Songs of the Aftermath

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!