T-titles

That Old Black Magic

As recorded by the Glenn Miller Orchestra on July 15th 1942 with Skip Nelson and the Modernaires.
Words by Johnny Mercer, music by Harold Arlen. (From the movie „Star Spangled Rhythm“)

That old black magic has me in its spell,
That old black magic that you weave so well
Those icy fingers up and down my spine,
The same old witchcraft when your eyes meet mine

The same old tingle that I feel inside,
And then that elevator starts its ride,
And down and down I go, round and round I go
Like a leaf that’s caught in the tide.

I should stay away, but what can I do?
I hear your name and I’m aflame,
Aflame with such a burning desire
That only your kiss can put out the fire...

For you’re the lover I have waited for,
The mate that fate had me created for,
And every time your lips meet mine,
Darling, down and down I go, round and round I go
In a spin, loving the spin I’m in
Under that old black magic called love!

That’s Sabotage

As recorded by the Glenn Miller Orchestra on June 17th 1942 with Marion Hutton.
Words by Mack Gordon, music by Harry Warren. (From the movie „Orchestra Wives“, featuring the Glenn Miller Orchestra!)

Baby, what’s wrong with you,
I can’t get along with you
When it comes to romance
You‘re never in the mood
I say „yes!“, you say „no!“,
I say „stop!“, you say „go!“
Lately, honey, I can't understand your attitude...:

If you don’t thrill me like you used to thrill me,
That’s sabotage,
If you don’t kiss me like you used to kiss me,
That’s sabotage,
When you hear sirens screaming
Those „be-alert“ alarms
Don’t run helter-skelter,
There’s a bombproof shelter
In my arms...

If you don’t thrill me like you used to thrill me,
That’s sabotage,
Some fifth-column jerk did his dirty work
And changed your mind about me
I can’t sleep
I‘ve got to keep my FB-eye on you
`Cause if you’ve been untrue,
That’s sabotage...

You don’t thrill me like you used to thrill me,
That’s sabotage,
Some fifth-column jerk did his dirty work
And changed your mind about me
I can’t sleep
I‘ve got to keep my FB-eye on you
`Cause, baby, you’ve become a habit
Please don‘t go and try to crab it
If you’ve been untrue,
That’s sabotage!

The Airminded Executive

As recorded by the Glenn Miller Orchestra on February 20th 1941 with Dorothy Claire, Tex Beneke and the Band.
Words by Johnny Mercer, music by Bernie Hanighen.

Life, Look, Pic, Peek always print a beautiful calf
And another thing they love
Is a certain photograph
You take the Time, Tide, Newsweek, ev‘ry editorial staff
Over a beer they agree
The man of the year
Is the airminded executive
Who dearly loves to fly
He was an up to date go-getter
His lady friend was even better
She went along to take a letter
Just to be nearby

The airminded executive
Will take off on the sly
He was a most romantic feller
And all the things he used to tell her
Above the roar of his propeller
Somewhere in the sky...

Foggy or fair,
Gotta be there
Lightin‘ a flare at the airport
Fillin‘ the tanks
Callin‘ the banks
Tellin‘ them, „Hold up the contract!“

Band:
Contact!*

Airminded executive became a wealthy guy
And so he wed his secretary
They settled down in Waterbury**
And they commute by stratos-ferry***
My, they love to fly
Even as you and I...

(Conversation between Tex Beneke and Dorothy Claire:)

TB:
(whistlewhistlewhistle)

DC:
Hi, Texecutive, whattaya say?

TB:
Ah man, I just flew in from the Milky Way

DC:
Well, how‘s the missis, Tex, can you stay a spell?

TB:
Ah, sure is nice to see you all, oh, well...
Foggy or fair, gotta be there
Meetin’ a square at the airport
Gotta arrive
Happy new jive
Maybe I’ll get me a contract

Band:
Contact!

All:
My, we love to fly!
Even as you and I...
My...!****

(*:In early aviation, when the pilot was ready to fly, he would set the start switch to a certain position so that when they pulled on the propeller the motor would start, and his signal to the ground crew was the word „contact“...
**: In the state of Connecticut, USA (it rhymes with secretary and stratos-ferry; that’s all, folks...)
***: mix of stratosphere and ferry
****:When they say MY at the end, they are copying what a vocalist with Tommy Dorsey did several years earlier: Edythe Wright would end with „My, My“. --–Notes by Andy Davison.)

The Angels Came Thru

As recorded by the Glenn Miller Orchestra on May 28th 1941 with Ray Eberle.
Words by Al Dubin, music by Ernesto Lecuona.

You wanted two little stars from the skies
There they are in your eyes
For the angels came thru
You wanted sunbeams to wear in your hair
Sure enough they are there
For the angels came thru

Then you wanted a love song
Angels composed it
Then they enclosed it
Deep in this red rose I give you

Then you wanted someone
Whose love wouldn’t die
Funny thing, so did I,
And the angels came thru...!

The Booglie Wooglie Piggy

As recorded by the Glenn Miller Orchestra on May 7th 1941 with Tex Beneke, Paula Kelly and the Modernaires.
Written by Roy Jacobs.

TB:
Take it from me:
I just found somethin‘ to see
Oh, it‘s a pig, it does the Boogie, yes, Siree,
And he really gets to do it solidly

MOD:
You mean he really gets to do it solidly...

This little piggie went to market*
This little piggie stayed home

TB:
But this little piggie was a booglie wooglie piggie
And he boogie-woogied all the way home

MOD:
This little piggie had roast beef
This little piggie had none

TB:
But this little piggie was a booglie wooglie piggie
And he...

ALL:
...did the Lindy** all the way home!

MOD:
Oink, oink!

TB:
Piggly wiggly piggie

MOD:
Oink, oink!

TB: Booglie wooglie woogie

MOD:
Oink, oink, oink, oink!
The booglie wooglie pigglie wiggly oink oink...

This little piggie dug two beats
This piggie thought the waltz was divine

TB:
But this little piggie was a hep little piggie
And he...

ALL:
...Boogie-woogied all of the time...!

(instrumental interlude)

MOD:
This little piggie dug two beats

PK:
This piggie thought the waltz divine

TB:
But this little piggie was a hep little piggie
And he boogie-woogied all of the time...

MOD:
This little piggie was a hep little piggie
And he boogie-woogied all of the time!

(*: This is a reference to a game parents play with their infant children‘s toes.
You start with the little toe and work across till you reach the big toe, so-- (little toe) this little piggy went to market, (next toe) this little piggy stayed home, (next toe) this little piggy had roast beef, (next toe) this little piggy had none. When you reach the big toe you say, this little piggy said wee, wee, wee all the way home. ---Notes by Andy Davison; additional help provided by Jim McCoy
**: The Lindy or Lindy Hop: THE dance of the 40s (sort of Rock’n‘ Roll predecessor).)

The Call Of The Canyon

As recorded by the Glenn Miller Orchestra on August 8th 1940 with Ray Eberle.
Written by Billy Hill.

Just a melancholy echo
Ling‘ring when the day is through
It’s the call of the canyon
Once again I’m dreaming of you
Every night I search the moonlight
Up and down the river shore
It’s the call of the canyon
Maybe I will see you once more

Standing there alone by the ashes
Of the fire we said would never die
Will I ever find an ember
Burning from the days gone by...?

Then I hear a lonely whisper
As a little spark I see
It’s the call of the canyon
Bringing back your answer to me!

The Chestnut Tree

As recorded by the Glenn Miller Orchestra on April 4th 1939 with Marion Hutton.
Words by J.& H. Kennedy, music by Hal Kemp; based on a poem („...under the spreading chestnut tree...“) by Henry Wadsworth Longfellow (1807 – 1832)

Underneath the spreading chestnut tree
I loved him and he loved me
There I used to sit up on his knee
´Neath the spreading chestnut tree

There beneath the boughs we used to meet
All his kisses were so sweet
All the little birdies went „tweet-tweet“
´Neath the spreading chestnut tree

He said „I love you“, and there ain’t no if‘s or but’s
I said „I love you“, and the blacksmith shouted „Chestnut!“

Underneath the spreading chestnut tree
There he said he’d marry me
Now you oughta see our family
´Neath the spreading chestnut tree!

The Cowboy Serenade

As recorded by the Glenn Miller Orchestra on June 25th 1941 with Ray Eberle.
Words and music by Rich Hall. (Featured in the Gene Autry movie „Cowboy Serenade“)

While I’m rolling my last cigarette
Sing the cowboy song I never will forget
Yippie-Kayeh, the sun’s almost set
And I‘m rolling my last cigarette

Through the sagebrush when evening is near
Comes that melody a cowboy holds so dear
Yippie-Kayeh, the sun’s almost set
And I‘m rolling my last cigarette

Come on, old paint, this time we’re trav’lin‘ alone
Gonna meet her where the good green pastures are grown

So while twilight and purple hills fade
From a campfire comes that cowboy serenade
Yippie-Kayeh, the sun’s almost set
And I‘m rolling my last cigarette...

The Cradle Song

As recorded by the Glenn Miller Orchestra on May 20th 1941 with Ray Eberle and chorus.
Written by Johannes Brahms.

So goodnight now once more
With roses roofed o‘er
All tied up with boughs
Slip under the clothes
When the morning shall break
Please the Lord, I will wake
When the morning shall break,
Please the Lord, I will wake...

Good night then once more
By angels watched o’er
In dreams thou shall see
A fair christmas tree
Go to sleep, close thine eyes
Thou shall see paradise
Go to sleep, close thine eyes
Thou shall see paradise...

Go to sleep, close your eyes
Thou shall see paradise...!

The Day We Meet Again

As recorded by the Glenn Miller Orchestra on June 27th 1939 with Ray Eberle.
Written by Jimmy Campbell and Will Grosz.

The day we meet again,
Though it may not be tomorrow,
We will soon forget our sorrow
On the day we meet again

Life will be sweet again
We’ll be wondering why we parted
We’ll be back to where we started
On the day we meet again

While there’s a star to shine
My heart has told you
No other arms but mine
Will ever hold you

The day we meet again
All our troubles will be ended
When two broken hearts are mended
On the day we meet again!

The Gaucho Serenade

As recorded by the Glenn Miller Orchestra on January 6th 1940 with Ray Eberle.
Written by Nat Simon, John Redmond and James Cavanaugh.

Every night when the moon is shining bright
Down in Rio Janeiro
Comes a gent with a mellow instrument
And a colorful sombrero
Then he sings and the melody he brings
So tenderly played
Is called the Gaucho Serenade

Si senor, he’s a happy troubador,
On a patio you‘ll find him
Si senor, he will go from door to door
Leaving happiness behind him
All the sweet senoritas hurry out
To join the parade
And hear the Gaucho Serenade
The Gaucho Serenade...

The Humming Bird

As recorded by the Glenn Miller Orchestra on June 17th 1942 with Marion Hutton, Tex Beneke and the Modernaires..
English words by Harold Adamson, music by Eldo Di Lazarro.

The happy humming bird
His song is never heard
But everybody is gay
When he comes winging their way
Around and round he’ll dance
While sweethearts all romance
He‘s just a merry old clown
Who can’t be settling down

While other birds are twittin‘
He‘s the guy who’s splittin‘
Ever see him sittin‘ in his nest?
He never was a singer
But he’s some humdinger
He can hum a ring around the rest

So when you’re feeling glum
Come take a lesson from
This tiny little Tom Thumb
And hear the humming bird hum
And hear the humming bird hum...

While the other birds are twittin‘
He’s splittin‘
Not sittin‘ in his nest
He‘s no singer
But he’s some humdinger
He can hum a ring around the rest

So when you’re feeling glum
Come take a lesson from
This tiny little Tom Thumb
And hear the humming bird hum...!

The Kiss Polka

As recorded by the Glenn Miller Orchestra on August 11th 1941 with Paula Kelly, Ernie Caceres and the Modernaires.
Words by Mack Gordon, music by Harry Warren. (From the movie „Sun Valley Serenade“, featuring the Glenn Miller Orchestra!)

Say, did you ever dance the Kiss Polka?
You can steal a kiss to this polka
She‘ll be shy when first you try
Then by and by
She'll say, „Yah, by yumpin' yimminy“*

You should always do the Kiss Polka
When there is a lovely moon above
It‘s a dance that you’ll be wild about
You kiss, kiss, kiss till you’re all kissed out
It’s so much fun
When it’s done
With the one you love...

EC:
Say how do she go, the Kiss Polka?
Down in Mexico, there’s no polka!
She‘s so shy when first I try
Then by and by
She say,
„Chico, no me beses porque mi mama me pega
Besame bonito y te amo!
(Translation)
Chico, don‘t kiss me or else my mother will beat me
Kiss me, honey, and I love you!

You should do the polka
Do the Kiss Polka
When there’s a lovely moon above
It‘s a dance that you’ll be wild about
You wanna kiss till you’re all kissed out
It’s so much fun
When it’s done
With the one
You love...!

*: If you were a native of Sweden (like Sonia Henie, the Swedish ice skater in the movie (who won some Olympic medals, by the way) and living in America, you would want to say, „Yes, by golly“, but with the Swedish influence it comes out like this... (notes by Andy Davison)

The Lady’s In Love With You

As recorded by the Glenn Miller Orchestra on April 4th 1939 with Tex Beneke.
Words by Frank Loesser, music by Burton Lane.

(Conversation between Glenn Miller and Tex Beneke:)

TB: (whistlewhistlewhistle)
GM: Hello there, Texas, whatcha say?
        I‘d like to bend your ear if you’re goin‘ my way!
TB: Okay, Glenn, what’s worryin‘ you?
       Tell me the story and I’ll see what I can do...
GM: Well, I got a new girl that‘s a real killer-diller,
        but I’m not so sure that she goes with Mr. Miller...
TB: Hhm, that’s nothin‘ to worry about,
       Man, don’t you know how to go about finding it out?
GM: No, you tell me, Texas!

TB: If there‘s a gleam in her eye
each time she straightens your tie
You know the lady’s in love with you
If she can dress for a date without that waitin‘ you hate
It means the lady’s in love with you...

And when your friends ask you over to join the table
But she picks a faraway booth for two,

Well, Sir, here’s just how it stands
You‘ve got romance on your hands
Because the lady’s in love with you!

The Lamp Is Low

As recorded by the Glenn Miller Orchestra on May 25th 1939 with Ray Eberle.
Words by Mitchell Parish, music by Peter DeRose and Bert Shefter. The melody is based on Maurice Ravel’s (1875 – 1937) „Pavane pour une enfante défunte“ (Pavane for a dead princess), composed in 1899.

Dream beside me in the midnight glow
The lamp is low
Dream and watch the shadows come and go
The lamp is low...

While you linger in my arms
My lips will sigh „I love you so!“

Dream the sweetest dream we’ll ever know
Tonight the moon is high, the lamp is low!

The Lamplighter’s Serenade

As recorded by the Glenn Miller Orchestra on February 18th 1942 with Ray Eberle and the Modernaires.
Words by Paul Francis Webster, music by Hoagy Carmichael.

A moment after dark
Around the park
An old-fashioned gent comes parading
Dressed in funny clothes
But singing as he goes
The lamplighter’s serenade

The old boy loves a talk
With couples on the walk
But when it’s half after love time
He reaches for his sticks
And from his bag of tricks
He lights every star in the sky

And if a lady or a beau should answer „no“
He sprinkles their hearts with his magic
Then he steals away to sing another day
The lamplighter’s serenade...

And if a lady or a beau
Should find the answer „no“
He sprinkles every heart with magic
Then he steals away to sing another day
The lamplighter’s serenade...!

The Little Man Who Wasn’t There

As recorded by the Glenn Miller Orchestra on July 12th 1939 with Tex Beneke.
Words by Harold Adamson, music by Bernie Hanighen.

Tex Beneke is whistling (whistlewhistlewhistle)...

Glenn Miller: Hello there, Texas, whatcha say?
Are you whistling in the dark just to scare the ghost away?

Tex Beneke: I know there’s something following me that I can’t see
Someone sure laid an awful hex on me!

Glenn Miller: A hex? Ah, Tex, that’s pretty far-fetched.
Man, I’d say you’re just a little bit tetched!

Tex Beneke: You’d got a load of what I saw last night
You’d pass the Yankee Clipper on its maiden flight!

Last night I saw upon the stair
A little man who wasn’t there
He wasn’t there again today
Oh, how I wish he’d go away...

When I came home last night at three
The man was waiting there for me
But when I looked around the hall
I couldn’t see him there at all!

Go away, go away, don’t you come back any more!
Go away, go away, and please don’t slam the door... (slam!)

Last night I saw upon the stair
A little man who wasn’t there
He wasn’t there again today
Oh, how I wish he’d go away!

The Man In The Moon

As recorded by the Glenn Miller Orchestra on September 3rd 1941 with Ray Eberle.
Words and music by Jerry Gray, Jerry Lawrence and John Benson Brooks.

The man in the moon is sure a friend of mine
That funny old moon is sure my lucky sign
The man in the moon brought me a thrill divine
When he helped me find the one I love

He sent down a beam that came from paradise
A silvery stream that took me by surprise
A wonderful dream was right before my eyes
That is how I found the one I love...

How would I have known that she was lonely?
So lonely and blue, she had been crying, too,
How would I have known that she was waiting
For someone to care and her whole life to share?

The man in the moon kept smiling up on high
That funny old moon kept winking with his eye
The man in the moon near tumbled from the sky
When he helped me find the one I love!

The Man With The Mandolin

As recorded by the Glenn Miller Orchestra on June 27th 1939 with Marion Hutton.
Written by James Cavanaugh, John Redmond and Frank Weldon.

...Here comes the man with the mandolin
He’ll cheer you up till your ship comes in
Loveable old fellow playing an old tune
He comes round every afternoon
Raggedy old minstrel wearing a big grin
You’ll love the man with the mandolin

All the kids follow, all the kids holler
To the windows above,
„Mama, throw a nickle, and the man will
Pick a little tune we love...“

Open your heart, let the music in,
There goes the man with the mandolin!

The Mem’ry Of A Rose

As recorded by the Glenn Miller Orchestra on December 27th 1940 with Ray Eberle.
Written by Jimmy Kennedy and Richard Young.

The mem’ry of a rose
Is with me as I wander
The mem’ry of a rose
She gave me long ago
As evening comes and goes
I dream she waits out yonder
And so I take my way
Day by day
With the mem’ry of a rose

One stolen hour, a promise broken carelessly
A lovely bride once said „I will“, but not to me...

The southwind when it blows
Brings only recollection
There’s nothing else to bring
So I cling
To the mem’ry of a rose...

The Nearness Of You

As recorded by the Glenn Miller Orchestra on April 28th 1940 with Ray Eberle.
Words by Ned Washington, music by Hoagy Carmichael.

It's not the pale moon that excites me,
That thrills and delights me,
Oh no, it's just the nearness of you...

It isn't your sweet conversation
That brings this sensation,
Oh no, it's just the nearness of you.

When you're in my arms
And I feel you so close to me,
All my wildest dreams come true

I need no soft lights to enchant me
If you'll only grant me the right
To hold you ever so tight
And to feel in the night
The nearness of you!

The Rhumba Jumps

As recorded by the Glenn Miller Orchestra on January 16th, 1940 with Marion Hutton.
Words by Johnny Mercer, music by Hoagy Carmichael.

There's a Harlem band way down in San Domingo
A very talented group
They kicked them off of a sloop
Even though the band can't understand their lingo
They're never down in the dumps
'Cause when the drummer boy thumps
The Rhumba jumps!

„Hep hep“, they hollered
The moment they landed,
„We've got a Rhumba the king once commanded“
Then they passed the tin*
And started in to play
The way they learned to play
Back in the USA!

Now they‘re on the air in San Domingo
Slappin' it up,
And I do declare those Harlem boys are
Wrappin' it up.
Folks in every land tune in on San Domingo
They're never down in the dumps
'Cause when the drummer boy thumps
The Rhumba jumps!

„Hep hep“, they holler,
„Stay right in your villa,
We’re on the air for a brand of vanilla
If you wanna dance
And wanna dance in style
You better turn your dial
To San Domingo Isle
And when you hear 'Ay-ay, hi-dee-ay-ay'
You know the reason why
The Rhumba jumps!“

(Whistlewhistlewhistle)
(Dialogue between Marion Hutton and Tex Beneke):

Marion Hutton:
Hello there, Texas, whatcha say?
Whatcha doin' back here in the USA?

Tex Beneke:
Well, Santo Domingo just wouldn’t let me be
So I ran out on my visa 'fore it ran out on me
But when I ran I was no chump
I shanghaied the drummer
The guy that made the Rhumba jump!

(*A tin, here, means: a collection plate for donations; street musicians do/did that. Annotation by Alan Glassnock)

The One I Love (Belongs To Somebody Else)

As recorded by the Glenn Miller Orchestra on January 17th 1941 with Ray Eberle and the Modernaires.
Words by Gus Kahn, music by Isham Jones (Written in 1924).

The one I love belongs to somebody else
She means a tender song for somebody else
And even when I have my arms around her
I know her cords are strong for somebody else

The hands I hold belong to somebody else
I‘ll bet they’re not so cold to somebody else

It’s tough to be alone on the shelf
It’s worse to fall in love by yourself
The one I love belongs to somebody else...

(There’ll Be Bluebirds Over) The White Cliffs Of Dover

As recorded by the Glenn Miller Orchestra on November 24th 1941 with Ray Eberle.
Words by Nat Burton, music by Walter Kent.

There’ll be bluebirds over
The white cliffs of Dover
Tomorrow, just you wait and see
There’ll be love and laughter
And peace ever after
Tomorrow, when the world is free

The shepherd will tend his sheep
The valley will bloom again
And Johnny will go to sleep
In his own little room again

There’ll be bluebirds over
The white cliffs of Dover
Tomorrow, just you wait and see...

The Sky Fell Down

As recorded by the Glenn Miller Orchestra on January 6th 1940 with Ray Eberle.
Written by Louis Alter and Edward Heymann.

The sky fell down when I met you
The green of the countryside had turned to blue
I had the moon right on my fingertips
And when first we kissed
There were stars on your lips

To be with you just made it seem
That walking on snowy clouds was not a dream
You gave to me all this and heaven, too
When the sky fell down
And I met you!

The Story Of A Starry Night

As recorded by the Glenn Miller Orchestra on December 8th 1941 with Ray Eberle.
Written by Al Hoffmann, Mann Curtis and Jerry Livingston.
The melody is taken from Symphony Nr.6 („The Pathetique“) by Russian composer Peter Tchaikovsky (1840 – 1893).

This is the story of a starry night,
The faded glory of a new delight
One breathless meeting,
Two lips repeating
Three precious words that were sweet but fleeting...

When stars are bright my heart keeps wondering why
Our first „goodnight“ became our last goodbye
I pray that someday
Love will in some way
Bring back the story of a starry night...

The Woodpecker Song

As recorded by the Glenn Miller Orchestra on January 29th 1940 with Marion Hutton.
English words by Harold Adamson, music by Eldo Di Lazzaro (Original Italian title: Reginella Campagnola)

He's up each morning bright and early
To wake up all the neighborhood
To bring to ev'ry boy and girlie
His happy serenade on wood

Hear him pickin' out a melody
Peck, peck, peckin' at the same old tree
He's as happy as a bumble bee
All day long

Come on and try that rhythm
Just let your heart beat with 'im
And when you hear that tick-a-tick-tick,
tick-a-tick-tick, tick-a-tick-tick,
Sing right along...

To serenade your lady
Just find a tree that's shady
And listen to that tick-a-tick-tick,
tick-a-tick-tick happy little Woodpecker Song!

This Changing World

As recorded by the Glenn Miller Orchestra on November 22nd 1939 with Ray Eberle.
Words by Harold Adamson, music by Dana Suesse.

This changing world, this changing scene
Where is it taking us, what does it mean?
As long as we‘re certain of each other
We know we don’t have to be afraid

These changing times we rise above
We have no time for them, we have our love
And love is the only thing that still remains the same
Through all this changing world!

This Is No Laughing Matter

As recorded by the Glenn Miller Orchestra on October 20th 1941 with Ray Eberle.
Words by Buddy Kane, music by Al Frisch.

This is no laughing matter
Somehow I want to cry
I know your sweet and idle chatter
Really means goodbye
This is no laughing matter
I thought we’d never part
This is no time for pretty patter
While you break my heart

What of all the moon dreams
Shared together beside a garden wall
Love can‘t always have that perfect weather
A little rain must fall

Think of the dreams you‘ll shatter
If you should say we‘re through
This is no laughing matter
Darling, I’m in love with you...!

This Time The Dream’s On Me

As recorded by the Glenn Miller Orchestra on September 3rd 1941 with Ray Eberle.
Words by Johnny Mercer, music by Harold Arlen. (From the movie „Blues In The Night“)

Somewhere some day
We’ll be close together, wait and see
Oh, by the way,
This time the dream‘s on me
You’ll take my hand
And you‘ll look at me adoringly
But as things stand,
This time the dream’s on me

It would be fun
To be certain that I’m the one
To know that I
At least supply
The shoulder you lean upon
To see you through
Till you‘re everything you want to be
It can’t be true
But this time the dream’s on me...!

Three Little Fishes

As recorded by the Glenn Miller Orchestra on April 10th 1939 with Marion Hutton and Tex Beneke.
Written by Saxie Dowell.
In this so-called „novelty“ song (which are supposed to be „funny“ in a certain way), Marion Hutton sings the lyrics in a more or less „normal“ fashion, while Tex Beneke repeats her lines muttering as if he had some severe speech impediment. Therefore, I will only list the Hutton part (anybody who’s ever heard this song will know what I’m talking about...)!

Down in the meadow where there lived a bitty poo
Swam three little fishes and a mama fishie, too
„Swim!“ said the mama fishie, „Swim if you can!“
And they swam, and they swam all over the dam...

„Stop!“ said the mama fishie, „or you will be lost!“
But the three little fishes didn’t wanna be bossed
The three little fishes went off on a spree
And they swam, and they swam right out to sea...

„Whee!“, yelled the little fishes, „Here’s a lot of fun,
We’ll swim in the sea till the day is done!“
They swam and they swam and it was a lark
Till all of a sudden they saw a shark...

„Help!“ cried the little fishes, „Gee, look at the whales!“
Quick as they could they turned on their tails
Back to the pool in the meadow they swam
And they swam and they swam back over the dam!

To You

As recorded by the Glenn Miller Orchestra on May 9th 1939 with Ray Eberle.
Written by Benny Davis, Ted Shapiro and Jimmy Dorsey.

To you, I give all of my heart and my love, to you,
To you, I’ll bring sunbeams from heaven above, to you,
To me, you’re an angel and you mean the world to me,
I’ll be forever yours...

Your smile made the clouds and the shadows on high take wings
Your kiss was a real inspiration to greater things

My dreams, I’m so thankful and grateful to say, came true,
I owe it all to you!

Too Romantic

As recorded by the Glenn Miller Orchestra on February 5th 1940 with Ray Eberle.
Words by Johnny Burke, music by James V. Monaco.

I’m so afraid of night ´cause I’m too romantic
Moonlight and stars can make such a fool of me
You know you’re much too near and I’m too romantic
Wouldn’t I be a sight on a bended knee?

I’m startled when you whisper
I’ll run if you should sigh
I must be so careful
Or I kiss my heart goodbye

You shouldn’t let me dream ´cause I’m too romantic
Don’t let me fall unless it could all come true!

Tuxedo Junction

The original Bluebird recording, dating from February 5th, 1940, is the well-known instrumental version. The lyrics presented here are taken from the sheet music (see below for more details).
The authors are stated as William Johnson, Julian Dash, Erskine Hawkins and Buddy Ferne.

Way down south in Birmingham,
I mean south in Alabam's* an old place
Where people go to dance the night away.

They all drive or walk for miles to get jive,
That southern style, Slow jive,
That makes you want to dance 'til break of day!

It's a junction
Where the town folk meet.
At each function**
In their tux they'll greet you!

Come on down,
Forget your cares
Come on down,
You'll find me there.
So long town,
I'm heading for Tuxedo Junction now!

(*contraction of the phrase: "in Alabam(a) is")

(**: A 'function' is a social gathering, as in the Charlie Barnet recording, "Midweek Function". It's an expression I have only heard used by black Americans, though it may be a southern USA regional expression, as well. - Notes by John Cooper)
(Jim McCoy, another big Miller expert, adds that "function" was quite common in his home state Texas; it refered to "any type of organized social gathering, like a dance or church function etc." In his college days, he says, they "even had an annual 'All-School Function', which was a picnic and play day gathering with school organizations competing in various picnic-type events.")

(Note: The above lyrics were kindly provided by Alan Glassnock (www.home.earthlink.net/~swingband2000 ) with the following commentary: "Here are the correct lyrics, as published on the original sheet music. Note that on some vocal recordings of Tuxedo Junction, the artists themselves may have taken liberties with the lyrics; most notably the version recorded by my friends, The Manhattan Transfer. Their recording uses the lyrics 'Blues' in place of 'Jive'.")

Another version of the lyrics shall be presented here for completion's sake. They are taken from a record which Dutch neo-swing singer Taco made in 1985. Unfortunately, I couldn't make out everything. Any help here would be very much appreciated (I could send you the .mp3-file at any time!).

Way down south in Birmin'ham
I mean south in Alabam'
There's a place where people go
To dance the night away

They all drive or walk for miles
To get Blues that southern style
So blue it will make you want to dance the night away
It's a junction where the townfolk meet
At each function
In advance they'll greet you

Way down south in Birmin'ham
I mean south in Alabam'
There's a place where people go
To dance the night away

It's a disco (???) where the townfolk meet
That ain't Frisco (???)
You can see them stomp their feet

Way down south in Birmin'ham
I mean south in Alabam'
There's a place where people go
To dance the night away...

Twilight Interlude

As recorded by the Glenn Miller Orchestra on August 1st 1939 with Ray Eberle.
Written by Al Jacobs and Peter Tinturin.

When twilight slowly lets her curtain down
And pins it with a single star
The sleeping memory awakes inside of me
And takes my heart to where you are

In meditation you are mine again
I kiss your lips and softly pray
This magic moonlit mood,
This twilight interlude
Will bring you back to me to stay!

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