white Christmas

This nostalgic classic is listed in the Guinness Book of World Records as the best-selling single of all time. Irving Berlin wrote 'White Christmas' while in sunny California, telling his secretary, "Grab your pen and take down this song. I just wrote the best song I've ever written — heck, I just wrote the best song that anybody's ever written!" Bing Crosby debuted the song on his radio show The Kraft Music Hall on Christmas Day, 1941. He later recorded it with the John Scott Trotter Orchestra and the Ken Darby Singers as part of an album of songs from the film 'Holiday Inn'. It won the Academy Award for Best Original Song in 1942 and spent eleven weeks on top of the Billboard charts, as well as topping the Harlem Hit Parade. Decca re-released the single and it made it to the top of the charts during the holidays in 1945 and 1946, making it the only single to hit number one on three separate occasions. It made twenty separate appearances on the pop chart and has sold more than fifty million copies worldwide.

I'm dreaming of a white Christmas,

just like the ones I used to know

Where the treetops glisten and children listen

to hear sleigh bells in the snow

I'm dreaming of a white Christmas,

just like the ones I used to know

Where the treetops glisten and children listen

to hear sleigh bells in the snow

I'm dreaming of a white christmas,

with every Christmas card I write

May your days be merry and bright,

and may all your Christmases be white

I'm dreaming of a white christmas,

just like the ones I used to know

May your days be merry and bright,

and may all your Christmases be white

I'm dreaming of a white christmas,

with every christmas card I write

May your days be merry and bright,

and may all your Christmases be white

May your days be merry and bright,

and may all your Christmases be white

And may all your Christmases be white (All your Christmases be white)

And may all your Christmases be white (All your Christmases be white)

And may all your Christmases be

(All your Christmases be white)

(All your Christmases be white)

chattanooga choo choo

Glenn Miller and his orchestra had a runaway hit with this swingin' paean to a coal burning locomotive. 'Chattanooga Choo Choo' was written by Harry Warren and Mack Gordon while riding the Southern Railway's Birmingham Special; Warren did the music and Gordon the lyrics. Glenn Miller recorded the song for the film 'Sun Valley Serenade', starring Sonja Henie, John Payne, Milton Berle, and Joan Davis. In the film, it was part of a big production number with vocals by Tex Beneke, Paula Kelly, and the Modernaires; including a bit with Dorothy Dandridge and The Nicholas Brothers. Miller's 78-rpm single version spent nine weeks on top of the Billboard Best Sellers chart.

Pardon me boy, is that the Chattanooga Choo Choo?

Track twenty nine, boy you can gimme a shine

I can afford to board a Chattanooga Choo Choo

I've got my fare and just a trifle to spare

You leave the Pennsylvania station 'bout a quarter to four

Read a magazine and then you're in Baltimore

Dinner in the diner, nothing could be finer

Than to have your ham 'n' eggs in Carolina

When you hear the whistle blowin' eight to the bar

Then you know that Tennessee is not very far

Shovel all the coal in, gotta keep it rollin'

Woo, woo, Chattanooga, there you are

There's gonna be a certain party at the station

Satin and lace, I used to call funny face

She's gonna cry until I tell her that I'll never roam

bob dylan

Bob Dylan 
(born Robert Allen Zimmerman; May 24, 1941)

Man, myth, legend, jester, poet, painter, folkie, beatnick, rocker, bluesman, survivor; Bob Dylan has made an indelible mark on popular music. He started playing music during his youth in Minnesota and migrated to New York City to meet his hero Woody Guthrie in the hospital. He played small clubs and created a stir in the local folk scene. A review in the New York Times led to a contract with Columbia Records.

He was acclaimed as the voice of a generation early in his career; but he eschewed such appellations and went on to defy and confound expectations through a poetic exploration of the personal, political, and the profound.  He continues to perform live on what has been called  The Never Ending Tour.  










http://bobdylan.com/







all of the lyrics!!!!!!
http://www.bobdylan.com/us/songs

'Blowin' in the Wind' was derived from the old spiritual 'No More Auction Block' and became an anthem for the Civil Rights Movement.

"There ain’t too much I can say about this song except that the answer is blowing in the wind. It ain’t in no book or movie or TV show or discussion group. Man, it’s in the wind—and it’s blowing in the wind. Too many of these hip people are telling me where the answer is but oh I won’t believe that. I still say it’s in the wind and just like a restless piece of paper it’s got to come down some ...But the only trouble is that no one picks up the answer when it comes down so not too many people get to see and know ...and then it flies away I still say that some of the biggest criminals are those that turn their heads away when they see wrong and know it’s wrong. I’m only 21 years old and I know that there’s been too many ...You people over 21, you’re older and smarter."
https://www.youtube.com/watch?v=vWwgrjjIMXA

'Subterranean Homesick Blues' takes the talkin' blues form Dylan had explored through his early albums and literally electrifies it. The song borrows from Pete Seeger's 'Taking It Easy' and Chuck Berry's 'Too Much Monkey Business' and creates a whole new brand of music: folk rock. The song makes sweeping references to the cultural movements of the sixties and even the song that made him famous.

'This Wheel's On Fire' was recorded with the Band during the most prolific year of his life while he was recovering from a life-changing motorcycle crash in Woodstock, New York. Richard Danko co-wrote the song that wasn't officially released until 1975 as part of 'The Basement Tapes'.

"I had a dreadful motorcycle accident which put me away for a while, and I still didn't sense the importance of that accident till at least a year after that. I realized that it was a real accident. I mean I thought that I was just gonna get up and go back to doing what I was doing before ... but I couldn't do it anymore."

'Blood On The Tracks' was composed and recorded during his breakup with his wife Sarah. Dylan says the songs were inspired by the work of Anton Chekhov. 'Tangled Up In Blue' takes multiple perspectives and stories and weaves them into a shifting dreamlike narrative of love, loss, and hope.

'Gotta Serve Somebody' was the product of Dylan's becoming a born-again Christian. It won Dylan his first Grammy for Best Rock Vocal Performance by a Male in 1980.

"Towards the end of the show someone out in the crowd...knew I wasn't feeling too well. I think they could see that. And they threw a silver cross on the stage. Now usually I don't pick things up in front of the stage. Once in a while I do. Sometimes I don't. But I looked down at that cross. I said, 'I gotta pick that up.' So I picked up the cross and I put it in my pocket...And I brought it backstage and I brought it with me to the next town, which was out in Arizona...I was feeling even worse than I'd felt when I was in San Diego. I said, 'Well, I need something tonight.' I didn't know what it was. I was used to all kinds of things. I said, 'I need something tonight that I didn't have before.' And I looked in my pocket and I had this cross...There was a presence in the room that couldn't have been anybody but Jesus...Jesus put his hand on me. It was a physical thing. I felt it. I felt it all over me. I felt my whole body tremble. The glory of the Lord knocked me down and picked me up."

'Political World' was written spontaneously at a time when he was uninspired and signaled a new revitalized Dylan with 'Oh Mercy'. At the same time, he began working with the Traveling Wilburys and started his 'Never-Ending Tour'.

'Cold Irons Bound' came from the double-album 'Time Out Of Mind' which marked the beginning a a fertile decade of artistic and commerial success. The album won the Grammy for Album of the Year and this song won a Grammy for Best Rock Vocal Performance.

Comparing the recording of this album to his classic albums of the past, Dylan reflects that "those records were made a long time ago, and you know, truthfully, records that were made in that day and age all were good. They all had some magic to them because the technology didn't go beyond what the artist was doing. It was a lot easier to get excellence back in those days on a record than it is now.....The high priority is technology now. It's not the artist or the art. It's the technology that is coming through. That's what makes 'Time Out Of Mind'... it doesn't take itself seriously, but then again, the sound is very significant to that record. If that record was made more haphazardly, it wouldn't have sounded that way. It wouldn't have had the impact that it did.... There wasn't any wasted effort on 'Time Out Of Mind' and I don't think there will be on any more of my records."
https://www.youtube.com/watch?v=9hO-83CIVKM

God bless the child

Lady Day got her own with this song born out of an argument with her mother. During a disagreement over money, Holiday told her mother, "God bless the child that's got his own." The anger over the incident led her to turn that line into a starting point for a song, which she worked out with Arthur Herzog in 1939. It was first recorded on May 9, 1941 in New York City under the OKeh label. 'God Bless the Child' has received a Grammy Hall of Fame Award and has been named one of the Songs of the Century by the Recording Industry Association of America and the National Endowment for the Arts. The song refers to the parable of the good and faithful servant from Matthew 25:29: For everyone who has will be given more, and he will have an abundance. Whoever does not have, even what he has will be taken from him.





http://cdn.billieholiday.com/

Them that's got shall get
Them that's not shall lose
So the Bible says and it still is news
Mama may have, Papa may have
But God bless the child that's got his own
That's got his own

Yes, the strong gets more
While the weak ones fade
Empty pockets don't ever make the grade
Mama may have, Papa may have
But God bless the child that's got his own
That's got his own

Money, you've got lots of friends
Crowding round the door
When you're gone, spending ends
They don't come no more
Rich relations give
Crust of bread and such
You can help yourself
But don't take too much
Mama may have, Papa may have
But God bless the child that's got his own
That's got his own

Mama may have, Papa may have
But God bless the child that's got his own
That's got his own
He just worry 'bout nothin'
Cause he's got his own

weed smoker's dream / why don't you do right?

Kansas Joe McCoy wrote this jazz standard and recorded it with the Harlem Hamfats and then rewrote it five years later. The original song was subtitled 'Why Don’t You Do Now' and the rewrite was titled 'Why Don’t You Do Right?'




http://www.mccoybrotherstribute.com/

Sittin’ on a million

Sittin’ on it every day

Can’t make no money givin’ your

stuff away

Why don’t you do now

like the millionaires do

Put your stuff on the market

And make a million too

Fay's a betting woman

She bets on every hand

She's a trickin' mother for you every-

where she land

Why don’t you do now

like the millionaires do

Put your stuff on the market

And make a million too

May's a good-lookin' frail

She lives down by the jail

On her back though she got

hot stuff for sale

Why don’t you do now

like the millionaires do

Put your stuff on the market

And make a million too

'Why Don't You Do Right?' was recorded by Lillian "Lil" Green featuring Big Bill Bronzy on guitar in 1941.

A year later Peggy Lee did a version with Benny Goodman and it made it to number four on the charts and sold over a million copies. Lee confessed, “I was and am a fan of Lil Green, a great old blues singer, and Lil recorded it. I used to play that record over and over in my dressing room, which was next door to Benny’s. Finally he said, ‘You obviously like that song.’ I said ‘Oh, I love it.’ He said ‘Would you like me to have an arrangement made of it?’ I said, ‘I’d love that,’ and he did.”

In 1988, Amy Irving sang this version for Jessica Rabbit in the film 'Who Framed Roger Rabbit?'

Jessica Rabbit - Why don't you do right by sky1979

You had plenty money, 1922

You let other women make a fool of you

Why don't you do right, like some other men do?

Get out of here and get me some money too

You're sittin' down and wonderin' what it's all about

You ain't got no money, they will put you out

Why don't you do right, like some other men do?

Get out of here and get me some money too

If you had prepared twenty years ago

You wouldn't be a-wanderin' from door to door

Why don't you do right, like some other men do?

Get out of here and get me some money too

I fell for your jivin' and I took you in

Now all you got to offer me's a drink of gin

Why don't you do right, like some other men do?

Get out of here and get me some money too

Why don't you do right, like some other men do?

Like some other men do

take the a train

First recorded for radio broadcast, Sir Duke's signature tune showed everyone the way to Sugar Hill.

When the licensing fees charged by the American Society of Composers and Publishers (ASCAP) made it cost-prohibitive for Duke Ellington to play his own compositions during his live radio broadcasts, he appealed to Billy Strayhorn (who wrote for BMI) to come up with some new songs that he could play. The title came from the directions that Ellington gave Strayhorn to get to his apartment in Harlem. Ellington's son Mercer (who was also brought in to help compose new material) rescued a draft of the song from the trash after Strayhorn had dismissed it as too derivative of his hero Fletcher Henderson.

Twenty years later Ella Fitzgerald reinvented and revitalized the song with her scintillating scat.

Hurry Hurry Hurry
Take the a train
To get to sugar hill way up in Harlem
If you should take the a train
You'll get to where you're going in a hurry
Hurry, get on, now it's coming
Listen to those rails a-humming
If you miss the A train

You'll miss the quickest way to get to Harlem

boogie woogie bugle boy

The Andrews Sisters did their part for the war effort and made the company jump eight-to-the-bar. Dan Raye wrote the song (with Hughie Prince) based on an earlier tune of his called 'Beat Me Daddy, Eight to the Bar' which borrowed his drummer Ray McKinley's hipster shoutout when he wanted their piano man Freddie "Daddy" Slack to play them a boogie beat. Boogie Woogie Bugle Boy' was introduced in the Abbott and Costello film 'Buck Privates' about the peacetime draft and later received an Academy Award nomination for Best Song.






www.cmgww.com/music/andrews

He was a famous trumpet man from out Chicago way
He had a boogie style that no one else could play
He was the top man at his craft
But then his number came up and he was gone with the draft
He's in the army now, a-blowin' reveille
He's the boogie woogie bugle boy of Company B

They made him blow a bugle for his Uncle Sam
It really brought him down because he couldn't jam
The captain seemed to understand
Because the next day the cap' went out and drafted a band
And now the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

A-toot, a-toot, a-toot-diddelyada-toot
He blows it eight-to-the-bar, in boogie rhythm
He can't blow a note unless the bass and guitar is playin' with 'im
He makes the company jump when he plays reveille
He's the boogie woogie bugle boy of Company B

He was some boogie woogie bugle boy of Company B
And when he plays the boogie woogie bugle he was busy as a "bzzz" bee
And when he plays he makes the company jump eight-to-the-bar
He's the boogie woogie bugle boy of Company B

Toot toot toot-diddelyada, Toot-diddelyada, toot-toot
He blows it eight-to-the-bar
He can't blow a note if the bass and guitar isn't with 'im
ha-ha-hand the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

He puts the boys to sleep with boogie every night
And wakes 'em up the same way in the early bright
They clap their hands and stamp their feet
Because they know how he plays when someone gives him a beat
He really breaks it up when he plays reveille
He's boogie woogie bugle boy of Company B

Dat-da da-do-do da-dup
Dat-da da-do-do da-dup
Dat-da da-do-do da-dup
Dat-da da-do-do da-dup
ha-ha-hand the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B