Lyrics Read online

  has its points it’s true.

  But it has its drawbacks too.

  There is an appalling dearth

  of private time.

  Nine times out of ten

  it’s just a bore sublime.

  Chorus:

  A princess has a full-time job.

  She never

  has a chance to say

  I wonder what I’m

  going to do today.

  Her schedule

  is so awfully taken up that

  she is on the go

  from morning ‘til night

  And that isn’t right

  you know

  First we ride for an hour

  And then out to the bower

  for some tea

  and some very dreary talks

  And the evening abounds

  with impossible rounds

  of dancing and chatting

  and walks.

  In concluding

  my sad tale to tell.

  A princess has to

  go through – “well” (spoken)

  so terribly much

  I can barely restrain a sob.

  Yes, a princess

  has a full-time job!

  I can locate only the verse to a song called IN KING ARTHUR. Where the chorus went is anybody’s guess.

  Verse:

  In those days

  those far-off days.

  When knighthood was a flower.

  The men knew how

  to win their girls

  and get them in their power.

  Which, I suppose, gives you some notion of the musical’s plot. Since I didn’t write the book I don’t recall the story. I wrote music but there are no lyrics attached to some of it. Concluding the show was a lively chorus song. (At least it read lively on the ms.) No verse.

  LAUGHING IS EASY

  Laughing is easy

  if only you’re happy

  Just throw back your head

  and go ha-ha-ha-ha-ha!

  Laughing is easy

  The best way to prove it

  is try – is to try – is to try – is to try!

  Solo:

  Ask the wise man to tell you

  and he will certainly say

  the wisest man has a method

  of laughing and laughing

  his troubles away!

  Chorus:

  Laughing is easy

  the easiest thing

  in this silly old world

  full of weal and of woe.

  The point to our story

  is let yourself go – yourself go

  yourself go!

  And chase your troubles away!

  You’ll find they never stay!

  Never never stay

  never never stay

  (Alternate voices to get staccato effect)

  Ha-ha-ha-ha-ha!

  Ha-ha-ha-ha-ha-ha!

  Ha-ha-ha-ha!

  Ha-ha-ha-ha-ha-ha!

  (Heavy piano chord)

  HA!

  * * * *

  In the summer of 1947, while collaborating with a close friend, Norman Kennelly (a fellow Brooklynite) on a comedy which we hoped would be the 1948 Journalism show, I decided to write my own musical which I called O PIONEER! Whether or not I thought it might be a second entry into the J. Show contest is impossible to recall. It wouldn’t have mattered since I never finished it. The one remaining line of dialogue that comes to mind is from some old coot who chortles, “Slick as a peeled onion!”

  I did write two rather nice songs for the show. The first one was to occur during a religious meeting. It had no verse.

  GLORY BE!

  Glory be!

  At last I’ve found

  a spirit that will move me!

  Glory be!

  At last I see

  a hope that will behoove me

  To be good, to be kind

  and to find

  what I’m looking for!

  Glory be!

  I’ve heard a voice

  that’s not afraid to tell me to be free

  of all the woes and sadness

  That compel me

  To complain, to bemoan

  and to groan

  like I did before!

  And now I walk on high!

  I hold my head way up in the sky!

  The darkness flees

  and I’m alone

  where the sun is shining

  and the sun has shone!

  And I see the crumbling

  of the house the devil live is!

  And I’m free

  from grumbling for I know

  that trouble gives in

  If you know

  that the glow

  of the Lord

  is for free

  Glory be!

  Not too bad. And the other song was pretty good too. It was to be sung by the young heroine. (My daughter Alison – Ali – has recorded a lovely rendition of it.) There is a verse in this one.

  FOR A BOY WHO COULD CARE

  When I was a little girl (boy)

  My mother said

  you’ll wed

  some day.

  She promised that I’d find

  A husband (girl) who’s gentle, sweet and kind

  But I’m afraid

  he’s (she’s) stayed away.

  Chorus:

  For a boy (girl) who could care

  I would give everything I own

  just to have one who’s mine alone

  to always remain

  for a boy (girl) who could care

  There is nothing I wouldn’t do

  I would work all the long day through

  and never complain.

  I would cook for him (fight for her)

  and be good for him (her)

  I would do anything

  that I could for him (her)

  I’d make him (her) a home

  and he’d (she’d) never roam

  and we’d be happy there.

  If I could see

  in the future

  that’s meant for me

  when my life would completely be

  for a boy (girl) who could care.

  Not bad at all. Though we’ll never see it on stage. And the music – to be immodest – was… good. All right, pretty good. Modesty wins out.

  * * * *

  During that year, while I was visiting a fellow student – in Kansas City – I had a double date with the grand daughter of a well-known song-writer named Lucien Denni (his most famous composition was THE OCEANA ROLL.) The young lady gave me a melody sheet he’d written that read Words by Gwynne Denni but there were no lyrics on the ms. So we agreed that I would try writing some. As follows:

  I COULD BE

  Verse:

  It isn’t everyone

  Who gets a chance at royalty.

  But I know there’s a chance for me.

  There’s a wonderful chance for me.

  If I could make

  the “coup d’etat”

  that I am thinking of

  The crown that I

  soon would find

  Would be a crown of love.

  Chorus:

  I could be

  a king

  if only you would

  promise me

  You’d be my queen.

  For there’s nothing

  I couldn’t do

  if you were always there

  to stand beside me

  Just for me

  the King.

  The stars and moon

  would always have to shine.

  But the stars wouldn’t glow

  until I could know

  you were mine.

  So you see the choice

  is yours to make

  The world is all agreed

  It belongs to me

  eternally

  If only you’ll concede

  And place the crown

  upon my heart


  And then my private world

  Would come to me

  So you see

  that it’s up to you

  what I could be.

  * * * *

  I wrote the lyrics to a second tune by Lucien Denni, circa 1946. As follows:

  IF I CRY

  Verse:

  After we met

  I felt regret

  falling in love with you.

  I thought with despair

  you’d never care

  honest, I never knew.

  Chorus:

  If I cry

  when you say

  that you love me

  Then it’s only from happiness.

  I never thought

  you could care

  Now that it happened

  I can’t hide the tears.

  But it’s joy

  not despair

  that my heart feels.

  It’s sweet surprise

  that my eyes reveal

  I always loved you

  but thought your love

  would pass me by.

  So be kind, understand

  if I cry.

  Nothing happened to either song.

  Happily, the play Norman and I wrote won the 1948 J. Show contest over a musical written by Mel Mandel and a friend of his. I was going to direct our play but backed out, recognizing my lack of experience. It was directed by Bill Vaughn, a good friend and personal assistant to Donovan Rhynsburger, head of the University Drama Department.

  I did write all the songs for the show. I have (scant) recollection of where each song went in Act I. As a matter of fact I was under the impression that the song ABNORMAL YOU was presented in the 1947 J. Show IN KING ARTHUR. I noted it there, then came across a schedule by one of the two-piano “orchestra” (Louise Wolpert) for THE EYES HAVE IT which indicated ABNORMAL YOU three times, under both ACT I and ACT II. So there it is – with no memory in my fading brain as to when or how or by whom it was performed.

  The only song I know was performed in ACT I was by our good-looking hero, a young student named, I believe, Jim Shirley. No verse.

  IN THE NIGHT

  In the night

  When the light has died

  and the moon has come into view

  I wonder where you have gone.

  All I’ve had

  has been, sadly, taken.

  Every dream that used to enchant

  I feel that I can’t

  go on.

  Memory

  will never let me be.

  I’m always waiting

  for your return

  wishing upon a star.

  If I might

  have the wish I wish tonight

  I would never lose you again

  and always be where you are

  in the night.

  * * * *

  Apparently, I wrote two songs with the same approach – lamentation, by the hero, for a lost love. According to the schedule, both were performed in THE EYES HAVE IT. I remember it as being a comedy. Had some morose moments, I gather.

  I don’t have the full ms. at hand. What I recall of the lyrics is:

  HERE IN THE DARKNESS

  Here in the darkness

  I’m all alone

  No love to guide me

  I’m alone in the night.

  Here in the darkness

  the dreams I’ve known

  are all beside me

  in the night.

  There follows a bridge (I think it’s called) then, the somber conclusion.

  When love is gone

  you can’t go on.

  Here in the darkness

  Alone – alone.

  Just located the ms. The “bridge” as I called it, runs (or staggers) as follows:

  Bridge:

  The stars that I wished on

  the moon that I knew

  Disappear in the darkness

  of caring for you

  When you don’t care for me

  Don’t care for me

  And in my mind now

  I know that we

  Can never find now

  Love’s ecstasy.

  (when love is gone, etc.)

  I must have been in one gloomy state of mind around then. Norman should have given me a kick in the creative behind.

  * * * *

  My general attitude did not seem to lighten too much with my second song in ACT I – performed by (I believe) Jean Vickerstaff, a charming young student.

  WORDS

  Verse:

  Nothing is more annoying

  than a cloying

  sense of humor

  Nothing could be so irritating

  as idle flirting

  For every word

  and every phrase

  should certainly convey

  what’s deep in your heart

  But right for the start

  You haven’t been that way.

  Chorus:

  Words, words

  though they’re worthless to you

  Words, words

  if only you knew you

  fill my heart with sweet ecstasy

  when you whisper words unto me

  Though I fully realize

  that words you say to me are lies.

  That doesn’t change a thing

  ‘Cause I’m willing

  to let those words

  that I find

  so thrilling

  Deceive me

  with those words,

  words, words.

  * * * *

  I saw Jean at a neighborhood party years later. She was still charming.

  Several other people who were – or became – close friends during the show were, as I’ve indicated, my collaborator, Norman Kennelly who appeared in the chorus and Spencer Albert who played one of the leads. (I always regarded his acting style as Tom Hankish, totally unlabored.)

  Our choreographer for the show was a lovely young woman named Mary Bolton, a college dance instructor. I dated her but was not as nice to her as I should have been – she deserved more. But I was not in a particularly nice phase of my life being, I would guess, more intent on personal ambition.

  * * * *

  During the academic year, the university conducted a search for a new “fight” song intended, I imagine, for sporting events. Naturally, I entered the contest. My friends all liked my song. So did I.

  FIGHT ON MISSOURI!

  Fight on Missouri!

  Win your battle for the day!

  You have your honor

  to hold!

  Fight on Missouri!

  Sink the foe that’s in your way

  beneath a sea

  Black and gold!

  Though we win

  or we lose

  we will keep our heads

  ever high!

  But if we

  got to choose

  Then let win-win-win!

  be our cry!

  Fight on Missouri!

  Your sons and daughters

  are behind you

  We will root – root

  you through!

  they may shout “Hold that Tiger!”

  but they’ll never see it done!

  If you fight on, fight on

  FIGHT!

  Missouri U!

  Good melody too. I thought I might win that contest. I didn’t.

  * * * *

  Well, something positive must have happened to our hero or heroine in ACT I.

  BECAUSE OF YOU

  My heart is all aflame

  Because of you.

  The stars don’t seem the same

  Because of you.

  The clouds that filled my sky before

  have all been blown away

  and love has made a sky of blue

  for every day.

  What good was lover’s lane

  and twilight glow?

  Alone, the hours dragged.

  They seemed to
know.

  But then we met

  and all at once I knew

  That love was mine

  Because of you.

  Also listed on the schedule for ACT I, Scene 2 was

  IT’S A WONDERFUL LIFE! (I wrote it before the Frank Capra classic was released.)

  IT’S A WONDERFUL LIFE

  Can’t you tell It’s a Wonderful Life!

  Oh, yes, you know darn well

  It’s a Wonderful Life!

  Everything about living

  is lots more fun

  When you’re give-give-giving!

  Everytime you can smile when you’re sad

  You’ll change your frown away

  and the blues that you had!

  Force a smile if you have to

  that’s the best way to live!

  Laugh – ter!

  “Dat’s da tonic!” da doctor say

  So try it!

  Just try it any day!

  Tell your sister, your brother, your wife!

  Let everybody know

  It’s a Wonderful Life!

  Let’s all shout it together!

  It’s a Wonderful Life!

  * * * *

  ACT II will, largely, consist of descriptive material found in my notes, obviously material Norman and I prepared. The sequence is mostly sung.

  I think that SADIE was performed by Jean Vickerstaff.

  * * * *

  ACT II – Sc. 1

  It is the opening night of Van and Alec’s new show. The “Sadie” routine is one of the main production numbers of the show. There are six men arranged in a wide semi-circle around the bench on which Sadie sits. It is a park scene. The time is about 1910. The men are dressed in light suits, spats and straw hats; Sadie in wide skirt, bonnet and with a light parasol. The men all have handlebar mustaches.

  1st: You’re lovely

  2nd: You’re adorable

  3rd: But conditions

  4th: Are deplorable

  5th: Why won’t you please

  6th: Make up your mind?

  Goodness gracious Sadie honey

  5th: Can’t you see that it’s not funny

  4-1: And it isn’t just your coldness that we mind

  All: When you look at us

  We’re just like a burning house

  1-3: And just when we’re burning

  4-6: Just when we’re yearning

  All: You play with us just

  Like a cat plays with a mouse

  1st: You’re exceptionally

  2nd: Attractive

  3rd: You would make a corpse’s heart

  4th: Quite active