The Alphabet Song

230 Pages·2010·2.14 MB·English

Aquellos Ojos Verdes 2-21 Aba Daba Honeymoon, The (1914) 1-1
See Green Eyes on page 46. (wm) Arthur Fields, Walter Donovan (RR) in the 1951 film: Two
Weeks With Love by Debbie Reynolds & Carlton Carpenter

42nd Street Verse:
See Forty-Second Street on page 42. ‘Way down in the Congo land lived a happy chimpanzee.
She loved a monkey with a long tail. Lordy, how she loved him!
A, You’re Adorable (The Alphabet Song) (1948) 1-1 Each night he would find her there swinging in the coconut tree.
(wm) Buddy Kaye, Fred Wise, Sid Lippman (P) Perry Como. And the monkey gay, at the break of day,
Loved to hear his Chimpie say:
When Johnny Jones was serenading Mary

He sure could quote a lot of poetry Chorus: “Aba, daba, daba, daba, daba,daba, dab,”
But he’d much rather tell her Said the Chimpie to the Monk
What he learned in his speller “Baba, daba, daba, daba, daba, daba, dab,”
When they both attended PS 33 Said the Monkey to the Chimp
All night long they’d chatter away,
“A” you’re adorable
All day long they’re happy and gay,
“B” you’re so beautiful
Swinging and singing in their honky, tonky way.
“C” you’re a cutie full of charm

“D” you’re a darling “Aba, daba, daba, daba, daba, daba, dab,”
“E” you’re exciting Means “Monk, I love but you.”
“F” you’re a feather in my arm “Baba, daba, dab,” in monkey talk
“G” you look good to me Means “Chimp, I love you too.”
“H” you’re so heavenly Then the big baboon, one night in June
“I” you’re the one I idolize He married them and very soon
“J” we’re like Jack and Jill They went upon their Aba Daba Honeymoon.
“K” you’re so kissable
“L” is the love light in your eyes Ac-cent-tchu-ate the Positive (1944) 2-1
“M,” “N,” “O,” “P” I could go on all day (m) Harold Arlen (w) Johnny Mercer (I) Film: Here Come the Waves
“Q,” “R,” “S,” “T” alphabetically speaking you’re OK by Bing Crosby & Sunny Tufts. (P) Bing Crosby & The Andrews
“U” make my life complete Sisters

“V” means you’re very sweet Verse: Gather round me, ev’rybody,
“W,” “X,” “Y,” “Z” Gather round me while I preach some,
It’s fun to wander thru the alphabet with you Feel a sermon coming on me.
To tell you what you mean to me The topic will be sin and that’s what I’m “a gin.”
If you wanna hear my story
Then settle back and just sit tight
While I start reviewing the attitude of doing right.

You’ve got to ac cent tchu ate the positive,
E lim my nate the negative. Latch on to the affirmative,
Don’t mess with Mister In between.
You’ve got to spread joy up to the maximum,
Bring gloom down to the minimum,
Have faith, or pandemonium li’ble to walk upon the scene.

To illustrate my last remark, Jonah in the whale, Noah in the Ark.
What did they do just when ev’rything looked so dark?
“Man,” they said, “We better ac cent tchu ate the positive,
E lim my nate the negative. Latch on to the affirmative,
Don’t mess with Mister In between.
No! Don’t mess with Mister In between.”

Page 1
Across the Alley from the Alamo (1947) 1-1 Ain’t Misbehavin’ (1929) 1-2
(wm) Joe Greene (P) The Mills Brothers (CR) Stan Kenton and his (w) Andy Razaf (m) Thomas “Fats” Waller, Harry Brooks (I) Night
Orchestra Club Revue: Connie’s Hot Chocolates by Louis Armstrong; Recorded
by Ruth Etting, Fats Waller, Louis Armstrong, Bill Robinson, Teddy
Across the alley from the Alamo
Wilson, The Mills Brothers
Lived a pinto pony and a Navajo

Who sang a sort of Indian hi-de-ho to the people passing by No one to talk with, all by myself
The pinto spent his time a-swishin’ flies No one to walk with, but I’m happy on the shelf
And the Navajo watched the lazy skies Ain’t Misbehavin’, I’m savin’ my love for you
And very rarely did they ever rest their eyes I know for certain the one I love
On the people passing by I’m thru with flirtin’, it’s just you I’m thinking of
Ain’t Misbehavin’, I’m savin’ my love for you
Bridge: One day they went a-walkin’along the railroad track

They were swishin’ not a-lookin’ toot-toot they never came back Like Jack Horner, in the corner
Across the alley from the Alamo Don’t go nowhere, what do I care
When the summer sun decides to settle low Your kisses are worth waiting for, believe me
A fly sings an Indian hi-de-ho to the people passing by I don’t stay out late, don’t care to go
I’m home about eight, just me and my radio
Across the alley from the Alamo [Fine]
Ain’t Misbehavin’, I’m savin’ my love for you
Lived a pinto pony and a Navajo

Who used to bake frijoles in cornmeal dough
Ain’t She Sweet (1927) 1-2
For the people passing by
(w) Jack Yellen (m) Milton Ager (I) Paul Ash and his Orchestra
They thought that they would make some easy bucks
(RR) 1940’s by Jimmy Lunceford and his Orchestra
If they’re washin’ their frijoles in Duz and Lux

A pair of very conscientious clucks to the people passing by Ain’t she sweet? See her coming down the street
Then they took this cheap vacation Now I ask you very confidentially: Ain’t she sweet?
Their shoes were polish’d bright Ain’t she nice? Look her over once or twice
No, they never heard the whistle Now I ask you very confidentially: Ain’t she nice?
Toot-toot they’re clear out of sight Just cast an eye in her direction
Across the alley from the Alamo Oh, me! Oh, my! Ain’t that perfection
When the starlight beams its tender glow I repeat, don’t you think that’s kind of neat
The beans go to sleep and there ain’t no dough And I ask you very confidentially: Ain’t she sweet?
For the people passing by.

Alexander’s Ragtime Band (1911) 2-1
Again (1949)
(wm) Irving Berlin. Recorded in 1911 by Arthur Collins; Byron
(w) Dorcas Cochran (m) Lionel Newman (I) Film Road House by Ida Harlan; Billy Murray. 1912 by Prince’s Orchestra; Victor Military
Lupino (P) Vic Damone (P) Doris Day (P) Tommy Dorsey (P) Gordon Band (CR) Bing Crosby and Connee Boswell
Jenkins (P) Vera Lynn (P) Art Mooney (P) Mel Tormé (P) Peggy Lee
Verse 1: Oh, ma honey, oh, ma honey,
Again, this couldn’t happen again. Better hurry and let’s meander. Ain’t you goin’, ain’t you goin’
This is that “once in a lifetime”, this is the thrill divine To the leader man, ragged meter man?
What’s more, this never happened before Oh, ma honey, oh, ma honey, let me take you to Alexander’s
Though I have prayed for a lifetime Grand stand, brass band. Ain’t you comin’ along?
That such as you would suddenly be mine
Refrain: Come on and hear, come on and hear
Mine to hold as I’m holding you now yet never so near Alexander’s Ragtime Band.
Mine to have when the now and the here disappear Come on and hear, come on and hear,
What matters, dear, for when this doesn’t happen again It’s the best band in the land.
We’ll have this moment forever, but never, never again They can play a bugle call like you never heard before,
So natural that you want to go to war.
That’s just the bestest band what am, honey lamb!
Come on along, come on along
Let me take you by the hand up to the man, up to the man
Who’s the leader of the band.
And if you care to hear that Swanee River played in ragtime
Come on and hear, come on and hear Alexander’s Ragtime Band.

Page 2
Alice Blue Gown (1916) 2-1 Christine: Say you love me every waking moment,
(w) Joseph McCarthy (m) Harry Tierney (I) Musical Irene by Edith Turn my head with talk of summertime...
Day (R) 1940 Film version by Anna Neagle (CR) Judy Garland Say you need me with you now and always...
Promise me that all you say is true, that’s all I ask of you
Refrain: In my sweet little Alice blue gown,

When I first wandered down into town Raoul: Let me be your shelter, let me be your light
I was both proud and shy, as I felt ev’ry eye, You’re safe, No one will find you
But in ev’ry shop window I’d primp, passing by. Your fears are far behind you...
Then in manner of fashion I’d frown Christine: All I want is freedom, a world with no more night
And the world seemed to smile all around. And you, always beside me, to hold me and to hide me...
Till it wilted I wore it, I’ll always adore it,
My sweet little Alice blue gown.” Raoul: Then say you’ll share with me, one love, one lifetime
Let me lead you from your solitude
All Alone (1924) 2-2 Say you need me with you here, beside you...
Anywhere you go, let me go too,
(wm) Irving Berlin (I) Revue Music Box Revue of 1924 by Grace
Christine, that’s all I ask of you...
Moore & Oscar Shaw. (P) Paul Whiteman Orch. (CR) Al Jolson; John

McCormack; Al Lyman Christine: Say you’ll share with me one love, one lifetime...
Verse 1: Just like a melody that lingers on, Say the word and I will follow you... Share each day with me,
You seem to haunt me night and day Each night, each morning... Say you love me...
I never realized till you had gone Raoul: You know I do...
How much I cared about you, I can’t live without you. Both: Love me - that’s all I ask of you
Love me - that’s all I ask of you...
Refrain: All alone, I’m so all alone

There is no one else but you.
All I Do Is Dream of You (1934) 1-2
All alone by the telephone waiting for a ring a ting a-ling
(w) Arthur Freed (m) Nacio Herb Brown (I) Film: Sadie McKee by
I’m all alone ev’ry evening, all alone feeling blue.
Gene Raymond Recorded by Jan Garber, Henry Busse & Freddy
Wond’ring where you are, and how you are
Martin; (RR) 1952 film: Singin’ in the Rain by Debbie Reynolds,
And if you are all alone too. (RR) 1953 Johnnie Ray

All I do is dream of you the whole night thru
All By Myself (1921) 2-1
With the dawn I still go on and dream of you
(wm) Irving Berlin (I) Music Box Revue of 1921 by Charles King

(RR) 1946 Film Blue Skies by Bing Crosby and Betty Russell dubbing You’re ev’ry thought, you’re ev’rything
Joan Caufield You’re ev’ry song I ever sing
Refrain: All by myself in the morning Summer, winter, autumn and spring
All by myself in the night And were there more than twenty-four hours a day
I sit alone with a table and a chair They’d be spent in sweet content dreaming away
So unhappy there playing solitaire. When skies are grey, when skies are blue
All by myself I get lonely Morning, noon and nighttime too
Watching the clock on the shelf All I do the whole day thru is dream of you

I’d love to rest my weary head on somebody’s shoulder.
All of Me (1931) 1-2
I hate to grow older all by myself.
(wm) Seymour Simons, (wm) Gerald Marks (I) Belle Baker
(RR) 1943 by Count Basie (RR) 1952 by Johnny Ray (P) Frank
All I Ask of You (1986)
Sinatra (CR) Billie Holiday
(w) Charles Hart (m) Lloyd Webber (I) Broadway musical: The

Phantom of the Opera by Steve Barton and Sarah Brightman. All of me, why not take all of me
(P) Sarah Brightman and Cliff Richard. (P) Barbra Streisand Can’t you see, I’m no good without you
Raoul: Take my lips, I want to lose them
No more talk of darkness, forget these wide-eyed fears Take my arms, I’ll never use them
I’m here, nothing can harm you, Your good-bye left me with eyes that cry
My words will warm and calm you How can I, go on dear without you
Let me be your freedom, let daylight dry your tears. You took the part that once was my heart
I’m here with you, beside you, So why not take all of me

To guard you and to guide you...

Page 3
All of You (1954) 2-2 All the Things You Are (1939) 1-2
(wm) Cole Porter (I) Musical: Silk Stockings by Don Ameche. 1957 (w) Oscar Hammerstein II (m) Jerome Kern (I) Musical Very Warm
film version by Fred Astaire (CR) Ella Fitzgerald for May (P) Judy Garland

[Chorus] I love the looks of you, the lure of you. Verse: Time and again I’ve longed for adventure,
I’d love to make a tour of you. Something to make my heart beat the faster.
The eyes, the arms, the mouth of you, What did I long for, I never really knew.
The east, west, north, and the south of you. Finding your love I’ve found my adventure.
I’d love to gain complete control of you, Touching your hand, my heart beats the faster.
Handle even the heart and soul of you All that I want in all of this world is you.
So love at least a small percent of me do –
Chorus: You are the promised kiss of springtime
For I love all of you!
That makes the lonely winter seem long

You are the breathless hush of evening
All Shook Up (1957)
That trembles on the brink of a lovely song
(wm) Otis Blackwell and Elvis Presley (P) Elvis Presley. No. 1 Chart
You are the angel glow that lights a star
Record
The dearest things I know are what you are
A well a bless my soul, what’s wrong with me? Someday my happy arms will hold you
I’m itching like a man on a fuzzy tree And someday I’ll know that moment divine
My friends say I’m actin wild as a bug When all the things you are, are mine
I’m in love, I’m all shook up
Mm mm oh, oh, yeah, yeah!
Alley Cat Song (1962) 1-3

My hands are shaky and my knees are weak (w) Jack Harlen (m) Frank Bjorn (P) Bent Fabric; vocal version by
I can’t seem to stand on my own two feet David Thome. NARAS Award winner (CR) Peggy Lee
Who do you thank when you have such luck?
Chorus 1:
I’m in love, I’m all shook up
He goes on the prowl each night like an Alley Cat
Mm mm oh, oh, yeah, yeah!
Lookin’ for some new delight like an Alley Cat

Please don’t ask me what’s on my mind She can’t trust him out of sight
I’m a little mixed up, but I’m feelin’ fine There’s no doubt of that
When I’m near that girl that I love best He just don’t know wrong from right like an Alley Cat
My heart beats so it scares me to death!
Bridge

Bridge: She touched my hand what a chill I got He meets ’em (Mee-ow)
Her lips are like a volcano that’s hot And loves ’em (Mee-ow)
I’m proud to say she’s my buttercup And leaves ’em (Mee-ow)
I’m in love, I’m all shook up That’s what Catsanova does
Mm mm oh, oh, yeah, yeah! It’s no way to treat a pal
She should tell him, “Scat!”
My tongue get tied when I try to speak
Aren’t you sorry for that gal with her Alley Cat
My insides shake like a leaf on a tree

There’s only one cure for this body of mine Chorus 2:
That’s to have that girl that I love so fine! He goes on the prowl each night like an Alley Cat
Lookin’ for some new delight like an Alley Cat
All That Jazz He doesn’t know what faithful means
See And All That Jazz on page 5. There’s no doubt of that
He’s too busy makin’ scenes like an Alley Cat

Page 4
Always on My Mind (1971) Spanish
(wm) Johnny Christoper, Wayne Thompson, and Mark James. Amor, Amor, Amor
(P) 1982 by Willie Nelson. NARAS Award Winner. (R) 1988 by Pet Nació de tí, nació de mí, de la esperanza.
Shop Boys (P) Elvis Presley Amor, Amor, Amor.
Bridge: Nació de Dios, para los dos, nació del alma.

Maybe I didn’t treat you quite as good as I should have Sentir que tus besos anidaron en mí,
Maybe I didn’t love you quite as often as I could have Igual que palomas mensajeras de luz.
Little things I should have said and done Saber que mis besos se quedaron en tí,
I just never took the time Haciendo^en tus labios la señal de la cruz.
You were always on my mind Amor, amor, amor
You were always on my mind Nació de tí, nació de mí, de la esperanza.
Maybe I didn’t hold you all those lonely, lonely times Amor, Amor, Amor.
And I guess I never told you Nació de Dios, para los dos, nació del alma.
I’m so happy that you’re mine Amor. Amor.
If I make you feel second best
Girl, I’m so sorry, I was blind And All That Jazz (1975) Ø
You were always on my mind (wm) Fredd Ebb and John Cander. (I) Musical: Chicago by Chita
You were always on my mind Rivera.

Tell me, tell me that your sweet love hasn’t died C’mon babe, Why don’t we paint the town?
Give me, give me one more chance And all that jazz
To keep you satisfied, satisfied I’m gonna rouge my knees and roll my stockings down
And all that jazz!
Among My Souvenirs (1927) 2-2 Start the car – I know a whoopee spot
Where the gin is cold, but the piano’s hot
(w) Edgar Leslie (m) Horatio Nicholls (I) Jack Hylton Orch. (CR) Paul
Whiteman Orchestra; Ben Selvin It’s just a noisy hall where there’s a nightly brawl
And all that jazz!
There’s nothing left for me of days that used to be.
I live in memories among my souvenirs. Slick you hair and wear your buckle shoes
Some letters tied in blue, a photograph or two, And all that jazz
I see a rose from you among my souvenirs. I hear that Father Dip is gonna blow the blues
And all that jazz!
A few more tokens rest within my treasure chest.
Hold on, hon we’re gonna bunny hug
And though they do their best to give me consolation,
I bought some aspirin down at United Drug
I count them all apart, and as the teardrops start,
In case you shake apart and want a brand new start
I find a broken heart among my souvenirs.
To do that jazz.

Amor (1943) 2-2 Oh, you’re gonna see you sheba shimmy shake
Oh, she’s gonna shimmy till her garters break
(m) Gabriel Ruiz (w) Ricardo Lopez Mendez (Eng. w) Sunny Skylar
(I) Film Broadway Rhythm by Ginny Simms. (P) Andy Russell Show her where to park her girdle
(CR) Bing Crosby If she’d hear her baby’s queer for all that jazz!

Amor, Amor, Amor. Find a flask we’re playing fast and loose
This word so sweet that I repeat means I adore you. And all that jazz
Amor, Amor, my love. Right up here is where I store the juice
Would you deny this heart that I have placed before you? And all that jazz
Come on, babe, we’re gonna brush the sky
I can’t find another word with meaning so clear.
I betcha Lucky Lindy never flew so high
My lips try to whisper sweeter things in your ear.
‘cause in the stratosphere how could he lend an ear
But somehow or other nothing sounds quite so dear
To all that jazz?
As this soft caressing word I know. Amor, Amor, my love
And all that jazz!

When you’re away there is no day and nights are lonely [spoken] And all that jazz!
Amor, Amor, my love
Make life divine. Say you’ll be mine, and love me only
Amor, Amor

Page 5
Angry (1925) 1-4 Answer Me, My Love (1954)
(w) Dudley Mecum (m) Jules Cassard, Henry Brunies, Merritt Brunies (w-Eng) Carl Sigman (m) Gerhard Winkler and Fred Rauch. (P) Nat
(I) New Orleans Rhythm Kings (R) 1939 by Bob Crosby and his King Cole.
Orchestra (R) 1951 by Kay Starr
Answer me, oh, my love, just what sin have I been guilty of?

Chorus 1: Angry, please don’t be angry Tell me how I came to lose your love
‘Cause I was only teasing you Please answer me, sweetheart
I wouldn’t even let you think of leaving.
You were mine yesterday I believed that love was here to stay
Don’t you know I love you true?
Won’t you tell me where I’ve gone astray?
Just because I took a look at somebody else,
Please answer me, my love
That’s no reason you should put poor me on the shelf.

Angry, please don’t be angry Bridge: If you’re happier without me
‘Cause I was only teasing you I’ll try not to care, but if you still think about me
Please listen to my prayer
Chorus 2: Angry, please don’t be angry

‘Cause I was only teasing you You must know I’ve been true
Somebody’s lyin’ if they say I’m tryin’ Won’t you say that we can start anew?
To step around with some one new. In my sorrow now I turn to you
Don’t believe a thing you hear, yust wait till you see. Please answer me, my love
Then you’ll find no cause to show you’re jealous of me.
Angry, please don’t be angry Anything Goes (1934) 1-3
‘Cause I was only teasing you (wm) Cole Porter (I) Musical: Anything Goes by Ethel Merman
(CR) Paul Whiteman and his Orchestra (RR) 1967 by Harper’s Bizarre
Another Somebody Done Somebody Wrong (CR) Ella Fitzgerald

Song (1975) 2-3 Verse: Times have changed
(wm) Larry Butler, Chips Moman (I) B. J. Thomas No. 1 chart record And we’ve often rewound the clock
(CR) Sammy Davis, Jr.; The Chipmunks Since the Puritans got a shock
When they landed on Plymouth Rock.
Verse: It’s lonely out tonight,
If today, any shock they should try to stem
And the feelin’ just got right for a brand new love song.
‘Stead of landing on Plymouth Rock,
Somebody-done-somebody-wrong song
Plymouth Rock would land on them.

Chorus: Hey, wontcha play another
Chorus 1: In olden days a glimpse of stocking
Somebody-done-somebody-wrong song
Was looked on as something shocking
And make me feel at home
Now heaven knows, anything goes
While I miss my baby, while I miss my baby
Good authors too who once knew better words
So please play for me a sad melody
Now only use four-letter words, writing prose, anything goes
So sad that it makes everybody cry

A real hurtin’ song about a love that’s gone wrong The world has gone mad today and good’s bad today
‘Cause I don’t want to cry all alone And black’s white today and day’s night today
When most guys today
Hey, wontcha play another
That women prize today are just silly gigolos
Somebody-done-somebody-wrong song
So though I’m not a great romancer,
And make me feel at home
I know that you’re bound to answer
While I miss my baby, while I miss my baby
When I propose, anything goes

So please play for me a sad melody
Chorus 2: When Grand-mama, whose age is eighty,
So sad that it makes everybody cry
In nightclubs is getting matey with gigolos, anything goes.
A real hurtin’ song about a love that’s gone wrong
When mothers pack and leave poor father
‘Cause I don’t want to cry all alone
Because they decide they’d rather be tennis pros,

Hey, wontcha play another Anything goes.
Somebody-done-somebody-wrong song
If driving fast cars you like, if low bars you like,
And make me feel at home
If old hymns you like, if bare limbs you like,
While I miss my baby, while I miss my baby
If Mae West you like or me undressed you like,

(Hey) wontcha play another Why, nobody will oppose.
Somebody-done-somebody-wrong song When ev’ry night the set that’s smart is
And make me feel at home Intruding in nudist parties in studios, anything goes.
While I miss my baby, while I miss my baby.

Page 6
April Showers (1921) 1-4 As Long As He Needs Me (1963) 1-5
(w) B. G. De Sylva (m) Louis Silvers (I) Musical: Bombo by Al Jolson (wm) Lionel Bart (I) Musical: Oliver! by Georgia Brown (P) Shirley
(RR) 1947 by Guy Lombardo and his Royal Canadians Bassey, Donald Pippin and Georgia Brown

Though April showers may come your way Chorus 1:
They bring the flowers that bloom in May As long as he needs me, oh, yes, he does need me,
So if it’s raining, have no regrets In spite of what you see, I’m sure that he needs me.
Because it isn’t raining rain you know, it’s raining violets Who else would love him still when they’ve been used so ill?
He knows I always will as long as he needs me.
And where you see clouds up on the hills
I miss him so much when he is gone;
You soon will see crowds of daffodils
But when he’s near me, I don’t let on.
So keep on looking for a bluebird and list’ning for his song
The way I feel inside, the love I have to hide,
Whenever April showers come along
The hell! I’ve got my pride as long as he needs me.

Aquellos Ojos Verdes 2-21 He doesn’t say the things he should.
See Green Eyes on page 46. He acts the way he thinks he should.
But all the same, I’ll play this game his way.

Are You Lonesome Tonight? (1926) 1-4 Chorus 2: As long as he needs me, I know where I must be
(wm) Roy Turk, Lou Handman (I) Vaughn Deleath (RR) 1960 by I’ll cling on steadfastly as long as he needs me
Elvis Presley, No. 1 Chart Record. (RR) 1974 by Donny Osmond As long as life is long, I’ll love him right or wrong
Are you lonesome tonight, do you miss me tonight And somehow I’ll be strong as long as he needs me

Are you sorry we drifted apart
Does your memory stray to a bright summer day If you are lonely then you will know
When I kissed you and called you sweetheart When someone needs you, you love them so
Do the chairs in your parlor seem empty and bare I won’t betray his trust tho’ people say I must
Do you gaze at your doorstep and picture me there I’ve got to stay true, just as long as he needs me
Is your heart filled with pain, shall I come back again
Tell me dear are you lonesome tonight As Time Goes By (1931) 1-5

Spoken: (wm) Herman Hupfeld (I) Revue: Everybody’s Welcome by Frances
I wonder if you’re lonesome tonight Williams Recorded by Rudy Vallee (RR) in the film: Casablanca
1942 by Dooley Wilson (RR) 1952 by Ray Anthony Orch. (CR) Jo
They say the world’s a stage and each must play a part
Stafford and The Pied Pipers (CR) Dave Chapman
Fate had me playing in love with you as my sweetheart

Act One was when we met I loved you at first glance You must remember this
You read your lines so cleverly A kiss is still a kiss, a sigh is just a sigh
And never missed a cue, then came Act Two The fundamental things apply as time goes by
You seemed to change, you acted strange And when two lovers woo, they still say “I love you”
And why I’ve never known On that you can rely
Darling, you lied when you said you loved me No matter what the future brings as time goes by
And I had no cause to doubt you Moonlight and love songs never out of date
But I’d rather go on hearing your lies Hearts full of passion, jealousy and hate
Than go on living without you Woman needs man and man must have his mate
Now the stage is bare and I’m standing there That no one can deny
With emptiness all around and if you won’t come back to me It’s still the same old story
They can just bring the curtain down A fight for love and glory, a case of do or die!

Sung: The world will always welcome lovers as time goes by
Is your heart filled with pain, shall I come back again
Tell me dear, are you lonesome tonight

Page 7
At Long Last Love (1938) 2-3 Autumn in New York (1934) 2-4
(wm) Cole Porter (lyrics abridged and reorganized) (I) Musical: You’ll (wm) Vernon Duke (I) Revue: Thumbs Up by J. Harold Murray
Never Know by Clifton Webb (CR) Lena Horne (CR) Sarah Vaughan

Verse: I’m so in love and though it gives me joy intense Autumn in New York, why does it seem so inviting?
I can’t decipher if I’m a lifer or if it’s just a first offense Autumn in New York, it spells the thrill of first nighting,
I’m so in love, I’ve no sense of values left at all Glittering crowds and shimmering clouds
Is this a playtime affair of Maytime or is it a windfall? In canyons of steel, they’re making me feel I’m home.
It’s autumn in New York
Chorus 1: Is it an earthquake, or simply a shock?
That brings the promise of new love.
Is it the good turtle soup, or merely the mock?
Autumn in New York is often mingled with pain.
Is it a cocktail, this feeling of joy?
Dreamers with empty hands may sigh for forgotten lands;
Or is what I feel the real McCoy?
It’s autumn in New York, it’s good to live it again.
Is it for all time, or simply a lark?

Is it Granada I see or only Asbury Park? Autumn in New York, the gleaming rooftops at sun down.
Is it a fancy not worth thinking of? Autumn in New York, it lifts you up when you’re run down.
Or is it at long last love? Jaded roués and gay divorcées who lunch at the Ritz
Will tell you that it’s divine.
Chorus 2: Is it in marble, or is it in clay?
This Autumn in New York
Is what I thought a new Rolls a used Chevrolet?
Transforms the slums into Mayfair.
What can account for these strange pitter pats?
Autumn in New York, you’ll need no castles in Spain.
Could this be the dream, the cream, the cats?
Lovers that bless the dark on benches in Central Park
Have I the right hunch, or have I the wrong?
Greet Autumn in New York. It’s good to live it again.
Will it be Bach that I hear, or just a Cole Porter song?

Is it the gay gods, cavorting above?
Baby Face (1926) 1-5
Or is it at long last love?
2-4
Auld Lang Syne (1788) 2-3 (wm) Benny Davis, Harry Akst (P) Eddie Cantor

(w, here Anglicized) Robert Burns (m) Traditional (P) Judy Garland Baby Face. You’ve got the cutest little baby face

Verse 1 (of dozens): There’s not another one could take your place, Baby Face
Should auld acquaintance be forgot My poor heart is jumpin’.
And never brought to mind ? You sure have started somethin’. Baby Face
Should auld acquaintance be forgot and auld lang syne ? I’m up in heaven when I’m in your fond embrace
I didn’t need a shove ’ ause I just fell in love
Chorus: For auld lang syne, my dear for auld lang syne
With your pretty Baby Face
We’ll tak’ a cup o’ kindness yet for auld lang syne.

Verse 2: And surely you’ll buy your pint cup!
And surely I’ll buy mine !
And we’ll take a cup o’ kindness yet for auld lang syne

Verse 3: We two have run about the slopes
And picked the daisies fine, but we’ve wandered
Many a weary foot since auld lang syne

Page 8
Baby, It’s Cold Outside (1949) I’ve got to get home
(wm) Frank Loesser. (I) Film: Neptune’s Daughter by Esther Williams But, baby, you’d freeze out there
and Ricardo Montalban. (P) Dinah Shore and Buddy Clark. Say, lend me your comb
(CR) Johnny Mercer and Margaret Whiting. (CR) Ella Fitzgerald and It’s up to your knees out there
Louis Jordan. Academy Award Winner. You’ve really been grand
She: I really can’t stay I’m thrilled when you touch my hand
He: But, baby it’s cold outside But don’t you see
I’ve got to go ’way How can you do this thing to me?
But, baby it’s cold outside There’s bound to be talk tomorrow
This evening has been Think of my life-long sorrow
Been hoping that you’d drop in At least there will be plenty implied
So very nice If you caught pneumonia and died
I’ll hold your hands; they’re just like ice I really can’t stay
My mother will start to worry Get over that old doubt
Beautiful, what’s your hurry Both: Ahh, but (Baby,) it’s cold outside

And father will be pacing the floor He: Where could you be going when the wind is blowing and it’s
Listen to the fireplace roar cold outside.
So really I’d better scurry Both: Baby, it’s cold, cold outside.
Beautiful, please don’t hurry
Well maybe just a half a drink more Bali Ha’I (1949)
Put some records on while I pour (w) Oscar Hammerstein II (m) Richard Rodgers. (I) Musical: South
My neighbors might think Pacific by Juanita Hall. Film version 1953 by Muriel Smith dubbing
But, baby, it’s bad out there for Juanita Hill (P) Perry Como. (CR) Bing Crosby, Peggy Lee, Frank
Say, what’s in this drink Sinatra.
No cabs to be had out there
Most people live on a lonely island,
I wish I knew how
Lost in the middle of a foggy sea.
Your eyes are like starlight now
Most people long for another island,
To break the spell
One where they know they will like to be.
I’ll take your hat; your hair looks swell
I ought to say no, no, no, sir Bali Ha’I may call you, any night, any day,
Mind if I move in closer In your heart, you’ll hear it call you: “Come away...Come away.”
At least I’m gonna say that I tried Bali Ha’I will whisper on the wind of the sea:
What’s the sense of hurting my pride? “Here am I, your special island! Come to me, come to me!”

I really can’t stay Your own special hopes, your own special dreams,
Oh, baby don’t hold out Bloom on the hillside and shine in the streams.
Both:Ahh, but (Baby,) it’s cold outside If you try, you’ll find me where the sky meets the sea.
She: I simply must go “Here am I your special island, come to me, Come to me.”
He: But, baby, it’s cold outside Bali Ha’I, Bali Ha’I, Bali Ha’I!

The answer is no Someday you’ll see me floatin’ in the sunshine,
But, baby, it’s cold outside My head stickin’ out from a low flyin’ cloud,
The welcome has been You’ll hear me call you, singin’ to the sunshine,
How lucky that you dropped in Sweet and clear as can be:
So nice and warm “Come to me, here am I, come to me.”
Look out the window at the storm If you try, you’ll find me where the sky meets the sea.
My sister will be suspicious “Here am I your special island, come to me, Come to me.”
Gosh, your lips look delicious Bali Ha’I, Bali Ha’I, Bali Ha’I!
My brother will be there at the door
Waves upon a tropical shore
My maiden aunt’s mind is vicious
Gosh, your lips are delicious
Well maybe just a cigarette more
Never such a blizzard before

Page 9
Ballin’ the Jack (1913) 2-4 Battle of New Orleans, The (1957)
(w) Jim Burris (m) Chris Smith (I) Musical: The Passing Show of (wm) Jimmy Driftwood. (P) Johnny Horton. No. 1 Chart Record.
1915 (P) Prince’s Orchestra (CR) Judy Garland and Gene Kelly
In 1814 we took a little trip along with Colonel Jackson down the

Verse 1: Folks in Georgia’s ’bout to go insane mighty Mississip. We took a little bacon and we took a little
Since that new dance down in Georgia came. beans and we caught the bloody British in the town of New
I’m the only person who’s to blame. Orleans
I’m the party introduced it there. So!
Chorus: We fired our guns and the British kept a’comin
Give me credit to know a thing or two.
There wasn’t nigh as many as there was a while ago
Give me credit for springing something new.
We fired once more and they began to runnin’ on down the
I will show this little dance to you.
Mississippi to the Gulf of Mexico.
When I do, you’ll say that it’s a bear.

We looked down the river and we see’d the British come and
Chorus: First you put your two knees close up tight.
there must have been a hundred of’em beatin’ on the drum
Then you sway ’em to the left
They stepped so high and they made the bugles ring
Then you sway ’em to the right.
We stood by our cotton bales and didn’t say a thing [Chorus]
Step around the floor kind of nice and light.

Then you twis’ around and twis’ around with all your might. Old Hickory said we could take ’em by surprise
Stretch your lovin’ arms straight out in space. If we didn’t fire our muskets ’til we looked ’em in the eye
Then you do the Eagle Rock with style and grace. We held our fire ’til we see’d their faces well then we opened up
Swing your foot way ’round then bring it back. with squirrel guns and really gave ’em ... well [Chorus]

Now that’s what I call “Ballin’ the Jack.” Yeah, they ran through the briars and they ran through the

Verse 1: It’s being done at all the Cabarets. brambles and they ran through the bushes where a rabbit couldn’t
All society now has got the craze. go. They ran so fast that the hounds couldn’t catch ’em down the
It’s the best dance done in modern days. Mississippi to the Gulf of Mexico.

That is why I rave about it so. We fired our cannon ’til the barrel melted down so we grabbed an
Play some good rag that will make you prance. alligator and we fought another round; we filled his head with
Old folks, young folks all try to do the dance. cannon balls, and powdered his behind and when we touched the
Join right in now while you got the chance. powder off, the gator lost his mind. [Chorus]
Once again the steps to you I’ll show.
Yeah, they ran through the briars and they ran through the

brambles and they ran through the bushes where a rabbit couldn’t
Basin Street Blues (1928) 1-5
go. They ran so fast that the hounds couldn’t catch ’em down the
(wm) Spencer Williams (I) Louis Armstrong Orchestra (P) Jack
Mississippi to the Gulf of Mexico.
Teagarden Orch (CR) Peggy Lee

Verse : Won’t-cha come along with me to the Mississippi? Baubles, Bangles and Beads (1953)
We’ll take the boat to the land of dreams, (wm) Robert Wright, George Forrest. Based on a theme by Borodin.
Steam down the river down to New Orleans. (I) Musical: Kismet, by Doretta Morrow. (P) Peggy Lee. (R) 1958 by
The band’s there to meet us, old friends to greet us, The Kirby Stone Four. (CR) Frank Sinatra and Antonio Carlos Jobim.
Where all the light and the dark folks meet, (CR) Lena Horne.
Heaven on earth they call it Basin Street.
Baubles, bangles, hear how they jing, jinga-linga

Chorus : Basin Street is the street Baubles, bangles, bright shiny beads
Where the elite always meet. Sparkles, spangles, your [her] heart will sing, singa-linga
In New Orleans, land of dreams. Wearin’ baubles, bangles and beads
You’ll never know how nice it seems or
I’ll [She’ll] glitter and gleam so make somebody dream so that
Just how much it really means. Some day he [I] may buy you [her] a ring, ringa-linga
Glad to be, yes, sir-ee, where welcome’s free, dear to me,
I’ve heard that’s where it leads
Where I can lose my Basin Street Blues.
Wearin’ baubles, bangles, and beads

All those noisy bangles and beads

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