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ALSO BY MAX WILK
They’re Playing Our Song. Conversations with America’s Classic Songwriters
Contents
Author’s Note · November, 2007 ·
Author’s Note · 1973 ·
Preface · 1986 Edition ·
Foreword · 1973 with revisions and additions, 2007 ·
Introduction
“All the Things You Are” · Jerome Kern ·
“Three Little Words” · Kalmar and Ruby ·
“Tea for Two” · Vincent Youmans ·
“I’m in the Mood for Love” · Dorothy Fields ·
“Bewitched, Bothered, and Bewildered” · Lorenz Hart ·
“The Sound of Music” · Richard Rodgers ·
“This Was a Real Nice Clambake” · Oscar Hammerstein II ·
“Of Thee I Sing, Baby” · Ira Gershwin ·
“My Ideal” · Richard Whiting ·
“Thanks for the Memory” · Leo Robin ·
“Make Someone Happy” · Betty Comden ·
“Lullaby of Broadway” · Harry Warren ·
“Moon River” · Johnny Mercer ·
“Over the Rainbow” · Harold Arlen ·
“People Who Need People” · Jule Styne ·
“Bei Mir Bist Du Schön” · Sammy Cahn ·
“Tradition” · Bock and Harnick ·
“Taking a Chance on Love” · Vernon Duke ·
“Wish You Were Here” · Harold Rome ·
“On a Clear Day You Can See Forever” · Burton Lane ·
“Put on a Happy Face” · Lee Adams ·
“Oh, How We Danced” · Saul Chaplin ·
“Brother, Can You Spare a Dime?” · E. Y. Harburg ·
“Everything’s Coming Up Roses” · Stephen Sondheim ·
“Guys and Dolls” · Frank Loesser ·
“Always” · Irving Berlin ·
Coda. December 2007
Notes
Credits
The Making of the Sound of Music
Schmucks with Underwoods
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Some songwriters have pounded away at the piano all their lives and come up with a lot of songs but no hits. Some have hit it once—one song that remains in the public memory bank. When I was young, the entire country was suddenly delighted with a nonsense ditty called “The Music Goes Round and Round.” I leave it to other researchers to unearth what became of its authors, Mike Riley and Eddie Farley. Years later an obscure country-music fiddler named Al Dexter burst into success with a lament called “Pistol Packing Mama.” To the best of my knowledge, he never repeated it … nor did the authors of “Yes, We Have No Bananas” or “The Hut-Sut Song.”
But other songwriters have a long list of “standards”—successful songs that became lasting hits. People listened to their music, responded to it, hummed it. Sang the lyrics in the street, in the shower, or into some lady’s ear. Songwriters who have consistently turned out successes must certainly have something to communicate about the creative process of song-writing.
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