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

Jeepers Creepers

By Harry Warren and Johnny Mercer
1938

One of the catchiest songs of the World War II generation, and a song that remains in the mainstream consciousness to this day, "Jeepers Creepers" was written for the movie, Going Places, in which Louis Armstrong is the trainer of a horse named Jeepers Creepers (an old slang euphemism for Jesus Christ), who can only get the horse under control by playing the song for him. It was nominated for the Oscar for Best Song, losing to "Thanks for the Memory". Since then it has been revisited countless times, in Warner Bros. cartoons, and in later films (including Yankee Doodle Dandy, in which a bunch of teens sing it, much to the chagrin of James Cagney's old-fashioned James M. Cohan). It even had an unlikely renaissance in the 2001 horror film of the same name, in which the song heralds the appearance of the murderous creature known as "The Creeper". With its bouncy Warren tune and irresistible Mercer lyrics, it's not tough to see why it has endured so long.

Lyrics:

Oh, jeepers creepers, where'd ya get those peepers?
Jeepers creepers, where'd ya get those eyes?
Oh, gosh all, git up, how'd they get so lit up?
Gosh all, git up, how'd they get that size?

Oh, golly gee, when you turn those heaters on
Woe is me, got to put my cheaters on

Jeepers creepers, where'd ya get those peepers?
Oh, those weepers, how they hypnotize!
Oh, where'd ya get those eyes?

Recorded By:

Johnny Mercer
Frank Sinatra
Al Caiola
Dave Brubeck
Tony Bennett

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

That's Amore

By Harry Warren and Jack Brooks
1953

One of the all-time most recognizable signature songs and an anthem for Italian-Americans everywhere, this song was written specifically for Dean Martin, who introduced it in the Martin & Lewis vehicle, The Caddy. Just three days after the film's release, Martin recorded it for Capitol Records, and took it all the way to number 2 on the Billboard charts. Warren, who years earlier had had great success with songwriting partner Al Dubin, was this time hired by Jerry Lewis to write the song, along with British lyricist Brooks, who would later also write tunes for Lewis' 1960 comedy Cinderfella.

Lyrics:

In Napoli where love is king
When boy meets girl here's what they say...

When a moon hits your eye like a big pizza pie
That's amore
When the world seems to shine like you've had too much wine
That's amore
Bells will ring ting-a-ling-a-ling, ting-a-ling-a-ling
And you'll sing "Vita bella"
Hearts will play tippy-tippy-tay, tippy-tippy-tay
Like a gay tarantella

When the stars make you drool just like a pasta fazool
That's amore
When you dance down the street with a cloud at your feet
You're in love
When you walk in a dream but you know you're not dreaming signore
Scuzza me, but you see, back in old Napoli
That's amore

Recorded By:

Dean Martin
Lou Monte
Domenico Modugno
Julius LaRosa
Connie Francis

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

At Last

By Mack Gordon & Harry Warren
1941

A standard introduced by the Glenn Miller orchestra in the film Orchestra Wives, and later that same year on record as well, At Last is a gorgeous number that experienced a total rebirth a generation later, when it was literally reinvented by the eminent soul singer Etta James. Aided by a masterful arrangement, Etta's sublime recording is one of the most well-known of all time, and has ensured that this one-of-a-kind composition will never be forgotten.

Lyrics:

At last,
My love has come along,
My lonely days are over,
And life is like a song.

At last,
The skies above are blue,
My heart was wrapped in clover
The night I looked at you.

I found a dream that I could speak to,
A dream that I could call my own.
I found a thrill to rest my cheek to,
A thrill that I have never known.

You smiled,
And then the spell was cast,
And here we are in heaven,
For you are mine at last.

Recorded By:

Glenn Miller
Etta James
Ray Anthony
Chet Baker
Nat King Cole

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

I Found a Million-Dollar Baby (In a Five and Ten Cent Store)

By Harry Warren, Mort Dixon & Billy Rose
1931

Interestingly, the lyric to this song was originally written to a different melody in 1926, but it was in '31 that Harry Warren took it and adapted it to his melody for the musical Billy Rose's Crazy Quilt, in which it was introduced by the immortal Fanny Brice. I was just today lucky enough to find Bing Crosby's original 1931 rendition on 78 at a record convention, and I was re-acquainted with how disarming and sweet this song really is. Pure bliss.

Lyrics:

It was a lucky April shower,
It was the most convenient door.
I found a million dollar baby
In a five and ten cent store.

The rain continued for an hour.
I hung around for three or four.
Around a million dollar baby
In a five and ten cent store.

She was selling china
And when she made those eyes,
I kept buying china
Until the crowd got wise.

If you should run into a shower,
Just step inside my cottage door,
And meet the million dollar baby
From the five and ten cent store.

Love comes along like a popular song,
Any time or anywhere at all.
Rain or sunshine,
Spring or fall.
Say, you'll never know when it may say hello
In a very unexpected place.
For example, take my case.

She was selling china,
And when she made those eyes,
I kept buying china
Until the crowd got wise.

If you should run into a shower,
Oh, step inside my cottage door.
And meet my million dollar baby
From the five and ten cent store.

Recorded By:

Nat King Cole
Perry Como
Dizzy Gillespie
Benny Goodman
Jack Leonard

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

You Must Have Been a Beautiful Baby

By Harry Warren & Johnny Mercer
1938

Sung by Dick Powell in the movie Hard to Get, in which it first appeared, the song actually became huge thanks to its first studio recording, by Bing Crosby. Although recorded many, many times over the years, it's Bing's version that remains the most instantly identifiable. Cartoon fans will also recognize the tune as a popular one incorporated often by composer Carl Stallings into Warner Bros.' Looney Tunes.

Lyrics:

Does your mother realize
The stork delivered quite a prize
The day he left you on the family tree?
Does your dad appreciate
That you're merely supergreat,
The miracle of any century?
If they don't just send them both to me.

You must have been a beautiful baby,
You must have been a wonderful child.
When you were only starting to go to kindergarten,
I bet you drove the little boys wild.

And when it came to winning blue ribbons,
You must have shown the other kids how.
I can see the judges' eyes as they handed you the prize,
You must have made the cutest bow.

You must've been a beautiful baby,
'Cause baby, look at you now.

Recorded By:

Russ Morgan
Tommy Dorsey
Bobby Darrin
Perry Como
Vic Damone

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

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

You'll Never Know

By Harry Warren & Mack Gordon
1943

Earning Warren (pictured) and Gordon the Academy Award, this song debuted in the movie Hello, Frisco, Hello, in which it was sung by Alice Faye. Dick Haymes had a number-one hit with it the same year. The lyrics are based on a poem by Oklahoma war bride Alice Faye. The song is known for being the first recorded by Barbra Streisand, who sang it in 1955 at the tender age of 13.

Lyrics:

Darling, I'm so blue without you.
I think about you the live-long day.
When you ask me if I'm lonely,
Then I only have this to say...

You'll never know just how much I miss you,
You'll never know just how much I care.
And if I tried, I still couldn't hide my love for you.
You ought to know, 'cause haven't I told you so
A million or more times?

You went away and my heart went with you.
I speak your name in my every prayer.
If there is some other way to prove that I love you,
I swear I don't know how.
You'll never know if you don't know now.

Recorded By:

Big Maybelle
Frank Sinatra
Shirley Bassey
Vera Lynn
Rosemary Clooney

Serenade in Blue

By Harry Warren & Mack Gordon
1942

Written for the 20th Century Fox film Orchestra Wives--in which it was introduced by the dubbed voice of Pat Friday via leading lady Lynn Bari--this song nevertheless achieved immortality when it was recorded shortly after by Glenn Miller's orchestra, with Ray Eberle and The Modernaires on vocals. It became one of Miller's signature numbers, second only to his theme song, "Moonlight Serenade".

Lyrics:

When I hear that serenade in blue,
I'm somewhere in another world, alone with you,
Sharing all the joys we used to know,
Many moons ago.

Once again your face comes back to me,
Just like the theme of some forgotten melody
In the album of my memory,
Serenade in blue.

It seems like only yesterday,
The small cafe, a crowded floor,
And as we danced the night away,
I hear you say forevermore.
And then the song became a sigh,
Forever more became goodbye,
But you remained in my heart.

So tell me darling, is there still a spark?
Or only lonely ashes of the flame we knew?
Should I go on whistling in the dark?
Serenade in blue.

Recorded By:

Frank Sinatra
Doris Day
Dick Haymes
Stan Getz
Charles Mingus

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