Reader's Digest
OF
BEST LOVED SONGS 114 All-Time Family Favorites Pleasure Programmed for your greater entertainment Editor: Willian1 L. Sirnon Associates: Letitia B. Kehoe · Alan Blackrnan · Bruce Maonnber Supervising Editor: W.A.H. Birnie Music arranged and edited by Dan Fox The Reader's Digest Association, Inc. Pleasantville, New York Montreal Copnight © I ~17:! The Reader's Digest Association. Inc. Copvright (() 1972 The Reader's Digest Association, (Canada) Ltd. l'nauthorizcd reproduction in anv manner, is prohibited. Libran of Congress Catalog Card :'\lumber 71-JH;)HSH ISBN 0-H~l:J/7-007-5 RI-:ADUI.'s Du;EST and the Pegasus colophon arc registered trademarks of The Reader's Digest Association, Inc Printed in the L'nitcd States of America
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Sncnth Printing. September 19H9 Reader's Otgest Fund for the Blind 1s publisher of the Large-Type Edit ton of Reader's 01gest. For subscnptton 1nformat1on aboutthts magaztne, please contact Reader's Otgest Fund for the Bltnd Inc Dept 250. Pleasantville. NY 10570
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Index to Songs ............. ' ........................... .
Alfie Alice Blue Gown .. i ........................... .
f All the Things You Are ........................ . Amazing Grace ............................... . Anniversary Song .............................. . Arrivederci, Roma ............................. . Autumn Leaves ............................... . Beautiful Ohio ............................ . ... . Beer Barrel Polka ............................. . Blue Hawaii .................................. . Blue ~loon ................................... . Blue Tango ................................... . Bouquet of Roses .............................. . Breeze and I, The ............................. . C:.ll ~fe Irresponsible ..... , ................... . Cm't Help Lovin' Dat Man .................... . C~ristmas Song, The ........................... . Close to You (They Long to Be) ................ . Cruising Down the River ....................... . Deep Purple .................................. . I>o'\\ntown ................................... . Fh-e Foot Two, Eyes of Blue .................... . Fe.. :\fe and My Gal ........................... . FC'"(, The ........................ , ............ . Galway Bay .................................. . Gang that Sang "Heart of My Heart," The ........ . Girl from Ipanema, The ........................ . Glory of Love, The ............................ . God Bless America ............................ . God Bless' the Child ........................... . Coin' Out of My Head ......................... . Goodnight Sweetheart ......................... . Harrigan ..................................... . Heart and Soul ................................ . Hello, Dolly! ................................. . Hi-Lili, Hi-Lo ................................ . (How Much Is) That Doggie in the Window ..... . I .\lmost Lost My Mind ........................ . I Can't Give You Anything But Love ............. . If ............................................ . I'll I\' ever Fall in Love Again .... . .............. . I'm Gonna Sit Right Down and Write Myself a Letter I'm in the Mood for Love ....................... . In the Chapel in the Moonlight . , ............... . It Looks Like Rain in Cherry Blossom Lane ...... . I Walk the Line .............................. . I Want to Hold Your Hand ..................... . I Will Wait for You ............................ . I \Vish You Love ..........•.................... Ja-Da ........................................ . Last Night on the Back Porch ........ . .......... . Laura ....................................... . Let It Be Me ................................. . _•Let Me Call You Sweetheart ................... . - Look for the Silver Lining ..................... . - Louise :\..................................... . Love Is Blue ................................. . ~ LM·er · ....<••••••••••••••••••••••••••••••••••••• Lot:e Story Theme (Where Do I Begin) ......... . -·fa (He's Making Eyes at Me) ................ .. .\fake Believe ................................. . ~fame ....................................... . ~fanhattan ................................... .
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I , I
146 204
58 280 258 251
246 218 210 36 13 248 226 243 142 49 271
74 181
32 76 122
178 112
254 186
81 41 286 116
87
44 206 38 60 152
266 230
124 256
65 18 16
28 34 224 102
149
Margie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matilda, Matilda! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . May the Good Lord Bless and Keep You . . . . . . . . . . Michael, Row the Boat Ashore . . . . . . . . . . . . . . . . . . . Midnight Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mona Lisa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Moonglow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Moon Over Miami . . . . . . . . . . . . . . . . . . . . . . . . . . • . . . Moon River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . My Blue Heaven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . New World in the Morning .... ~................ Notre Dame Victory March . . . . . . . . . . . . . . . . . . . . . On the Sunny Side of the Street . . . . . . . . . . . . . . . . . Paper Doll . . . . . . . . . . . . . . . . . . . . . . . . . . . • . . . . . . . . Pass Me By . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peace in the Valley, (There'll Be) . . . . . . . • . . . . . . . . Pennies from Heaven . . . . . . . . . . . . . . . . . . . . . . . . . . Penthouse Serenade . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quiet Nights of Quiet Stars . .. . .. . .. . .. . . . . . . .. . . Raindrops Keep Fallin' on My Head . . . . . . . . . . . . . . Red Roses for a Blue Lady . . . . . . . . . . . . . . . . . . . . . . Red Sails in the Sunset . . . . . . . . . . . . . . . . . . . . . . . . . . Ring of Fire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Santa Claus Is Comin' to Town . . . . . . . . . . . . . . . . . . Scarlet Ribbons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Show Me the Way to Go Home . . . . . . . . . . . . . . . . . . Side by Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Smoke Gets in Your Eyes . . . . . . . . . . . . . . . . . . . . . . . . S'posin' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Star Dust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stella by Starlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Strangers in the Night . . . . . . . . . . . . . . . . . . . . . . . . . . . Sweetheart of Sigma Chi, The . . . . . . . . . . . . . . . . . . . . Tenderly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . That's Amore (That's Love) . . . . . . . . . . . . . . . . . . . . . There Will Never Be Another You . . . . . . . . . . . . . . . . This Guy's in Love with You ............ :. . . . . . . Three O'Clock in the Morning . . . . . . . . . . . . . . . . . . . Time for Us, A (Theme from Romeo and Juliet) . . . . Toyland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wait Till the Sun Shines, Nellie . . . . . . . . . . . . . . . . . . , What the World Needs Now Is Love . . . . . . . . . . . . Whiffenpoof Song, The . . . . . . . . . . . . . . . . . . . . . . . . . Who's Sorry Now? . . . . . . . . . . . . . . . • . . . . . . . . . . . . . . Why Do I Love You? . . . . . . . . . . . . . . . . . . . . . . . . . . . Wildwood Flower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . With These Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . YES! We Have No Bananas . . . . . . . . . . . . . . . . . . . . . You'll Never Walk Alone . . . . . . . . . . . . . . . . . . . . . . . Young at Heart .. , . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
188 108 277 110 114
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154
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22 144 175
136 90 208 25 264 169
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282 166
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95 139
4
98 20
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232
216 105 200
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119 46
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126 6 262 84
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238 240 268 68 130
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156 215 22~
71 192 12~
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22'3
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281
202 2i-t
235
100
196 198 164 78 184 56 161
92 158
172 220
52 62 132
Index to Sections All-Time Film Hits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Best Songs of the Sixties . . . . . . . . . . . . . . . . . . . . . . . . 6S Country Music Hits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Favorite Folk Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10.5 Golden Favorites: Old-Time Fun and Harmony . . . . 17S Great Hits from Broadway . . . . . . . . . . . . . . . . . . . . . . 46 Hits of the Forties and Fifties . . . . . . . . . . . . . . . . . . . 233 Songs of Faith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 Sweet and Swing Hits of the Thirties . . . . . . . . . . . . . F The Tuneful Twenties . . . . . . . . . . . . • . . . . . . . . . . . . . no
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JVi:!; cJongbook
Even~re
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his book is truly a "by popular demand" creation, our response to the enthusias1n which greeted the first Reader's Digest family songbook. In this all-new collection of songs you will find selections from every decade since the turn of the century and folk songs whose echoes go back even farther. There are Broadway melodies, film hits, country music gems and inspiring songs of faith, all congenially grouped according to the exclusive Reader's Digest PleasureProgramn1ing approach to music. ~Ioreover, on pages 4 and 5, you will find additional suggestions for song programs you and your friends are most likely to enjoy in different moods and on varying occasions. The arrangements, prepared especially for this book, are designed for musicians of everyday ability. They are easy to play and yet they sound full, modern and thoroughly professional. Arranger Dan Fox points out the following features: "The harn1onies make restrained use of many extended chords ( 9ths, llths, etc.) as well as typical alterations used by musicians of today, and the songs have been modernized rhythmically as well. The rinkytink syncopations in songs from the '20s and '30s have been altered to conforn1 \vith today's style. "PIANISTS will see that the harmonies are incisive and the rhythms graceful and swingy by turn. The bass lines often moYc in simple scale-wise fashion, arpeggios are easy to finger and the melody is right out front at all tin1es. "Those who have studied the so-called 'popular method' will find the melody easy to pick out (it is always stemmed up unless it stands alone) and the chord symbols unusually detailed and accurate. Although this is not always true in commercial sheet music, the popular player may assume that the root of any right-hand chord is also to be played in the bass unless otherwise specified. "~fore ad\'anced players may want to fancy things up a bit. Here are a fe"' suggestions: The melody may sometimes be embellished \Yith grace notes from above or below; or it can be doubled an octave lower or higher for a brighter sound: the bass line can be doubled \vith a lm,·er octa,-e for greater depth and fullness; arpeggios can be extended to cO\·er two or n1ore
octaves; if a chord is sustained, its arpeggio may be substituted. ln1aginative players will have no difficulty in thinking up more variations to suit their own style and taste . "CUlT ARISTS will discover that a great deal of care has been taken to insure that their part of each arrangement is as clear and as musical as possible: the diagrams have been carefully thought out to facilitate fingering and obtain the best sound, and where\·er possible, the bass note of the diagran1 corresponds tc' the bass note in the piano. "If you have a guitar-playing friend, one of you can play the melody in single notes and the other the chords. If you have another friend who plays bass guitar. let him play from th~ lower staff, and you have a group. In any case, there is son1ething here for the guitaris: of every ability, from blues and folk songs using only a few chords to modern ballads and jazz songs ,,-hich use 9ths, 13ths, passing harn1onies and altered chord-. "ORGAN PLAYERS, too, will find these arranc:en1ents interesting, challenging and fun to play. Th,::small notes under the lower staff indicate the proper bass note. The range of the bass line has been kep: within an octave in order that it can be played on any model electronic or pipe organ. Like pianists, player-; who have studied the popular method will find the melody easy to pick out. Pedals are indicated by the small notes below the staff, and the left hand can fi!: in chords as indicated by the symbols. "SINGERS will appreciate the clarity with \\·hich these songs are presented. There are no confusin <;! repeat signs, and page turns occur only where a s~>n 'Z. runs for three or more pages. The words are printed in a type face which is easily legible even when reading over someone's shoulder. "Finally, players of the VIOLIN, FLUTE, :\IELODICA, HAR~IONICA and other C-melody instnlments can play the melody from the top line of each system, or use the melody notes as a guide and create improvisations based on the chord symbols aboYe the top staff." For every singer, instrumentalist, soloist or family group, there are many hours of exciting musical fun and exhilaration awaiting you in these pages. \Ve hope you will enjoy them to the fullest. THE EDITORS .-, ,)
Pleasure Programs :\IEDIUM AND BRIGHT WALTZES \\·hat the vVorld Needs Now Is LoYe . . . . . . . . . . . . . . . . . . . Hi-Lili, Hi-Lo . . . . . . . . . . . . . . .
71 152 158 181 240 258
LI)\Tf . . . . . . . . . . . . . . . . . . . . . . .
Cruising Down the River . . . . . . That's Amore . . . . . . . . . . . . . . . . _-\nni\·ersary Song . . . . . . . . . . . .
SLOW WALTZES Three O'Clock in the Morning .. \loon River ................. . Let \Ie Call You Sweetheart. .. . The Sweetheart of Sigma Chi .. .\lice Blue Gown ............ . Beautiful Ohio ............. . Tenderly ................... . _-\nni\·ersary Song ........... .
130 144 184 190 204 218 238 258 -
\VITH A LITTLE BIT OF ROCK BEAT The Glory of Love ........... . I"ll \'ever Fall in Love Again .. ·r:~i~ Guy's in Love With You .. '.'::-dt the World Needs Now Is Love .................. . They Long to Be) Close to You Dmn1town ................. . Coin' Out of My Head ....... . I \\'ant to Hold Your Hand ... . \Iiclnight Special ............ . Raindrops Keep Fallin' on ~Iy Head ............. . I _\lmost Lost My Mind ..... .
41 65 68 71 74 76 87 102 114 139 230
LATIN RHYTHMS The Girl from Ipanema . . . . . . . Quiet Nights of Quiet Stars . . . . \Iatilda, Matilda! . . . . . . . . . . . . \lore . . . . . . . . . . . . . . . . . . . . . . . The Breeze and I . . . . . . . . . . . . . Blue Tango . . . . . . . . . . . . . . . . . . .-\rri\·ederci, Roma . . . . . . . . . . .
FOR THAT SPECIAL GIRL
MARCHES
81 95 108 175 243 248 251
Hello, Dolly! . . . . . . . . . . . . . . . . Pass ~1e By . . . . . . . . . . . . . . . . . . Notre Dame Victory March . . . . God Bless America . . . . . . . . . . .
60 169 208 286
SING-ALONG FUN I'm Gonna Sit Right Down and Write Myself a Letter . . . . . . 18 Hello, Dolly! . . . . . . . . . . . . . . . . . 60 Marne....................... 62 Matilda, Matilda! . . . . . . . . . . . . . 108 Michael, Row the Boat Ashore . . 110 Side by Side . . . . . . . . . . . . . . . . . 119 Five Foot Two, Eyes of Blue . . 122 I Can't Give You Anything But Love . . . . . . . . . . . . . . . . . . 124 S' posin' . . . . . . . . . . . . . . . . . . . . . 126 Who's Sorry Now? . . . . . . . . . . . 128 Three O'Clock in the Morning 130 My Blue Heaven . . . . . . . . . . . . . 136 Hi-Lili, Hi-Lo . . . . . . . . . . . . . . . . 152 Louise . . . . . . . . . . . . . . . . . . . . . . 161 All songs in GOLDEN FAVORITES ... 178-223 Bouquet of Roses . . . . . . . . . . . . . 226 That's Amore . . . . . . . . . . . . . . . . 240 Arrivederci, Roma . . . . . . . . . . . . 251 Galway Bay . . . . . . . . . . . . . . . . . . 254 Paper Doll . . . . . . . . . . . . . . . . . . 264
BARBERSHOP BALLADS Goodnight Sweetheart . . . . . . . . Hello, Dolly! . . . . . . . . . . . . . . . . . Hi-Lili, Hi-Lo . . . . . . . . . . . . . . . . For Me and My Gal . . . . . . . . . . Cruising Down the River . . . . . . Let Me Call You Sweetheart . . . The Gang that Sang "Heart of My Heart" . . . . . . . . Margie . . . . . . . . . . . . . . . . . . . . . . The Sweetheart of Sigma Chi . . Whiffenpoof Song . . . . . . . . . . . . Ja-Da . . . . . . . . . . . . . . . . . . . . . . . Show Me the Way to Go Home. Alice Blue Gown . . . . . . . . . . . . . Harrigan . . . . . . . . . . . . . . . . . . . . Beautiful Ohio . . . . . . . . . . . . . . . Wait Till the Sun Shines, Nellie
44 60 152 178 181 184 186 188 190 192 196 200 204 206 218 222
ALICE Blue Gown . . . . . . . . . . . Hello, DOLLY! . . . . . . . . . . . . . . LAURA . . . . . . . . . . . . . . . . . . . . . Hi-LILI, Hi-Lo . . . . . . . . . . . . . LOUISE . . . . . . . . . . . . . . . . . . . . MAME . . . . . . . . . . . . .. . . . . . . . MARGIE.................... MATILDA, Matilda! . . . . . . . . . . MONA LISA . . . . . . . . . . . . . . . . Wait Till the Sun Shines, NELLIE . . . . . . . . . . . . . . . . . . STELLA by Starlight . . . . . . . . .
204 60 164 152 161 62 18S
lOS 154
222 262
FOR SPECIAL OCCASIONS (Anniversary) Anniversary Song . . . . . . . . . . . . For Me and My Gal . . . . . . . . . . . Let Me Call You Sweetheart . . . Love Story Theme . . . . . . . . . . . . More . . . . . . . . . . . . . . . . . . . . . . . This Guy's in Love with You . . Who's Sorry Now? . . . . . . . . . . . Young at Heart . . . . . . . . . . . . . . .
17S 18-± 172 175 68 12S 23.5
(Christmas) Toyland . . . . . . . . . . . . . . . . . . . . . Santa Claus Is Comin' to Town. The Christmas Song . . . . . . . . . .
216 271
(Patriotic) God Bless America . . . . . . . . . . .
286
(St. Patrick's Day) Harrigan . . . . . . . . . . . . . . . . . . . . Galway Bay . . . . . . . . . . . . . . . . . .
206 25-±
(Wedding) If........................... Let It Be Me . . . . . . . . . . . . . . . . . Love Story Theme . . . . . . . . . . . . More . . . . . . . . . . . . . . . . . . . . . . . Tenderly . . . . . . . . . . . . . . . . . . . . With These Hands . . . . . . . . . . . You'll Never Walk Alone . . . . .
256 78 172 17.5 23S 284 274
25S
21.5
ESPECIALLY FOR THE YOUNGSTERS The Fox..................... Hi-Lili, Hi-Lo . . . . . . . . . . . . . . . Toyland . . . . . . . . . . . . . . . . . . . . . Santa Claus Is Comin' to Town. ( How Much Is) That Doggie in the Window . . . . . . . . . . . . . God Bless America . . . . . . . . . . . .
112 152 215 216 266 286
PLACES TO SING ABOUT .-\\!ERICA (God Bless America) BHAZIL (The Girl from IpanC'ma) . . . . I )0\V:'-JTO\VN . . . . . . . . . . . . . . I L\ \V Ali (Blue Hawaii) . . . . . I HE LAND (Galway Bay) . . . . . \1IA\1I (\loon Over \1iami) . . :\-E\V YOHK CITY ( \Lmhattan) OHIO (Beautiful Ohio) . . . . . . H0\1E (Arrivederci, Homa) . . . TOYLAND . . . . . . . . . . . . . . . . . .
286 81 76 36 2.54 22 132 218 2.51 21.5
CLOSERS
OPENERS
(For slwu.:s, assem!Jlies or an evening of fun) God Bless America . . . . . . . . . . . Goodnight Sweetheart . . . . . . . . Look for the Silver Lining . . . . . \lay the Good Lord Bless and Keep You . . . . . . . . . . . . . . Peace in the Valley (There'll Be) Show Me the \Vay to Go Home. . Three O'Clock in the i\'1orning. . You'll Ne\-er \Valk Alone . . . . . .
277 282 200 130 274
.\!fie (1966) ................................................ Alfie ...................................... nrcakfast at Tiffany's ( 1961) ................................. \loon Rivero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8utcl1 Cassidy and tl1e Sundance Kid ( 1969) .................... Haindrops Keep Fallin' on \fy Head o. . . . . . . . . . Tl1e Caddy ( 1953) .......................................... That's Amore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Captain Carey, U.S.A. ( 1950) ................................. i\fona Lisa<:> . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ecery Night at Eigl1t ( 193.5) .................................. I'm in the \Jood for Love . . . . . . . . . . . . . . . . . . . Fatl1er Goose ( 1964) ......................................... Pass .Me By . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Iceland ( 1942) .............................................. There \Viii Never Be Another You . . . . . . . . . . . . Innocents of Paris ( 1929) .................................... Louise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The ]olson Story (1946) ..................................... Anniversary Song . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura ( 1944) ............................................... Laura . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lili ( 19.52) ................................................. Hi-Lili, Hi-Lo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.-o~:e Jfe Tonight (1932) .................................... Lover ..................................... Lace Story ( 1970) .......................................... Laue Story Theme ( \Vherc Do I Begin) . . . . . . . \ .If an Could Get Killed ( 1966) .............................. Strangers in the i\'ight . . . . . . . . . . . . . . . . . . . . . . .If mula Cane ( 1963) ......................................... ~'fore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Papa's Delicate Condition (I 963) .............................. Call :\fe Irresponsible<:> . . . . . . . . . . . . . . . . . . . . . . P('nnies from lleauen ( 19.36) ................................. Pennies from Heaven . . . . . . . . . . . . . . . . . . . . . . . . Ftom('o and Juliet ( 1968) ..................................... A Time for Us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A Song Is Born ( 1938) ...................................... Heart and Soul . . . . . . . . . . . . . . . . . . . . . . . . . . . . l, mhrellas of Cherbourg ( 1964) ............................... I \Vill \Vait for You . . . . . . . . . . . . . . . . . . . . . . . . . Tltc [ 7 ninvited ( 1944) ....................................... Stella by Starlight . . . . . . . . . . . . . . . . . . . . . . . . . . . \\'aikiki \F eddin.[.!, ( 19.37) ..................................... Blue Hawaii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
146 144 139 240 1.54 16 169 268 161 2.58 164 1.52 158 172 84 175 142 166 156 38 149 262 .36
o Academy
A.u:ard \F irzner
Film
Amazing Grace . . . . . . . . . . . . . . Beer Barrel Polka . . . . . . . . . . . . . God Bless America . . . . . . . . . . . Hello, Dolly! . . . . . . . . . . . . . . . . . Side by Side . . . . . . . . . . . . . . . . . \Vhat the \Vorld Needs Now Is Love . . . . . . . . . . . . . . . . . . . .
280 210 286 60 119 71
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286 44 .56
Songs Introduced in Films Song
Songs Introduced in Broadway Shows Show
Song
Babes in Toyland ( 190:3) ..................................... Toyland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Blackbirds of 1928 ........................................... I Can't Give You Anything But Love . . . . . . . . . Carousel ( 194.5) ............................................. You'll 1\ever \Valk Alone . . . . . . . . . . . . . . . . . . . . Fiftu J1 iles from Boston ( 1908) ............................... Harrigan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Garrick Gaieties ( 1925) .......................................Manhattan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Crccmcich Villa,c,e Follies ( 1921) ............................. Three O'Clock in the i\1orning . . . . . . . . . . . . . . . ll ella, Dolly! ( 1963) ........................................ Hello, Dolly! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . International Reuien: ( 19.30) .................................. On the Sunny Side of the Street . . . . . . . . . . . . . . Irene ( 1919) ................................................ Alice Blue Gown . . . . . . . . . . . . . . . . . . . . . . . . . . . . }/ ame ( 1966) ............................................... :Mame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The .\Jidnight Rounders of 1921 ............................... ~fa (He's .\laking Eyes at ~fC') ............... Promises, Prornises ( 1968 l .................................... I'll Never Fall in Love Again . . . . . . . . . . . . . . . . lioherta (I 9.3:3) .............................................. Smoke Gets in Your Eyes . . . . . . . . . . . . . . . . . . . . Sally ( 1920) ................................................ Look for the SilvC'r Lining . . . . . . . . . . . . . . . . . . . Shore Boat ( 1927) ........................................... Can't Help Lovin' Dat \Ian . . . . . . . . . . . . . . . . . . Very \Farm for f..fm; ( 1939
J\1akc Believe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . \Vhy Do I Love You'? . . . ................ ................................... :\Il the ThinQs You _-\r('
215 124 274 206 132 130 60 25 204 62 220 6.5 46 .56 49 52 .54 58
Section 1 · Sweet and Swing Hits of the Thirties
Star Dust '"Fittingly, your TREASURY OF BEST LOVED SONGS opens with what many beliece i8 the best loved song of the 20th century. When the editors started compiling the repertoire, "Star Dust" was the first song that came to mind, and ~n this special instance they decided to include the introductory verse to the song-a portion that is every bit as lovely as the chorus, and almost as familiar. How can you actually spell out the magic of "Star Dust"? One of America's greatest lyricists, the late Oscar Hammerstein II, tried in the preface of his book Lyrics: "'Star Dust' rambles and roams like a truant schoolboy in a meadow. Its structure is loose, its pattern complex. Yet it has attained the kind of long-lived popularity that few songs can claim. \\'hat has it got? I'm not certain. I know only that it is beautiful and I like to hear it. It is a mood-creating song. It has repose and wistfulness. It is something very special, all by itself. Anyone who tried to imitate it would be a fool." "Star Dust" has bec01ne "our song" to millions of couples-the unrivaled 'favorite song" of our century. Yet, oddly, "Star Dust" was never really a "hit" in the accepted Tin Pan Alley sense. Although the song teas published in 1929, its first million-selling record wasn't rnade until1940-an instrumental by Artie Shaw and his orchestra. But today "Star Dust" has been recorded in countless different cersions; it has been arranged and printed for every range of t.:oice, et.:ery solo instrument, and just about every imaginable combination of voices and instruments. It probably is the only song which ever had recordings made of its verse alone, u·ithout the familiar chorus. The "Star Dust" saga began one fall night in 1927. Hoagy Carmichael, recently graduated attorney, pianist and add jazz fan, had returned to Indiana University, hoping perhaps to piece together some fragmented memories of his undergraduate days. I neuitably he uisited a romantic spot then called the "spooning wall." Sitting there alone he looked up at the clear, star-filled sky and a phrase of music formed in his mind. He rushed ocer to the Book Nook, a campus restaurant, to work it out on the piano. Later he played the tune for his old roommate, Stuart Gorrell, who gave "Star Dust" its name. It seems odd to us today that the most sentimental of ballads was conceived by Hoagy as a swingy-almost ragtime-piano piece. It wasn't untill929 that Victor Young, then an arranger for the Isham ]ones Orchestra, was inspired to slow it dou;n, changing it from a "piano piece" to a "song." ~1 itchell Parish was asked in to write the lyrics and "Star Dust" was on its tcay. Parish recalls that Walter Winchell played a big part in bringing it to the public's ear. "He u;as so crazy about it that he plugged it almost daily in his column. Euen years later, I rernember sitting in the Copa with him one night listening to Nat «King" Cole. Nat sang "Star Dust" to a beautiful arrangement by Gordon Jenkins and everybody in the place, including 'Vinclzell, had a tear in his eye. I've heard the song done thousands of times, but I remember Nat's rendition above all others."
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Blue Moon "'Blue Moon" -as we know it-teas the only Rodgers and Hart hit that teasn't written specially for a screen or stage production. The first version, entitled '"Prayer," was composed in 1933 for Jean H arlote to sing in a film called Hollywood Revue. The project teas scrapped. In 1934, Hart wrote new lyrics and it became "The Bad in Every Man," sung by Shirley Ross in the William Poteell film :\1anhattan Melodrama-and quickly forgotten. A third set of lyrics, suggested by the publisher that same year, produced "Blue "AJ oon." In 1948, Billy Eckstine "revived" it with a millionselling recording; in 1961, a rock group, called the Marcels, doubled that sale teith a version in tehich Rodgers' melody teas altered beyond recognition and Hart's teords teere unintelligible.
Music by: Richard Rodgers Words by: Lorenz Hart
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Composer McHugh loved to tell this story L'i boyhood music lessons tcith his mother: .\f ~. !.1cHugh encouraged him to im]JrOcise me{, l;:. on the piano. If one sounded original, .she ~,~·-. him a nickel; if it did not, he received a ;;me~ mp on the knuckles. This "original," com11,· '· : for the 1935 film Every Night at. Eight. cur·:-. :· a considerable number of nickels for .UcHr<..:.;
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When Ahlert first played this song for 1l1 ~ family, Fred, ]r., a successful music publish(~ today, recalls, "[ teas eight at the time. I .sau:· it teas atcful, but Dad assured me it u;ould b,_ a big hit. Then it lay on the publisher's slu ~~ for a year until somebody showed it to Fat' \Valler. He loved it at first sight!" His recording made Ahlert Sr.'s prophecy come true.
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Lyricist Kennedy and his artist-sister were standn;.:. on a cliff in their natit:e Donegal, Ireland, in 1C,) ~ watching the spreading sunset frame the red sail, · a local boat. "You should paint that," he said. "I tcit·.· if you'll u:rite a song about it," she ansu:ered. B('·:. kept the bargain. vVill Grosz, using the pen nan .. Hugh Williams, set Kennedy's lyrics to music.
Red Sails
in the Sunset
Words by: Jimmy Kennedy Music by: Hugh Williams
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After several years of pressure and frustration in Hally wood during the '30s, composer Burke bought a oneway ticket back to New Y ark, where, with lyricist Leslie, he produced six Number One hits in three
Words by: Edgar Leslie
years. \Vhen Burke played this melody for Leslie, the latter felt the theme called for «Moon over something." They firuzlly settled on Miami, deciding to cash in on the current Florida building boom.
Music by: Joe Burke
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In the Chapel in the Moonlight
The chapel silhouetted in moonlight in this peaceful, pastoral song was a 100-year-old church located at Broadu:ay and 55th Street-right in the bustling heart of New York City! Today the site of the church is a parkin£ lot, but the song remains ,;cry much tvith us, a hit with each of the succeeding generations.
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Penthouse Serenade
During the depression some unemployed actors produced a C('-· : called The Nine O'Clock Revue. The songu:riters tL·ere giccn ~-1 to complete the score, and this song, tchich was staged satiric~:.'.' hardly expected to be a hit. But Paul \Vhiteman selected "Pc.~; Serenade" for a special New Year's Day broadcast on tchich i_: chestra, performing in Chicago, accompanied film star Bcbc 0. who sang the song in Los Angeles. It skyrocketed from there.
(''Then We're Alone)
By: Will Jason and Val Burton Cmaj9
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Together Burke and Leslie wrote many Number One songs, but this one yielded the biggest return in terms of working time expended. Once they had the catchy title, it took them just 20 minutes to complete the song.
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When Robin and Rainger had completed their , for the Bing Crosby film Waikiki Wedding. !'. •· Robin felt it lacked a real potential hit. "Ralr: .. told his partner, "when you get up tomorrotc. g(· ~ piano and jot down the first tune that pops inf head." He did, and that tune was "Blue Hatcaii ··
Words and Music by: Leo Robin and Ralph Rainger
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During a brief period in the Swing E ru. the Hollywood film studios ~- r 'duced a series of «short sub: _i:s ·· featuring dance bands, usu_.:':.'1 plauing their established hits. E rd onlu one «short," A Song Is E ~rn '19.38) effectively introduced .: l1it. The band was Larry Clinton's, · :th cocalist Bea Wain, and the n;: teas «Heart and Soul," Carr·; hael and Loesser's first collab,.l:tilm. Carmichael was an estab·:,1Jcd composer at the time, but L Y s s·er-later a creator of both
u:ords and music-u:as still only a lyricist. Carmichael told the Digest that the song kicked around tlzc backrooms of Paramount Pictures for a month before it was assigned to any picture. During that period "the best use the song got teas fi.~r Anthony Quinn's voice practia. ·· This teqs before Quinn became r: star. The teriters were disappointt" ._:· tehen their song teas launched : ~-. a minor production, but the di.sa: pointment teas short-lived as CU:;ton's recording became a big sen' ~
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The glory of Love Hill, a one-time cotcpoke, classical violin student and miner, was working in New Y ark as a doorman. But depression-time tips tcere meager and he turned to songtcriting to supplement his inc01ne. He struck gold tcith "The Last Round-Up" and "Wagon Wheels," then tcith "The Glory of Love" in 1936. In 1967 a new generation discovered this song in the film Guess Who's Coming to Dinner.
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. . 19 31 Rudy Vallee made me changes in the lyrics ; thi5 English song and in.·· c!uced it on his Thursday ·: ::.ht radio program. By the - l!c'tcing Saturday, 10,000 :,fcs of the music were
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Hello. Dolly: The song "Hello, Dolly!" was strong enough to help keep the musical of the same name alive for the second longest Broadway run in history. (Fiddler on the Roof passed it in July of 1971.) It 11olds the record for the largest sum ever paid in a copyright in-fringement settlement, thanks to the similarity of its opening phrases to a part of the song "Sunflower," a short-lived hit of 1948.
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According to Bacharach, "This was teritten the day after I got out of the hospital in Boston. I teas there one week with pneumonia while our show Promises, Promises was trying out. Perhaps that was Hal's inspiration for the lines: 'What do you get when you kiss a guy?' etc. It teas the fastest song tee wrote for the shotc (one day), the most successful and perhaps the most hazy, for I had no idea what I was doing that first day out of the hospital."
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Section 3 • Best Songs of the Sixties
This Guy's in Love with You After an extraordinary string of successes u;ith his Tiiuana Brass on his own A & lvt record label, Herb Alpert decided it was time to try something new-singing. For his TV special in April 1968 he turned to top writers Bacharach and Dacid for a new song tailored to the special quality of his 'UOice. They came up with this tune. It went ouer so u:ell that Alpert recorded it, and "This Guy's in Laue tvith You" became one of lzis biggest hits.
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DOWNTOWN In 1961 English singer Petula Clark married a Frenchman and moved to Paris, finding there a success that had eluded her for years back home. In fact, she was about to give up recording in English altogether. Then recording producer Hatch brought three songs to France, hoping to lure her back to his studio. \Vhen she was unmoved by them, in desperation he played a neu; melody he had just composed, called «Downtown," inspired by a trip to New York. "Write a lyric and I'll do it," said Pet. Her recording sold more than 3 million copies.
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Let It Be Me \\ )u:_'ll an American publisher obtains the rights to a foreign song, he customarily enlists several writers to do English lyrics, then selects the 'ct lze considers best. In this case, Curtis didn't tLJait for an assignment -l1e had lzeard composer Becaud's own French recording of the song ·-_rc (appartiens" and felt it could be as big here as Becaud's other hits _ .. ,\~hat NotLJ "Nty Love?" and "It N1ust Be Him." \Vhen the French 'fur came to Neu: York to ap])(?ar at the Pla:::a Hotel's Persian Room, Curtis shmced up with his "Let It Be Nfe" lyrics and uon instant apfli'OL·al. Then a N1exican-American singer, Florencia Bisenta de Casillas _If u rtine:::. Cardona (better knou:n as Vikki Carr), tcho had created the l1 it recording of "It A1u.s·t Be Him," made "Let It Be Me" her second Bo_'aud smash in a row.
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Tl1e Girl from lJlanema A new nwsic was proliferating in Brazil. It was the bossa nova, a fresh blend of the samba with "cool" modern ;azz, topped with lovely, languid melodies by writers such as Antonio Carlos ]obim and Luiz Bonfa. American ;azzmen like Stan Getz and Charlie Byrd picked up the music and began building an enthusiastic audience. But when music businessmen ignored the trend, ]obim himself came to New York to stir things up a bit. One convert to his music was the lyricist Norman Gimbel, tdzo wrote this English lyric to "Ipanema" based roughly on Vinicius de ~1oraes' Portuguese original. Getz's 1963 recording of the song, with ]obim at the piano, won the "Record of the Year" Grammy atcard of the National Academy of Recording Arts and Sciences.
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Strangers in the Night ,'-'i:c mpfett, an orchestra leader, songwriter and ar, ; •tgcr from Ham burg, Germany, was already well _·~c:blished with the American public when he wrote .; :s. his biggest hit. His ou;n band's recordings of '.\·l~nderland by Night" and "Red Roses for a Blue _. had been million-sellers, and other artists · : 'i ned each Kacmpfert record release, watching for .·_ :( song rnaterial. It was not Kaempfert, however, but F·c:•Jk Sinatra who made "Strangers in the Night" the - :::.::.est success of 1965. When the star added his :'·_Cribie Doobie Doo" to the tail of his otherwise ro, :~~ntic petjormance, many listeners cringed, but-no ~-: ubt-it made the record unforgettable and the big. ::_._- st seller of Frank's long and fabulous career.
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Love Is Blue In 1968, "Love Is Blue" was the most popular song in the world. Euerywhere, that is, except in the country of its origin-France! True, Izard rock was the rage everywhere tchen the song was entered in the Eurovision song competition, and the judges awarded it a spot near the bottom of the list. But an American publisher heard Paul A1auriat's recording and fell in love with it. He arranged for its release here and tcent to work on it. The resultthe largest sheet-music sale in many years and recordings by some :350 artists. But the song has neuer become popular in France.
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In Rio de Janeiro in 1962, lyricist Lees persuaded composer ]obim to let him translate some of his Portuguese lyrics into English. With this song Lees hoped that he was successful in retaining the mood, thoughts and rhyming characteristics, «including the sudden and unexpected break of rhyme in the last lines, which fits the unresolved nature of the melody." One reading of this little masterpiece shows just how successful he was.
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Searlet Ribbons (Cor Her Hair) The "miracle" that happens to the little girl in "Scarlet Ribbons" is hardly more eerie than the circumstances under tehich Segal u;rote the lyrics. A guest at the home of Evelyn Danzig one evening, he listened to her play a haunting little etude that stayed in his ear. That very night he stwted to u;rite. The melody had cast a spell over hinz and he lost intellectual control over the task he had set himself. In a state of emotional excitement bordering on religious experience, Segal discovered that the song virtually u;rote itself.
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Modern folklore collectors tell us that "Michael" originated in the islands off the coast of Georgia, where it has been sung since slave days. It is fairly unusual in that it is both a spiritual and a work song-specifically, a sea chantey-which was sung by slaves rowing plantation riverboats. When the load was heavy, they invoked the help of the Archangel Michael, intoning the lines to the stroke of the oars. In 1961, the Highwaymen, a vocal quintet, made the song a universal favorite with their million-selling record.
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The Fox Youngsters will probably love this fox eternally because the canny little fellow defied adult authority and got away with it. Although thought to have been a nursery favorite even in the eighteenth century, the song first appeared in print in Scotland in 1832 in a small collection edited, it is believed, by the Scottish publisher ]ames Ballantyne. More than a hundred years later American folk singers such as Burl Ives, Pete Seeger and Woody Guthrie rediscovered "The Fox" with its bright, singable lyrics and have made it a highlight of every children's concert.
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113
•-
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•
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This rocking folk song probably originated on a Texas prison farm. The train that inspired it may have been the Golden Gate Limited, which pulled out of Houston at midnight headed for San Francisco. Less than an hour later its "ever-lovin'" headlight shone through the prison bars, stirring fantasies of freedom. The great folksinger, Huddie Ledbetter, better knatcn as Leadbelly, knew that particular prison all too tcell. In his youth he teas a rambler and a "rounder." He knew the rural South, from its churches to its chain gangs. He remembered hundreds of songs heard from anonymous singers-which he reshaped tcith his powerful voice and his hard-driving 12-string guitar. "Midnight Special" was just one of the many songs he brought to light.
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115
God Bless' the Child In her autobiography, Lady Sings the Blues, Billie Holiday tells about growing up on the streets of Harlem, where she learned firsthand about prostitution, drugs and the blues. She also learned the special meaning of the proverb "God blesses the child that's got his own," a black variation on "God helps him wlzo helps himself." In 1941, when she was on the brink of stardom, she and Arthur Herzog ]r. made this the basis of a song-one which was rendered especially poignant by Billie's own singing. Billie died in 1959, but in the late '60s Aretha Franklin revived l1er song, followed by other black stylists and numerous young folk singers. In 1969 it reached its biggest audience when it was included in an LP by Blood, Sweat and Tears that sold more than 3 million copies.
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Side by Side
Songwriting was just a sideline to Harry Woods, who preferred to spend his time among fishermen, sailors and farmers. Still he managed to toss off dozens of great songs including «When the Red, Red Robin Comes Bob, Bob, Bobbin' Along," ''I'm Looking Over a Four-Leaf Clover," "Try a Little Tenderness" and the theme songs for Kate Smith and Rudy Vallee. Woods was
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By: Harry Woods
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There has never been a generation gap where this song was concerned. Written specifically for the vaudeville team of Crafts and Haley, it was taken over by the biggest team of all-Van and Schenckto become one of the top hits of 1923. About 35 years later a young rock singer, Connie Francis, was looking for a song to launch her career. Her father remembered this hit and suggested she sing it against a strong rock beat. By early '58 her record was No. 1 on the charts.
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Original Lyric: Our future babies we'll take to "Abie's Irish Rose." I hope they'll live to see it close. First Revision: And "South Pacific" is a terrific show they say: We both may see it close some day. Second Revision: And for some l1igh fare we'll go to "j\.fy Fair Lady" say, We'll hope to see it close some day.
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In the 1920s everyone knew the name of Irving Berlin, but few people outside the music business knew the name of his closest song-writing rivalWalter Donaldson. In 1927, the year when Berlin's hit "Blue Skies" overshadowed most others, Donaldson's similarly tinted "My Blue Heaven," tcritten three years before, burst out as the biggest hit so far in the century. Although sales records have been lost, it is estimated that Gene Austin's recording of the song sold more than 12 million copies.
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Section 6 • All-Time Film Hits
Raindrops Keep Fallin' on My Head The rhythms, language and even the eccentric moods of the '60s and '70s dance forth from every phrase of the many hits of Bacharach and David. When "Raindrops" is sung offscreen in Butch Cassidy and the Sundance Kid, you know all about the characters and their feelings, even though the tcorcls have nothing at all to do tcith tlze on-screen action. The song won the Academy's Oscar for the Best Film Song of 1969.
Music by: Burt Bacharach
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For Breakfast at Tiffany's, Mercer and Mancini wrote this tvistful tune to be sung by tdstful Holly Golightly (Audrey Hepburn). Mercer's original title teas "Blue River," but he discovered an earlier, unsuccessful song by that name, composed by a friend. Rather than risk offending anyone, he changed the word "Blue" to "Moon." The effect was magical, and "Moon River," despite the concurrent rage for rock 'n' roll, u:on the Academy Award as Best Film Song of 1961.
RIVER
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Composer Kaper, Polish-born, is a conservatory-trained n-.·.sician, the creator of dozensof impressive film scores t:r:~1 -~ handful of top hits. Miss Deutsch is a tcriter of screen /'~<:: · with such credits as National Velvet, King Solomon's \1i:-.c., Golden Earrings and Lili. It was for the last-named tlu:t s ;>_ turned lyricist, supplying the delicious folklike tcords t;, ___ • match the happy-go-lucky feeling of this ingenuous 1\.(;;~ · melody. For his overall scoring of the film, Kaper teem ': ·. Oscar in 1953, but it was this charming little tcalt~ tunc. t;, sung by petite Leslie Caron, that won the hearts of million' of moviegoers, young and old alike.
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Mona Lisa In 1949 songtcriters Livingston and Evans were asked by Paramount to write a song for Captain Carey of the U.S.A., an Alan Ladd film about the O.S.S. in Italy during World War II-a warning song. Every time the Nazis were in the neighborhood, a strolling accordionist was to play this melody. «Mona Lisa" was the song, and it was given the Academy Award.
Words and Music by: Jay Livingston and Ray Evans
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Jl Time for Us (Love Theme from Romeo and juliet) •
Words by: Larry Kusik and
Franco Zeffirelli's poetic filming of Romeo and Juliet in 1968 produced a love song that seemed to hark back to Elizabethan, or even earlier, times. It was sung at the candlelit ball when Romeo first caught sight of juliet.
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Some of the most exhilarating, melodious waltzes since the heyday of the Strauss family have been composed right here in North America by Richard Rodgers. These include "Falling in Love with Love," "The Carousel Waltzes" and-the first of his big waltz hits-"Lover," a favorite of musicians because of its sophisticated chromatic melody and harmonic progression. It was composed for a Jeanette f.r1acDonald-A1aurice Chevalier film of 1932-Love Me Tonight.
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~uise In 1929, for the first time, Hollyu;ood films produced more hit songs than the Broadway stage. The era of big Hollytcood Musicals exploded with such hit-producing vehicles as Hollywood Revue of 1929, Broadway Melody, Love Parade, Gold Diggers of Broadway, On with the Show, The Vagabond Lover, Sunny Side Up, and Maurice Chevalier's American debut film Innocents of Paris. The Frenchman's smashing success with the American public was assured tchen he sang this new "name" song. When the decade began, our musical flame was "Margie" (page 188), but tchen it closed, all North America was serenading a new sweetheart-" Louise."
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Pennies fro• Hea-ven A storm was crashing outside; inside the ram')hackle house Bing Crosby, accompanying himself on an ancient lute, sang "Pennies from Heaven" to lull little Edith F ellatcs to sleep. The scene took place in the film of the same name in which Louis Armstrong also appeared, and both Bing and "Satchmo" have been identified tdth the song ever since. The film also marked the beginning of a 20-year association between Crosby and lyricist Burke. During this period Burke turned out hit after hit with such collaborators as Johnston ("The Moon Got in My Eyes" and "One, Two, Button Your Shoe" as well as "Pennies from Heaven''), Jimmie Monaco (''I've Got a Pocketful of Dreams," "An Apple for the Teacher") Jimmy Van Heusen ("Polka Dots and Moonbeams," "Imagination" and the Oscar-winning "Swinging on a Star").
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The phenomenal success of Erich Segal's Love Story, both as a book and as a movie, demonstrated that the rock (and roll)-ribbed world still welcomes old-fashioned sentiment and even pathos. When the film hit in 1970, the very pianistic, almost M ozartean theme music became the biggest seller of the year. It should be a symbol of young love for years to come.
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When the controversial Italian film Mondo Cane (A Dog's World) was first shown in the United States, Ortolani's rich theme was heard only instrumentally. But after an English writer, Newell, added lyrics, a complete vocal version was dubbed into the sound track. The vocalist teas Ortolani's tcife, the Italian star Katyna Ranieri. Actually, the purely romantic song had nothing to do with the premise of the film, which was a study of bizarre, often unappetizing, social behavior. Today the film is all but forgotten, but "More" has become one of our most-performed perennials and a big favorite at weddings, threatening to displace "Oh, Promise Me." It won the Grammy Award for the best instrumental theme of 1963 and has been recorded by more than 400 different artists.
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For Me and My Gal In 1917, according to composer Meyer, "I was writing songs for a living and I needed money, so I wrote this ballad." Leslie borrowed the title from the last line of that earlier hit, "Shine on II arvest Moon." When first introduced in vaudeville it "laid an egg," until the legendary songplugger Max Winslow placed it tcith such hit-makers as Al ]olson, Sophie Tucker, Eddie Cantor and George ]essel. In 1942 it served as the title song of a movie starring Gene Kelly (his first) and judy Garland, and it became a hit all over again.
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Illinois-born Friedman (1869-1927) teas the composer of popular instrumental "reveries," "Indian" novelties and caketealks in the turn-of-the-century mold. Mrs. Whitson (1879-19.'30) teas a poetess from Tennessee whose verses appeared in nwgazines. In 1909 they collaborated on "Meet Me Tonight in Dreamland," which they sold outright for a small fee to a publisher, only to watch it sell 2 million copies of sheet music. The follatcing year they terote "Stceetlzeart," tehich sold .5 million, but this time tlzey had been shretcd enough to make a contract for royalties on every copy sold.
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··Heart of My Heart, I Love You So" was 1ust a line in "The Story of a Rose," a l1it song of 1899 tchich, as "Heart of .\fy Heart," endured for years as a favorite with barbershop
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Carl Schraubstader wrote one unforgettable hit: then he turned his back on Tin Pan Alley foreuer. to become a businessman in Neu; York City. "I went to high school with Richard Rodgers," he told the Digest, "and I knew I'd neuer he another Rodgers ... He wrote this during his sophonwre year at Cornell for the annual Masque Show. It becmne the campus fauorite, and at house-party tim£ all the bands were asked to play it. One of these was a bunch of kids from Penn State Uniuersity. Their leader, Fred Waring, liked it enough to take it with him on his first big-time job in Pittshu rgh. \Vhen the song was published, the great lyricist Lew Brown rewrote parts of the uerse, but the chorus, which appears here, is pure Schrauhstader.
'Vords and Music by: Lew Brown and Carl Schraubstader
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I loved her in a Packard And a Locomobile, I loved her in a Buick \Vhile she held on to the wheel. I loved her in a flivver And we ran into a wall, But last night in a taxi I loved her best of all.
I loved her in a rainstorm And I loved her in snow, I loved her in a blizzard When zero was below. I loved her in the sunshine Underneath her parasol, But last night with some moonshine I loved her best of all.
From Monday until Sunday Oh! I sure am some sheik, I love her, yes! I love her Ev'ry day that's in the week. Tho' seven days of Heaven Ain't enough I tcon't get sore, 'Cause next year when it's leap year I'll love her one day more.
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I loved her at breakfast And I loved her at tea, I loved her yes! I loved her \Vhen she took her lunch with me. I loved her after supper \Vhen I paid her folks a call, But last night in between time I loved her best of all.
I loved her in a sailboat And a big birch canoe, I loved her on a tugboat And an ocean liner too. I loved her in a schooner And I loved her in a yawl, But last night in a rowboat I loved her best of all.
I loved her in the classroom In Latin and Greek, I loved her in Italian That's a language she can't speak. I loved her on the campus And in the dining hall, But last night at the junior prom I loved her best of all. 1 (}(}
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Gollctme Since it was first published in 1925, this theme has been used by dance bands as the none-toosubtle signal that "the party's over." There have been many songs with a similar message, even similar lines, but none that has managed to convey the damp, convivial mood of an evening's end so succinctly and harmoniously. Irving King was actually a pseudonym-the song teas the first collaboration of the British tcriters and publishers Jimmy Campbell and Reg Connelly, who founded their successful London firm tcith it. Six years later they collaborated tcith orchestra leader Ray N able to compose that other and more romantic "closer," "Goodnight Sweetheart" (page 44).
Words and Music by: Irving King
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13eer 13arrel Polka
Translated from Czech, its original title was "Unrequited Love," hardly suitable for the merriest, most popular polka of all time. But in 1939, the American labels for a German recording carried the present title. At that time, any mention of liquor on radio teas taboo, but the juke box business had begun to roll, and in no time at all, the song could be heard from every box in every tavern in the land.
By: Lew Brown, Wladimir A. Timm,
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Section 8 · Country Music Hits
I Walk the Line While johnny Cash teas in the Air Force, stationed in Germany, he discovered that someone had been fooling teith his tape recorder. When he turned it on a teeircl melody sounded. This stayed in his head for montlzs. Tlwn one clay he happened to play tl1e tape "backteards" and discovered tlwt it actually u;as somebody practicing a series of guitar runs. He started practicing the same runs, in hetteeen chanting that backu;ards melody to tlze teorcls, "Because you're mine I tealk the line." The song gretc gradually, teas recorded and gave Cash his first million-seller, a tlzeme song and international fame.
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One of the biggest country hits of all time was written by two city .. fellers"-in a New York recording studio! When Nelson sang the melody to Hilliard, a ,_,omment that the melody was .. flatcery" led to the su!Jiect of roses, but for the sake of freshness this clrdinarily romantic subject teas given a reverse twist.
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Wildwood ~lower So one can be sure when this flou:er of a song began to bloomit could be severallzundred years old. But it seems to have hidden au;ay among tlw Appalachian mountains until the late A. P. Carter transplanted it to the main furrow of country- and folk-music consciousness. Its stceet, mournful theme is in the purest country tradition, so it's easy to understand h01c tlw Carter Family's recording, in 1928, captured an almost universal audience. Mother }faybelle's guitar pickin' on that disc set a new style and standard for tlw field. Today virtually every country star, including the latter-day Carters-Anita, June and Helen (and june's husband ]olmny Cash)-has his or her 01cn .special version of the song.
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5. I'll dance and I'll sing and my heart tcill be gay, I'll banish this tceeping, drive troubles atcay. I'll live yet to see that he'll rue this dark hour When he tcon and neglected this frail tcildtcood florcer.
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In 1946, when blues artist Ivory joe H!lnter was performing at a club in Nasht:ille, he stayed in a rooming house on the outskirts of town, where he became particularly friendly with Martha Spencer, a waitress, and her Pullman-porter husband. A few years later joe returned to the same club and the same house, but Spencer was gone-the couple had separated. Martha told him, "When he first left me, I almost lost my mind." "You know," joe told the Digest, "I went right to the piano and the whole song came to me all at once-that's how it goes when an idea is for real-and Martha wrote down the words while I sang them."
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Copyright 1950 by Hill and Range Songs, Inc. Used by permission
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Johnny Cash's love for the Carter Family developed when he u;as a boy in Oklahoma, soaking up all the country and folk rnusic he could manage to hear. In the early '60s he recorded several songs u;ritten by June Carter, one of the three daughters of Mother Maybelle of the original A. P. Carter Family group. These included "The Matador," co-u;ritten u;ith Johnny, and "Ring of Fire," which she co-authored u;ith Merle Kilgore. Around that time when Cash became addicted to pep pills and tranquilizers, it u;as Mother Maybelle and her girls who helped him "u;alk the line" again. Finally, in 1968, the "ring of fire" enveloped June and Johnny and they u;ere married. This song, now a real country classic, has been recorded by top stars in the pop, country, soul and folk fields, including Tom Jones, Ray Charles, Burl rues, and, of course, both Johnny and June.
RING of FIRE
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Section 9 · Hits of the Forties and Fifties
Young at Heart \Vlzen tl1e late Nat Cole u)as introduced to Carolyn Leigl1, his first u:ords teere "I goofed." He teas referring to tlze fact that he had turned do ten this song a year before, dismissing it as one for the "geriatric set." In the interim, Frank Sinatra had made the definitive l!it recording of it. Avant-garde arranger Richards terote the melody, determined to produce a "commercial," singable hit. Several tcriters attempted lyrics, but none came up teith a set to match the sunny mood of the tune until tlze puhlisl1er approached Miss Leigh. At tlze time l1er father, a man tcith a great ;:est for life, lwd become ill and depressed. "I terote the teords for him," she recalled for tllC Digest, "using some of lzis men philosophy to clzeer him up. When the song became Number 1, he teas the most happy fella in the hospital."
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Paper Doll In 1930 Black sold "Paper Doll" to a publisher, E. B. Marks, for a $100 advance against royalties, but neglected to mention that he himself had copyrighted the song back in 191.5. It collected dust in Marks's file until 1942, when the Mills Brothers recorded their hit version. Then someone discovered that the copyright was due to expire momentarily and Marks tcould lose the song unless he could sign up the renewal rights. But Black teas dead and it was necessary to locate his heirs. A trail of alcohol fumes led to an ancient father and ex-tcife. Both were persuaded to sign, but the latter demanded a bonus-one week in New Y ark for her and a friend as guests of the publisher. The pair spent the entire week drinking bourbon in their hotel room!
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Bob Merrill estimates that in 19.52 ninety recordings were made of his songs! Victor Herbert had made it a practice to write a song a day and, compulsively, Bob felt he could do the same. But one day "inspiration ground to a halt." He tried playing free association with objects around him, scraping for an idea: lampshade, refrigerator . ... Finally he spotted a stuffed dog on the bar. After a few tries he had the doggie placed in the window and the song came easily. It was introduced in a Patti Page children's album, but disc jockeys, seeing pop appeal, promoted its release as a single and it led the best-selling charts for eight weeks.
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You'll Never Walk Alone Cole Porter once said that Rodgers' best songs have "a kind of holiness about them." He might have been talking about "You'll Never Walk Alone," a musical, emotional, philosophical and spiritual high point of Rodgers and Hammerstein's 1945 shatc Carousel, based on Ferenc Molnar's play Liliom. Rodgers' wife, Dorothy, counts this as one of her four favorite Rodgers compositions-the others are "Hello, Young Lovers," "Little Girl Blue" and a personal, sentimental favorite, "Dear, Dear," the very first love song Rodgers wrote after they were married.
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One of the last lacish radio slwtL'S before TV tciped out netzcork radio teas "The Big Show," tchich headlined Tallulalz Bankhead and presented do:::.ens of other !Jig stars. iVillson was her music director and. as he tells it, "Tlze broadcast took place on Sunday; so, in searching desperately for a closing-theme idea, the only thought I could get hold of teas ... my mother's tceekly benediction to her Sunday-school class back in ~Jason City, Iowa: 'May the Good Lord Bless and Keep Y au.' Twenty-four hours later I taught the new song to Tallulah, who threw back her long tmcny bob and broadcast the first performance from NBC's Studio 'H' . ... Incongruous? Not for a moment-Tallu was a smash."
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Considering that John Newton (1725-1807) wrote this l1ymn in the 18th century. one marvels at the hold it has on today's younger generation. Teen-agers may have become aware of it first in the movie Alice's Restaurant when folk-singing hero Arlo Guthrie and friends sang tl1e song-an old family favorite-at his hilltop tcedding. Other folk singers like Judy Collins and Joan Baez picked it up and now it has gained momentum through tlze youthful religious revival. But whether or not one is moved by its old-fas11ioned message, it is a simple joy to sing and harmonize. As the song implies, Newton led a fast life in his youth, but then he was converted and became a leader of the Evangelical movement in Britain. For a time l1e served as a minister at Olney, where he wrote a book of l1ymns for his parishioners. The melody tcitl1 whiclz tee are most familiar seems to have evolved in the rural South of the United States in the 19th century.
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In spiritual and gospel music, Thomas A. Dorsey is as big a name as the late Tommy Dorsey was in the Stcing Era. Thomas A. recalls that in 1939 "while Hitler teas rumhling his tear chariots," he was on a train racing out of Indiana into the Ohio lzills, and his eyes took in a beautiful green valley with all varieties of livestock grazing. A stream rippled down the hill, struck a rock and fanned a waterfall. Dorsey took out his pencil -"If animals could have such peace in this valley, why couldn't man, with all his intelli!!ence and ingenuity, have peace in the world." The song teasn't recorded until 1949, and then hy the country singer Red Foley. It became a million-seller. About 10 years later it teas a "neu./' hit for Elvis Presley.
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With These Hands One of the most moving inspirational songs of modern times originated in a tcildly different concept. The title 11;as that of a documentary film about the International Ladies' Garment Workers Union; its message: "With these hands tee sew the lining in your coat," etc. But the publisher of the song envisioned a loftier theme and commissioned this song accordingly.
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Music by: Abner Silver
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