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Irving Berlin
From Wikipedia, the free encyclopedia

Born
May 11, 1888
Tyumen, Siberia
Died
September 22, 1989
New York, New York, USA

Irving Berlin (May 11, 1888 - September 22, 1989), born Israel Isidore Beilin (as per [1]), in Tyumen, Russia (or possibly Mogilev, now Belarus), was an American composer and lyricist, one of the most prodigious and famous American songwriters in history. Berlin got his start as a lyricist for other composers, and although he never learned how to play a piano or read music beyond a rudimentary level, he wrote over 3,000 songs. About half of Berlin's works became popular on Broadway and in Hollywood, leaving an indelible mark on American music and culture with hits such as God Bless America, White Christmas, Alexander's Ragtime Band, and There's No Business Like Show Business. Berlin produced 17 film scores and 21 Broadway scores in addition to his individual songs.


Early years

Irving Berlin was born to a Jewish family. His family immigrated to the United States in 1893. His parents were Lena Jarchin and Moses Beilin, who was a rabbi and obtained work certifying kosher meat (see [2]). Following the death of his father in 1896, Irving found himself having to work to survive. He did various street jobs including selling newspapers and busking. The harsh economic reality of having to work or starve was to have a lasting effect on the way Berlin treated money. While working as a singing waiter at Pelham's Cafe in Chinatown, Berlin was asked by the proprietor to write an original song for the cafe because a rival tavern had had their own song published. "Marie from Sunny Italy" was the result and it was soon published. Although it only earned him 37 cents, it gave him a new career and a new name: Israel Baline was misprinted as "I. Berlin" on the sheet music.

Early work

In 1911 the hit song "Alexander's Ragtime Band" launched a musical career that would include over a thousand songs. Richard Corliss, in a Time Magazine profile of Berlin in 2001, wrote:

Alexander's Ragtime Band (1911). It was a march, not a rag, and its savviest musicality comprised quotes from a bugle call and Swanee River. But the tune, which revived the ragtime fervor that Scott Joplin had stoked a decade earlier, made Berlin a songwriting star. On its first release, four versions of the tune charted at #1, #2, #3 and #4. Bessie Smith, in 1927, and Louis Armstrong, in 1937, made the top 20 with their interpretations. In 1938 the song was #1 again, in a duet by Bing Crosby and Connee Boswell; another Crosby duet, this time with Al Jolson, hit the top-20 in 1947. Johnny Mercer charted a swing version in 1945, and Nellie Lutcher put it on the R&B charts (#13) in 1948. Add Ray Charles' brilliant big-band take in 1959, and "Alexander" had a dozen hit versions in a bit under a half century (see [3]).

There is some evidence that Berlin's Alexander's Ragtime Band was lifted from Scott Joplin's opera Treemonisha.

In 1917, during World War I, he was drafted into the United States Army and staged a musical revue Yip Yip Yaphank while at Camp Upton in Yaphank, New York. Billed as "a military mess cooked up by the boys of Camp Union," the show cast 350 members of the armed forces. The revue was a patriotic tribute to the United States Army, and Berlin composed a song entitled God Bless America for the show, but decided against using it. When it was released years later, God Bless America proved so popular that during the 1930s it was even considered for the National Anthem, but was rejected by the press in part because it came from a Jewish composer. The Yaphank revue was later included in the 1943 movie This Is the Army featuring other Berlin songs, including the famous title piece, as well as a full-length rendition of God Bless America by Kate Smith. It remains to this day one of his most successful songs and one of the most widely-known in the United States. A particularly famous rendition occurred after the terrorist attacks of September 11, 2001, when members of the United States Congress stood together on the steps of the Capitol building and sang Berlin's tune (seeAudio link).


Berlin's 1926 hit song "Blue Skies" became another American classic, and was featured in the first talkie (motion picture with sound), Al Jolson's The Jazz Singer. In 1946, a Berlin musical with the same title revived the song's popularity, and it reached #8 with Count Basie and #9 with Benny Goodman.(see[4]).

Major hits

Berlin was responsible for many Hollywood film scores including Top Hat (1935) and Holiday Inn (1942), which included White Christmas, one of the most-recorded tunes in American history.
White Christmas, 1995 re-release CD album cover

The song was first sung by Bing Crosby in the 1942 musical Holiday Inn and sold over 30 million copies when released as a record. The song was re-used as the title theme of the 1954 musical film, White Christmas, which starred Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen.

Crosby's single of White Christmas was recognized as the best-selling single in any music category for more than 50 years until 1998 when Elton John's tribute to Diana, Princess of Wales, Candle In the Wind 1997, overtook it in a matter of months. However, Crosby's recording of "White Christmas" has sold additional millions of copies as part of numerous albums, including his best-selling album Merry Christmas, which was first released as an LP in 1949.

The most familiar version of "White Christmas" is not the one Crosby originally recorded for Holiday Inn (movie) (1942). Crosby was called back to the Decca studios on March 19, 1947, to re-record White Christmas as a result of damage to the 1942 master due to its frequent use. Every effort was made to reproduce the original Decca recording session, once again including the John Scott Trotter Orchestra and the Ken Darby Singers. The resulting re-issue is the one that has become most familiar to the public.

Berlin was equally prolific on Broadway, where he is perhaps best known for the stage musical Annie Get Your Gun (1946), produced by Rodgers and Hammerstein.

Loosely based on the life of sharpshooter Annie Oakley, the music and lyrics were written by Berlin, with a book by Herbert Fields and Dorothy Fields. Berlin had taken on the job after the original choice, Jerome Kern, died suddenly. At first he refused to take on the job, claiming that he knew nothing about "hillbilly music". But the show became his Broadway climax, running for 1,147 performances. It is said that the showstopper song, There's No Business Like Show Business, was almost left out of the show altogether because Berlin wrongly got the impression that his sponsors, Richard Rodgers and Oscar Hammerstein II, did not like it. Annie Get Your Gun is considered to be Berlin's best musical theatre score not only because of the number of hits it contains, but because its songs successfully combine character and plot development.

Other well-known hits included Always, Change Partners, Cheek to Cheek, Easter Parade, Heat Wave, Hostess With the Mostest, How Deep Is the Ocean?, I've Got My Love to Keep Me Warm, Let Yourself Go, Let's Face the Music and Dance, Marie (from Sunny Italy), Oh, How I Hate to Get up in the Morning, A Pretty Girl Is Like a Melody, Puttin' on the Ritz, Say It Isn't So, Steppin' Out With My Baby, Top Hat, White Tie and Tails, and What'll I Do?. Perhaps his most powerful ballad, Supper Time, is a haunting song about racial bigotry that was unusually weighty for a musical revue. However, Ethel Waters' heartrending rendition of the song was so powerful that it was kept in the show (As Thousands Cheer).

His friend and fellow songwriter Jule Styne said of him, "It's easy to be clever. But the really clever thing is to be simple" (see [5]).

Berlin stopped writing after the failure of Mr. President, which starred Nanette Fabray and Robert Ryan on Broadway in 1962.

Personal life

Berlin was married twice. His first wife, singer Dorothy Goetz, sister of songwriter E. Ray Goetz, contracted pneumonia and typhoid fever on their honeymoon to Cuba, and died five months after their wedding in 1912 at the age of twenty. Her death inspired Berlin's song "When I Lost You", which became one of his earliest hits. Curiously, a year before Dorothy Berlin's death, Irving Berlin, E. Ray Goetz, and Ted Snyder cowrote a song called "There's a Girl in Havana".

His second wife was Ellin Mackay, a devout Irish-American Catholic and heiress to the Comstock Lode mining fortune, as well as an avant-garde writer who had been published in The New Yorker. They were married in 1926, against the wishes of both his family, who objected to religious intermarriage, and her father, Clarence MacKay, a prominent Roman Catholic layman, who disinherited her (see [6]). (Her sister, who dated a Nazi diplomat in New York and was known for wearing a diamond swastika, remained a member of the family in good standing, however (see [7]). Without a dispensation from the Church, the two were joined in a civil ceremony on January 4, 1926, and were immediately snubbed by society: Ellin was immediately disinvited from the wedding of her friend Consuelo Vanderbilt, although Vanderbilt was not a Catholic.

The couple had three daughters - Mary Ellin, Linda, and Elizabeth, all of whom were raised Protestant - and a son, Irving Berlin, Jr., who died before his first birthday, on Christmas Day.

Becoming a virtual recluse in his last years, Berlin didn't attend the 100th birthday party held in his honor. However, he did attend the centennial celebrations for the Statue of Liberty in 1986.

Irving Berlin died of a heart attack in New York City at the age of 101 and was interred in the Woodlawn Cemetery in The Bronx, New York. He had been predeceased by his wife, Ellin.

http://en.wikipedia.org/wiki/Irving_Berlin

ARTIST: Irving Berlin
TITLE: There's No Business Like Show Business
Lyrics and Chords


[ F#dim7 = xx1212 ; Fm6 = xx0111 ]

The butcher, the baker, the grocer, the clerk
Are secretly unhappy men because
The butcher, the baker, the grocer, the clerk
Get paid for what they do but no applause
They'd gladly bid their dreary jobs goodbye
For anything theatrical, and why?

/ C B7 Bbmaj7 A7 / Dm7 G7 Cmaj7 C / C9 F#dim7 Fm6 CCm /
/ D7 G7 CDm7 C / E - F#m7 B7 / C - Dm7 G7 /

There's no business like show business
Like no business I know
Everything about it is appealing
Everything the traffic will allow
Nowhere could you get that happy feeling
When you are stealing that extra bow

/ C - - - / - - Cmaj7 C / G7 Dm7G7 C - / G7 Dm7G7 C Dm7 /
/ G7 Dm7G7 Am - / Am7 D7 Dm7 G7 /

There's no people like show people
They smile when they are low
Even with a turkey that you know will fold
You may be stranded out in the cold
Still you wouldn't 'change for a sack of gold
Let's go on with the show

/ C - - - / C7 - Fmaj7 - / Dm7 - E7 A7 / D7 G7 C A7 /
/ Dm7 - E7 A7 / D7 G7 C G7 /

The costumes, the scenery, the make-up, the props
The audience that lifts you when you're down
The headaches, the heartaches, the backaches, the flops
The sheriff who escorts you out of town
The opening when your heart beats like a drum
The closing when the customers won't come

There's no business like show business
Like no business I know
You get word before the show has started
That your favorite uncle died at dawn
Top of that, your ma and pa have parted
You're broken-hearted, but you go on

There's no people like show people
They don't run out of dough
Angels come from everywhere with lots of jack
And when you lose it there's no attack
Where could you get money that you don't give back
Let's go on with the show

The cowboys, the tumblers, the wrestlers, the clowns
The roustabouts that move the show at dawn
The music, the spotlight, the people, the towns
Your baggage with the labels pasted on
The sawdust and the horses and the smell
The towel you've taken from the last hotel

There's no business like show business
Like no business I know
Traveling through the country will be thrilling
Standing out in front on opening nights
Smiling as you watch the theater filling
And there's your billing out there in lights

There's no people like show people
They smile when they are low
Yesterday they told you you would not go far
That night you open and there you are
Next day on your dressing room they've hung a star
Let's go on with the show
Let's go on with the show

... / D7 G7 A7 - / D7 G7 C - /

Margaret Rutherford
From Wikipedia, the free encyclopedia

Dame Margaret Rutherford DBE (11 May 1892-22 May 1972) was an English Academy Award-winning character actress who first came to prominence following World War II in the film adaptations of Noel Coward's Blithe Spirit, and Oscar Wilde's The Importance of Being Earnest.

Born in Balham, Surrey, she was the only child of Mr. and Mrs. William Rutherford Benn. Her father suffered from mental illness for many years. He was also known as William Rutherford. On 4 March 1883 he murdered his own father, the Reverend Julius Benn, by battering him to death with a chamber pot. In 1904 he was re-admitted to Broadmoor ([1]), presumably for the remainder of his life.

She made her stage debut in 1925 at the Old Vic. However, her appearance was such that romantic heroines were almost out of the question, and she soon established her name in comedy, appearing in many of the most successful British films of the mid-20th century. In most of these films, she had originally played the role on stage. She married the actor Stringer Davis in 1945 and they often appeared together in films.

In 1961, she first played the film role with which she was most often associated in later life, that of Miss Marple in a series of films based on the novels of Agatha Christie. Rutherford took great umbrage when she learned that Christie had expressed concerns about her (Rutherford's) girth, as Miss Marple is usually portrayed and played as a trim, tallish spinster.

Rutherford won a Best Supporting Actress Oscar for The VIPs (1963), as the absent-minded Duchess of Brighton, opposite Elizabeth Taylor and Richard Burton, but she did not appear in person at the telecast to receive the award.

She was created an Officer of the British Empire (OBE) in 1961, and raised to Dame Commander (DBE) in 1967.

Rutherford was a cousin of the radical left-wing Labour politician Tony Benn.

She suffered from Alzheimer's disease at the end of her life, and died 11 days after her 80th birthday, of complications following hip surgery.

She is buried along with her husband, Stringer Davis, in the graveyard of St. James Church, Gerrards Cross, Buckinghamshire.

http://en.wikipedia.org/wiki/Margaret_Rutherford

Martha Graham
From Wikipedia, the free encyclopedia


Martha Graham (May 11, 1894 - April 1, 1991), an American dancer and choreographer, is known as one of the foremost pioneers of modern dance.

She was born in Pittsburgh, Pennsylvania and moved to California when she was 14 years old. After seeing Ruth St. Denis perform in the 1910s, she took an interest in dance. Not until the age of 22 (1916) did she pursue her interest professionally by enrolling at Denishawn. In 1925, Graham became a dance instructor at the Eastman School of Music and Theater in Rochester, New York. She later set out on her own with the support of Louis Horst, an accompanist whom she had got to know while training at Denishawn and who grew to be her musical mentor and lover. Graham founded her own company, the Martha Graham Dance Company, in 1926. Her unique movement style -- widely recognised for its principle of contraction and release -- and imagery reflected the modern art of the times.

At Bennington College in 1932, Graham founded the first-ever bachelor of arts degree in dance. In 1951, she was a founding member of the dance division of the Juilliard School.

In 1936, Graham made her defining work, "Chronicle", which signalled the beginning of a new era in contemporary dance. The dance brought serious issues to the stage for the general public in a dramatic manner. Influenced by the Wall Street Crash, the Great Depression and the Spanish Civil War, it focused on depression and isolation, reflected in the dark nature of both the set and costumes.

Graham's dancing life gradually came to a rest starting in the 1950s. In 1927, the Martha Graham Center of Contemporary Dance was established. One of her students was heiress Bethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established the Batsheva Dance Company in 1965, Graham became the company's first director, groomed its first generation of dancers, and made works for it.

In 1948, Graham married Erick Hawkins(a principle dancer in her company). She didn't want to marry, but after eight years of living together, he decided they should.

Her final dance performances came in the late 1960s, and from then on she focused on choreography. Some critics say that even though there is little physical record of her dancing, it is more memorable than her choreography. Graham continued working until her death from pneumonia in 1991 at the age of 96.

She was awarded the Presidential Medal of Freedom in 1976 by President Gerald Ford (the First Lady Betty Ford had danced with Graham in her youth).

In 1998, TIME magazine listed her as the "Dancer of the Century" and as one of the most important people of the 20th century.

http://en.wikipedia.org/wiki/Martha_Graham

Phil Silvers
From Wikipedia, the free encyclopedia


Phil Silvers (May 11, 1911 - November 1, 1985) was an American entertainer and comedy actor.

His best-known work is The Phil Silvers Show, a 1950s sitcom set on a US Army post in which he played Sergeant Bilko; the show was also often referred to by this name. He won a Tony Award for Top Banana in 1952 (it was turned into a film in 1954). The show's chief writer, Nat Hiken, was TV's first writer-producer, and Hiken helped set a high comic tone for the show through his inventive plots and snappy comedic repartee for the characters.

Born Philip Silversmith in Brooklyn, New York, Silvers was the youngest of eight children in a Russian Jewish family. His father was one of the workers on the early New York skyscrapers. Silvers started entertaining at age 11, when he would sing in theaters when the projector broke down (a common occurrence in those days). Two years later, he left school to sing professionally, before appearing in vaudeville as a stooge.

Silvers then landed work in short films, burlesque houses, and on Broadway, where he made his debut in the short-lived show Yokel Boy. The critics raved about Silvers, who was hailed as the bright spot in the mediocre play. He then wrote the revue High Kickers, until he went to Hollywood to star in films.

He made his film debut in Hit Parade of 1941 (1940) (his previous appearance as a pitch man in Strike Up the Band was cut). Over the next two decades, he appeared in character roles for MGM, Columbia, and 20th Century Fox, in such films as Lady Be Good, Coney Island, Cover Girl, and Summer Stock. When the studio system started collapsing, he then turned to television and more stardom in the role of Sgt. Ernie Bilko.

Throughout the 1960's, he appeared in films such as It's a Mad Mad Mad Mad World and A Funny Thing Happened on the Way to the Forum. He also guested on various variety shows such as The Carol Burnett Show, Rowan & Martin's Laugh-In, and The Dean Martin Show.

He famously starred as a guest in one of the famed British Carry On films, Follow That Camel (1967), as a Sergeant Bilko character in a spoof of the Foreign Legion films. Peter Rogers employed him to ensure the Carry On films' success in America.

His salary was £30,000, the largest Carry On salary ever, only later met by the appearance of Elke Sommer in Carry On Behind (1975). Despite his appearance in the film, he didn't ensure the film's success on either side of the Atlantic.

Famed voice actor Daws Butler employed an impression of Silvers as the voice of the Hanna-Barbera cartoon character Hokey Wolf and also used the same voice in numerous cartoons for Jay Ward. Furthermore, the premise of The Phil Silvers Show was the basis for the Hanna-Barbera cartoon Top Cat.

Silvers was very ill in the last few years of his life, even though he continued work into the early 1980s in film and TV, including a cameo appearance on Happy Days as the father of "Jenny Piccolo" (played by his real-life daughter Cathy Silvers). He died in 1985 of a heart attack at the age of 74.

In a 2005 poll to find The Comedian's Comedian, he was voted #42 on the list of the top 50 comedy acts ever by fellow comedians and comedy insiders.

http://en.wikipedia.org/wiki/Phil_Silvers

Mort Sahl
From Wikipedia, the free encyclopedia


Morton Lyon Sahl (born May 11, 1927) is a Montreal-born, Jewish actor/comedian/humorist credited with pioneering a style of stand-up comedy that paved the way for Lenny Bruce, Nichols & May, Dick Gregory, and others less famous. He also wrote some speeches for John F. Kennedy.


Life and career

His father was a court reporter and then became an FBI Administrator.

His family moved out to Los Angeles, California and when he was a young man joined the ROTC. Mort was drafted into the US Air Force and served at an Air Force Base in Alaska. After he left the USAF, he graduated from University of Southern California in 1950 with majors in traffic engineering and city management. After almost going broke, he began to do stand up comedy at The Hungry i in San Francisco where his vicious audience threw peanuts and pennies at him.

His humor was and remains based on current events, particularly politics, drawing many of his monologues from the day's newspaper headlines. His trademark gimmick was appearing on stage with a newspaper in hand, casually dressed in a pullover sweater.

After his friend became President, Sahl began to crack Kennedy jokes that were critical of his policies. Ed Sullivan refused to let him tell his JFK jokes on The Ed Sullivan Show on national televison. As a result, he fell out of the national spotlight for several years.

Following the John F. Kennedy assassination in 1963, Sahl's interest in who was behind it became so great that he became a deputized member of the team that District Attorney Jim Garrison created to investigate the assassination. As a result of this pursuit, Sahl's comedy took a back seat to his politics; his act started including readings and commentary on the Warren Commission Report. Between his anti-Kennedy jokes and his tantrums onstage against the Warren Commission, he alienated his audience. Due to blacklisting, his shows were cancelled, he was ignored and his income dropped down to $19,000 a year. However, the rising tide of counterculture in America fuelled his comeback to the stage and TV.

Sahl was married to Playboy Playmate China Lee until 1991.

During the 1980s, Sahl made many hard hitting jokes critical about his old friend President Ronald Reagan. Mort and China were then invited to visit the White House by Nancy Reagan, where Reagan then awarded and roasted Mort at a White House Gala/tribute in front of most of the other comedians. Mort told TV Interviewer Charlie Rose, "They are very, very forgiving."

In the 1988 presidential election, Sahl was the most prominent supporter of unsuccessful candidate Alexander Haig. [1]

His 19 year-old son, Mort Sahl Jr., died March 27, 1996. On his way to the funeral he met Delta Air Lines flight attendant Kenslea Sahl. They married in 1999.

Mort is listed #40 on Comedy Central's list of the 100 greatest standups of all time.

In an appearance on The Tonight Show Starring Johnny Carson in the 1970s, Sahl told Johnny this story: He said one time he was flying on Air Force One during the Kennedy years, when they hit a pocket of rough turbulence. JFK said to Mort, 'You know, if this plane crashed, we would probably all be killed, wouldn't we?' Sahl responded, 'Yes, Mr. President.' To which JFK then said, 'And it occurs to me that your name would be in very small print!'"


Quotations

About his ideology, "I'm not a Liberal, I'm a Radical!"

About Liberals and Conservatives, "Liberals feel unworthy of their possessions. Conservatives feel they deserve everything they've stolen."

About Politics & Evolution, "There were four million people in the American Colonies and we had Jefferson and Franklin. Now we have over 200 million and the two top guys are Clinton and Dole. What can you draw from this? Darwin was wrong!"

About George W. Bush, "He's the face on the can. But who canned that soup?"

About Richard M. Nixon, "Would you buy a used car from this man?"

About Cosmetic Sugery, "There's so much Botox around now that you can't tell when a Jewish girl is angry!"

About Comedy, "It has changed. It isn't funny anymore!"

To Otto Preminger about his film Exodus, "Otto - let my people go" (reputed - referring to its 220 minute length)

Asked his motto: "If you can't join them, beat them."

http://en.wikipedia.org/wiki/Mort_Sahl

A burley man goes into the dentists office with a very swollen jaw. The
dentist examines and tells him he has severely impacted wisdom teeth and
they must be extracted. He explained it would be very painful and
suggested sodium pentothal. The man said no so the dentist said he would
give him a local. He refused again and told the dentist to just pull
them out. With great strain the teeth were finally extracted and the man
didn't even flinch.
The dentist then asked him how he managed to withstand such pain and he
answered that he had already endured the two worst pains. "what were
those pains?"
"I was hunting and had to take a dump and squatted over a bear trap and
it closed on my privates." "what was the second pain?" "When I ran out
of chain!"

Good morning.

Now, how did our P.D. know that song was on my mind? It's that old synchro again, I guess.

No one sang that song like Bing (for me, ) with the exception of Andrea Marcovecchi, and I thank one of my A2K friends for making me aware of her. In addition to the above verses Andrea sings:

The scent of smoldering leaves
The wail of steamers
Two lovers on the street
They walk like dreamers.

First daffodils and long excited cables
And candlelight on little corner tables.

And still my heart has wings
These foolish things remind me of you.

You might like to add those lines, Letty.

<sigh>

Oops, I see Bob is here and it's picture taking time for me.

Well, folks. While we wait for Raggedy and her pictures, I must comment on that extra verse from These Foolish Things. A lovely addition, PA.

Hawkman, those where funny one liners by Mort. Loved 'em, honey. And yes, all of us here, even the ladies, can appreciate your joke. Adds new meaning to the expression, "no pain; no gain".

Ah, listeners. Our Raggedy just came up with Phil and Irving.

I am still amazed at how prolific Irving Berlin was and still is through the voices of others.

Here's one that is clever:

[1st verse:]
As a child I went wild when a band played
How I ran to the man when his hand swayed
Clarinets were my pets, and a slide trombone I thought was simply
divine
But today when they play I could hiss them
Ev'ry bar is a jar to my system
But there's one musical instrument that I call mine

[chorus:]
I love a piano, I love a piano
I love to hear somebody play
Upon a piano, a grand piano
It simply carries me away

I know a fine way to tickle a Steinway
I love to run my fingers o'er the keys, the ivories

And with the pedal I love to meddle
When Padarewski comes this way
I'm so delighted if I'm invited
To hear that long haired genius play

So you can keep your fiddle and your bow
Give me a P-I-A-N-O, oh, oh
I love to stop right beside an upright
Or a high toned Baby Grand

[2nd verse:]
When a green Tetrazine starts to warble
I grow cold as an old piece of marble
I allude to the crude little party singer who don't know when to pause
At her best I detest the soprano
But I run to the one at the piano
I always love the accomp'niment and that's because

I love a piano. <smile>

Good day all. Sorry to lower the tone, although I am in a bit of a rush…


"Heaven Can Wait"

MEAT LOAF lyrics -


Heaven can wait,
And a band of Angels wrapped up in my heart,
Will take me through the lonely night,
Through the cold of the day.
And I know, I know,
Heaven can wait,
And all the gods come down here just to sing for me,
And the melody's gonna make me fly,
Without pain, without fear.

Give me all of your dreams,
And let me go alone on your way.
Give me all of your prayers to sing,
And I'll turn the night into the skylight of day.
I got a taste of paradise,
I'm never gonna let it slip away.
I got a taste of paradise,
It's all I really need to make me stay
Just like a child again.

Heaven can wait.
And all I've got is time until the end of time.
I won't look back.
I won't look back.
Let the altars shine.

And I know that I've been released,
But I don't know to where,
And nobody's gonna tell me now,
And I don't really care. No, no, no.
I got a taste of paradise.
That's all I really need to make me stay.
I got a taste of paradise.
If I had it any sooner you know
You know I never would have run away from my home.

Heaven can wait.
And all I've got is time until the end of time.
I won't look back.
I won't look back.
Let the altars shine.

Heaven can wait.
Heaven can wait.
I won't look back.
I won't look back.
Let the altars shine.
Let the altars shine.

ah, our Try is in a bit of a rush. <smile>

It looks as though our heaven will have to wait, but remember:

Fools rush in where angels fear to tread
And so I come to you, my love, my heart above my head
Though I see the danger there
If there's a chance for me then I don't care

Fools rush in where wise men never go
But wise men never fall in love so how are they to know
When we met I felt my life begin
So open up your heart and let this fool rush in

I have found it best practice when at sea, to keep fools confined to the orlop deck.

Into the Mystic ~ Lyrics


We were born before the wind
Also younger than the sun
Ere the bonnie boat was won
As we sailed into the mystic
Hark, now hear the sailors cry
Smell the sea and feel the sky
Let your soul and spirit fly
Into the mystic

And when that fog horn blows
I will be coming home
And when that fog horn blows
I want to hear it
I don't have to fear it
I want to rock your gypsy soul
Just like way back in the days of old
Then magnificently we will float
Into the mystic
And when that fog horn blows
You know I will be coming home
And when this fog horn whistle blows
I got to hear it
I don't have to fear it
I want to rock your gypsy soul
Just like way back in the days of old
And together we will float into the mystic
Come on girl...

Well, Try, I'm coming. <smile> Fascinating song, incidentally.


Christina Rossetti - Echo

Come to me in the silence of the night;
Come in the speaking silence of a dream;
Come with soft rounded cheeks and eyes as bright
As sunlight on a stream;
Come back in tears,
O memory, hope, love of finished years.

O dream how sweet, too sweet, too bitter sweet,
Whose wakening should have been in Paradise,
Where souls brimfull of love abide and meet;
Where thirsting longing eyes
Watch the slow door
That opening, letting in, lets out no more.

Yet come to me in dreams, that I may live
My very life again though cold in death:
Come back to me in dreams, that I may give
Pulse for pulse, breath for breath:
Speak low, lean low
As long ago, my love, how long ago.

COME TO ME - Johnny Mathis

Come to me now that I have found you;
Come to me; wrap my love around you.
Look in my eyes; hear what they way.
Don't run away; stay, stay , stay.
*I'm on fire; let your lips caress me.
My desire is that you possess me.
Don't be afraid for love to come to you.
My lover, come to me; lover, come to me,
Come to me.

I'm on fire; let your lips caress me.
My desire is that you possess me.
Don't be afraid for love to come to you.
My lover, come to me; lover, come to me,
Come to me.

Looks like someone is in luck Edgar


Shania Twain ›
You're Still the One ~ Lyrics

(when I first saw you, I saw love. and the
First time you touched me, I felt love. and
After all this time, you're still the one I love.)

Looks like we made it
Look how far we've come my baby
We mighta took the long way
We knew we'd get there someday

Bridge:
They said, 'I bet they'll never make it'
But just look at us holding on
We're still together still going strong

Chorus:
(you're still the one)
You're still the one I run to
The one that I belong to
You're still the one I want for life
(you're still the one)
You're still the one that I love
The only one I dream of
You're still the one I kiss good night

Ain't nothin' better
We beat the odds together
I'm glad we didn't listen
Look at what we would be missin'

(bridge)
(chorus)
(chorus)

I'm so glad we made it
Look how far we've come my baby

A Certain Smile

A certain smile, a certain face
Can lead an unsuspecting heart on a merry chase
A fleeting glance can say so many lovely things
Suddenly you know why my heart sings

You love a while and when love goes
You try to hide the tears inside with a cheerful pose.
But in the hush of night exactly like a bittersweet refrain
Comes that certain smile to haunt your heart again


You love a while and when love goes,
You try to hide the tears inside with a cheerful pose.
But in the hush of night exactly like a bittersweet refrain
Comes that certain smile to haunt your heart again
Johnny Mathis

My favorite~

The Lady in Red ~ Lyrics

I've never seen you looking so lovely
As you did tonight
I've never seen you shine so bright
I've never seen so many men ask you
If you wanted to dance
Looking for a little romance
Given half a chance
I have never seen that dress you're wearing
Or those highlights in your hair
That catch your eyes
I have been blind

The lady in red
Is dancing with me
cheek to cheek
There's nobody here
It's just you and me
It's where I wanna be
I hardly know
This beauty by my side
I'll never forget
The way you look tonight

I've never seen you looking so gorgeous as you did tonight
I ve never seen you shine so bright
You were amazing
Never seen so many people want to be there by your side
And when you turned to me and smiled
It took my breathe away
I have never had such a feeling
Such a feeling of such complete and utter love
As I do tonight

The lady in red
Is dancing with me
cheek to cheek
There's nobody here
It's just you and me
It's where I wanna be
I hardly know
This beauty by my side
I'll never forget
The way you look tonight

The Twelfth Of Never

You ask how much I need you, must I explain?
I need you, oh my darling, like roses need rain.
You ask how long I'll love you; I'll tell you true:
Until the twelfth of never, I'll still be loving you.

Hold me close, never let me go.
Hold me close, melt my heart like April snow.

I'll love you till the bluebells forget to bloom;
I'll love you till the clover has lost its perfume.
I'll love you till the poets run out of rhyme,
Until the twelfth of never and that's a long, long time.

Hold me close, never let me go.
Hold me close, melt my heart like April snow.

I'll love you till the bluebells forget to bloom;
I'll love you till the clover has lost its perfume.
I'll love you till the poets run out of rhyme,
Until the twelfth of never and that's a long, long time.

Until the twelfth of never and that's a long, long time.
Johnny Mathis

Well, my goodness, folks. edgar and Try have been keeping our little station on the air with some great lyrics and melodies. Thanks, guys.

How about a little Frankie:


This time we almost made the pieces fit, didn't we?
This time we almost some sense of it, didn't we?
This time I have the answer right here in my hand,
Then I touched it, and it has turned to sand.
This time we almost sang the song in tune, didn't we?
This time we almost made it to the moon, didn't we?
This time, we almost made (almost made) a poem rhyme
And this time we almost made that long hard climb.
Didn't we almost make it this time... this time.

And for Walter and hamburger:

"Nicht Wir?" durch Frank Sinatra

Dieses Mal bildeten wir fast die gepaßten Stücke, nicht wir?
Dieses Mal wir fast etwas Richtung von ihr, nicht wir?
Dieses Mal habe ich das Antwortrecht hier in meiner Hand,
Dann berührte ich sie und sie hat an Sand gewendet.
Dieses Mal sangen wir fast das Lied in der Melodie, nicht wir?
Dieses Mal bildeten wir sie fast zum Mond, nicht wir?
Dieses Mal, bildeten wir fast (fast gebildet) einen Gedichtreim
Und dieses mal bildeten wir fast daß langer harter Aufstieg.
Nicht bildeten wir es dieses mal fast... dieses mal.