lapazoo.
Buck dance, wing dance, will be a back
number,
But the Charleston, the new Charleston, that dance is surely a
comer.
Sometime you'll dance it one time, the dance called the
Charleston,
Made in South Caroline!
Caroline Caroline at last they've got
you on the map
with a new tune a funny blue tune with a peculiar snap
you
many not be able to buck & wing, fox-trot, two-step, or even swing,
if
you ain't got religion in your feet you can do this prance and do it
neat.
1923
w.m. Frank Silver & Irving Cohn
YES WE HAVE NO
BANANAS
we have no bananas today
we’ve string beans &
onions
cabashes & scallions
& all sorts of fruit & say
we
have an old fashioned tomato
a Long Island potato
but YES WE HAVE NO
BANANAS
we have no bananas today
There's a fruit store on our
street
It's run by a Greek
And he keeps good things to eat But you should
hear him speak!
When you ask him anything, he never answers "no"
He just
"yes"es you to death, and as he takes your dough He tells
you
Business got so good for him that he wrote home today,
"Send
me Pete and Nick and Jim; I need help right away"
When he got them in the
store, there was fun, you bet
Someone asked for "sparrow grass" and then the
whole quartet All answered
"Yes, we have no bananas
We have-a no bananas
today
Just try those coconuts
Those wall-nuts and doughnuts
There ain't
many nuts like they
We'll sell you two kinds of red herring,
Dark brown,
and ball-bearing
But yes, we have no bananas
We have no bananas
today"
[ Lyrics from:
http://www.lyricsmode.com/lyrics/l/louis_prima/yes_we_have_no_bananas.html
]
He, he, he, he, ha, ha, ha whatta you laugh at?
You gotta soup or pie?
Yes, I don't think we got soup or pie
You gotta coconut pie?
Yes, I
don't think we got coconut pie
Well I'll have one cup a coffee
We gotta no
coffee
Then watta you got?
I got a banana!
Oh you've got a banana!
Yes, we gotta no banana, No banana, No banana, I tell you we gotta no
banana today
I sella you no banana
Hey, Mary Anna, you gotta... gotta no
banana?
Why this man, he's no believe-a what I say… no… he no believe
me…
Now whatta you wanta mister? You wanna buy twelve for a quarter?
Well, just a one of a look, I'm gonna call for my daughter
Hey, Mary Anna
You gotta piana
Yes, a banana, no
Yes, we gotta no bananas today!
The new English "clark"
Yes, we are very sorry to inform you
That
we are entirely out of the fruit in question
The afore-mentioned vegetable
Bearing the cognomen "Banana"
We might induce you to accept a substitute less
desirable,
But that is not the policy at this internationally famous green
grocery
I should say not. No no no no no no no
But may we suggest that you
sample our five o'clock tea
Which we feel certain will tempt your pallet?
However we regret that after a diligent search
Of the premises By our
entire staff
We can positively affirm without fear of contradiction
That
our raspberries are delicious; really delicious
Very delicious But we have no
bananas today
1923
w. Bert Kalmar & Harry Ruby m. Ted
Snyder
WHO’S SORRY NOW
who's sorry now
whose heart is achin'
for breakin' each vow
who's sad & blue
who's cryin' too
just
like I cried over you
right to the end
just like a friend
I tried to
warn you somehow
you had your way
now you must pay
I'm glad that you're
sorry now
1924
Isham Jones/Gus Kahn, “Show
business: a musical comedy”.
IT HAD TO BE YOU
it’s got to be
you
I wondered around
& suddenly found
the someone who
will
make me feel bad
& even be sad
just for the sad thinking of
you
some others I’ve seen
might never be mean
might want to be boss
or even get cross
at me
but they wouldn’t do
for nobody else gave
me that thrill
With all your faults I love you still
It’s got to be
you
wonderful you,
it’s got to be you
1924
w. Joseph M.
Lacalle (Sp) Albert Gamse (Eng) m. Joseph M. Lacalle
AMAPOLA my
pretty little poppy
you're like that lovely flower so sweet &
heavenly
since I found you
my heart is wrapped around you
& loving
you it seems to beat a rhapsody
Amapola, the pretty little poppy
must
copy its endearing charm from you
Amapola, Amapola
how I long to hear you
say I love you.
Amapola lindísima Amapola
sera siempre tu alma tuya
sola
yo te quiero amada niña mia
igual que ama la flor la luz del
dia
Amapola
lindísima Amapola
no seas tan ingrata y ámame.
Amapola,
Amapola
como puedes tu vivir tan sola
1924
Spencer
Williams/Jack Palmer.
EVERYBODY LOVES MY BABY
BUT MY BABY DON’T
WANT NOBODY BUT ME
nobody but me
everybody wants my baby
but my baby
don't want nobody but me
that's plain to see
yes she got a foam
like Venus
honest, I ain't talking Greek
no one can come between
us
she's my Sheba, I am her
Sheik
1924
Noel Coward. Andre Charlot’s Revue
Parisian
Pierrot
society’s hero
the lord of the day
the rue the la Paix
is
under your sway
the world may flatter
but what does that matter
they’ll
never shatter
your gloom profound
Parisian Pierot
your spirit’s at
zero
divinely forlorn
with exquisive scorn
from sunset to dawn
the
limbo is calling
your star will be falling
as soon as the clock goes
round.
1924
Friml, “Rosa Maria”
when I’m
calling you-oo-ooo
will you answer too---oo--ooo
that means I offer my
life to you
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
& 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.
1925
Cuthbert Harris, “The fairy
gardeners”.
when winter
time is passing
Look out before the dawn
Across the moonlit valley
And
o'er the misty lawn
A lot of tiny people,
So busy you will see,
And
then you'll say
"I wonder Whoever can they be?
Oh! the little fairy
gard'ners,
the busy fairy gard'ners,
They plant and sow and dig
and
hoe when dews of April fall,
The flowers rise and greet them,
The Spring
awakes to meet them,
Oh! little fairy gard'ners,
how we love you
all.
When winter snows have melted,
And dreary days are done,
Oh! greet
the thousand blossoms,
That glisten in the sun!
Within your heart be
hiding,
This beauty fair and new;
The happy fairy gard'ners
Have
fashioned it for you!
Oh! the little fairy gard'ners,
the busy fairy
gard'ners,
They plant and sow and dig
and hoe, when dews of April
fall,
The flowers rise and greet them,
The Spring awakes to meet
them,
Oh! little fairy gard'ners
how we love you
all.
1925
Irving Berlin.
1925
IF
YOU KNEW SUSIE LIKE I KNOW SUSIE
oh oh oh what a girl
there's none so
classy
as this fair lassie
oh oh holy Moses what a chassis
we went
riding, she didn't balk
back from Yonkers
I'm the one that had to
walk
IF YOU KNEW SUSIE LIKE I KNOW SUSIE
oh oh what a girl
IF YOU KNEW
SUSIE LIKE I KNOW SUSIE
oh oh oh what a girl
she wears long
tresses
& nice tight dresses
oh oh what a future she possesses
out
in public how she can yawn
in a parlour you would think the war was on
IF
YOU KNEW SUSIE LIKE I KNOW SUSIE
oh oh what a girl
I have got a
sweetie known as Susie
In the words of Shakespeare she's a "wow"
Though
all of you may know her, too
I'd like to shout right now:
Suzie has a
perfect reputation
No one ever saw her on a spree
Nobody knows where Susie
goes
Nobody knows but me
She'll spend Sunday praising the Lord,
But on
Monday she's as busy as a Ford.
If you knew Susie, like I know Susie
Oh!
Oh, what a girl!
I had a mustache, and trained it like a pup
She's got
such hot lips she kissed me once
and burned it up.
If you knew Susie--like
I know Susie
Oh Oh! Oh! Oh! Oh, what a
girl!
1925
Jacob Gade/Vera Bloom.
Jalousie.
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 &
parted
we'll be the same as we started
just a-traveling along
singing a
song
SIDE BY SIDE
See that sun in the morning,
peeking
over the hill
I'll bet you're sure it always has and sure it always
will.
that's how I feel about someone,
how somebody feels about
me.
we're sure we love each other
that's the way we'll always be.
We're
all hunting for something
Something we don't know what
'Cause none of us
are satisfied with things we know we've got.
We all forget about
moonlight,
As soon as we've given our vow
But we'd all be so happy if we'd
start and sing right now:
1925
Folk song, adapted in
1925 by Irving King, the British songwriting team James Campbell and Reginald
Connelly, written on a railroad train journey from London. They were tired from
the traveling and had a few alcoholic drinks during the journey.
SHOW ME THE
WAY TO GO HOME
I'm tired & I want to go to bed
I had a little drink
about an hour ago
& it's gone straight up to my head
where ever I may
roam
on land or sea or foam
you will always hear me singing this
song
SHOW ME THE WAY TO GO HOME
Indicate the way to my
abode
I'm fatigued and I want to retire
I had a spot of beverage sixty
minutes ago
And it went right to my cerebellum
Wherever I may
perambulate
On land, or sea or atmospheric vapour
You can always hear me
crooning the melody
Indicate the way to my abode
Lead me to my bed
I'm
knackered and I want to get some kip
I had a bit of booze about an hour
ago
And it went right to my cop
Wherever I may stroll
To the pub, or to
the dole
You will always hear me making this noise
Lead me to my
bed
1925
no gal made
has got a shade
on
SWEET GEORGIA BROWN
two left feet
oh, so neat
has SWEET GEORGIA BROWN
they all sigh
& want to die
for SWEET GEORGIA BROWN
I'll tell
you just why
you know I don't lie -- not much
it's been said
she
knocks 'em dead
when she lands in town
since she came
why it's a
shame
how she cools them down
fellas she can't get
must be fellas she
ain't met
Georgia claimed her
Georgia named her
SWEET GEORGIA BROWN
All those gifts those courters give,
To SWEET GEORGIA BROWN
They buy
clothes at fashion shows,
With one dollar down,
Oh, boy! tip your hat!
Oh, joy! she's the cat!
Who's that, mister? 'tain't a sister!
SWEET
GEORGIA BROWN
1925
Picture me upon your 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.
----- I’m
discontented
----- with homes that I rented
----- so I have
invented
----- my own.
----- Darling this place is
----- a lovers’s
oasis
----- where life’s wary chase is
---- UNKNOWN
----- far from the
cry of the city
----- where flowers pretty
----- caress the
stream
----- cosy to hide in
----- to live side by side in
----- don’t
let it abide in
-----my dreams
1925
ON MOTHER
KELLY’S DOORSTEP
down paradise row
I sit alonga Nellie
she sits alonga
Joe
she's got a little hole in her frock
hole in her shoe
hole in her
sock
where her toe peeps thru
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
& does she love him
like she used
to
ON MOTHER KELLY’S DOORSTEP
down paradise
row
1926
w. Ira Gershwin m. George
Gershwin
there's a somebody I'm longin' to see
I hope that he,
turns out to be
SOMEONE who’ll WATCH OVER ME
I'm a little lamb who's lost
in the wood
I know I could, always be good
to one who'll WATCH OVER ME
although he may not be the man some
girls think of as
handsome
to my heart he carries the key
won't you tell him please to
put on some speed
follow my lead, oh, how I need
SOMEONE TO WATCH OVER
ME.
There's a saying old, says that love is blind
Still we're
often told, "seek and ye shall find"
So I'm going to seek a certain lad I've
had in mind
Looking everywhere, haven't found him yet
He's the big affair
I cannot forget
Only man I ever think of with regret
I'd like to add his
initial to my monogram
Tell me, where is the shepherd for this lost
lamb?
1926
There is much speculation about the
meaning of the song. At least two commentators (using the same source) attribute
the song to a prostitute's leaving the business and going home to her mother. As
such, it is the opposite of “House of the Rising Sun,” where the prostitute
returns to the business. The reason for the song's apparent ambiguity is that
the opening verse and the verses about the bluebird are rarely
sung.
pack up all my cares &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 & understand
me,
oh what hard luck stories they all hand me.
make my bed & light
the light
I'll arrive late tonight
blackbird
bye-bye
1926
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 up get out of bed
cheer up cheer up the sun is red
live
love laugh & be happy
what if I were blue now I'm walking thru fields of
flowers
rain may glisten but still I listen for hours & 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.
1926
Weinthrop-Allen,
“Underneath the arches”: a musical comedy – compiled by Roy Hudd.
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 raining & 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.
The Ritz, we never cared for
The
Carlton, they can keep
But there is only one place that we love
And that
is where we sleep…
1926
Written when Donaldson & Kahn were
visiting Eddie Cantor. Cantor's daughter Marjorie brought out one of her
favourite toys, a walking mechanical pig. She wound it up and it started walking
in rhythm while 2 notes kept coming from the little creature. Kahn was inspired
and started working lyrics to these notes in rhythm with the pig, coming up with
the title and opening line of the chorus in short order.
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
1926
Thomas Case Sterndale
Bennett/Hugh E. Wright. At Waterbury, Kent, Bennett had a villa near Warden
House and was inspired by the Lower Mill Pond. The gate he mentions is at the
beginning of the track at Upper Mill End.
sowin's pretty
good
reapin' ain't so bad
scarin' off the crows
suits a farmer's
lad
but if you ask'es me
the thing that suits a fellow
is a little bit
of straw to suck
to keep your fancies mellow
when you're LEANIN' on
the gate beside
the pond that lies beside the side
of farmer's stacks of
new mown hay
it's just atwix the ricks
beside the barn where farmers
sticks inside
the chicks he only hatch'd today
LEANIN’ LEANIN’
I'm
champion down our way
they say
at LEANIN' on the gate beside the pond that
lies beside
the side of farmer's stacks of new mown hay
that he's been
gleanin'
while I've been LEANIN' all day
Had a lurcher once
better than
a gal
poacher? Well, a bit
but 'e was a pal
now there's just a
mound
underneath the el-lum
reckon folks would laugh at I
if I was to
tell 'em.
why I'm LEANIN' on the gate beside the pond that lies
beside
the side the hedge where my old dog would play
it's just a'cos from
there I see the sunlight
glintin' through the tree
upon the grave where 'e
do lie
sleepin', sleepin'
goodbye is hard to say
that's why
I'm
LEANIN’ on the gate beside the pond that lies beside
the side of farmer's
stacks of new-mown hay
and at the gleanin'
he'll find me LEANIN' all
day
1926
Ma il mio mistero e chiuse in
me
Il nome mio nessun spara
Solo quando la luce splendera
Sulla tua
bocca lo diro fremente
Ed il mio bacio sciogliera
Il silenzio che ti fa
mia.
Puccini
“Turandot”.
1926
Eric
Coates – Royden Barrie
over the quiet hills
slowly the
shadows fall
far down the echoing vale
birds softly call
slowly the
golden sun
sinks in the dreaming west
BIRD SONGS AT EVENTIDE
call me
to rest.
love tho’ 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.
1927
“Good
news”.
the moon belongs to everyone,
THE BEST THINGS IN LIFE
ARE FREE
the stars belong to everyone,
they gleam there for you
& me
the flowers in spring
the robins that sing
the
moonbeams that shine
they're yours, they're mine.
& love can come to
everyone
THE BEST THINGS IN LIFE ARE FREE
1927
Ain’t that a grand and
glorious feeling
1927
w. Mitchell Parish m. Hoagy
Carmichael
sometimes I wonder why I spend the lonely nights
dreaming of a
song the melody haunts my reverie
& I am once again with you
when our
love was new & each kiss an inspiration
but that was long ago & now
my consolation is in the STARDUST of a song
beside the garden wall when stars
are bright you are in my arms
the nightingale tells his fairy tale of
paradise where roses grew
tho’ I dream in vain in my heart you will
remain
my STARDUST melody the memory of love’s refrain.
& 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 & far away
leaving me a song that will not
die
love is now the STARDUST of yesterday
the music of the years gone
by.
1927
w.m. Irving Berlin
THE SONG IS ENDED
BUT THE MELODY
LINGERS ON
you & the song are gone
but the melody lingers
on
the night was splendid
& the melody seemed to say
summer
will pass away
take your happiness while you may
there
'neath the light of the moon
we sang a love song that ended too soon
the
moon descended
& I found with the break of dawn
you & the song had
gone
but the melody lingers on
my thoughts go back to a heavenly
dance
a moment of bliss we spent
our hearts were filled with a song of
romance
as into the night we went
& sang to our hearts'
content
1927
w.m. Irving Berlin
BLUE
SKIES smiling at me
nothing but BLUE SKIES do I see
bluebirds singing a
song
nothing but bluebirds all day long
Never saw the
sun shining so bright
Never saw things going so right
Noticing the days
hurrying by
When you're in love, my how they fly
Blue days all of them
gone
Nothing but blue skies from now on
I was blue, just as blue
as I could be
Ev'ry day was a cloudy day for me
Then good luck came
a-knocking at my door
Skies were gray but they're not gray anymore
I
should care if the wind blows east or west
I should fret if the worst looks
like the best
I should mind if they say it can't be true
I should smile,
that's exactly what I do
1927
AIN’T SHE SWEET
see her walking down the street
now I ask you very
confidentially
ain't she sweet
ain't she nice
look her over once or
twice
now I ask you very confidentially
ain't she nice
just cast an
eye in her direction
oh me oh my ain't that perfection
I repeat
don't
you think she's kind of sweet
now I ask you very confidentially
ain't she
sweet?
Ain't HE sweet
When he passes down the street
everybody
whispers confidentially,
ain't he sweet.
ain't HE cute
in his brand new
chequered suit
now I ask you very confidentially
ain't he cute
O can't
you see
how I adore him
If he wants me
I'm right here for him
When
we meet,
Just knock me off my feet
And I ask you very
confidentially,
Ain't HE sweet
There she is! There
she is!
There's what keeps me up at night
Oh, gee whiz! Oh, gee
whiz!
There's why I can't eat a bite
Those flaming eyes! That flaming
youth!
Oh, mister oh, sister, tell me the truth...
Tell me where, tell me
where
Have you seen one just like that
I declare, I declare
That sure
is worth looking at
Oh, boy, how sweet those lips must be
Gaze on it,
doggonit! Now answer me
Look who's here,
Look who's here,
There's a boy
I'm mad about!
Oh my dear,
When he's near,
I just feel like passin'
out!
So big and strong,
So full of youth,
Oh momma, Oh poppa,
Tell
me the truth!
What a man, I'll say!
How he can, hey-hey!
Look him up,
and down,
There's the handsomest man in town!
What a smile he's
got,
Get that style, it's hot!
Me for him, no joke,
I could love him if
he was broke!
1927
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
1927
Jaromír 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 OUT THE BARREL
for the gang's all
here
There's a garden, what a garden,
Only happy faces bloom
there,
And there's never any room there,
For a worry or a gloom there
Oh there's music and there's dancing,
And a lot of sweet romancing
When they play the polka
They all get in the swing
Every time
they hear that oom-pa-pa,
Everybody feels so tra-la-la
They want to
throw their cares away,
They all go lah-de-ah-de-ay
Then they hear a
rumble on the floor,
It's the big surprise they're waiting for
And all
the couples form a ring,
For miles around you'll hear them
sing
1927
Music: Julio Cesar Sanders credited in the
U.S. as "Lenny Sanders"), words by Cesar Felipe Vedani. English words by Dorcas
Cochran, 1951.
adiós muchachos compañeros de mi vida
barra querida
de aquellos tiempos
me toca a mí hoy emprender la retirada
debo alejarme
de mi buena muchachada
adiós, muchachos ya me voy y me resigno
contra el
destino nadie la talla
se terminaron para mí todas las farras
mi cuerpo
enfermo no resiste más
acuden a mi mente recuerdos de otros tiempos
de los
bellos momentos que antaño disfrute
cerquita de mi madre santa viejita
y
de mi noviecita que tanto idolatré...
¿Se acuerdan que era hermosa
más linda que una diosa y que ebrio yo de amor le di mi corazón mas el Señor,
celoso de sus encantos,
hundiéndome en el llanto me la llevó? Es Dios el juez
supremo. No hay quien se le resista. Ya estoy acostumbrado su ley a respetar
pues mi vida deshizo
con sus mandatos llevandome a mi madre y a mi novia
también. Dos lágrimas sinceras
derramo en mi partida por la barra querida que
nunca me olvidó y al darles, mis amigos,
mi adiós postrero, les doy con toda
mi alma mi bendición... Adiós, muchachos, compañeros de mi vida,
barra
querida de aquellos tiempos. Me toca a mí hoy emprender la retirada, debo
alejarme de mi buena muchachada.
Adiós, muchachos. Ya me voy y me resigno...
Contra el destino nadie la talla... Se terminaron para mí todas las farras, mi
cuerpo enfermo no resiste más...
when we are dancing
&
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
& when you touch me & there's fire in every
finger
I GET IDEAS I GET IDEAS
& after we have kissed
goodnight
& still you linger I kinda think you get ideas to
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
1927
Kern, “Showboat:
a musical comedy”
fish got to swim birds got to fly
I got to love
one man till I die
CAN’T HELP LOVIN’ DAT MAN OF MINE
tell me he's lazy
tell me he's slow
tell me I'm crazy maybe I know
CANT’ HELP LOVIN’ DAT MAN
OF MINE
when he goes away
dat's a rainy day
& when he
comes back dat day is fine
de sun will shine
he kin come home as late as
can be,
home without him ain't no home to me,
CAN’T HELP LOVIN’ DAT MAN OF
MINE.
Oh listen sister
I love my mister man
And I
can't tell you' why
Dere ain't no reason
Why I should love dat man,
It
mus' be sumpin dat de angels done plan
De chimney's smokin'
De roof is
leakin' in
But he don't seem to care
Dere ain't no reason why I should
love dat man.
It mus' be sumpin' dat de angels done
plan.
1927
Jerome Kern, “Showboat: a musical comedy”.
I'm walking on the air dear
for life is fair dear
to
lovers
I'm in the seventh heaven
there's more than seven
my heart
discovers
In this real impossible & unreal world
finding you has given
me my ideal world
why do I love you?
why do you love me?
why should
there be two happy as we
can there be a why and wherefore
you should be
the one I care for
you're a lucky boy I am lucky too
all our dreams of joy
seem to come true
Maybe that's because you love me
Maybe that's why I love
you.
1927
ME & MY SHADOW
strolling down the
avenue
ME & MY SHADOW
not a soul to tell our troubles
to
& when it’s twelve o’clock
we climb the stair
we
never knock
for nobody’s there -- just
ME & MY SHADOW
all alone
& feelin’ blue
1928
Noël Coward From “This
year of grace” a revue. Duetto with Jessie Matthews.
A ROOM WITH
A VIEW
& you,
& no-one to worry us
no one to hurry us
thru
this dream we've found
we'll gaze at the sky
& 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 & we'll
coo
& sorrow will never come
oh will it ever come true
our room
with a view
I've been cherishing,
Through the perishing
winter
nights and days,
A funny little phrase
That means so much to me,
That
you've got to be
With me heart and soul,
For on you the whole thing
leans.
Come with me and leave the noisy crowds,
Sunlight shines for us
above the clouds.
Please don't turn away
Or my dream will stay
Hidden
out of sight,
Among a lot of "might have beens".
A room with a
view,
And you,
And no-one to give advice,
That sounds like a paradise
few
Could fail to choose.
With fingers entwined,
We'll find
Relief
from the preachers
Who always beseech us to mind
Our P's and Q's.
We'll
watch the whole world pass before us while we are sitting still,
Leaning on
our own window sill.
We'll bill and we'll coo-ooo-oo,
And maybe a stork
will bring
This, that and t'other thing
to our room with a
view.
1928
Ted Shapiro, Jimmy Campbell & Reg Connelly.
The Prince of Wales’s favourite fox trot.
I could show the
world how to smile
I could be glad all of the while
there's nothin' I
couldn’t do
IF I HAD YOU
I could be a king dear
uncrowned
humble or poor rich or renowned
I could change the gray clouds
to blue
IF I HAD YOU
I could climb a snow-capped
mountain
sail the mighty ocean wide
I could cross the burning desert
IF
I HAD YOU you by my side
I could leave the old days behind
leave
all my pals I'd never mind
there's nothin' I wouldn't do
IF I HAD
YOU
1928
Noel Coward, “This year of Grace: a revue”. With
Beatrice Lillie.
World weary, world weary
Living in a world of
grey
I found it so dreary
I want an ocean blue deep blue seas
A good
view of the Pyrenees.
1928
w.m. Dave Dreyer,
Al Jolson & Billy Rose
the bird with feathers of
blue
is waiting for you
BACK IN YOUR OWN BACKYARD
you'll see your
castles in Spain
thru your window pane
BACK IN YOUR OWN
BACKYARD
oh you can go to the East
go to the West
but someday
you'll come
weary at heart
back where you started from
you'll find your
happiness lies
right under your eyes
BACK IN YOUR OWN BACKYARD
1928
w. Dorothy Fields m. Jimmy McHugh , introduced by Adelaide Hall
at Les Ambassadeurs Club in New York in January in Lew Leslie's Blackbird
Revue. Fats Waller might have sold the melody to McHugh in 1926, the lyrics may
have bee by Andy Razaf. Fields' verse is almost identical to the end of the
second verse of Lorenz Hart's and Richard Rodgers' song "Where's That Rainbow?"
from Peggy-Ann, the 1926 musical comedy with book by Fields' brother Herbert and
produced by their father Lew. My luck will vary surely, That's purely a curse.
My luck has changed--it's gotten From rotten to worse.
I CAN’T GIVE
YOU ANYTHING BUT LOVE -- BABY
that's the only thing I've plenty of --
baby.
dream a while scheme a while
you're sure to find
happiness &
I guess
all those things you've always pined -- for
gee it's great to see
you looking swell -- baby.
diamond bracelets Woolworth doesn't sell --
baby.
till that lucky day
you know darn well -- baby
I CAN’T GIVE YOU
ANYTHING BUT LOVE.
gee but it's tough to be broke kid
it's
not a joke kid it's a curse
my luck is changing it's gotten
from simply
rotten to something worse
who knows someday I will win too
I'll
begin to reach my prime
now that I see what our end is
all I can spend is
just my time
1928
w. Gus Kahn m. Walter Donaldson.,
“Whoopee: a musical comedy”, Broadway -- book, based on Owen Davis's play The
Nervous Wreck, written by William Anthony McGuire. The song itself is a "dire
warning", largely to men, about the "trap" of marriage. It begins with the
celebration of a wedding, honeymoon and marital bliss, but moves on to babies
and responsibilities, and ultimately on to affairs and possible divorce, ending
with a judge's advice.
another bride another June
another sunny
honeymoon
another season another reason -- for
MAKIN’ WHOPEE
a
lot of shoes, a lot of rice
the groom is nervous, he answers twice
it's
really killin' that he's so willin'
to make whoopee
picture a
little love nest
down where the roses cling
picture the same sweet love
nest
& think what a year can bring
he's washin' dishes and baby
clothes
he's so ambitious he even sews
but don't forget folks
that's
what you get folks, for
MAKIN’ WHOPEE
Another year, or
maybe less
What's this I hear? Well you can guess
She feels neglected, and
he's suspected
Of making whoopee
She sits alone, most every night
He
doesn't phone; he doesn't write
He says he's busy, but she says "Is
he?"
He's making whoopee
He doesn't make much money
Only five thousand
per
Some judge who thinks he's funny
Says you'll pay six to her
He
says, "Now judge, suppose I fail?"
The judge says: "Budge, right into
jail"
You'd better keep her, I think it's cheaper
Than making
whoopee
1928
w.m. Mark Fisher, Joe Goodwin &
Larry Shay
WHEN YOU’RE SMILING when you’re smiling
THE WHOLE
WORLD SMILES WITH YOU
when you're laughing when you're laughin'
the sun
comes shining thru
but when you're crying
you bring on the
rain
so stop your sighing
& be happy again
keep on smiling, keep
on smilin'
& the whole world smiles with you
1928
w. B.G.
DeSylva & Lew Brown m. Ray Henderson
YOU’RE THE CREAM IN MY
COFFEE
you’re the salt in my stew
you will always be my necessity
I’d
be lost without you.
you’re the starch in my collar,
you’re
the lace in my shoe;
you will always be my necessity--
I’d be lost
without you.
Most men tell love tails,
And each phrase
dovetails.
You’ve heard each known way,
This way is my own way.
you’re the sail of my love boat
you’re the captain and crew
you
will always be my necessity
I’d be lost without you.
you give life
savour,
bring out its flavour;
so this is clear, dear,
you’re my
worcestershire, dear.
1928
I and. G. Gershwin, “Treasure
girl: a musical comedy”.
I'VE GOT A CRUSH ON YOU sweetie pie
all the
day & night-time hear me sigh
I never had the least notion that
I
could fall with so much emotion
could you coo could you care
for a cunning
cottage we could share
the world will pardon my mush
'cause I have got a
crush my baby on you.
How glad the many millions of Annabelles &
Lillians
would be to capture me
but you had such persistence
you wore
down my resistance
I fell and it was swell
I'm your big and brave and
handsome Romeo
How I won you I shall never never know
It's not that you're
attractive
But, oh, my heart grew active
when you came into
view.
1928
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 & 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 do
my sweet embraceable
you.
1928
In Spain the best upper set do it
Not
to mention the Finns
Folks in Siam do it
Think of Siamese twins.
Some
argentines without means do it
They say in Boston even beans do it
Let’s
do it
Let’s fall in love
1928
Sigmund Romberg/Oscar
Hammerstein II,“The new moon”: a musical comedy”.
the sky was
blue
& high above
the moon was new
& so was love
this eager
heart of mine was singing
lover where can you be
you came at last
love
had its day
that day is past
you’ve gone away
this aching heart of mine
is singing
LOVER COME BACK TO ME
when I remember every little
thing you used to do
I'm so lonely
every road I walk along I walk along
with you
no wonder I am lonely.
the sky is blue
the night is
cold
the moon is new
but love is old
& while I’m waiting
here
this heart of mine is singing
LOVER COME BACK TO ME
You
went away
I let you
We broke the ties that bind
I wanted to forget
you
And leave the past behind
Still, the magic if the night I met
you
Seems to stay forever in my mind
1928
Vivian
Ellis. Revue, “Will-o’the-Whispers”
I built my hopes on mountains
high
There was no ceiling to my sky
But I NEVER DREAMED I’D FALL IN LOVE
WITH ME
1929
Oscar
Levant/Sidney Clare, Loveable and sweet.
1929
Rodgers/Hart,
“Spring is here: a musical comedy”, Broadway. Introduced by John Hundley and
Lillian Taiz.
WITH A SONG IN MY HEART
I behold your
adorable face
just a song at the start
but it soon is a hymn to your
grace
when the music swells
I'm touching your hand
it tells that
your're standing near &.
at the sound of your voice
heaven
opens its portals to me
can I help but rejoice
that a song such as ours
came to be
but I always knew
I would live life thru
WITH A SONG IN MY
HEART for you
Though I know that we meet ev'ry night
and we
couldn't have change since the last time,
to my joy & delight,
it's a
new kind of love at first sight.
though it's you and it's I all the time
ev'ry meeting's marvelous pastime.
You're increasingly sweet,
so
whenever we happened to met
I greet you ...
Oh, the moon's not a moon
for a night
and these stars will not twinkle and fade out,
and the words
in my ears
will resound for the rest of my years.
In the morning I find
with delight
not a note of our music is played out.
It will be just as
sweet,
and an air that I'll live to repeat:
I greet you ...
1929
Razaf/Denniker. Written by Denniker with
Razaf providing lyrics it become a hit for crooner Rudy Vallee and even inspired
a whole series of similar songs--a cycle to which Denniker and Razaf were
pleased to contribute, thus giving birth to "Wontcha" and "Perhaps".
S’POSIN’ I should fall in love with you
do you think that
you could love me too
S’POSIN’ I should hold you & caress you
would it
impress you or distress you
S’POSIN’ I should say for you I yearn
would
you think I'm speaking out of turn &
S’POSIN’ I declare it
would you
take my love & share it
I'm not S’POSIN’ I'm in love with
you.
1929
Noel Coward, “Bitter sweet: a musical comedy”.
London.
If love were
all
1929
Porter
In
olden days a glimpse of stocking
Was looked on as something shocking
now
heaven knows
ANYTHING GOES
Good authors too who once used better
prose
Now only use four-letter words in writing prose
ANYTHING GOES
If
driving fast cars
1929
Noel Coward. “Bitter sweet: a
musical comedy”. Tenor role created by R. Metaxa
I’LL SEE YOU AGAIN
whenever spring breaks thru again
time may lie heavy between
but what
has been
is past forgetting
this sweet memory
throughout the
years will come to me
tho’ my world may go awry
in my heart will ever
lie
just the echo of a sigh --
goodbye.
1929
Cliffored Grey/Vivian Ellis
– “Mister Cinders: a musical comedy”, London, Alhambra.
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-
I’ve got a
creed
For every need
So easy that it must
succeed
1929
w.m. Cole Porter.
“Fifty Million Frenchmen: a musical comedy”. Introduced by William Gaxton.
YOU DO SOMETHING TO ME
something that simply mystifies me
tell me why
should it be
you have the power to hypnotize me
Let me live 'neath your
spell,
Do do that voodoo
that you do so well -- for
YOU DO SOMETHING TO
ME
that nobody else could do.
Since you came my
way
I am bound to say
things I once thought gloomy
now both bright and
gay.
I'm so happy now,
and I'm sure somehow,
of this
transformation
there can be but
one explanation:
I was mighty
blue,
thought my life was through,
till the heavens opened,
and I gazed
at you.
Won't you tell me, dear,
Why, when you appear,
something
happens to me
and the strangest feeling
goes through
me?
1929
Cole Porter, Wake up & dream: a musical
comedy”, Introduced by Elsie Carlisle.
I was a humdrum
person
leading a life apart
when love flew in through my window
wide
and quickened my humdrum heart
love flew in through my
window
I was so happy then
but after love had stayed a little
while
love flew out again
WHAT IS THIS THING CALLED LOVE
this
funny thing called love
just who can solve its mystery
why should it
make
a fool of me?
I saw you there
one wonderful day
you took my
heart
and threw it away
thats why I ask the lord
in heaven
above
WHAT IS THIS THING CALLED LOVE
WHAT IS THIS THING CALLED
LOVE
this funny thing called love
just who can solve its mystery
why
should it make a fool of me?
I saw you there
one wonderful day
you
took my heart
and threw it away
thats why I ask the lord
in heaven
above
WHAT IS THIS THING CALLED LOVE
1929
Cole Porter,
“Anything goes”.
At words poetic I’m so pathetic
You’re the top.
1929
KEEP YOUR SUNNY SIDE UP up.
hide
the side that gets blue
if you have nine sons in a row
baseball teams make
money you know.
keep you funny side up up.
let your laughter ring thru
thru
stand upon you legs.
be like two fried eggs.
KEEP YOUR SUNNY SIDE
UP
Keep your sunny side up,up
Hide the side that gets blue
When
their team is knocking you flat
smile and say'we're beter than that
You
got keep your sunny side up, up
Let your laughter shine through ,do stand
upon your legs
Be like two fried eggs keep your sunny side
up
1929
Horatio Nicholls.
You used to write your letters,
with all my love and kisses,
But it’s only yours sincerely now.
1929
Joe Burke/Al
Dubin, “The Gold Diggers of Broadway”.
tiptoe thru the window
in
the garden that is where I'll be
come TIPTOE THRU THE TULIPS
with me
oh
tiptoe from the garden
to the shadow of the willow tree
& TIPTOE THRU
THE TULIPS
with me
knee deep in flowers we'll
stray
we'll keep the showers away
& if I kiss you in the garden in
the moonlight
will you pardon me
& TIPTOE THRU THE TULIPS
with
me
1929
Cole Porter, “Paris: a musical
comedy”.
we're all alone no chaperone
can get our number
the
world's in slumber
LET’S MISBEHAVE
there's something wild about you
child
that's so contagious
let's be outrageous
LET’S
MISBEHAVE
when Adam won Eve's hand
he wouldn't stand for
teasin'.
he didn't care about those apples out of season
they say that
spring means just one little thing
to little lovebirds
we're not above
birds
LET’S MISBEHAVE
You could have a great career,
And you
should;
Yes you should.
Only one thing stops you dear:
You're too
good;
Way too good
If you want a future, darlin',
Why don't you get a
past?
'Cause that fateful moment's comin' at last
It's getting
late & while I wait
My poor heart aches on
Why keep the breaks on?
Let's misbehave
I feel quite sure affaire d'amour
Would be
attractive
While we're still active
let's misbehave!
You
know my heart is true
And you say you for me care...
Somebody's sure to
tell,
But what the heck do we care?
They say that bears have love
affairs
And even camels
We're men and mammals
let's
misbehave
We’re all alone The world alone Has made us blunder
We’re on the wonder Let’s misbehave.
1929
Victor
Schertzinger/Clifford Grey, "The Love Parade" -- Jeanette MacDonald and Maurice
Chevalier
I’ve a pair of arms to hug &
hold
but nobody’s using 'em now
I’ve loads of love if truth be told
but
NOBODY’S USING IT NOW
I’ve a world of time that’s all my own
they
say that you get silly if you spend it alone
I’m telling the truth
I’m
just wasting my youth
but NOBODY’S USING IT NOW.
1929
w. Al Dubin m. Joe Burke, “The Gold
Diggers of Broadway”. Introduced by Nick Lucas.
when I pretend
I'm gay
I never feel that way
I'm only
PAINTING THE CLOUDS WITH
SUNSHINE
when I hold back a tear
to make a smile appear
I'm only
PAINTING THE CLOUDS WITH SUNSHINE
painting the blue
beautiful hues
coloured with gold & old rose
playing the
clown
trying to drown all of my woes
tho’ things may not look
bright
they all turn out alright
if I keep
PAINTING THE CLOUDS WITH
SUNSHINE
1929
“Ain’t misbehaving’: a musical comedy”. New
York.
No one to talk to, all by myself
No one to walk with, but
I’m happy by the shelf
AIN’T MISBEHAVIN’
I’m saving my love for you.
I
know for certain the one I love
I’m thru with flirtin’ it’s just you I’m
thinking of
AIN’T MISBEHAVIN’
I’m saving my love for
you
Like Jack Horner, in the corner
don’t do nothing, what
would I care
Your kisses are worth waiting for, believe me
I don’t go out
now, nowhere to go
I’m hope about eight just my and my radio
AIN’T
MISBEHAVIN’
I’m saving my love for you.
1929
Arthur Freed/Nacio Herb
Brown, “The Hollywood Revue of 1929”
YOU WERE MEANT
FOR ME I was meant for you
nature fashioned you & 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
& they meant you just for me
Life was a song
You
came along
I lay awake the whole night through
If I should dare
To
think you care
This is what I'd say to you
Tuesday, December 4, 2012
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