They Didn't Believe Me

By Jerome Kern and Herbert Reynolds

1914

One of the most influential songs in the history of popular music, "They Didn't Believe Me" helped usher in a new era in musical comedy, and marked a significant break from the classical European songwriting tradition, making way for what became known as the Great American Songbook. When producer Charles Frohman was importing the successful London musical The Girl from Utah to the Broadway stage, he brought in the unknown Kern and Reynolds to punch it up with a few distinctly American numbers. This particular song helped make Kern into the first breakout star songwriter of the modern era. The composition, introduced on stage by Julia Sanderson and Donald Brian (pictured), featured plain, everyday language, as opposed to the flowery prose of previous love ballads; it also departed from the European waltz style, embracing the syncopation and ragtime flavor that was all the rage in American dance halls. It would have a profound impact on Broadway love ballads for the next half-century.

Lyrics:

Got the cutest little way
Like to watch you all the day
And it certainly seems fine
Just to think that you'll be mine
When I see your pretty smile
Makes the living worth the while
So I've got to run around
Telling people what I've found

And when I told them how beautiful you are
They didn't believe me, they didn't believe me
Your lips, your eyes, your cheeks, your hair
Are in a class beyond compare
You're the loveliest girl that one could see
And when I tell them
And I certainly am goin' to tell them
That I'm the man whose wife one day you'll be
They'll never believe me, they'll never believe me
That from this great big world you've chosen me

Don't know how it happened quite
May have been the summer night
May have been; well, who can say?
Things just happen any way
All I know is I said "yes"
Hesitating more or less
And you kissed me where I stood
Just like any fellow would

And when I told them how wonderful you are
They didn't believe me, they didn't believe me
Your lips, your eyes, your curly hair
Are in a class beyond compare
You're the loveliest thing that one could see
And when I tell them
And I certainly am goin' to tell them
That I'm the girl whose boy one day you'll be
They'll never believe me, they'll never believe me
That from this great big world you've chosen me

Recorded By:

Frank Sinatra
Johnny Hartman
Bing Crosby
George Sanders
Harry Belafonte

Look for the Silver Lining

By Jerome Kern & B.G DeSylva
1919

Although originally written for the failed musical Zip Goes a Million, this charming early Jazz Age gem was revived in 1920 for the show Sally, in which it was properly introduced by Marilyn Miller. With a lilting melody and an uplifting lyric, it was a natural hit. The International Ladies Garment Workers Union would use it as the basis of their theme song, and it would later be embraced by modern TV viewers thanks to Chet Baker's rendition, which was often used as a theme on Turner Classic Movies.

Lyrics:

As I wash my dishes, I'll be following a plan
Til I see the brightness in every pot and pan
I am sure this point of view will ease the daily grind
So I'll keep repeating in my mind:

Look for the silver lining
Whenever a cloud appears in the blue
Remember, somewhere the sun is shining
And so the right thing to do is make it shine for you

A heart, full of joy and gladness
Will always banish sadness and strife
So always look for the silver lining
And try to find the sunny side of life

Recorded By:

Chet Baker
Aretha Franklin
Susannah McCorkle
Margaret Whiting
Judy Garland

Make Believe

By Jerome Kern
1927

A profoundly moving duet ballad from Kern's Show Boat, usually credited as the first modern Broadway musical. It was introduced on stage by Norma Terris and Howard Marsh (pictured), and also performed to great effect by Howard Keel and Kathryn Grayson in the 1951 MGM musical adaptation. It's lyrics, expressed by two people suddenly and spontaneously realizing they are in love with each other, are among the most moving in the Great American Songbook.

Lyrics:

Only make believe I love you,
Only make believe that you love me.
Others find peace of mind in pretending,
Couldn't you?
Couldn't I?
Couldn't we?
Make believe our lips are blending
In a phantom kiss, or two, or three.
Might as well make believe I love you,
For to tell the truth I do

Your pardon I pray
'Twas too much to say
The words that betray my heart.

We only pretend
You do not offend
In playing a lover's part.
The game of just supposing
Is the sweetest game I know.
Our dreams are more romantic
Than the world we see.

And if the things we dream about
Don't happen to be so,
That's just an unimportant technicality.

Though the cold and brutal fact is
You and I have never met,
We need not mind convention's P's and Q's
If we put our thoughts in practice
We can banish all regret
Imagining most anything we choose.

Only make believe I love you,
Only make believe that you love me.
Others find peace of mind in pretending,
Couldn't you?
Couldn't I?
Couldn't we?
Make believe our lips are blending
In a phantom kiss, or two, or three.
Might as well make believe I love you,
For to tell the truth I do

Recorded By:

Frank Sinatra
Jo Stafford
Barbra Streisand
Peggy Lee & Patrice Munsel
Deanna Durbin

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

All the Things You Are

By Jerome Kern & Oscar Hammerstein II
1939

A remarkable song from the master, Kern--breathtakingly beautiful, and nearly operatic in tone and melody. It was introduced on stage by the cast of Very Warm for May, the musical for which it was written. But it has taken on a life of its own that goes far beyond that play. Kern's aching melody is perfectly complemented by Hammerstein's sublime lyric, notable for being such a perfect expression of love without ever mentioning the actual word.

Lyrics:

Time and again I've longed for adventure,
Something to make my heart beat the faster.
What did I long for? I never really knew.
Finding your love I've found my adventure,
Touching your hand, my heart beats the faster,
All that I want in all of this world is you.

You are the promised kiss of springtime
That makes the lonely winter seem long.
You are the breathless hush of evening
That trembles on the brink of a lovely song.

You are the angel glow that lights a star,
The dearest things I know are what you are.
Some day my happy arms will hold you,
And some day I'll know that moment divine,
When all the things you are, are mine!

Recorded By:

Ella Fitzgerald
Frank Sinatra
Tommy Dorsey
Stan Kenton
Jack Jones

Why Was I Born?

By Jerome Kern & Oscar Hammerstein II
1929

The Kern/Hammerstein musical Sweet Adeline was a part of the 1920s nostalgia fad for the "Gay '90s", i.e. the last decade of the 19th century. Broadway legend Helen Morgan (pictured) introduced this classic torch song in the production, and it was also sung by Irene Dunne in the 1935 film version. Truly a ballad of great power.

Lyrics:

Spending these lonesome evenings
With nothing to do,
But to live in dreams that I make up,
All by myself.
Dreaming that you're beside me,
I picture the prettiest stories,
Only to wake up,
All by myself

What is the good of me by myself?

Why was I born?
Why am I living?
What do I get?
What am I giving?

Why do I want a thing
I daren't hope for?
What can I hope for?
I wish I knew.

Why do I try
To draw you near me?
Why do I cry?
You never hear me.

I'm a poor fool,
But what can I do?
Why was I born
To love you?

Recorded By:

Maude Maggart
Ella Fitzgerald
Frank Sinatra
Billie Holiday
Vic Damone

Can't Help Lovin' Dat Man

By Jerome Kern & Oscar Hammerstein II
1927

A heartbreaker if ever there was one, this is probably the most well-known song from the immortal musical Showboat, usually cited as the first modern musical. Kern incorporates blues into his melody, and Hammerstein weaves a melancholy lyric about loving someone who may not necessarily deserve it. In the 1920-40s, it was closely associated with Helen Morgan, who originally introduced it. Some controversy has hovered over the lyric, which does allude to negative African American stereotypes.

Lyrics:

Oh listen sister,
I love my mister man,
And I can't tell you' why.
Dere ain't no reason
Why I should love dat man.
It mus' be sumpin dat de angels done plan.

De chimney's smokin'
De roof is leakin' in,
But he don't seem to care.
Dere ain't no reason why I should love dat man.

Fish got to swim, birds got to fly,
I got to love one man till I die.
Can't help lovin' dat man of mine.

Tell me he's lazy, tell me he's slow,
Tell me I'm crazy, (maybe I know).
Can't help lovin' dat man of mine.

When he goes away,
Dat's a rainy day,
And when he comes back dat day is fine,
De sun will shine!
He kin come home as late as can be,
Home without him ain't no home to me,
Can't help lovin' dat man of mine.

Recorded By:

Ella Fitzgerald
Lena Horne
Barbra Streisand
Ava Gardner
Maude Maggart

The Song Is You

By Jerome Kern & Oscar Hammerstein II
1932

This sweeping, melodic beauty of a song was written for Tullio Carminati in the show Music in the Air. But it would become even more strongly associated with Frank Sinatra, who made it one of his early solo hits a decade later. It would even be used as the title of an excellent book by Will Friedwald on the Chairman's entire body of work.

Lyrics:

I hear music when I look at you;
A beautiful theme of every dream I ever knew.
Down deep in my heart, I hear it play.
I feel it start, then melt away.

I hear music when I touch your hand;
A beautiful melody from some enchanted land.
Down deep in my heart, I hear it say,
Is this the day?

I alone have heard this lovely strain,
I alone have heard this glad refrain:
Must it be forever inside of me,
Why cant I let it go,
Why cant I let you know?

Why cant I let you know the song
My heart would sing?
That beautiful rhapsody of love and youth and spring,
The music is sweet,
The words are true,
The song is you.

Recorded By:

June Christy
Anita O'Day
Nancy Wilson
Art Blakey
Barbara Cook

Thanks to Tenebrous Kate, for inspiring today's post.

Yesterdays

By Jerome Kern & Otto Harbach
1933

One of several hits to emerge from Kern & Harbach's Broadway smash Roberta. With its roots in Kern's operetta background, the song was introduced on stage by Fay Templeton (pictured), once a beloved young starlet of the 19th century who was now at the end of her career. The first recording of the tune was by Leo Reisman's orchestra (vocal by Frank Luther). It would also be included in the 1935 film version of the show.

Lyrics:

Yesterdays, yesterdays,
Days are new as happy sweet
Sequestered days.

Olden days,
Golden days,
Days of mad romance and love.

Then gay youth was mine.
Truth was mine,
Joyous be, and flaming life,
And sooth was mine.

Sad am I,
Glad am I,
For today I'm dreaming of
Yesterdays.

Recorded By:

Billie Holiday
Ella Fitzgerald
Frank Sinatra
Buddy Rich & Max Roach
Charles Mingus

Smoke Gets in Your Eyes

By Jerome Kern & Otto Harbach
1933

Along with "Yesterdays", this is one of two major standards to emerge from the 1933 operetta Roberta, in which it was introduced by Tamara Drasin. Irene Dunne performed it in the 1935 film adaptation, and the first commercial recording came from the Paul Whiteman orchestra. Although The Platters' 1958 doo-wop version hit the top of the charts, it is typically derided by purists for lacking the emotional depth and nuance such a piece requires. Those same purists hail the song for its melodic simplicity, built on an ascending and descending scale.

Lyrics:

They asked me how I knew
My true love was true.
I, of course, replied,
"Something here inside
Cannot be denied."

They said someday you'll find
All who love are blind.
When your heart's on fire,
You don't realize
Smoke gets in your eyes.

So I chaffed, and I gaily laughed
To think they would doubt my love.
Yet today, my love has flown away.
I am without my love.

Now, laughing friends deride
Tears I cannot hide.
So, I smile and say,
"When a lovely flame dies,
Smoke gets in your eyes."

Recorded By:

Johnny Mathis
Dinah Washington
Margaret Whiting
Tommy Dorsey
Louis Armstrong

Long Ago (And Far Away)

By Jerome Kern & Ira Gershwin
1944

This one was written for Columbia Pictures' first Technicolor production Cover Girl. Although it was given to the ravishing Rita Hayworth to "sing" in the movie, the actual dubbed voice was that of Martha Mears, who was commonly used to dub actors' singing voices in 1940s musicals.

Lyrics:

Dreary days are over.
Life's a four leaf clover.
Sessions of depressions are through.
Every hope I longed for long ago, comes true.

Long ago and far away,
I dreamed a dream one day,
And now that dream is here beside me.
Long the skies were overcast,
But now the clouds have passed,
You're here at last!

Chills run up and down my spine,
Aladdin's Lamp is mine,
The dream I dreamed was not denied me.
Just one look and then I knew,
That all I longed for
Long ago, was you.

Recorded By:

Dick Haymes & Helen Forrest
Bing Crosby
Jo Stafford
Perry Como
Chet Baker

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