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S o u p s
On The Bookshelf
O
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W a f fl e s
POSITIVELY POETRY
from page 79
stature and his homosexuality which
no doubt led to his alcoholism and
bottomless well of depression.
Only the stoniest of hearts would
fail to be moved by Hart's poignantly
dejected words to "Glad to Be
Unhappy" or "It Never Entered My
Mind."
Its baffling, too, why the bios are
essentially the same length across the
board. How can giants like Cole
Porter and Irving Berlin receive the
same degree of ink as much lesser
lights?
Gottlieb and Kimball give welcome
credit to underappreciated African-
American lyricists like Andy Razaf
("Ain't Misbehavin") and the
Canadian-born but Detroit-raised
Shelton Brooks (who wrote Sophie
Tucker's signature tune, "Some of
These Days").
The editors rightfully credit Cecil
Mack's "That's Why They Call Me
`Shine— as "one of the most telling
comments on prejudice in popular
song," but although they include the
lyrics to Irving Berlin's "Supper Time,"
they don't mention the song's genesis
as a black woman's lament for her
lynched husband: "Supper time/ I
should set the table,/ Cause it's supper
time./ Somehow I'm not able,/ 'Cause
that man o' mine/ Ain't comin' home
no more."
The editors happily don't neglect the
works of lyricists whose stars may not
have been as bright as Porter's or
Johnny Mercer's but who made valu-
able contributions to the craft, such as
Ned Washington. ("My Foolish
Heart") or Bart Howard ("Fly Me to
the Moon.")
And they deserve accolades for
including Alan Jay Lerner's superb
lyrics to "I'm Glad I'm Not Young
Anymore," with its stinging indict-
ment of youth's supposed allure: "The
fountain of youth is dull as paint./
Methuselah is my patron saint."
There's also a section at the book's
conclusion where one-hit wonders are
recognized, from Nancy Hamilton's
"How High the Moon" to Larry
Conley's "A Cottage for Sale."
Even with its inevitable shortcom-
ings, Reading Lyrics is a welcome and
absorbing volume, one that makes
even a casual reader appreciate and
respect a craft where standards were
high, wit was rapier-sharp and words
were not only meaningful but, like
Hammerstein's "silver-white winters
that melt into springs," remain some
of our favorite things. E
BEHIND THE MUSIC
to-col
M e n u
from page 79
popularity and emotional power
— from sheet music and African
American jazz to World War II
and Frank Sinatra to movies like
the Wizard of Oz and Casablanca.
An index in the back separates
the songwriters' tunes by category
and another lists the 25 most per-
formed songs of the 20th century
as compiled by the American
Society of Composers, Authors and
Publishers (ASCAP). They are:
• "Happy Birthday to You," by
Mildred J. Hill and Patty Hill
• "Tea for Two," by Vincent
Youmans and Irving Caesar
• "Moon River," by Henry
Mancini and Johnny Mercer
• "Over the Rainbow," by Harold
Arlen and E.Y. Harburg
• "White Christmas," by Irving Berlin
• "Hello, Dolly," by Jerry Herman
• "As Time Goes By," by Herman
Hupfield
• "Blue Moon," by Richard
Rodgers and Lorenz Hart
• "Rhapsody in Blue," by George
Gershwin
• "Night and Day," by Cole Porter
• "Santa Claus Is Coining to Town,"
by J. Fred Coots and Haven Gillespie
• "Misty," by Errol Garner
• "Raindrops Keep Falling on My
Head," by Burt Bacharach and
Hal David
• "Mack the Knife" (theme from
The Threepenny Opera), by Kurt
Weill and Mark Blitzstein
• "Unchained Melody," by Alex
North and Hy Zaret
• "The Christmas Song"
("Chestnuts roasting"), by Mel
Torme and Robert Wells
• "Sweet Georgia Brown," by Ben
Bernie, Kenneth Casey and Maceo
Pinkard
• "Winter Wonderland," by Felix
Bernard and Richard B. Smith
• "I Left My Heart in San
Francisco," by Douglass Cross and
George C. Corey Jr.
• "I Only Have Eyes for You," by
Harry Warren and Al Dubin
• "I Got Rhythm," by George and
Ira Gershwin
• "The Way We Were," by Marvin
Hamlisch and Alan and Marilyn
Bergman
• "Star Dust," by Hoagy
Carmichael and Mitchell Parrish
• "I Could Have Danced All
Night," by Frederick Loewe and
Alan Jay Lerner
• "That Old Black Magic," by
Harold Arlen and Johnny Mercer Li
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