Diamonds Are a Girl's Best Friend

By Jule Styne and Leo Robin
1949

Although today connected permanently with Marilyn Monroe thanks to her performance in the 1953 film version of Gentleman Prefer Blondes, this playful number was introduced by Carol Channing, who played the original Lorelei Lee on stage in 1949. It later became a standard among female vocalists, and was even alluded to by Madonna in the music video for her 1984 hit, "Material Girl", and performed by Nicole Kidman in the 2001 musical, Moulin Rouge.

Lyrics:

The French are glad to die for love,

They delight in fighting duels,

But I prefer a man who lives and gives
Expensive jewels.

A kiss on the hand maybe quite continental

But diamonds are a girl's best friend

A kiss may be grand.. but it won't pay the rental on your humble flat

Or help you at the automat



Men grow cold as girls grow old

And we all lose our charms in the end

But square cut or pear shape these rocks don't lose there shape 

Diamonds are a girl's best friend



... Tiffany's!
... Cartiea!
Black, Starr, Frost Gorham

Talk to me Harry Winston tell me all about it!

There may come a time when a lass needs a lawyer

But diamonds are a girl's best friend

There may come a time when a hard boiled employer thinks you're awful nice

But get that ice or else no dice



He's your guy when stocks are high but beware when they start to descend

Because that's when those louses go back to their spouses

Diamonds are a girl's best friend

I've heard of affairs that are strictly platonic

But diamonds are a girl's best friend

And I think affairs that you must keep the masonic are better bets

If little girls get big bagettes

Time rolls on and youth is gone and you can't straighten up when you bend

But stiff back or stiff knees you stand straight at.. Tiffany's...

diamonds... diamonds... I don't mean rhinestones.. but diamonds... are a girls best... best friend.

Recorded By:

Lena Horne
Jo Stafford
Julie London
Eartha Kitt
Ethel Merman

I Didn't Know About You

By Duke Ellington and Bob Russell
1944

One of several Ellington big band tunes for which long-time collaborator Russell (pictured) wrote accompanying lyrics. Duke first composed the melody as an instrumental in 1943, and recorded it under the title "Sentimental Lady" with his band for radio broadcast, and when lyrics were added, he recorded it again at the end of 1944 with Joya Sherrill on vocals. However, they were beaten to it a few weeks earlier by Paul Weston's Orchestra, which introduced the song with Jo Stafford and the Pied Pipers on vocals. A wistful jazz favorite, it has occasionally still been recorded over the years under the "Sentimental Lady" banner (perhaps as a connection to Ellington's "Sophisticated Lady").

Lyrics:

I ran around, with my own little crowd
The usual laughs, not often, but loud
And in the world that I knew
I didn't know about you

Chasing after the ring, on the merry-go-round
Just taking my fun, where it could be found
And yet what else could I do
I didn't know about you

Darling, now I know
I had the loneliest yesterday, everyday
In your arms
I know for once in my life, I'm living

Had a good time, everytime I went out
Romance was a thing, I kidded about
How could I know about love
I didn't know about you

Recorded By:

Ella Fitzgerald
June Christy
Woody Herman
Count Basie
Lena Horne

The Frim-Fram Sauce

By Joe Ricardel and Redd Evans
1945

A fun novelty song of the post-World War II era that went on to become a jazz stand-by, this tune was created by Joe Ricardel, writer of "The Brooklyn Dodger Jump", with lyrics by Redd Evans, known for such songs as "Don't Go to Strangers" and "There, I've Said It Again". Evans had written a few songs specifically for the Nat King Cole Trio, and this was one of them. The song's playful lyrics have entertained fans for decades, full of nonsense words and involving a patron ordering a series of imaginary items from a restaurant menu. Although closely identified with Cole over the years, several others have tried their hand at it.

Lyrics:

I don't want French fried potatoes
Red ripe tomatoes
I'm never satisfied
I want the frim fram sauce with the Ausen fay
With chafafa on the side

I don't want pork chops and bacon
That won't awaken
My appetite inside
I want the frim fram sauce with the Ausen fay
With chafafa on the side

A fella really got to eat
And a fella should eat right
Five will get you ten
I'm gonna feed myself right tonight

I don't want fish cakes and rye bread
You heard what I said
Waiter, please serve mine fried
I want the frim fram sauce with the Ausen fay
With chafafa on the side

Recorded By:

Nat King Cole
Diana Krall
John Pizzarelli
Ella Fitzgerald & Louis Armstrong
Les Brown

Love Letters

By Victor Young and Edward Heyman

1945

Written by Victor Young for the film of the same name starring Jennifer Jones and Joseph Cotten, it first appeared as an instrumental only. It was nominated for the Oscar for Best Original Song, losing out to Rodgers & Hammerstein's classic "It Might as Well Be Spring" from the movie State Fair. Soon after, Edward Heyman added lyrics, and the tender ballad was introduced on record by vocalist Dick Haymes, who accompanied composer Young's own orchestra. It has since been recorded by countless artists, including an unlikely rendition by the King of rock 'n' roll, Elvis Presley.

Lyrics: 

Love letters straight from your heart,
Keep us so near while we're apart,
I'm not alone in the night,
When I can have all the love you write,

I memorize every line,
I kiss the name that you sign,
And darling,
Then I read,

Again from the start,
Love letters straight from your heart.

Recorded By:

Elvis Presley
Dick Haymes
Alison Moyet
Ketty Lester
Peggy Lee

Be Careful, It's My Heart

By Irving Berlin
1942

One of 12 original songs written by Berlin for the movie musical Holiday Inn, starring Fred Astaire and Bing Crosby (this is the movie that introduced "White Christmas". With songs written each with a holiday theme, this one is themed for Valentine's Day, and is introduced in the film by Crosby. Constructed as a waltz, the song nevertheless proved quite popular as a pop and even jazz standard.

Lyrics:

Sweetheart of mine, I've sent you a Valentine
Sweetheart of mine, it's more than a Valentine

Be careful, it's my heart
It's not my watch you're holding, it's my heart

It's not the note I sent you
That you quickly burned
It's not the book I lent you
That you never returned

Remember, it's my heart
The heart with which so willingly I part

It's yours to take, to keep or break
But please, before you start
Be careful, it's my heart

Recorded By:

Frank Sinatra
Tommy Dorsey
Bing Crosby
John Pizzarelli & The George Shearing Quintet
Vera Lynn

I'll Be Home for Christmas

By Walter Kent & Kim Gannon
1943

A warm yet melancholy Christmas standard that dates back to World War II, during which the lyric held a special meaning for soldiers stationed overseas for the holidays. Bing Crosby introduced the tune in time for Christmas 1943, and his version was shipped directly to those soldiers. A controversy ensued over the copyright when poet Buck Ram alleged that the title was stolen from a poem he had written. Some songwriting credits include Ram for this reason. Since WWII, it has become a standard expression of Christmas longing for families everywhere.

Lyrics:

I'll be home for Christmas,
You can count on me.
Please have snow
And mistletoe,
And presents under the tree.

Christmas Eve will find me
Where the love-light gleams.
I'll be home for Christmas,
If only in my dreams.

Recorded By:

Frank Sinatra
Perry Como
Al Green
Leon Redbone
Joe Williams

This Love of Mine

By Sol Parker, Henry Sanicola & Frank Sinatra
1941

As a way of commemorating the birthday of Frank Sinatra, perhaps the greatest ambassador of the Great American Songbook, we're spotlighting one of the handful of songs he actually had a hand in writing. Possibly his most famous composition (he served as lyricist), "This Love of Mine" was written during Frank's time with the Tommy Dorsey orchestra, and it was Dorsey's band that introduced it, with a record that rose to #3 on the charts. It would forever be associated with the crooner, who re-recorded the tune on his seminal 1955 album In the Wee Small Hours.

Lyrics:

This love of mine goes on and on,
Tho' life is empty since you have gone.
You're always on my mind, tho' out of sight
It's lonesome thru the day,
But oh! the night.

I cry my heart out it's bound to break,
Since nothing matters, let it break.
I ask the sun and the moon,
The stars that shine,
What's to become of it, this love of mine.

Recorded By:

Ella Fitzgerald
Stan Kenton w/Cyd Charisse
Sonny Rollins Quartet
Jack Jones
Ray Charles

HAPPY BIRTHDAY FRANK!

Rhode Island Is Famous For You

By Arthur Schwartz & Howard Dietz
1948

A ridiculously cute and catchy number from the obscure Schwartz/Dietz musical revue Inside the U.S.A. The show only ran for a few months, and only produced one hit, "Haunted Heart". Most attribute this to the ASCAP strike that prevented the recording of a proper cast album or radio version. This particular number was introduced in the show by Jack Haley, best known as the Tin Man from The Wizard of Oz. Like the rest of the numbers/sketches in the show, it spotlights a particular state--although in this case, it also includes many others in a classic "list-song" format.

Lyrics: 

Copper comes from Arizona
Peaches come from Georgia
And lobsters come from Maine
The wheat fields
Are the sweet fields of Nebraska
And Kansas gets bonanzas from the grain

Old whiskey comes from old Kentucky
Ain't the country lucky
New Jersey gives us glue
And you, you come from Rhode Island
And little old Rhode Island
Is famous for you

Cotton comes from Lou-siana
Gophers from Montana
And spuds from Idaho
They plow land
In the cow land of Missour-a
Where most beef meant
For roast beef seems to grow

Grand canyons come from Colorad-a
Gold comes from Nevada
Divorces also do
And you, you come from Rhode Island
Little old Rhode Island
Is famous for you

Pencils come from Pennsylvania
Vest from Vest Virginia
And Tents from Tent-esee
They know mink where they grow
Mink in Wyo-mink
A camp chair in New Hamp-chair
That's for me

And minnows come Minnesota
Coats come from Dakota
But why should you be blue?
For you, you come from Rhode Island
Don't let them ride Rhode Island
It's famous for you

Recorded By:

John Pizzarelli
Blossom Dearie
Jack Haley
Nancy Lamott
Layla Solomon (my daughter's own rendition, which I hope you enjoy!)

Anything You Can Do

By Irving Berlin
1946

We continue the week-long 125th birthday celebration of Berlin with one of his most enduring hits, a classic number from Annie Get Your Gun (one of many!) Written as an ornery duet between Ethel Merman and Ray Middleton, it has lived on in countless versions over the years, ranging from Barbara Walters and Howard Cosell on SNL to Merman and Miss Piggy on The Muppet Show. Even rapper J. Cole used the famous opening verse in a recent recording. A truly transcendent example of the power of Berlin as a composer. Not just a duet, this is the duet.

Lyrics: 

Anything you can do,
I can do better.
I can do anything
Better than you.

No, you can't.
Yes, I can. No, you can't.
Yes, I can. No, you can't.
Yes, I can,
Yes, I can!

Anything you can be
I can be greater.
Sooner or later,
I'm greater than you.

No, you're not. Yes, I am.
No, you're not. Yes, I am.
No, you're NOT!. Yes, I am.
Yes, I am!

I can shoot a partridge
With a single cartridge.
I can get a sparrow
With a bow and arrow.
I can live on bread and cheese.
And only on that?
Yes.
So can a rat!
Any note you can reach
I can go higher.
I can sing anything
Higher than you.
No, you can't. (High)
Yes, I can. (Higher) No, you can't. (Higher)
Yes, I can. (Higher) No, you can't. (Higher)
Yes, I can. (Higher) No, you can't. (Higher)
Yes, I can. (Higher) No, you can't. (Higher)
Yes, I CAN! (Highest)

Anything you can buy
I can buy cheaper.
I can buy anything
Cheaper than you.

Fifty cents?
Forty cents! Thirty cents?
Twenty cents! No, you can't!
Yes, I can,
Yes, I can!
Anything you can say
I can say softer.
I can say anything
Softer than you.
No, you can't. (Softly)
Yes, I can. (Softer) No, you can't. (Softer)
Yes, I can. (Softer) No, you can't. (Softer)
Yes, I can. (Softer)
YES, I CAN! (Full volume)
I can drink my liquor
Faster than a flicker.
I can drink it quicker
And get even sicker!
I can open any safe.
Without bein' caught?
Sure.
That's what I thought--
you crook!
Any note you can hold
I can hold longer.
I can hold any note
Longer than you.

No, you can't.
Yes, I can No, you can't.
Yes, I can No, you can't.
Yes, I can
Yes, I-I-I-I-I-I-I-I-I No, you C-A-A-A-A-A-A-A-A-A-A-A-A-N'T--
CA-A-A-A-N! (Cough, cough!)
Yes, you ca-a-a-an!

Anything you can wear
I can wear better.
In what you wear
I'd look better than you.
In my coat?
In your vest! In my shoes?
In your hat! No, you can't!
Yes, I can
Yes, I CAN!
Anything you say
I can say faster.
I can say anything
Faster than you.
No, you can't. (Fast)
Yes, I can. (Faster) No, you can't. (Faster)
Yes, I can. (Faster) Noyoucan't. (Faster)
YesIcan! (Fastest)
I can jump a hurdle.
I can wear a girdle.
I can knit a sweater.
I can fill it better!
I can do most anything!
Can you bake a pie? No.
Neither can I.
Anything you can sing
I can sing sweeter.
I can sing anything
Sweeter than you.
No, you can't. (Sweetly)
Yes, I can. (Sweeter) No, you can't. (Sweeter)
Yes, I can. (Sweeter) No, you can't. (Sweeter)
Yes, I can. (Sweeter) No, you can't, can't, can't (sweeter)
Yes, I can, can, can (Sugary)

Yes, I can! No, you can't!

Recorded By:

Doris Day & Robert Goulet
Bing Crosby & Rosemary Clooney
Bernadette Peters & Tom Wopat
Mary Martin & John Raitt
Judy Garland & Howard Keel

Hit That Jive, Jack

By John Alston & Skeets Tolbert

1940

A red-hot little jazz number of the 1940s that continues to live on with hepcats everywhere to this day. Tolbert introduced it with his relatively obscure jazz ensemble, but it was with the Nat Cole Trio the following year that it got sent into the stratosphere. In recent years, it has become a very popular number with throwback hot jazz acts.

Happy 8th Birthday to my son--Hit that jive, Jack!

Lyrics:

Hit that jive Jack 
Put it in your pocket till I get back  
Going downtown to see a man  
And I ain't got time to shake your hand
 
Hit that jive Jack  
Put it in your pocket till I get back  
Time and time waits for no man  
And I ain't got time to shake your hand
 
Standing on a corner  
All full of jive  
But you know that you're my boy  
So I'm forced to give you five
 
Hit that jive Jack  
Put it in your pocket till I get back  
Going downtown to see a man  
And I ain't got time to shake your hand

Recorded By:

Nat King Cole
Diana Krall
John Pizzarelli
Joe Carroll
Boyd Bennett

Have Yourself a Merry Little Christmas

By Hugh Martin & Ralph Blane
1944

One of the most popular and performed Christmas songs of all time, this beauty was written for Judy Garland to sing in the musical film Meet Me in St. Louis. The lyrics at the time were quite morose, but a 1957 version by Frank Sinatra modified the lyrics a bit, and these lyrics have been the more commonly heard ones to this day. A sad Christmas song, it was also composed during World War II, and so echoed the sentiments of many families who would be without certain members serving overseas during the holiday season. A touching, warm, and very real and human modern carol.

Lyrics:

(Original)

Have yourself a merry little Christmas,
Let your heart be light,
Next year all our troubles will be
out of sight,
So have yourself, a merry little Christmas time.

Have yourself a merry little Christmas
Make the yule-tide gay
Next year all our troubles will be
miles away,
Have yourself a merry little Christmas Day.

Once again as in olden days
Happy golden days of yore
Faithful friends who were near to us
Will be dear to us once more
Someday soon, we all will be together
If the Fates allow
Until then, we'll have to muddle through somehow
So have yourself a merry little Christmas now.

(Modern)

Have yourself a merry little christmas,
Let your heart be light
From now on, our troubles will be out of sight

Have yourself a merry little christmas,
Make the yule-tide gay,
From now on, our troubles will be miles away

[Have Yourself a Merry Little Christmas lyrics on http://www.elyricsworld.com]

Here were are as in olden days,
Happy golden days of yore.
Faithful friends who are dear to us
Gather near to us once more.

Through the years we all will be together
If the fates allow
Hang a shining star upon the highest bough.
And have yourself a merry little Christmas now.

Recorded By:

Jackie Gleason
Connie Francis
Ella Fitzgerald
The Carpenters
The Muppets

A very, very Merry Christmas from Standard of the Day...

Some Enchanted Evening

By Richard Rodgers & Oscar Hammerstein II
1949

One of the most recognized of all Rodgers & Hammerstein compositions, it was introduced in the classic musical South Pacific by Italian operatic bass Ezio Pinza, who became a mainstream American favorite because of it. Hammerstein's lyric expresses a carpe diem attitude through a series of action verbs, and Rodgers melody is gorgeous as usual. A touch on the schmaltzy side, but then again, that's Rodgers & Hammerstein, after all.

Lyrics:

Some enchanted evening
You may see a stranger,
you may see a stranger
Across a crowded room
And somehow you know,
You know even then
That somewhere you'll see her
Again and again.

Some enchanted evening
Someone may be laughin',
You may hear her laughin'
Across a crowded room
And 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 enchanted evening
When you find your true love,
When you feel her call you
Across a crowded room,
Then fly to her side,
And make her your own
Or all through 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!

Recorded By:

Perry Como
Frank Sinatra
Jo Stafford
Bing Crosby
Al Jolson

Always True to You in My Fashion

By Cole Porter
1948

Perhaps one of the master's greatest and cleverest compositions, with a lyric that never ceases to elicit amusement and exude effortless charm. It was written for Porter's celebrated musical Kiss Me, Kate, in which it was introduced by Broadway standout Lisa Kirk. The combination of sophistication and underlying naughtiness is the epitome of Porter's body of work.

Lyrics (extended stage version):

Oh, Bill
Why can't you behave
Why can't you behave?
How in hell can you be jealous
When you know, baby, I'm your slave?
I'm just mad for you
And I'll always be
But naturally.....

If a custom-tailored vet
Asks me out for something wet
When the vet begins to pet, I cry "hooray!"
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

I enjoy a tender pass
By the boss of Boston, Mass
Though his pass is middle-class and not Backa Bay
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

There's a madman known as Mack
Who is planning to attack
If his mad attack means a Cadillac, okay!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

I've been asked to have a meal
By a big tycoon in steel
If the meal includes a deal, accept I may
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, Darlin' in my way

I could never curl my lip
To a dazzlin' diamond clip
Though the clip meant "Let 'er rip", I'd not say "Nay!"
But I'm always true to to you, darlin, in my fashion
Yes, I'm always true to you, darlin' in my way

There's an oil man known as "Tex"
Who is keen to give me checks
And his checks, I fear, mean that sex is here to stay!
But I'm always true to you, darlin', in my fashion
Yes, I'm always true to you, darlin' in my way

There's a wealthy Hindu priest
Who's a wolf, to say the least
When the priest goes too far East, I also stray
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin'in my way

There's a lush from Portland, Ore
Who is rich but such a bore
When the bore falls on the floor, I let him lay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin',in my way

Mister Harris, plutocrat
Wants to give my cheek a pat
If the Harris pat means a Paris hat, Bébé, Oo-la-la!
Mais je suis toujours fidele, darlin', in my fashion
Oui, je suis toujours fidele, darlin', in my way

From Ohio, Mister Thorne
Calls me up from night 'til morn
Mister Thorne once corner'd corn and that ain't hay
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

From Milwaukee, Mister Fritz
Often moves me to the Ritz
Mister Fritz is full of Schlitz and full of play
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

Mister Gable, I mean Clark
Wants me on his boat to park
If the Gable boat means a sable coat, anchors aweigh!
But I'm always true to to you, darlin', in my fashion
Yes, I'm always true to you, darlin', in my way

Recorded By:

Blossom Dearie
Ella Fitzgerald
Della Reese
Eartha Kitt
Peggy Lee & George Shearing

There's No Business Like Show Business

By Irving Berlin
1946

The ultimate ode to the glitz and glamor of stage and screen, penned by one of America's most cherished composers, and a man who knew its allure perhaps better than just about anyone. The song was the centerpiece of Berlin's musical Annie Get Your Gun, in which it was introduced by Ray Middleton, Marty May and of course the great Ethel Merman in the starring role of Annie Oakley. It has since become one of Berlin's most cherished standards, a rousing anthem to the business of entertainment.

Lyrics:

There's no business like show business like no business I know
Everything about it is appealing, everything that traffic will allow
Nowhere could you get that happy feeling when you are stealing that extra bow

There's no people like show people, they smile when they are low
Even with a turkey that you know will fold, you may be stranded out in the cold
Still you wouldn't change it for a sack of gold, let's go on with the show

The butcher, the baker, the grocer, the clerk
Are secretly unhappy men because
The butcher, the baker, the grocer, the clerk
Get paid for what they do but no applause.
They'd gladly bid their dreary jobs goodbye for anything theatrical and why?

There's no business like show business and I tell you it's so
Traveling through the country is so thrilling, standing out in front on opening nights
Smiling as you watch the theater filling, and there's your billing out there in lights

There's no people like show people, they smile when they are low
Angels come from everywhere with lots of jack, and when you lose it, there's no attack
Where could you get money that you don't give back? Let's go on with the show

(There's no business like show business like no business I know)
You get word before the show has started that your favorite uncle died at dawn
Top of that, your pa and ma have parted, you're broken-hearted, but you go on

(There's no people like show people, they smile when they are low)
Yesterday they told you you would not go far, that night you open and there you are
Next day on your dressing room they've hung a star, let's go on with the show!!

Recorded By:

Bernadette Peters
Judy Garland
Susannah McCorkle
Betty Hutton
Frank Sinatra

I'll Remember April

By Gene de Paul, Patricia Johnston & Don Raye
1942

Just got back from the new superhero film Captain America, and enjoyed hearing the Woody Herman recording of this song featured in the movie--which takes place during World War II. Introduced by Dick Foran in the Abbott & Costello picture Ride 'Em Cowboy, the melancholy tune became a big hit during the war years. It has since been recorded by countless artists, who favor it for its moody atmosphere and contemplative lyrics.

Lyrics:

This lovely day will lengthen into evening,
We'll sigh good-bye to all we've ever had,
Alone where we have walked together,
I'll remember April and be glad....

I'll be content, you loved me once in April,
Your lips were warm, and love an' spring were new,
But I'm not afraid of autumn, and her sorrow,
For I'll remember,
April and you!

The fire will dwindle into glowing ashes,
For flames and love live such a little while . . .
I won't forget, but I won't be lonely,
I'll remember April, and I'll smile . . .

The fire will dwindle into glowing ashes,
For flames and love live such a little while

I won't forget, but I won't be lonely
I'll remember April, and I'll smile . . .

I won't forget but I won't be lonely, no . . .
I'll remember April, and I'll smile!

Recorded By:

Chet Baker
Shirley Bassey
June Christy
Julie London
Frank Sinatra

Bali Ha'i

By Richard Rodgers & Oscar Hammerstein II
1949

Written for the musical South Pacific, the song was meant to evoke the dreamlike, exotic quality of the fictional volcanic island for which it is named. The island was inspired by the real Pacific island of Ambae, mentioned by James Michener in the novel on which the play was based. It was performed by Juanita Hill on stage and in the film version, and first recorded by Perry Como. In the 1950s, it would become predictably popular during the exotica movement, thanks to its Oriental, mystical sound.

Lyrics:

Most people live on a lonely island,
lost in the middle of a foggy sea
most people long for another island
one where they know they would like to be.

Bali Ha'i may call you,
Any night, any day,
In your heart you'll hear it call you,
"Come away, come away . . ."

Bali Ha'i will whisper,
On the wind of the sea,
"Here am I your special island"
"Come to me, come to me . . ."

Your own special hopes,
Your own special dreams,
Bloom on the hillside,
And shine in the streams . . .

If you try you'll find me
Where the sky meets the sea
Here am I your special island
Come to me, come to me . . .

Bali Ha'i
Bali Ha'i
Bali Ha'i

Someday you'll see me,
Floating in the sunshine,
My head sticking out from a low flying cloud . . .

You'll hear me call you,
Singing through the sunshine
Sweet and clear as can be . . .

"Come to me, here am I"
"Come to me"
"Come to me"

Bali Ha'i . . .

Recorded By:

Frank Sinatra
Martin Denny
Stacey Kent
Tak Shindo
Perry Como

To Keep My Love Alive

By Richard Rodgers & Lorenz Hart
1943

This was the final song ever co-written by the legendary lyricist Lorenz Hart with his tunesmith partner Richard Rodgers. It was composed for the 1943 revival of A Connecticut Yankee, a show originated by Rodgers & Hart in 1927. It was introduced on stage by Vivienne Segal. Detailing the methods a serial widow has used to bump off her husbands, it is a classic example of the witty Hart touch. The lyricist died shortly thereafter of pneumonia.

Lyrics:

I've been married and married,
and often I've sighed,
I'm never a brides-maid,
I'm always the bride,
I never divorced them,
I hadn't the heart,
Yet, remember those sweet words,
"Till death do us part."

I married many men, a ton of them, and yet I was untrue to none of them,
because I bumped off ev'ry one of them to keep my love alive.

Sir Paul was frail, he looked a wreck to me.
At night he was a horse's nect to me,
so I performed an appendectomy,
to keep my love alive!

Sir Thomas had insomnia,
he couldn't sleep at night,
I bought a little arsenic,
he's sleeping now all right.

Sir Philip played the harp, I cussed the thing.
I crowned him with his harp to bust the thing,
and now he plays where harps are just the thing,
to keep my love alive, to keep my love alive.

I thought Sir George had possibilites,
but his flirtations made me ill at ease,
and when I'm ill at ease, I kill at ease
to keep my love alive.

Sir Charles came from a sanatorium,
and yelled for drinks in my emporium.
I mixed one drink, he's in memoriam,
to keep my love alive!

Sir Francis was a singing bird,
a night-in-gale,
That's why I tossed him off my balcony
to see if he could fly.

Sir Athelstane indulged in fratricide,
he killed his dad and that was patricide.
One night I stabbed him by my mattress side,
to keep my love alive, to keep my love alive.

Recorded By:

Ella Fitzgerald
Blossom Dearie
Ray Charles
Pearl Bailey
Sophia Loren

'Round Midnight

By Thelonious Monk, Cootie Williams & Bernie Hanighen

1944

The most recorded jazz standard composed by a jazz musician, this smoky number was first conceptualized by Monk in the 1930s under a different name. It developed gradually over the years in true jazz style, with later embellishments added by the likes of Dizzy Gillespie and Miles Davis. The lyrics by Henighen were added later. It's believed to have been recorded hundreds of times.

Lyrics:

It begins to tell,
'round midnight, midnight.
I do pretty well, till after sundown,
Suppertime I'm feelin' sad;
But it really gets bad,
'round midnight.

Memories always start 'round midnight
Haven't got the heart to stand those memories,
When my heart is still with you,
And ol' midnight knows it, too.
When a quarrel we had needs mending,
Does it mean that our love is ending.
Darlin' I need you, lately I find
You're out of my heart,
And I'm out of my mind.

Let our hearts take wings'
'round midnight, midnight
Let the angels sing,
for your returning.
Till our love is safe and sound.
And old midnight comes around.
Feelin' sad,
really gets bad
Round, Round, Round Midnight.

Recorded By:

Sarah Vaughan

Ella Fitzgerald

Amy Winehouse

Bobby McFerrin

Linda Rondstadt

Because of You

By Arthur Hammerstein & Dudley Wilkinson
1940

A warm, earnest love song that didn't really become anything of note until a young Tony Bennett recorded it in 1951. It became Bennett's first number-one hit, and immediately also became a standard as a result of that success. It was also featured in the 1951 film, I Was an American Spy. Bennett's version featured his trademark warm legato vocal style, and remains a favorite of enthusiasts of traditional pop.

Lyrics:

Because of you there's a song in my heart
Because of you my romance had its start
Because of you the sun will shine
The moon and stars will say you're mine
Forever and never to part

I only live for your love and your kiss
It's paradise to be near you like this
Because of you my life is now worth while
And I can smile
Because of you

Recorded By:

Johnny Desmond
Gloria DeHaven
Louis Armstrong
Chris Montez
Johnny Iris

You're Nobody Till Somebody Loves You

By Russ Morgan, Larry Stock & James Cavanaugh
1944

A classic of the lounge subgenre, originally recorded by co-writer Morgan. Of course, we now know it best of all due to the 1965 Dean Martin recording, one of the biggest hits of Dino's career. There was also a very popular recording by The Mills Brothers. An infectiously happy and upbeat tune, perfect for a Memorial Day barbecue...

Lyrics:

You're nobody 'til somebody loves you
You're nobody 'til somebody cares.
You may be king, you may possess the world and it's gold,
But gold won't bring you happiness when you're growing old.
The world still is the same, you never change it,
As sure as the stars shine above;
You're nobody 'til somebody loves you,
So find yourself somebody to love.

The world still is the same, you never change it,
As sure as the stars shine above;
You're nobody 'til somebody loves you,
So find yourself somebody, find yourself somebody,
Find yourself somebody to love.

Recorded By:

Michael Buble
George Burns
Cab Calloway
Bobby Darrin
Sammy Davis Jr.