DO YOU UNDERSTAND THE MADNESS: ROUND ONE

Image result for arranged marriage in painting

We attribute to every sporting contest a rivalry which may, or may not, exist.

We think we see love.  Which may not exist.

Most opponents are paired up by chance. The rivalry isn’t real.

In an arranged marriage, where love is the object, a thousand considerations and judgments will arise, as two people, forced into a relationship of love, are forced to overcome a potential horde of disgusts and dislikes, in order to love.

If one isn’t feeling the love, it isn’t going to happen; if a heavily romantic atmosphere is not artificially created, with a certain genius for love-design, given that most human beings are not exactly gods and goddesses, love of mutually strong attractiveness is, in fact, an extremely rare thing.

In combat, however, the randomly matched will have no problem working themselves up into a feverish madness to win; a great egoistic desire to vanquish the other, as if an overwhelming rivalry had existed for a lifetime, is easily attained.

The competitive conquers love—the hated is instantly fashioned; combat can be had for nothing. True love belongs to only the most miraculously fortunate.

The first thing we do when we land on the site of this year’s Scarriet March Madness tourney is wash ourselves in the simple outdoor shower, the rich jungle of the tropical isle stretching out from us in all directions.

The opening ceremony’s camaraderie is helped by symbols (mostly edible) and drink, and also the music from the loudspeakers—composed long ago by the early founders of the Madness.

This year we have songwriters, bands, poets, filmmakers, actors, and writers.

There are four brackets: song, film, poetry, and prose. The greatest words, expressing every aspect of human history: love, war, beauty, history, and rivalry.

Reproduction is not love; animals pair up, and reproduce, and yet—human love is mysteriously tied up with animal reproduction—this idea is wittily and breezily celebrated by Cole Porter in his famous song Let’s Do It—Let’s Fall In Love.

The Star Spangled Banner has an equally vital and universal theme: the landscape of a country, the bravery of its defense, the patriotic celebration of its freedom—no embarrassing love material in this song!

Is it ironic that the first team mentioned in our first contest features a song about “pairing up?”

Will Cole Porter win, or lose, against star spangled patriotism—a pairing of citizen and country?

These two songs. They don’t write them like this anymore. They don’t.

The Star Spangled Banner wins.

“Let’s do it” has met its match.

In the sunshine of this year’s Madness isle.

Where crowds of visitors gather in large numbers for the thrill.

Rivalry behind every tree.  Love on the top of every hill.

 

 

 

 

 

THE ONE HUNDRED GREATEST JAZZ VOCAL STANDARDS THAT WORK AS POEMS

When poetry was killed off in the first half of the 20th century by the tendentious artlessness of Modernism, did it go somewhere?

Yes. It went into popular music.

It went here:

Somewhere there’s music.
How faint the tune.
Somewhere there’s heaven.
How high the moon.

Somewhere there’s music.
It’s where you are.
Somewhere there’s heaven.
How near, how far.

The darkest night will shine,
If you come to me soon.
Until you will, how still my heart—
How high the moon.

Lyrics by Nancy Hamilton

The sultry romance of poetry, sentimental as it might be, just happens to be a significant template for poetry, the art.

Let us admit, at once, that this kind of poetry is perhaps the worst kind of poetry possible, whenever it fails, and it fails often.

This is perhaps why many conclude—in error—that poetry of romance is of a lesser quality than other kinds of poetry, an error which has been perpetuated by a certain tribe of academics.

The error comes from not examining the reason for this kind of poetry’s rather vast failure, which is twofold:

First, since sentimental love poetry is by far the most well-known and practiced of the templates, there will inevitably be a great number of failures, providing countless wretched examples for those looking to dismiss this kind of poetry as poetry.

Second, it is easy to fail in rather spectacular and embarrassing fashion when writing love poetry precisely because of the significance of the template itself.  The template lives in a place where all poetry lives—skill at meter, versification, sentiment, irony, universality, unity, richness, and originality will naturally aid the poet attempting love poetry, and, it also lives where we all live; because it lives close to the heart, to the social embarrassment, and drama, and ubiquitous nature of love and romance, writing this kind of poetry will have a greater risk of failure, since readers are passionately familiar with the tropes involved.

This does not mean, however, that this kind of poetry is inferior in any way to other types of poetry, and it may be superior, in fact, no matter what academics may say, and which is why, perhaps, it tends to be more popular—which should never be a strike against anything good.

Take a song like “Autumn Leaves.” One could almost say it’s inevitable that a song like this exist in the ‘jazz standard’ category, given the mood, subject and sentiment of the ‘jazz standard’ love song. Now the critic must ask: should such inevitability be held against “Autumn Leaves?” Or should we honor it for the very reason that its existence seems destined? We must know the category intimately to appreciate the example. The category is a simple one (not inferior for that reason) and consists of six sub-categories.

1. The Beloved Receives Heavenly Praise —All The Things You Are

2. Praise Without Quality (ironic, indirect) —My Funny Valentine

3. Love Gone Wrong (Revenge) —Cry Me A River

4. Love Gone Wrong (Resigned) —Autumn Leaves

5. Introspective (Narrator talks with their heart) —My Foolish Heart

6. Love Against the World (Time, Fortune, Necessity) —When Sunny Gets Blue

The whole category of the jazz standard is simple, but already we see some complexity. “Autumn Leaves” invokes, with its natural fact, the fourth sub-category—sad resignation of lost love—as we might expect; the leaves of “red and gold” falling past the window of the bereaved lover join other things in the mind: “summer kisses, the sunburnt hands I used to hold” and the dying leaves are then used with the idea of time, already invoked by “summer” (before the leaves fell) with: “but I miss you most of all, my darling, when autumn leaves start to fall.” This is rather brilliant. It is one thing to come up with autumn leaves as an image for the sad resignation of lost love, another to use the image economically and in a way that feels inevitable. The drawback to these songs working as poetry: extreme brevity within a simple and well understood context—is precisely that which allows us to see the challenge overcome if we are alive to both the challenge and the traditional actuality of the love lyric itself, so that instead of dismissing it for that reason, we instead appreciate what is, in fact, a poetic challenge, an extremely difficult one, to be poetically met and overcome.

The brevity of the effect in these songs is such that the title practically writes the song. The immediate is almost everything.

The jazz song usually has a lot of minor keys and notes (brilliantly used to multiple effects of course) with the general tendency to heaviness, intricate mellowness, and melancholy, so we would expect a lot of ‘love gone wrong’ and sad songs, and that’s what we do indeed have. This musical fact will of course impact the lyric. This general sadness is probably why jazz is not nearly as popular as other genres—but its poetry, as we attempt to isolate it, has its own, and under-appreciated, excellence, and the sad also happens to be a richer field for poetic loveliness.

As for jazz’s “sophisticated” reputation; the term is empty; there is nothing smarter about jazz; the ‘maudlin refined into beauty’ perhaps best sums it up; it cannot substitute long for the best of classical music, and the worst of it is horribly chained and pretentious.

Its reputation for being “sophisticated” may be due to the fact that jazz contains very little story-telling, and here is where jazz distinguishes itself from Folk and Country, its hayseed cousins. Frank Sinatra self-consciously introduced the slight exception, “It Was A Very Good Year,” which almost tells a story, as a “pretty folk song.” One can’t imagine Sinatra singing one of those endless folk ballads like “Frankie and  Johnny”—even though this song is on some ‘jazz standard’ lists. ‘True art’ has a certain reticence; the jazz femme fatale doesn’t say very much; as “Yesterday” puts it: “Why she had to go, I don’t know, she wouldn’t say.” The best heartaches are beyond analysis.

In fact, anyone who makes a list like this one has probably had their heart broken, has it associated with a song, which, for that reason, will not be on the list, the ultimate reticence of heart-broken cool. So if you notice a song you think should be on the list below and it is not, be comforted. The song is playing somewhere—and breaking a heart.

 

1. SOMEWHERE OVER THE RAINBOW “That’s where you’ll find me.” Poignantly ideal.

2. YESTERDAY Formally perfect.

3. SMILE Best and saddest advice.

4. AUTUMN LEAVES  “I see your lips, the summer kisses, but I miss you most of all when…”

5. STORMY MONDAY “Tuesday’s just as bad.”

6. MOON RIVER “waiting round the bend”

7. ALL THE THINGS YOU ARE “when all the things you are, are mine.”

8. THE VERY THOUGHT OF YOU “Your eyes in stars above…my love.”

9. MY FUNNY VALENTINE “Your looks are laughable, unphotographable”

10. DREAM A LITTLE DREAM OF ME “stars fading but I linger on”

11. DON’T GET AROUND MUCH ANYMORE “couldn’t bear it without you…”

12. MOONGLOW “way up in the blue…”

13. IT HAD TO BE YOU “even be glad, just to be sad, thinking of you.”

14. ALL OR NOTHING AT ALL “half a love never appealed to me”

15. WHAT A DIFFERENCE A DAY MADE “and the difference is you.”

16. SPEAK LOW “speak love to me and soon”

17. PENNIES FROM HEAVEN ” be sure your umbrella is upside down”

18. AS TIME GOES BY “hearts full of passion, jealousy and hate”

19. SUMMERTIME  beautiful impressionism.

20. I’LL NEVER SMILE AGAIN “until I smile at you.”

21. STARS FELL ON ALABAMA “we lived our little drama, we kissed in a field of white…”

22. I’M A FOOL TO WANT YOU “to want a love that can’t be true…”

23. HOW HIGH THE MOON “somewhere there’s music…”

24. CONQUEST “the hunter became the huntress”

25. SINGING IN THE RAIN “I’m laughing at clouds”

26. I LEFT MY HEART IN SAN FRANCISCO “little trolley cars climb halfway to the stars”

27. PRELUDE TO A KISS “that was my heart trying to compose a prelude…”

28. STRANGER IN PARADISE “if I stand starry-eyed…”

29. ALL OF ME “you took the part that once was my heart so why not take all of me?”

30. AINT MISBEHAVING “I’m home about eight, just me and my radio”

31. THE NEARNESS OF YOU “it’s not the moon that excites me…it’s just the nearness of you…”

32. UNFORGETTABLE “That’s why, darling, it’s incredible…”

33. THE MAN I LOVE “One day he’ll come along”

34. IT WAS A VERY GOOD YEAR “soft summer nights, we’d hide from the lights on the village green…”

35. QUIET NIGHTS AND QUIET STARS  “quiet thoughts and quiet dreams, quiet walks by quiet streams…”

36. WHO’S SORRY NOW? “Who’s heart is aching for breaking each vow”

37. I DON’T STAND A GHOST OF A CHANCE WITH YOU Well of course not if that’s your attitude!

38. THE LADY IS A TRAMP A unique way to admire.

39. THE GIRL FROM IPANEMA “she looks straight ahead not at me”

40. WHAT KIND OF FOOL AM I? “Who never fell in love” Sammy Davis Jr. nailed this.

41. WHEN YOU WISH UPON A STAR “makes no difference who you are…”

42. SEPTEMBER IN THE RAIN “The leaves of brown came tumbling down, remember…”

43. ALFIE “what’s it all about?”

44. MONA LISA “they just lie there and they die there…”

45. HAVE YOURSELF A MERRY LITTLE CHRISTMAS “a shining star upon the highest bow…”

46. A DAY IN THE LIFE OF A FOOL “a sad and a long lonely day…”

47. STARDUST “You wander down the lane and far away…”

48. WHEN I FALL IN LOVE “the moment I can feel that you feel that way, too…”

49. SEPTEMBER SONG “When the autumn weather turns the leaves to flame…”

50. FOOLS RUSH IN “but wise men never fall in love, so how are they to know?”

51. YOU’D BETTER GO NOW “I like you much, too much…”

52. JUST ONE OF THOSE THINGS “a trip to the moon on gossamer wings…”

53. BLUE MOON “I saw you standing alone…”

54. YOU BELONG TO ME “Fly the ocean in a silver plane, see the jungle when it’s wet with rain…”

55. I GOT IT BAD “and that ain’t good.”

56. IF I HAD YOU “I could start my life anew”

57. A KISS TO BUILD A DREAM ON “my imagination will thrive upon that kiss…”

58. WALK ON BY “and I start to cry…”

59. I THOUGHT ABOUT YOU “every stop that we made…And when I pulled down the shade…”

60. WHEN SUNNY GETS BLUE “Hurry new love, hurry here…”

61. THE GOOD LIFE “kiss the good life goodbye.”

62. IS THAT ALL THERE IS? “I remember when I was a little girl…”

63. STORMY WEATHER “Don’t know why there’s no sun up in the sky…”

64. TWILIGHT TIME “heavenly shades of night are falling…”

65. I’VE GOT YOU UNDER MY SKIN “I have tried so not to give in…”

66. EMBRACEABLE YOU  “you irreplaceable you…”

67. NICE WORK IF YOU CAN GET IT “won’t you tell me how?”

68. HERE’S THAT RAINY DAY “Where is that worn out wish that I threw aside…”

69. GEORGIA ON MY MIND “No peace I find, just an old sweet song…”

70. FOR ALL WE KNOW “Tomorrow may never come…”

71. MACK THE KNIFE “and he keeps it out of sight…”

72. I’VE GOT THE WORLD ON A STRING “I can make the rain go…”

73. CRY ME A RIVER “I cried a river over you.”

74. IF YOU GO AWAY  If you go away on this summer day…”

75. WHAT ARE YOU DOING THE REST OF YOUR LIFE? “East and west of your life…”

76. MY FOOLISH HEART “it’s love this time, it’s love, my foolish heart.”

77. ALMOST LIKE BEING IN LOVE “What a day this has been, what a rare mood I’m in, why it’s almost…”

78. LET’S DO IT  “even educated fleas do it…”

79. AINT SHE SWEET  “now I ask you very confidentially…”

80. LET’S CALL THE WHOLE THING OFF  “potato, potahto, tomato, tomahto…”

81. FLY ME TO THE MOON “let me find out what love is like on Jupiter and Mars…”

82. TILL THERE WAS YOU “There were bells on a hill, but I never heard them ringing…”

83. A STRANGER ON EARTH “The day’s gonna come when I prove my worth and I won’t be a stranger…”

84. I’LL BE SEEING YOU “I’ll be looking at the moon but I’ll be seeing you”

85. TROUBLE IN MIND “the sun’s going to shine through my back door one day”

86. ROMANCE IN THE DARK “we’ll find romance in the dark…”

87. SOMETHING Sinatra said this Beatle (Harrison) song was the best.

88. ON A CLEAR DAY “rise and look around you…”

89. THE MAN THAT GOT AWAY Made for Judy Garland.

90. IT’S ALL IN THE GAME “Many a tear has to fall…”

91. WHY SHOULD I CARE  “Will she wake up knowing you’re still there? And why should I care?”

92. LOVE IS HERE TO STAY “the Rockies may crumble, Gibraltar may tumble, they’re only made of clay…”

93. IT COULD HAPPEN TO YOU “Don’t count stars or you might stumble…”

94. I SURRENDER DEAR “We played the game of stay away…”

95. YOU DON’T KNOW WHAT LOVE IS “Until you’ve faced each dawn with sleepless eyes…”

96. COME RAIN OR COME SHINE “I’m gonna love you like nobody’s loved you”

97. LAURA “The laugh that floats on a summer night…”

98. I DIDN’T KNOW WHAT TIME IT WAS “And I know what time it is now”

99. DO NOTHING TILL YOU HEAR FROM ME “if you should take the word of others you’ve heard”

100. THEY CAN’T TAKE THAT AWAY FROM ME “the way we danced till 3”

 

 

 

THE TOP ONE HUNDRED POPULAR SONG LYRICS THAT WORK AS POETRY

The phatic is common to both song lyrics and poetry; music aids the lyric, condemning it to be not quite poetry forever, while poetry is its own music, condemning it to be naked without music forever.

The two are never reconciled—the standard of poetry is never–-never—reached by song lyrics, which breaks the poet’s heart, a heart which travels into music’s realm, shunning its help.  Madness and torture!  Why do the two exist–-never to meet!  Poetry and music!  Divided heart!  Divided mind!  Poor, divided mankind!

As a healing device, we list the top 100 Song Lyrics As Poetry of All Time, with the single criterion: when we hear the song, do the lyrics intoxicate us as much as the music?

Note we do not ask the song to be judged as poetry—as words on the page.   And yet—and yet—words are being judged.

The list below is not based on reading the lyrics alone on the page as if it were a poem, for this is to take the creature out of the water: we judge the lyrics with its music as poetry.

If an especially beautiful music accompanies the words of a particular song, making the words even more beautiful, we have to assume the words are responsible; the songwriter will sometimes experience this phenomenon: words inspire the music, as if the words and music were born together.  It is as if the music were an aura around the the words—words which nonetheless are not strong enough to be poetry, since they need the music.  We celebrate this paradox—in our list—of poems which are not poems.

If one were to boil down the two essential criteria they would be: 1. originality and interest and 2. strongly realized feeling or idea, but we’ll briefly comment on why for each song.

1 Perfect Day  (Lou Reed)  performed by Lou Reed   —Why: The haunting ambiguity: drug fix or romance? “I thought I was someone else, someone good”
2. Day In the Life  (Lennon/McCartney)  performed by The Beatles   –“Now they know how many holes it takes to fill the Albert Hall”
3. The Good Life  (Distel/Broussolle/Reardon)  performed by Nancy Wilson  –A love song with a tantalizingly puzzling message
4. Coming Back To Me  (Marty Balin)  performed by Jefferson Airplane  –“Through a window where no curtain hung I saw you…coming back to me…”
5. Like A Rolling Stone (Bob Dylan)  performed by Bob Dylan –“You shouldn’t let other people get your kicks for you”
6. America (Paul Simon) performed by Simon & Garfunkle –“Toss me a cigarette I think there’s one in my raincoat…”
7. Over the Rainbow  (Arlen/Harburg) performed by Judy Garland  –“That’s where you’ll find me”
8. Is That All There Is?  (Lieber/Stoller) performed by Peggy Lee  –A life-flashing-before-your-eyes song
9. Ruby Tuesday (Jagger/Richards) performed by Rolling Stones  –“She comes and goes, no one knows…”
10. Both Sides Now  (Joni Mitchell) performed by Judy Collins  –“I don’t know clouds at all…”
11. I Want You (Bob Dylan) performed by Bob Dylan  –“The cracked bells and washed out horns blow into my face with scorn…”
12. Forbidden Fruit (Oscar Brown Jr) performed by Nina Simone –“Eve and Adam had a garden, everything was great…”
13. American Pie (Don McLean) performed by Don McLean  –A perhaps overly sentimental tribute to Buddy Holly…”the day the music died…”
14. Lather (Grace Slick) performed by Jefferson Airplane  –A haunting lyric about growing up…”Lather was thirty years old today…”
15. She Loves You (Lennon/McCartney) performed by The Beatles  –“She” instead of “I” makes it a song about three people instead of two…
16. Me and Bobby McGee (Kris Kristofferson) performed by Janis Joplin  Best going-down-the-road song ever.
17. If You Go Away (Jacque Brel)  performed by Shirley Bassey  –One of those crushingly crushed-up love songs
18. Horse With No Name (Dewey Bunnell)   performed by America  –“The heat was hot…”  You can walk into this song…
19. Yellow Submarine (Lennon/McCartney) performed by The Beatles  –Intimates the ‘we’re-all-together’ spirit so nicely…
20. Jennifer Juniper (Donovan Leitch)  performed by Donovan  –“I am thinking of what it would be like if she loved me…”
21. Being for the Benefit of Mr. Kite (Lennon/McCartney) performed by The Beatles –Phantasmagoria at its best.  “And of course, Henry the horse…”
22. Maggie Mae (Stewart/Quittinton) performed by Rod Stewart  –“I suppose I could collect my books and get on back to school”
23. Play With Fire (Phelge) performed by The Rolling Stones  –“Well you’ve got your diamonds and you’ve got your pretty clothes…”
24. Mrs. Brown You Have A Lovely Daughter (T. Peacock) –The boy complains to the mother…different.
25. You’re Lost Little Girl (The Doors) performed by The Doors –The “little girl” is really the one in control; one can hear William Blake in it…
26. Sunny Afternoon (Ray Davies) performed by The Kinks  –“telling tales of drunkenness and cruelty…”
27. Yesterday (Lennon/McCartney) performed by The Beatles  –A simple, but perfect lyric: “yesterday came suddenly…”
28. Fakin’ It  (Paul Simon) performed by Simon and Garfunkle  –a  masterpiece of introspective nostalgia
29. Maxwell’s Silver Hammer (Lennon/McCartney) performed by The Beatles  –“Rose and Valerie screaming from the gallery…”
30. Just Like Tom Thumb’s Blues (Bob Dylan) performed by Bob Dylan  “When you’re lost in the rain in Juarez and it’s Eastertime too, and your gravity fails…”
31. Fire and Rain (James Taylor) performed by James Taylor  — a wreck of a song, in the best possible way…  “I always thought I’d see you one more time again…”
32. Irreplaceable (Beyonce, Ne-Yo, Eriksen, Hermansen, Lind, Bjorklund) performed by Beyonce  “You must not know ’bout me…”
33. Mona Lisa (Evans/Livingston) Nat King Cole –“They just lie there and they die there…Are you real, Mona Lisa?”
34. Cry Baby Cry (Lennon/McCartney) The Beatles  –“The duchess of Kircaldy always smiling and arriving late for tea…”  one of John’s best…
35. Night And Day (Cole Porter) Fred Astaire  –“in the roaring traffic’s boom, in the silence of my lonely room I think of you, night and day…”
36. As Time Goes By (Hupfeld)  Dooley Wilson  –“hearts full of passion, jealousy and hate…”
37. Ferry Cross The Mersey (Marsden) Gerry and the Pacemakers  –“we’ll never turn you away…”
38. Georgia On My Mind (Carmichael, Gorrell) Ray Charles  –“Georgia, Georgia, the whole day through…”
39. Ring Of Fire (Gilgore/Carter) Johnny Cash  –“the flames gettin’ higher…”
40. The End (Jim Morrison) The Doors  –“this is the end, beautiful friend, no safety or surprise, the end…”
41. The Times They Are A Changin’ (Bob Dylan)  Bob Dylan  –the ultimate protest/wake-up-to-reality song…
42. Everyday (White, Crisler)   Buddy Holly  –“Everyday, it’s a gettin’ closer, goin’ faster than a roller coaster…”
43. All You Need Is Love (Lennon/McCartney) The Beatles  –“There’s nothin’ you can’t do that can’t be done…”
44. This Land Is Your Land (Woody Guthrie) Woody Guthrie  –“This land was made for you and me…”
45. My Generation (Pete Townsend) The Who  –the slinging, self-righteous, celebratory anger of the 60s in 3 minutes…
46. Let It Be (Lennon/McCartney) The Beatles  –“Mother Mary comes to me…”
47. What’d I Say (Byrne/Robinson) Ray Charles  –“Tell me… What did I say?”
48. Sympathy For the Devil (Jagger/Richard) Rolling Stones  –Jagger wrote a Bob Dylan-type ballad and the Stones added mayhem..
49. Crazy (Willie Nelson) Patsy Cline  –“Crazy for cryin’ and crazy for tryin’…”
50. A Whiter Shade Of Pale (Brooker, Reid, Fisher) Procol Harum  –“and the waiter brought a tray…”
51. I Say A Little Prayer For You (Bacharach/David) Dionne Warwick –“The moment I wake up, before I put on my makeup…”
52. Dream A Little Dream Of Me (Gus Kahn) Mamas and Papas  –“Stars shining bright above you, night breezes seem to whisper I love you…”
53. California Dreamin’ (Phillips) Mamas and Papas  –“Well I got down on my knees and I began to pray…”
54. Hotel California (Felder, Henley, Frey) The Eagles  –“But they can never leave…”
55. Walk On By (Bacharach/David) Dionne Warwick  –“make believe that you don’t see the tears…”
56. Guess Who I Saw Today? (Grand/Boyd) Eartha Kitt  –what a beautifully constructed little urban story…
57. Lovely Rita (Lennon/McCartney) The Beatles  –“sitting on a sofa with a sister or two…”
58. White Rabbit (Grace Slick) Jefferson Airplane  –“and the white knight is talking backwards and the red queen is ‘off with her head!'”
59. My Favorite Things (Rodgers/Hammerstein) Julie Andrews  –“Raindrops on roses and whiskers on kittens…”  Keatsian.
60. Smoke Gets In Your Eyes (Kern/Harbach) The Platters  –“Now laughing friends deride…”
61. Stranger In Paradise (Borodin, Wright, Forrest) Tony Bennett  –“If I stand starry-eyed, that’s a danger in paradise…”
62. Misty (Garner/Burke) Johnny Mathis –“When I wander through the wonderland alone…”
63. (They Long To Be) Close To You (Bacharach/David) The Carpenters –“Just like me, they long to be close to you…”
64. Ain’t Misbehavin’  (Waller,Brooks, Razaff) Fats Waller –“I’m home about eight, just me and my radio…”
65. Don’t Get Around Much Anymore (Ellington/Russell) The Ink Spots –“They’d have asked me about you…”
66. I’ll Be Seeing You (Fain/Kahal) Billie Holiday –“In all the old familiar places that this heart of mine embraces…”
67. Mack The Knife (Brecht/Weil, Blitzstein) Bobby Darin  –“Oh the shark has pretty teeth, dear…”
68. Pirate Jenny (Brecht/Weil) Lotte Lenya  –“Asking me, kill them now, or later?”
69. Tiptoe Through The Tulips (Burke/Dubin) Tiny Tim –“tiptoe from the garden, by the garden of the willow tree…”
70. What Is And What Should Never Be (Led Zeppelin)  Led Zeppelin –“and if you say to me tomorrow oh what fun it all would be…”
71. Golden Vanity (anonymous) Pete Seeger –a tearful adventure novel packed into song…”and down sunk he…farewell, farewell to the Golden Vanity…”
72. Star Spangled Banner (Key) Various Artists  –“O say can you see, by the dawn’s early light?”
73. Tiny Dancer (John/Taupin) Elton John  –“Jesus freaks out on the street, handing out free tickets for God…”
74. White Christmas (Irving Berlin) Bing Crosy     Best-selling single of all-time, according to the Guinness Book of World Records
75. Barbara Allen (anonymous) Pete Seeger  –the most popular of the old ballads…”oh mother, mother go make my bed…”
76. Tenderly (Lawrence/Lawrence) Sarah Vaughan –“the evening breeze caressed the trees tenderly…”  this is not corny; this is poetry
77. Lady of Carlyle (anonymous) Pete Seeger  –another beautiful old ballad…”and for a space of half an hour, this young lady lay speechless on the ground.”
78. Take Me Home, Country Roads (Denver, Nivert, Danoff) John Denver  –a big, outdoors song, one the best…”Almost heaven, West Virginia…”
79. Winter Wonderland (Bernard/Smith) Various Artists –so many great Christmas songs, but this one is especially charming…
80. If I Had A Hammer (Seeger/Hayes) The Weavers –Pete Seeger, who cut Dylan’s cords at Newport, was Dylan before Dylan…
81. Wayfaring Stranger (anonymous) Burl Ives  –“I’m going there to see my father, I’m going there no more to roam…”
82. Silent Night (Gruber/Mohr) Various  –the Ur-Christmas carol…
83. Paint It Black (Jagger/Richard) Rolling Stones  –“I see a red door and I want to paint it black…”
84. Every Breath You Take (Sting) The Police –“I’ll be watching you…”
85. It’s All In The Game (Dawes/Sigman) Tommy Edwards  –“And your hearts will fly away…”
86. You’re So Vain (Carly Simon) Carly Simon –“And your horse naturally won…”
87. Killing Me Softly With His Song (Fox/Gimbel) Roberta Flack –“I felt he found my letters and read each one out loud…”
88. It’s My Party (Gluck, Gold, Weiner) Lesley Gore –“I’ll cry if I want to…”
89. The End Of The World (Shave, Smith, Pebworth, Astasio) Skeeter Davis  –“Don’t they know it’s the end of the world?”
90. Under the Boardwalk (Young/Resnick) The Drifters  –“People walking above…”
91. It’s Now Or Never (Schroeder, Gold) Elvis Presley –“Tomorrow will be too late…”
92. I Will Survive (Perren/Fekaris) Gloria Gaynor –“At first I was afraid, I was petrified…”
93. Moon River (Mancini/Mercer) Andy Williams –“we’re all after the same rainbow’s end…”
94. Paper Moon (Arlen,Harburg, Rose) Nat King Cole –“it’s only a paper moon over a cardboard sea, but I’ll believe in make-believe if…”
95. Bennie And The Jets (John/Taupin) Elton John  –“she’s got electric boots, a mohair suit, you know I read it in a magazine…”
96. Freed From The Gallows/Gallows Pole (anonymous) Ledbelly  “I think I see my mother coming, riding many a mile…”
97. She’ll Be Comin’ Round The Mountain (anonymous) Pete Seeger  –“she’ll be riding six white horses when she comes…”
98. Jam On Jerry’s Rocks (anonymous) Pete Seeger –“crushed and bleeding on the beach lay the form of young Monroe”
99. Come All Ye Fair And Tender Maidens (anonymous) Pete Seeger  –I wish I were a little sparrow and I had wings and I could fly…”
100. Groundhog (anonymous) Pete Seeger –“We’re all going out to hunt groundhog…”
101. September In The Rain (Warren/Dubin) James Melton –“The leaves of red and brown came tumbling down, remember?”
102. Pretty Polly (anonymous) Pete Seeger   –“Leaving nothing but the wild birds to moan.”   We had to include one murder song…
103. Danville Girl (anonymous)  Pete Seeger  –“She took me to her kitchen, she treated me nice and kind…”   And one hobo song…

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