Like Young

By Andre Previn and Paul Francis Webster
1959

Last Thursday, February 28, we lost the brilliant Andre Previn, celebrated classical and jazz composer, musician and conductor. A man of many talents, Previn even dabbled in pop music, and today we spotlight what might be his best and most memorable pop song, written with lyrics by Paul Webster, the Oscar-winning lyricist of "Love Is a Many-Splendored Thing", "Secret Love" and "The Shadow of Your Smile". Both the melody and lyrics were emblematic of the beat generation culture of the 1950s, with Webster's words in particular glorifying that lifestyle, complete with hipster slang. Previn himself introduced the song on record with a piano instrumental accompanied by the David Rose Orchestra that was nominated for the Best Record Grammy, losing to Bobby Darin's "Mack the Knife".

Lyrics:

I'm out doin' the usual places
And I'm livin' it, like young
Then I dig me this face of all faces
He's the craziest, like young

He drinks coffee at Cafe Espresso
He reads Kerouac, like young
He goes where all the angry young men go
Recites poetry, like young

We start blowin' the pad around lovin'
And we're homin' it, like now
We spin records on cloud number seven
And he's reachin' me, like wow

I'm all unstrung 'cause, man
He's got me feelin' like young
If he were to brush me and go
I'm starting to wear my hair again
Like a square again

I keep gettin' the kookiest notion
I think maybe it's like love
I've been feelin' a crazy emotion
I think, baby, it's like love

Now we're ridin' a rainbow to Cloudsville
And we're makin' it like young
Love soft as April snow
Love warm as candle glow
Love, love is easy to go

I'm all unstrung 'cause, man
He's got me feelin' like young
Without him I'm no good at all
Without him I'm less than a decimal

I keep gettin' the kookiest notion
I think maybe it's like love
I've been feelin' a crazy emotion
I think, baby, it's like love

Now we're ridin' a rainbow to Cloudsville or Wowsville
We're makin' it, makin' it like, like, like young

Recorded By:

Ella Fitzgerald
Martin Denny
Perry Como
Henry Mancini
Buddy Greco

Frosty the Snowman

By Jack Rollins and Steve Nelson
1950

If you'll indulge me with a belated Christmas standard, I'd like to place the (not-too-hot) spotlight on "Frosty the Snowman", mainly due to my two-year-old son's current obsession with both the song and the 1969 Rankin-Bass animated special narrated by Jimmy Durante. Introduced by the great singing cowboy Gene Autry, Frosty was a follow-up to Autry's mega-hit of the previous Christmas, "Rudolph the Red-Nosed Reindeer". In addition to the song, which has become a modern Christmas classic, the snowman's popularity has endured due to a series of animated cartoons based on him, most notably the aforementioned 1969 chestnut, as well as a beloved Little Golden Book edition of the story, also published in 1950. The lyrics supposedly takes place in Armonk, New York, a town which has an annual parade in Frosty's honor to this day.

Lyrics:

Frosty the Snowman
Was a jolly happy soul
With a corncob pipe and a button nose
And his eyes made out of coal

Frosty the Snowman
Made the children laugh and play
And were they surprised when
Before their eyes
He came to life that day

There must have been some magic
In that old silk hat they found
For when they placed it on his head
He began to dance around

Frosty the Snowman
Was alive as he could be
And the children say
He could laugh and play
Just the same as you and me

Frosty the Snowman
Knew the sun was hot that day
So he said let's run
And we'll have fun
Now before I melt away

So down to the village
With a broomstick in his hand
Running here and there all around the square
Saying catch me if you can

He led them down the streets of town
Right to the traffic cop
And he only paused a moment when
He heard him holler stop

Frosty the Snowman
Had to hurry on his way
But he waved goodbye
Saying don't you cry
I'll be back again some day

Thumpety thump thump
Thumpety thump thump
Look at Frosty go
Thumpety thump thump
Thumpety thump thump

Over the hills of snow

Recorded By:

Nat King Cole
Perry Como
Guy Lombardo
Jimmy Durante
The Ronettes

Sit Down, You're Rockin' the Boat

By Frank Loesser
1950

With all the recent hullabaloo over the Frank Loesser song "Baby, It's Cold Outside" (whose entry you can find here), I thought today I'd spotlight a different Loesser tune, this time from his masterpiece musical, Guys and Dolls. Introduced by the irrepressible Stubby Kaye in the original run of the stage show as well as the 1955 movie, it's a spirited and catchy number that epitomizes the spirit of that classic show. As recently as 1993, this song also charted when recorded in a slowed-down version by ex-Eagle Don Henley, for the soundtrack of the Steve Martin film Leap of Faith.

Lyrics:

I dreamed last night I got on the boat to heaven
And by some chance I had brought my dice along
And there I stood, and I hollered, "Someone fade me"
But the passengers they knew right from wrong

For the people all said
"Sit down, sit down you're rockin' the boat"
The people all said
"Sit down, sit down you're rockin' the boat
And the devil will drag you under
By the sharp lapel of your checkered coat
Sit down, sit down, sit down, sit down
Sit down you're rocking the boat"

I sailed away on that little boat to heaven
And by some chance found a bottle in my fist
And there I stood nicely passin' 'round the whiskey
But the passengers were bound to resist

For the people all said
"Beware you're on a heavenly trip"
The people all said
"Beware, beware you'll scuttle the ship
And the devil will drag you under
By the fancy tie 'round your wicked throat
Sit down, sit down, sit down, sit down
Sit down you're rockin' the boat"

And as I laughed at those passengers to heaven
A great big wave came and washed me overboard
And as I sank, and I hollered, "Someone save me"
That's the moment I woke up, thank the Lord

And I said to myself
"Sit down, sit down you're rocking the boat"
Said to myself
"Sit down, sit down you're rocking the boat
For the devil will drag you under
With a soul so heavy you'd never float
Sit down, sit down, sit down, sit down
Sit down you're rockin' the boat"

Recorded By:

Sammy Davis Jr.
Louis Armstrong
Don Henley
The Four Lads
Rebecca Kilgore & Dave Frishberg

Only the Lonely

By Jimmy Van Heusen and Sammy Cahn
1958

Although often remembered as the greatest vocal interpreter of popular song, Frank Sinatra also had a number of memorable songs written specifically for him, and this may have been the very most memorable. As he often did, the Chairman turned to close friends Van Heusen and Cahn to write for him a title song for his new ballad album in 1958, an album that would otherwise be filled with long-popular old chestnuts like "One for My Baby", "Willow Weep for Me" and "Guess I'll Hang My Tears Out to Dry". This stark and wistful number was the perfect title track for what many consider Sinatra's greatest album--and one that has recently gotten a stellar new 60th anniversary re-release.

Lyrics: 

Each place I go only the lonely go
Some little small cafè
The songs I know only the lonely know
Each melody recalls a love that used to be

The dreams I dream only the lonely dream
Of lips as warm as may
That hopeless scheme only the lonely scheme
That soon somewhere you'll find the one that used to care

And you recall each fun time
Those picnics at the beach when love was new
It well could be the one time
A hopeless little dream like that comes true

If you find love hang on to each caress
And never let love go
For when it's gone you'll know the loneliness
The heartbreak only the lonely know

Recorded By:

Aretha Franklin
Shirley Horn
Iggy Pop
Tierney Sutton
Diana Krall

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 Got Out of Bed on the Right Side

By Arthur Schwartz and Johnny Mercer
1952

One of several songs Schwartz and Mercer wrote for the M-G-M musical Dangerous When Wet, a vehicle for celebrity swimmer Esther Williams that also starred Fernando Lamas and William Demarest. One of the catchier tunes produced by the very productive Schwartz/Mercer teaming, it was even used twice more by M-G-M in two of the studios' Tom & Jerry short cartoons, "Baby Butch" (1954) and "Muscle Beach Tom" (1956). This was a common practice of the time, as studios looked to repurpose songs that they owned. Interestingly, half a century later, the song would also pop up in another cartoon Disney's "Phineas and Ferb". Although not as often recorded as many other Schwartz/Mercer compositions, its bouncy tune and clever lyric make it an instant classic.

Recorded By:

John Pizzarelli
Philip Chaffin
Joyce Breach
Esther Williams

Silver Bells

By Jay Livingston & Ray Evans
1950

A warm, fuzzy Christmas classic of the post-war era, this charming chestnut was composed for the film The Lemon Drop Kid, in which it was introduced by Bob Hope and Marilyn Maxwell. A major hit recording by Bing Crosby and Carol Richards released before the film was so successful it caused the film producers to re-shoot the scene more elaborately prior to the release of the movie. Conflicting reports indicate that the inspiration for the song came either from the bell-ringing Salvation Army Santas on NYC streetcorners, or a bell that was kept on Livingston and Evans' shared office desk. Incidentally, the songwriting team of Livingston & Evans were also responsible for such post-war classics as "To Each His Own" and "Mona Lisa".

Lyrics:

Silver bells silver bells
It's Christmas time in the city
Ring a ling, hear them sing
Soon it will be Christmas day

City sidewalks busy sidewalks .
Dressed in holiday style
In the air
There's a feeling
of Christmas
Children laughing
People passing
Meeting smile after smile
And on every street corner you'll hear...

Silver bells silver bells
It's Christmas time in the city
Ring a ling, hear them ring
Soon it will be Christmas day

Strings of street lights
Even stop lights
Blink a bright red and green
As the shoppers rush
home with their treasures

Hear the snow crunch
See the kids bunch
This is Santa's big scene
And above all this bustle
You'll hear...

Silver bells, silver bells
It's Christmas time in the city
Ring-a-ling, hear them ring
Soon it will be Christmas day

Recorded By:

Perry Como

Dean Martin

Frank Sinatra

Martina McBride

Andy Williams

It's Beginning to Look a Lot Like Christmas

By Meredith Wilson
1951

A warm and fuzzy holiday classic from the idyllic '50s, this tune was introduced by Perry Como, joined by the Fontane Sisters and the Mitchell Ayres Orchestra. It's original title was "It's Beginning to Look Like Christmas". Legend has it that writer Wilson was inspired to write the song by a stay at the Grand Hotel in Yarmouth, Novia Scotia. The Johnny Mathis version became very popular in more recent years thanks to its inclusion in the 1992 movie Home Alone 2. Today it remains one of the most ubiquitous modern-day secular carols.

Lyrics:

It's beginning to look a lot like Christmas
Ev'rywhere you go;
Take a look in the five and ten glistening once again
With candy canes and silver lanes aglow.

It's beginning to look a lot like Christmas
Toys in ev'ry store
But the prettiest sight to see is the holly that will be
On your own front door.

A pair of hopalong boots and a pistol that shoots
Is the wish of Barney and Ben;
Dolls that will talk and will go for a walk
Is the hope of Janice and Jen;
And Mom and Dad can hardly wait for school to start again.

It's beginning to look a lot like Christmas
Ev'rywhere you go;
There's a tree in the Grand Hotel, one in the park as well,
The sturdy kind that doesn't mind the snow.

It's beginning to look a lot like Christmas;
Soon the bells will start,
And the thing that will make them ring is the carol that you sing
Right within your heart.

Recorded By:

Alvin & The Chipmunks
Michael Buble
Johnny Mathis
Bing Crosby
Perry Como

Mona Lisa

By Ray Evans & Jay Livingston
1950

Best known for the timeless recording by Nat King Cole, this beloved favorite was written for the film Captain Carey, USA, in which Cole introduced it along with the orchestra of exotica maven Les Baxter (and for which it won the Oscar). It's believed that Frank Sinatra was offered the song as well, but turned it down. Nevertheless, the song has become ubiquitous, and although several other artists have recorded it over the years, it remains Cole's version that rises head and shoulders above the rest.

Lyrics:

Mona Lisa, Mona Lisa, men have named you. 
You're so like the lady with the mystic smile. 
Is it only 'cause you're lonely, they have blamed you  
For that Mona Lisa strangeness in your smile?
 
Do you smile to tempt a lover, Mona Lisa? 
Or is this your way to hide a broken heart?  
Many dreams have been brought to your doorstep.  
They just lie there and they die there.
Are you warm, are you real, Mona Lisa? 
Or just a cold and lonely, lovely work of art?
 
Do you smile to tempt a lover, Mona Lisa?  
Or is this your way to hide a broken heart?  
Many dreams have been brought to your doorstep.  
They just lie there and they die there.
Are you warm, are you real, Mona Lisa?  
Or just a cold and lonely, lovely work of art?  

Recorded By:

Elvis Presley

Don Cherry

Harry James

Doris Day

Willie Nelson

That's Entertainment

By Arthur Schwartz & Howard Dietz
1952

Along with "Hooray for Hollywood" and "There's No Business Like Show Business," this nostalgic classic has become a true anthem for the entire moviemaking business, particularly the golden age of the 1930-1950s. A large reason for this is its usage as the title and theme song of the unforgettable 1974 compilation tribute to MGM musicals, followed by sequels in 1976 and 1994. Originally, it was written by Schwartz & Dietz for the MGM musical The Band Wagon, in which it was performed by Fred Astaire, Jack Buchanan, Nanette Fabray, Oscar Levant and India Adams (singing for Cyd Charisse).

Lyrics:

Everything that happens in life
Can happen in a show
You can make 'em laugh
You can make 'em cry
Anything
Anything can go....

The clown with his pants falling down
Or the dance that's a dream of romance
Or the scene where the villain is mean
That's entertainment!

The lights on the lady in tights
Or the bride with the guy on the side
Or the ball where she gives him her all
That's entertainment!

The plot and the hot simply teeming with sex
A gay divorcee who is after her ex
It could be Oedipus Rex
Where a chap kills his father
And causes a lot of bother

The clerk who is thrown out of work
By the boss who is thrown for a loss
By the skirt who is doing him dirt
The world is a stage,
The stage is a world of entertainment.
That's entertainment!
That's entertainment!

The doubt while the jury is out
Or the thrill when they're reading the will
Or the chase for the man with the face
That's entertainment!

The dame who is known as the flame
Of the king of an underworld ring
He's an ape
Who won't let her escape
That's entertainment!

It might be a fight like you see on the screen
A swain getting slain for the love of a queen
Some great Shakespearean scene
Where a ghost and a prince meet
And everyone ends in mincemeat.

The gag may be waving the flag
That began with a mystical hand
Hip hooray!
The American way
The world is a stage,
The stage is a world of entertainment.

Recorded By:

Judy Garland
Rufus Wainwright
Liza Minnelli
Fred Astaire
Bing Crosby

I Could Have Danced All Night

By Alan Jay Lerner & Frederick Loewe
1956

One of the signature songs from Lerner & Loewe's great musical, My Fair Lady. It was introduced on stage by Julie Andrews as Eliza Doolittle, singing rapturously of her growing love for Prof. Higgins. It was reprised in the film version, with star Audrey Hepburn dubbed with the voice of vocalist Marni Nixon. A beautiful sampling of the type of material being put out during the golden age of the Hollywood musical.

Lyrics:

I could have danced all night!
I could have danced all night!
And still have begged for more.

I could have spread my wings,
And done a thousand things
I've never done before.

I'll never know what made it so exciting,
Why all at once my heart took flight.

I only know when he
Began to dance with me,
I could have danced, danced danced all night!

Recorded By:

Sylvia Syms
Dinah Shore
Frank Sinatra
Rosemary Clooney
Petula Clark

It's Alright With Me

By Cole Porter
1953

One of the very most sophisticated compositions by the songbook's most sophisticated composer. This gem was written for Porter's 1953 musical Can-Can, in which it was introduced by Peter Cookson. Porter's melody line virtually embodies a combination of smoldering longing and wistful regret, as the lyric expresses the subject's acceptance of his attraction to the object of his desire, even though he admits that he is still in love with someone else. A complex and beautiful song.

Lyrics:

It's the wrong time and the wrong place
Though your face is charming, it's the wrong face
It's not her face, but such a charming face
And it's alright with me

It's the wrong song with the wrong style
Though your smile is lovely, it's the wrong smile
It's not her smile, but such a lovely smile
That it's alright with me

You can't know how happy I am we met
I'm strangely attracted to you
There's someone I'm trying so hard to forget
Don't you wanna forget someone too

It's the wrong game with the wrong chips
Though your lips are tempting, they're the wrong lips
They're not her lips, but they're such tempting lips
That it's all right with me

Recorded By:

Frank Sinatra
Ella Fitzgerald
Tom Waits
Mel Torme
Erroll Garner

Unforgettable

By Irving Gordon
1951

Perhaps one of the most enduring of all standards, still commonly known today by people of all ages, mainly thanks to the recording by Nat King Cole. It was Cole who introduced the song in 1951, re-recorded it in stereo ten years later, and with whom it has always been identified. His version was famously edited in 1991 into a posthumous "duet" with his daughter Natalie, which won the Grammy for Best Recording. Sadly, that version also amended the fine Nelson Riddle arrangement to including a cheesy sax solo in place of Riddle's trademark shimmering strings.

Lyrics:

Unforgettable
That's what you are,
Unforgettable
Tho' near or far.

Like a song of love that clings to me,
How the thought of you does things to me.
Never before
Has someone been more...

Unforgettable
In every way,
And forever more
That's how you'll stay.

That's why, darling, it's incredible
That someone so unforgettable
Thinks that I am
Unforgettable, too.

Recorded By:

Dick Hyman
Dinah Washington
Sammy Davis Jr.
Marvin Gaye
Lou Rawls

Secret Love

By Sammy Fain & Paul Francis Webster
1953

An Academy Award-winner from the closing years of classic pop era, it was written for and introduced by the lovely Doris Day in her starring role in Calamity Jane. Ms. Day also recorded a commercial version of the song the year after the movie came out. It remains one of the most beautiful tunes to ever snare an Oscar, from an age when winning the award for a song actually meant something.

Lyrics:

Once I had a secret love
That lived within the heart of me.
All too soon my secret love
Became impatient to be free.

So I told a friendly star
The way that dreamers often do.
Just how wonderful you are
And why I'm so in love with you.

Now I shout it from the highest hills.
Even told the golden daffodils.
At last my heart's an open door,
And my secret love's no secret anymore.

Recorded By:

Mandy Moore
Frank Sinatra
Sinead O'Connor
George Michael
Anne Murray

Satin Doll

By Duke Ellington, Billy Strayhorn & Johnny Mercer
1953

A late standard known for its unusual chord progression, "Satin Doll" was already a big hit as an instrumental by Ellington & Strayhorn before Mercer ever added a lyric. In fact, the Mercer lyric is generally not considered one of his best, and Ella Fitzgerald notably recorded a scat version which didn't even make use of it. Still, the song remains popular in both versions.

Lyrics:

Cigarette holder,
Which wigs me.
Over her shoulder,
She digs me.
Out cattin'
That satin doll.

Baby, shall we go
Out skippin'?
Careful, amigo,
You're flippin'
Speaks Latin,
That satin doll.

She's nobody's fool,
So I'm playin' it cool as can be.
I'll give it a whirl,
But I ain't for no girl catchin' me.

Telephone numbers,
Well, you know.
Doin' my rhumbas
With uno,
And that's my satin doll.

Recorded By:

101 Strings
The Gaylords
Nancy Wilson
Frank Sinatra
Ella Fitzgerald

In the Cool, Cool, Cool of the Evening

By Hoagy Carmichael & Johnny Mercer
1951

The formidable duo of Carmichael and Mercer teamed up to create this irresisibly jaunty tune--which won the Academy Award--for the film Here Comes the Groom. It was introduced in the movie by the two stars, the incomparable Bing Crosby and then-Mrs. Ronald Reagan, Jane Wyman. A fine merger of a Carmichael melody and Mercer lyric.

Lyrics:

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Save your pappy a chair
When the party's getting a glow on
And singin' fills the air
In the shank of the night
When the doin's are right
Well you can tell em I'll be there

I like a barbecue
I like to boil a ham
And I vote for bola baste stew
What's that?
I like a weenie bake, steak and a layer cake
And you'll get a tummy ache too
We'll rent a tent or a teepee
Let the town crier cry
"All's well!"
And if it's RSVP
This is what I'll reply

In the cool, cool, cool of the evening
Tell 'em we'll be there
If you need a pair of freeloaders
To fracture your affair
I may even give them Pagliacci
Now stand back and give him air
If one can relax and we'll have a few yaks
And you can tell them we'll be there

"Oui," said the bumblebee
"Let's have jubilee."
"When?" said the prairie hen, "Soon?"
"Sure," said the dinosaur
"Where?" said the grisly bear
"Under the light of the moon."
"How about your brother, jackass?"
Everyone gaily cried
"Are you coming to the fracas?"
Ain't gonna blow it
"And all the respects," he sighed

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Stick 'em on my hair
If perchance we look a bit peeked
Remember se la guerre
If we're still on our feet
And there's something to eat
Well you can tell them we'll be there

In the cool, cool, cool of the evening
Tell 'em I'll be there
In the cool, cool, cool of the evening
Better save a chair
When the party's getting a glow on
And singin' fills the air
If there's gas in my hack
and my laundry is back
If there's room for one more
And you need me
Why sure
If you need a new face or a tenor or base
If I can climb out of bed and put a head on my head
Well you can tell 'em we'll be there.

Recorded By:

Frank Sinatra
Bette Midler
Dean Martin
Frankie Laine & Jo Stafford
Ray Conniff

Baubles, Bangles and Beads

By Robert Wright & George Forrest
1953

A beguiling song written for the musical Kismet, and based--as with all the songs in that show--on a melody by classical composer Alexander Borodin. In this case, it's Borodin's String Quartet in D (second theme of the 2nd movement). Originally written as a waltz, pop artists have changed the structure to a more rhythmic four-beat one. Jazz artists are particularly drawn to it for its unique melody.

Lyrics:

Baubles, bangles,
Hear how they jing, jing-a-ling-a,
Baubles, bangles, bright, shiny beads.

Sparkles, spangles,
My heart will sing, sing-a-ling-a,
Wearing baubles, bangles and beads.

I'll glitter and gleam so,
Make somebody dream so,

That someday he may buy me,
A ring, ring-aling-a,
I've heard that's where it leads,
Wearing baubles and bangles and beads.

Recorded By:

Peggy Lee
Frank Sinatra
Julie Andrews
June Christy
Deodato

Too Close for Comfort

By Jerry Bock, George David Weiss & Larry Holofcener
1956

A major hit from the 1956 Broadway musical Mr. Wonderful starring Sammy Davis Jr., this song was one of the 1950s most popular standards. In the original show, it was introduced by Charlie Welch, but it was Eydie Gorme who recorded the version that became a huge hit the same year as the show. It would immediately become one of the most recorded traditional pop songs of its era, and one of the last such songs to become such a big hit prior to the rock and roll takeover...

Lyrics:

Be wise, be smart, behave, my heart
Don't upset your cart when she's so close
Be soft, be sweet, but be discreet
Don't go off your feet, she's to close for comfort

Too close, too close for comfort, please and not again
Too close, too close to know just when to say "when"

Be firm, be fair, be sure, beware
On your guard, take care, while there's such temptation

One thing leads to another
Too late to run for cover
She's much too close for comfort now.

Recorded By:

Frank Sinatra
Natalie Cole
Mel Torme
Art Pepper
Herbie Nichols

Ebb Tide

By Robert Maxwell & Carl Sigman
1953

A late-era standard, this was a hit song composed during a time of big, bombastic and lush pop songs. It's certainly one of the best examples, and has even been co-opted by lots of rock-influenced vocal groups. The Frank Chacksfield orchestra introduced it, and it became a major hit mere months later for Vic Damone. Both Maxwell's melody and Sigman's gorgeous lyric combine to give the real effect of an ocean tide rushing in...

Lyrics:

First the tide rushes in,
Plants a kiss on the shore,
Then rolls out to sea,
And the sea is very still once more.

So I rush to your side,
Like the oncoming tide,
With one burning thought,
Will your arms open wide?

At last we're face to face,
And as we kiss through an embrace,
I can tell, I can feel,
You are love, your are real,
Really mine in the rain,
In the dark, in the sun,
Like the tide at its ebb,
I'm at peace in the web of your arms.

Recorded By:

The Righteous Brothers
Frank Sinatra
Jerry Colonna
Santo & Johnny
Ella Fitzgerald

Misty

By Erroll Garner & Johnny Burke
1954

A late jazz standard, pianist Garner composed the tune, only to have words added by Burke sometime later. It became on the most successful standard compositions of the 1950s, and something of a signature tune for both Johnny Mathis and Sarah Vaughan. It also figures prominently in the 1971 Clint Eastwood film Play Misty for Me. The melody is thoroughly modern, evoking the boldness of 1950s jazz.

Lyrics:

Look at me, I'm as helpless as a kitten up a tree,
And I feel like I'm clinging to a cloud, I can't understand,
I get misty, just holding your hand.

Walk my way, and a thousand violins begin to play,
Or it might be the sound of your hello, that music I hear,
I get misty, the moment you're near.

You can say that you're leading me on,
But it's just what I want you to do,
Don't you notice how hopelessly I'm lost,
That's why I'm following you.

On my own, would I wander through this wonderland alone,
Never knowing my right foot from my left, my hat from my glove,
I'm too misty, and too much in love.
I'm too misty, and too much in love.

Recorded By:

Nat King Cole
Frank Sinatra
Julie London
Ella Fitzgerald
Ray Stevens