Lullaby of Broadway

Harry Warren and his Oscar

By Harry Warren and Al Dubin
1935

In light of last night's Academy Awards, today we're taking a look at the second tune to ever win the Oscar for Best Original Song (the first being "The Continental" in 1934). Introduced by Wini Shaw in Gold Diggers of 1935, "Lullaby of Broadway" was such an instant classic that later it was even used as background music in the Bette Davis film, Special Agent. With a peppy melody and lyrics that celebrate the wild Broadway nightlife, it's no wonder it captured the attention of Academy voters--even if Irving Berlin's "Cheek to Cheek" may have been the more deserving nominee that year...

Lyrics:

Come on along and listen to
The lullaby of Broadway
The hip hooray and ballyhoo
The lullaby of Broadway
The rumble of a subway train
The rattle of the taxis
The daffodils who entertain
At Angelo's and Maxi's

When a Broadway baby says good night
It's early in the morning
Manhattan babies don't sleep tight
Until the dawn

Good night, baby
Good night, the milkman's on his way
Sleep tight, baby
Sleep tight, let's call it a day

The band begins to go to town
And everyone goes crazy
You rock a bye your baby round
'Til everything gets hazy
Hush a bye, I'll buy you this and that
You hear a daddy saying
And baby goes home to her flat
To sleep all day

Good night, baby
Good night, the milkman's on his way
Sleep tight, baby
Sleep tight, let's call it a day

Listen to the lullaby 
Of old Broadway!

Recorded By:

Tony Bennett
Ella Fitzgerald
Bette Midler
The Andrew Sisters
Doris Day

We're in the Money (The Gold Diggers' Song)

By Harry Warren and Al Dubin
1933

What became an anthem of the Great Depression was written as a song of hope by the legendary team of Warren & Dubin, signaling a wished-for end to the economic catastrophe, even though that was still years away. Written for the film Gold Diggers of 1933, in which it was introduced by Ginger Rogers, the song had its first commercial release simultaneously, in a recording by Art Kahn and his Orchestra. With a most recognizable and catchy tune, it soon started popping up everywhere, including a 1933 Warner Bros. cartoon of the same name.

Lyrics:

We're in the money, we're in the money;
We've got a lot of what it takes to get along!
We're in the money, that sky is sunny,
Old Man Depression you are through, you done us wrong.

We never see a headline about breadlines today.
And when we see the landlord we can look that guy right in the eye

We're in the money, come on, my honey,
Let's lend it, spend it, send it rolling along!

Recorded By:

Bing Crosby
Dick Powell
Connie Francis
Jessica Molaskey
Dick Hyman Trio

September in the Rain

By Harry Warren and Al Dubin
1937

One of a series of memorable songs the Warren/Dubin team would compose for Warner Bros. musicals in the 1930s, this one was written for the film Melody for Two, in which it was introduced by tenor James Melton. Immediately following the film's release, there were three commercial recordings made in 1937 alone: by Melton, Guy Lombardo and Pauline Byrns. A decade later, the song had a resurgence in popularity, by which point it had become a standard. It has since been recorded countless times, including by The Beatles, who included it in their failed audition for Decca Records.

Lyrics:

The leaves of brown came tumblin' down, remember
In September in the rain
The sun went out just like a dying ember
That September in the rain

To every word of love I heard you whisper
The raindrops seemed to play a sweet refrain
Though spring is here, to me it's still September
That September in the rain

Recorded By:

Frank Sinatra
Julie London
Jo Stafford
The Platters
Dinah Washington

I'll String Along With You

By Harry Warren and Al Dubin
1934

From the powerhouse team of Warren & Dubin, also responsible for such classics as "I Only Have Eyes for You", "Boulevard of Broken Dreams", "With Plenty of Money and You" and "Lulu's Back in Town", this one was written for the 1934 Warner Bros. musical Twenty Million Sweethearts. During this time, Warren & Dubin had been teamed up to write songs for a series of Warner Bros. musicals starting with 42nd Street the previous year. "I'll String Along With You" was introduced in the film by Dick Powell, who croons it to Ginger Rogers. The first recorded release would come the same year from Ted Fio Rito and His Orchestra.

Lyrics: 

You may not be an angel 
'Cause angels are so few 
But until the day that one comes along 
I'll string along with you

I'm looking for an angel 
To sing my love song to 
And until the day that one comes along 
I'll sing my song to you

For every little fault that you have 
See, I've got three or four 
The human little faults you do have 
Just make me love you more

You may not be an angel 
But still I'm sure you'll do 
So until the day that one comes along 
I'll string along with you

Recorded By:

Diana Krall
Nat King Cole Trio
Doris Day
Morgana King
Patti Page

Tiptoe Through the Tulips

By Joe Burke & Al Dubin
1929

If you think it was Tiny Tim who introduced this song, then think again. This was a tried-and-true standard introduced by "The Crooning Troubadour" Nick Lucas in the movie Gold Diggers of Broadway. Lucas' version also hit number one on the pop charts and stayed for the 10 weeks. It became one of the most popular tunes of the early '30s, recorded many times. Novelty act Tiny Tim (as well as The Human Society) reintroduced it as an odd relic in the late 1960s. Tim's recording was also recently included to spooky effect in the 2011 horror film Insidious.

Lyrics:

Tiptoe through the window
By the window, that is where I'll be
Come tiptoe through the tulips with me

Oh, tiptoe from the garden
By the garden of the willow tree
And tiptoe through the tulips with me

Knee deep in flowers we'll stray
We'll keep the showers away
And if I kiss you in the garden, in the moonlight
Will you pardon me?
And tiptoe through the tulips with me

Recorded By:

Tiny Tim
The Human Society
Jean Goldkette
Johnny Marvin
Roy Fox

With Plenty of Money and You

By Harry Warren & Al Dubin
1936

An underrated Warren/Dubin gem written for the great Dick Powell for one of his classic 1930s musical screen comedies, The Gold Diggers of 1937. A minor standard, it was very popular in its day, owing largely to the clever Dubin lyric that seems to parody trite love ballads, with the vocalist admitting that in addition to love, he wouldn't mind having a little cash to go along with it... One of my all-time favorites.

Lyrics:

Oh, baby what I couldn't do,
With plenty of money, and you.
In spite of the worry that money brings,
Just a little filthy lucre buys a lot of things.

And I could take you to places you'd like to go,
But outside of that, I've no use for dough.
It's the root of all evil,
Of strife and upheaval.

But I'm certain, honey,
That life could be sunny,
With plenty of money and you.

Recorded By:

Jessica Molaskey & John Pizzarelli
Tony Bennett
The Ink Spots
Chick Bullock & His Levee Loungers
Luke Hill

Lulu's Back in Town

By Harry Warren & Al Dubin
1935

The incomparable Dick Powell and The Mills Brothers introduced this buoyant tune in the musical film Broadway Gondolier. There were also additional lyrics added for a British version by lyricist Charles Dunn. Fats Waller would make a big hit with it not long after the movie.

Lyrics:

Where's that careless chambermaid?
Where'd she put my razor blade?
She mislaid it, I'm afraid,
It's gotta be foun'!
Ask her when she cleaned my room
What she did with my perfume;
I just can't lose it,
I've gotta use it,
'Cause Lulu's back in town.

Gotta get my old tuxedo pressed,
Gotta sew a button on my vest,
'Cause tonight I've gotta look my best,
Lulu's back in town.

Gotta get a half a buck somewhere,
Gotta shine my shoes and slick my hair,
Gotta get myself a boutonniere,
Lulu's back in town.

You can tell all my pets,
All my Harlem coquettes;
Mister Otis regrets
That he won't be aroun'.

You can tell the mailman not to call,
I ain't comin' home until the fall,
And I might not get back home at all,
Lulu's back in town.

Recorded By:

Mel Torme
Thelonious Monk
Oscar Peterson
Leon Redbone
Dave Brubeck

With Plenty of Money and You

By Al Dubin & Harry Warren
1936

This one's a personal favorite of mine, which I discovered on an old LP of hits from the 1930s, belonging to my wife's granfather. The great Dick Powell introduced it in the movie The Gold Diggers of 1937, and it was written for the film by the prolific team of Dubin & Warren. The duo would pen a grand total of 11 number-one hits between 1932 and 1937, with "September in the Rain" hitting the top spot the very same year as this charmer.

Lyrics:

I have never envied folks with money.
Millionaires don't get along so well.
I have you, but haven't any money--
Still, the combination would be swell.

Oh, baby, what I couldn't do
With plenty of money and you.
In spite of the worries that money brings,
Just a little filthy luchre buys a lot of things.

I would take you to places you like to go,
But outside of that, I've no use for dough.
It's the root of all evil, of strife and upheaval,
Yet I'm certain, honey,
That life could be sunny,
With plenty of money and you.

Recorded By:

Tony Bennett & Count Basie
Jessica Molaskey & John Pizzarelli
The Ink Spots
Art Tatum
Dick Hyman

Indian Summer

By Victor Herbert & Al Dubin
1919/1939

The reason for splitting up the dates on this song is that Herbert originally wrote the tune in 1919, but it remained an instrumental until 1939, when Dubin won a contest to decide who would get to add lyrics. It wasn't until then that the song became a standard, introduced by Glenn Miller's orchestra (Ray Eberle singer), and then shortly after taken to number by Tommy Dorsey's orchestra (Frank Sinatra singer). As a standard, it has normally been associated with big bands.

Lyrics:

Summer--
You old Indian summer.
You're the tear that comes after
June-time's laughter.
You see so many dreams that don't come true,
Dreams we fashioned when summertime was new.

You are here to watch over
Some heart that is broken
By a word that somebody
Left unspoken.
You're the ghost of a romance in June going astray,
Fading too soon, thats why I say
Farewell to you, Indian summer.

Recorded By:

Tony Bennett
Gene Krupa
Ella Fitzgerald
Sarah Vaughan
Django Reinhardt

Boulevard of Broken Dreams

By Harry Warren & Al Dubin
1934

If you know this as a Green Day song, then you're on the wrong blog. This tango was written for the 1934 musical film Moulin Rouge, in which is was sung by Constance Bennett. It would be used again in the 1952 movie of the same name. The most well-known version would be recorded two years earlier by Tony Bennett (no relation to Constance).

Lyrics:

I walk along the street of sorrow,
The boulevard of broken dreams.
Where gigolo and gigolette
Can take a kiss without regret,
So they forget their broken dreams.

You laugh tonight and cry tomorrow,
When you behold your shattered schemes.
Then gigolo and gigolette
Awake to find their eyes are wet
With tears that tell of broken dreams.

Here is where you'll always find me,
Always walking up and down.
But I left my soul behind me,
In an old cathedral town.

The joy that you find here you borrow,
You cannot keep it long, it seems.
So gigolo and gigolette
Still sing a song and dance along
The boulevard of broken dreams.

Recorded By:

Diana Krall
Marianne Faithful
Jan Garber & His Orchestra (first)
Brian Setzer
Esquivel

I Only Have Eyes for You

By Harry Warren & Al Dubin
1933

The film musical Dames is mainly known for introducing this sweet ballad, as sung by the incomparable Dick Powell and Ruby Keeler. It would also be made into a #2 single the same year by bandleader Ben Selvin. But the 1959 doo-wop version by The Flamingos is the one best remembered today. It was included at #157 on Rolling Stone magazine's 500 Greatest Songs of All Time (shouldn't that have been "Greatest Records"?).

Lyrics:

My love must be a kind of blind love.
I can't see anyone but you.

Are the stars out tonight?
I don't know if it's cloudy or bright.
I only have eyes for you, dear.

The moon may be high,
But I can't see a thing in the sky.
I only have eyes for you.

I don't know if we're in a garden,
Or on a crowded avenue.
You are here, and so am I.
Maybe millions of people go by,
But they all dissappear from view,
And I only have eyes for you.

Recorded By:

Frank Sinatra & Count Basie
Art Garfunkel
The Lettermen
Peggy Lee
Ella Fitzgerald

You're Getting to Be a Habit with Me

By Harry Warren & Al Dubin
1932

Written for the classic Warner Bros. musical 42nd Street, the song was first sung by Bebe Daniels in the role of Dorothy Brock. Legend has it the title was inspired by a woman working on the Warner Bros. lot, who was asked why she was still involved with her boyfriend. The lyrics make heavy usage of the popular phraseology of drug addiction, an example of what could be gotten away with in pre-Hayes Code Hollywood.

Lyrics:

Every kiss, every hug,
Seems to act just like a drug--
You're getting to be a habit with me.
Let me stay in your arms,
I'm addicted to your charms--
You're getting to be a habit with me.

I used to think your love was something that I
Could take, or leave alone.
But now I couldn't do without my supply,
I need you for my own.

No, I can't break away,
I must have you every day--
As regularly as coffee or tea.
You've got me in your clutches,
And I can't get free--
You're getting to be a habit with me.

Recorded By:

Frank Sinatra
Dick Powell
Mel Torme
Diana Krall
Julie London