Top Hat, White Tie and Tails

By Irving Berlin
1935

For the fifth time here at Standard of the Day, I'm spotlighting a song from Irving Berlin's Top Hat--and if that's not a testament to the film's greatness, I don't know what is. This time it's the movie's title number, performed with gusto by Fred Astaire, as so many Berlin gems were. With its internal rhyme and clever wordplay, the lyric is one of Berlin's most memorable, and became an iconic theme for the legendary Astaire, greatest of the on-screen dancers and the man who wore the attire better than anybody.

Lyrics:

I just got an invitation through the mails
"Your presence requested this evening
It's formal, a top hat, a white tie and tails"
Nothing now could take the wind out of my sails
Because I'm invited to step out this evening
With top hat and white tie and tails.

I'm puttin' on my top hat
Tyin' up my white tie
Brushin' off my tails
I'm dudin' up my shirt front
Puttin' in the shirt studs
Polishin' my nails

I'm steppin' out, my dear
To breathe an atmosphere 
That simply reeks with class
And I trust that you'll excuse my dust
When I step on the gas
For I'll be there
Puttin' down my top hat
Mussin' up my white tie
Dancin' in my tails!

Recorded By:

Louis Armstrong
Tony Bennett
Ella Fitzgerald
Mel Torme
The Boswell Sisters

I've Got Beginner's Luck

By George and Ira Gerswhin
1937

As with many classic songs, this one was written specifically for Fred Astaire to sing on film. In this case, it was for the 1937 musical Shall We Dance, for which the Gershwins wrote a whole suite of tunes. Ironically, although Astaire introduced the song, the first recording of it would be made by the Tommy Dorsey Orchestra a few months before the movie actually came out. Nearly 80 years later, the song would also be included in a Broadway musical inspired by the works of the Gershwins--An American in Paris (despite the fact that it was not part of the original 1951 film.)

Lyrics: 

At any gambling casino
From Monte Carlo to Reno,
They tell you that a beginner
Comes out a winner.
Beginner fishing for flounder
Will catch a seventeen pounder;
That's what I've always heard
And always thought absurd,
But now I believe every word!

For I've got beginner's luck;
The first time I'm in love
I'm in love with you,
Gosh I'm lucky!

I've got beginner's luck;
There never was such a smile
Or such eyes of blue,
Gosh I'm fortunate!

This thing we've begun
Is much more than a pastime,
For this time is the one
Where the first time is the last time!

I've got beginner's luck,
Lucky through and through,
For the first time that I'm in love,
I'm in love with you!

Recorded By:

Bobby Short
Ella Fitzgerald
Maureen McGovern
Chris Connor
Tommy Dorsey

Let's Face the Music and Dance

By Irving Berlin
1936

Berlin had a long-standing relationship with Fred Astaire, and wrote many of his songs specifically for him. In Follow the Fleet, Astaire introduced this Berlin classic, along with others such as "I'm Putting All My Eggs in One Basket". A very sophisticated number for the often more populist Berlin, this one has really stood the test of time. It's been a favorite of cabaret singers for decades, and the Astaire version was even used in the film Pennies from Heaven, in which it was lip-synched by Steve Martin.

Lyrics:

There may be trouble ahead
But while there's moonlight and music
And love and romance
Let's face the music and dance

Before the fiddlers have fled
Before they ask us to pay the bill
And while we still
Have the chance
Let's face the music and dance

Soon
We'll be without the moon
Humming a diff'rent tune
And then

There may be teardrops to shed
So while there's moonlight and music
And love and romance
Let's face the music and dance
Dance
Let's face the music and dance!

Recorded By:

Mel Torme
Frank Sinatra
Diana Krall
Doris Day
Nat King Cole

They Can't Take That Away from Me

By George & Ira Gershwin
1937

Last Thursday officially made three full years that Standard of the Day has been in existence, and to belatedly commemorate that milestone, today we shine the spotlight on one of the most celebrated standards of them all, which the Gershwin brothers composed for the Fred Astaire/Ginger Rogers musical, Shall We Dance. Astaire introduces the tune in the movie, singing it to Rogers in a rare musical number with no dancing. Ira's lyric is a perfect mixture of joy and sadness, as our lover declares to his paramour that no amount of distance could erase the memories they've shared. Also of note is the ingenious way the lyric pairs up very mundane aspects of the beloved ("The way you hold your knife"), with more profound aspects ("The way you changed my life"). A lilting, perfect melody from the immortal George Gershwin completes this ultimate love ballad. George Gershwin passed on shortly after the movie was released, but was posthumously nominated, along with his brother, for the Academy Award for Best Original Song.

Thanks to everyone for continuing to read and support SOTD. Let's continue keeping these old songs alive together, shall we?

Lyrics:

Our romance won't end on a sorrowful note, though by tomorrow you're gone.
The song is ended, but as the songwriter wrote, the melody lingers on.
They may take you from me. I'll miss your fond caress.
But though they take you from me, I'll still possess...

The way you wear your hat,
The way you sip your tea,
The memory of all that.
No, no, they can't take that away from me.

The way your smile just beams,
The way you sing off-key,
The way you haunt my dreams.
No, no, they can't take that away from me.

We may never, never meet again on the bumpy road to love,
Still I'll always, always keep the memory of...

The way you hold your knife,
The way we danced till three,
The way you changed my life,
No, no, they can't take that away from me.
No, they can't take that away from me.

Recorded By:

Tony Bennett
Louis Armstrong & Ella Fitzgerald
Billie Holiday
Charlie Parker
Frank Sinatra

No Strings (I'm Fancy Free)

By Irving Berlin
1935

Was there ever a greater working agreement in pop music than that between Berlin and Fred Astaire? Here we have another 3-minute masterpiece written by Berlin for Astaire and Ginger Rogers, to be used in their 1935 film Top Hat (the best Astaire/Rogers teamup, for my money). Filled with Berlin compositions, Top Hat is a thrill from beginning to end, and this joyous tune is without a doubt one of the highlights.

Lyrics:

I wake up every morning with a smile on my face
Everything in it's place as it should be
I start out every morning just as free as the breeze
My cares upon the shelf
Because I find myself with

No strings and no connections
No ties to my affections
I'm fancy free and free for anything fancy

No dates that can't be broken
No words that can't be spoken
Especially when I am feeling romancy

Like a robin upon a tree
Like a sailor that goes to sea
Like an unwritten melody
I'm free, that's me

So bring on the big attraction
My decks are cleared for action
I'm fancy free and free for anything fancy

Recorded By:

Fred Astaire
Ella Fitzgerald
Peter Mintun
Ginger Rogers
Peter Skellern

Isn't This a Lovely Day (To Be Caught in the Rain)?

By Irving Berlin
1935

One of several American pop classics to have been derived from the sublime Berlin cinematic musical Top Hat, this number was of course written for Fred Astaire, who sings it for Ginger Rogers in the film. Since then, it's gently lilting melody and warm, carefree lyric have made it an unquestioned standard, favored by purveyors of light/piano jazz in particular. The essence of Astaire and Rogers, from the best of their RKO days.

Lyrics:

The weather is frightening,
The thunder and lightning
Seem to be having their way,
But as far as I'm concerned,
It's a lovely day.
The turn in the weather
Will keep us together
So I can honestly say
That as far as I'm concerned,
It's a lovely day and everythings ok.

Isn't this a lovely day to be caught in the rain?
You were going on your way,
Now you've got to remain.

Just as you were going,
Leaving me all at sea,
The clouds broke, they broke,
And oh what a break for me.

I can see the sun up high,
Though we're caught in a storm.
I can see where you and I could be cozy and warm.

Let the rain pitter patter,
But it really doesn't matter
If the skies are grey.
Long as I can be with you,
It's a lovely day.

Recorded By:

Tony Bennett
Ella Fitzgerald
Diana Krall
Jeri Southern
Oscar Peterson

A Fine Romance

By Jerome Kern & Dorothy Fields
1936

An absolutely iconic standard if ever there was one, introduced as so many of them were, by the immortal Fred Astaire and Ginger Rogers. It was given to them by the legendary Kern/Fields songwriting team for their film Swing Time, and remains a high benchmark of musical grace and lyrical sophistication. You know how people say, they don't write them like this anymore? Well... they don't write them like this anymore. An infectious classic that epitomizes the precocious side of love.

Lyrics:

A fine romance with no kisses,
A fine romance, my friend, this is.
We should be like a couple of hot tomatoes,
But you're as cold as yesterday's mashed potatoes.

A fine romance, you won't nestle.
A fine romance, you won't even wrestle.
You've never mussed the crease in my blue serge pants,
You never take a chance, this is a fine romance.

A fine romance, my good fellow.
You take romance, I'll take Jello.
You're calmer than the seals in the Arctic Ocean,
At least they flap their fins to express emotion.

A fine romance, my dear Duchess,
Two old fogies, we really need crutches.
You're just as hard to land as the Ile de France!
I haven't got a chance, this is a fine romance.

A fine romance, my good woman,
My strong, aged-in-the-wood woman.
You never give those orchids I send a glance,
They're just like cactus plants,
This is a fine romance

Recorded By:

Billie Holiday
Ella Fitzgerald & Louis Armstrong
Frank Sinatra
Judi Dench
Lena Horne

The Piccolino

By Irving Berlin
1935

An infectious dance number written by Berlin for the superb musical comedy film Top Hat, which featured a suite of top flight songs danced to by none other than Fred Astaire and Ginger Rogers. Astaire himself sings it in the movie, as part of one of the picture's most elaborate dance numbers.

Lyrics:

By the Adriatic waters,
Venetian sons and daughters
Are strumming a new tune upon their guitars.

It was written by a Latin,
A gondolier who sat in
His home out in Brooklyn and gazed at the stars.

He sent his melody across the sea to Italy,
And we know they wrote some words to fit that catchy bit,
And christened it the Piccolino.

And we know that it's the reason
Why ev'ryone this season
Is strumming and humming a new melody.

Come to the Casino,
And hear them play the Piccolino.
Dance with your bambino
To the strains of the catchy Piccolino.

Drink your glass of Vino,
And when you've had your plate of Scallopino,
Make them play the Piccolino, the catchy Piccolino.
And dance to the strains of that new melody, the Piccolino.

Recorded By:

Fred Astaire
Mel Torme
Harry Roy & His Band
Rosey Miyano

One for My Baby (And One More for the Road)

By Harold Arlen & Johnny Mercer
1943

Arguably the finest product of the legendary teaming of Arlen and Mercer, two songwriters of equally titanic stature. It has become the all-time classic saloon song, thanks in great part to its iconic interpretation by Frank Sinatra, who turned it into something of a performance piece. However, it was originally written for Fred Astaire, who introduced it in the musical film The Sky's the Limit. It doesn't get any better than Arlen's laconic, smoky melody paired up with Mercer's timeless, aching lyric...

Lyrics:

Its quarter to three,
There's no one in the place, except you and me.
So set 'em up, Joe,
I got a little story I think you oughtta know.

We're drinking my friend
To the end of a brief episode.
So make it one for my baby,
And one more for the road.

I know the routine,
Put another nickel in the machine.
I'm feeling so bad,
Won't you make the music easy and sad?

I could tell you a lot,
But you gotta to be true to your code.
So make it one for my baby,
And one more for the road.

You'd never know it,
But buddy I'm a kind of poet,
And Ive got a lot of things I wanna say.
And if I'm gloomy, please listen to me
Till it's all all talked away.

Well, that's how it goes,
And Joe, I know you're getting anxious to close.
So thanks for the cheer,
I hope you didn't mind
My bending your ear.

But this torch that I found,
Its gotta be drowned,
Or it soon might explode.
So make it one for my baby,
And one more for the road.

Recorded By:

Tony Bennett
Perry Como
Billie Holiday
Frankie Laine
Iggy Pop

A Foggy Day

By George & Ira Gershwin
1937

A truly delightful Gershwin treasure, written by the brothers for the film A Damsel in Distress. As with so many Gershwin classics, it was introduced in the movie by the one and only Fred Astaire, a performer whose class and style perfectly matched that of the song itself.

Lyrics:

A foggy day,
In London town,
It had me low,
And it had me down.
I viewed the morning
With much alarm.
The british museum
Had lost its charm.

How long, I wondered,
Could this thing last?
But the age of miracles,
It hadn't past.
And suddenly,
I saw you standing right there.
And in foggy London town,
The sun was shining everywhere.

Recorded By:

Frank Sinatra
Doris Day
Sarah Vaughan
Judy Garland
Charles Mingus

Fascinating Rhythm

George & Ira Gershwin
1924

One of the earliest hits for the Gershwins, and an early example of a pop son incorporating the syncopation common in jazz and ragtime (hence the title). It was introduced by Cliff Edwards, Fred Astaire and his sister Adele in the Broadway production Lady Be Good. It was also recently discovered to have been Tony Bennett's first released single, back in 1948 when he was singing under the name Joe Bari.

Lyrics:

Got a little rhythm, a rhythm, a rhythm
That pit-a-pats through my brain;
So darn persistent,
The day isn't distant
When it'll drive me insane.
Comes in the morning
Without any warning,
And hangs around me all day.
I'll have to sneak up to it
Someday, and speak up to it.
I hope it listens when I say:

Fascinating Rhythm,
You've got me on the go!
Fascinating Rhythm,
I'm all a-quiver.

When a mess you're making!
The neighbours want to know
Why I'm always shaking
Just like a flivver.

Each morning I get up with the sun -
Start a-hopping,
Never stopping -
To find at night no work has been done.

I know that
Once it didn't matter -
But now you're doing wrong;
When you start to patter
I'm so unhappy.

Won't you take a day off?
Decide to run along
Somewhere far away off -
And make it snappy!

Oh, how I long to be the man I used to be!
Fascinating rhythm,
On won't you stop picking on me?

Recorded By:

Ella Fitzgerald
Judy Garland
Rosemary Clooney
Vic Damone
Tommy Dorsey

Change Partners

By Irving Berlin
1938

A number-one hit for Irving Berlin, originally written for the one and only Fred Astaire to sing to Ginger Rogers in the film Carefree. The song is one of Berlin's greatest both melodically and lyrically, and became an instant standard. It is also a fine example of the wonderful material Berlin created specifically for Astaire.

Lyrics:

Must you dance every dance with the same fortunate man?
You have danced with him since the music began.
Won't you change partners, and dance with me?

Must you dance quite so close, with your lips touching his face?
Can't you see I'm longing to be in his place?
Won't you change partners and dance with me?

Ask him to sit this one out and while you're alone,
I'll tell the waiter to tell him he's wanted on the telephone.

You've been locked in his arms ever since heaven-knows-when.
Won't you change partners and then,
You may never want to change partners again.

Recorded By:

Ozzie Nelson
Jimmy Dorsey
Frank Sinatra
Ella Fitzgerald
Harry Connick Jr.

The Continental

By Con Conrad & Herb Magidson
1934

The gorgeous Ginger Rogers introduced this sophisticated number in one of her classic vehicles with Fred Astaire, The Gay Divorcee--a film that's a cornucopia of Astaire/Rogers gems. It holds the distinction of being the very first song awarded the Oscar for Best Original Song.

Lyrics:

Beautiful music...
Dangerous rhythm...

It's something daring, the Continental.
A way of dancing that's really ultra-new.
It's very subtle, the Continental,
Because it does what you want it to do.

It has a passion, the Continental,
An invitation to moonlight and romance.
It's quite the fashion, the Continental,
Because you tell of your love while you dance.

You kiss while you're dancing.
It's continental, ooh, it's continental.
You sing while you're dancing.
Your voice is gentle, and so sentimental.

You'll know before the dance is through,
That you're in love with her and she's in love with you.
You'll find while you're dancin',
That there's a rhythm in your heart and soul,
A certain rhythm that you can't control,
And you will do the Continental all the time.

Beautiful music...
Dangerous rhythm...

The Continental!

Recorded By:

Leo Reisman
Frank Sinatra
Oscar Peterson
Nat King Cole
Django Reinhardt

They All Laughed

By George & Ira Gershwin
1937

A charming classic written for the Astaire/Rogers musical Shall We Dance. Ginger was the one to introduce it in the movie. It's light-hearted melody and engaging, Porter-esque lyric (one of Ira Gershwin's best) has long made it a favorite of jazz and traditional pop vocalists.

Lyrics:

They all laughed at Christopher Columbus
When he said the world was round.
They all laughed when Edison recorded sound.
They all laughed at Wilbur and his brother
When they said that man could fly.

They told Marconi
Wireless was a phony.
It's the same old cry--
They laughed at me wanting you;
Said I was reaching for the moon.
But oh, you came through,
Now they'll have to change their tune.

They all said we never could be happy,
They laughed at us and how!
But ho, ho, ho!
Who's got the last laugh now?

They all laughed at Rockefeller Center,
Now they're fighting to get in.
They all laughed at Whitney and his cotton gin.
They all laughed at Fulton and his steamboat,
Hershey and his chocolate bar.

Ford and his Lizzie
Kept the laughers busy.
That's how people are.
They laughed at me wanting you,
Said it would be, "Hello, Goodbye."
And oh, you came through,
Now they're eating humble pie

They all said we'd never get together.
Darling, let's take a bow,
For ho, ho, ho!
Who's got the last laugh?
Hee, hee, hee!
Let's at the past laugh,
Ha, ha, ha!
Who's got the last laugh now?

Recorded By:

Ella Fitzgerald
Frank Sinatra
Stacey Kent
Chet Baker
Tony Bennett

I'm Putting All My Eggs in One Basket

By Irving Berlin
1936

Irving Berlin and Fred Astaire. Perhaps never was there a more fortuitous working relationship in the history of popular music. Berlin composed this ode to monogamy for Astaire and Ginger Roger's 1936 musical Follow the Fleet, the very same movie that also gave us "Let Yourself Go" and "Let's Face the Music and Dance".

Lyrics:

I've been a roaming Romeo,
My Juliets have been many.
But now my roaming days have gone.
Too many irons in the fire
Is worse than not having any.
I've had my share, and from now on...

I'm putting all my eggs in one basket,
I'm betting everything I've got on you.

I'm giving all my love to one baby,
Heaven help me if my baby don't come through.

I've got a great big amount
Saved up in my love account,
Honey, and Ive decided
Love divided in two
Won't do.

So I'm putting all my eggs in one basket,
I'm betting everything I've got on you.

Recorded By:

Stacey Kent
Ella Fitzgerald
Louis Armstrong
Carmen McRae
John Pizzarelli

Dream Dancing

By Cole Porter
1941

Still on the Fred Astaire kick today. This one was written by Porter for Astaire's movie You'll Never Get Rich. Ironically, it was introduced in the film as an instrumental; still Astaire was the first to subsequently record it with lyrics, accompanied by the Delta Rhythm Boys.

Lyrics:

When day is gone and night comes on,
Until the dawn what do I do?
I clasp your hand and wander through slumber land,
Dream dancing with you.

We dance between a sky serene
And fields of green sparkling with dew.
It's joy sublime whenever I spend my time
Dream dancing with you.

Dream dancing,
Oh, what a lucky windfall,
Touching you, clutching you,
All the night through.

So say you love me, dear,
And let me make my career
Dream dancing, dream dancing with you.

Recorded By:

Ella Fitzgerald
Mel Torme & George Shearing
Tony Bennett
Stacey Kent
Ray Anthony

They Can't Take That Away from Me

By George & Ira Gershwin
1937

For my 100th post here at SOTD, I'm spotlighting one of the most famous, and rightly beloved standards of all time. It's a song for which George Gershwin was posthumously nominated for the Academy Award. He and his brother had composed it for the Astaire-Rogers film Shall We Dance, but George passed away mere months after the movie's release. A poignant mixture of quiet sadness and confident joy, it perfectly expresses the feelings of two lovers parting--in a subtle and sublime manner that is rare to find, indeed.

Lyrics:

Our romance won't end on a sorrowful note,
Though by tomorrow, you're gone.
The song is ended, but as the songwriter wrote,
The melody lingers on.
They may take you from me--
I'll miss your fond caress,
But, though they take you from me,
I'll still possess...

The way you wear your hat,
The way you sip your tea,
The memory of all that--
No, no, they can't take that away from me.

The way your smile just beams,
The way you sing off-key,
The way you haunt my dreams--
No, no, they can't take that away from me.

We may never, never meet again
On the bumpy road to love,
Still, I'll always, always keep the memory of...

The way you hold your knife,
The way we dance till three,
The way you changed my life--
No, no, they can't take that away from me,
No--they can't take that away from me.

Recorded By:

Frank Sinatra
Ella Fitzgerald
Billie Holiday
Charlie Parker
Anita O'Day

Change Partners

By Irving Berlin

1938

One of the many charming classics written for Fred Astaire by Irving Berlin. This one comes from the lesser-known Astaire-Rogers musical picture Carefree. A timeless tune with a clever, plaintive lyric that has survived adaptation to many styles by many performers.

Lyrics:

Must you dance

Every dance

With the same fortunate man?

You have danced with him since the music began.

Won't you change partners,

And dance with me?

Must you dance

Quite so close,

With your lips touching his face?

Can't you see I'm longing to be in his place?

Won't you change partners,

And dance with me?

Ask him to sit this on out,

And while you're alone,

I'll tell the waiter to tell him

He's wanted on the telephone.

You've been locked

In his arms

Ever since heaven knows when.

Won't you change partners, and then,

You may never want to change partners again.

Recorded By:

Frank Sinatra & Antonio Carlos Jobim

Ella Fitzgerald

Harry Connick Jr.

Sammy Davis Jr.

Sonny Rollins

I Guess I'll Have to Change My Plan

By Arthur Schwartz & Howard Dietz
1929

With its catchy tune and lyric, this sophisticated song was written for the Broadway revue The Little Show. It was introduced by Clifton Webb, the actor who would gain great acclaim decades later for his roles in movies like Laura, The Razor's Edge, Cheaper By the Dozen and the "Mr. Belvedere" films. The Little Show also produced the hit song "Can't We Be Friends", written by Kay Swift & Paul James. Fred Astaire would bring the song back nearly 25 years later in The Band Wagon. Trivia note: this tune came to be popularly known as "The Blue Pajama Song".

Lyrics:

I guess I'll have to change my plan.
I should have realized there'd be another man.
I overlooked that point completely,
Until the big affair began.

Before I knew where I was at,
I found myself upon the shelf, and that was that.
I tried to reach the moon,
But when I got there,
All that I could get was the air.
My feet are back upon the ground--
I lost the one girl I'd found.

I guess I'll have to change my plan,
I should have realized there'd by another man.
Why did I buy those blue pajamas,
Before the big affair began?

My boiling point is much too low,
For me to try to be a fly Lothario.
I think I'll crawl right back into my shell,
Dwelling in my personal hell.
I'll have to change my plan around--
I lost the one girl I'd found.

Recorded By:

Frank Sinatra
Bobby Darrin
Ella Fitzgerald
Stacey Kent
Tony Bennett

Pick Yourself Up

By Jerome Kern & Dorothy Fields
1936

One of so many memorable standards written for Fred Astaire & Ginger Rogers, this one comes from Swing Time, considered by most to be their finest musical film. Kern & Fields composed all the songs for the movie, including "A Fine Romance" and the Oscar-winning "The Way You Look Tonight".

Lyrics:

Nothing's impossible, I have found,
For when my chin is on the ground,
I pick myself up, dust myself off, start all over again.

Don't lose your confidence, if you slip.
Be grateful for a pleasant trip,
And pick yourself up, dust yourself off, start all over again.

Work like a soul inspired,
Till the battle of the day is won.
You may be sick and tired,
But you'll be a man, my son.

Don't you remember the famous men,
Who had to fall to rise again?
Pick yourself up, dust yourself off, start all over again.

Recorded By:

Anita O'Day
Frank Sinatra
Diana Krall
Nat King Cole
Benny Goodman