Tag Archives: verse and chorus

I HEAR AMERICA SINGING: TERRY BLAINE AND MARK SHANE (May 8, 2015)

This post is dedicated to my most beloved Big Sister, and I delight that she is around to read it and sing along.Shine-On-Harvest-Moon-1908

Here is the first part of the gorgeously expert yet unaffected concert that Terry Blaine (she of the wondrous heartfelt voice) and Mark Shane (our Swing Mozart) gave at the Croton Free Library on May 8, 2015.  The songs are HONEYSUCKLE ROSE, BREAD AND GRAVY, and MY MELANCHOLY BABY.

I knew the verse and chorus to HARVEST MOON, and many of you will, too:

First verse:

The night was mighty dark so you could hardly see,
For the moon refused to shine.
Couple sitting underneath a willow tree,
For love they did pine.
Little maid was kinda ‘fraid of darkness
So she said, “I guess I’ll go.”
Boy began to sigh, looked up at the sky,
And told the moon his little tale of woe:

Chorus:

Oh, Shine on, shine on, harvest moon
Up in the sky;
I ain’t had no lovin’
Since April, January, June or July.
‘s no time, ain’t no time to stay
Outdoors and spoon;
So shine on, shine on, harvest moon,
For me and my gal.

(I always heard “‘s no time” as “snow time,” which may make its own particular kind of sense.)

But wait!  There’s more!

SHINE ON HARVEST MOON was a theatrical presentation: the singer told a story.  So there’s a second verse.  What joy!

I can’t see why a boy should sigh when by his side
Is the girl he loves so true,
All he has to say is: “Won’t you be my bride,
For I love you,
I can’t see why I’m telling you this secret,
When I know that you can guess.”
Harvest moon will smile,
Shine on all the while,
If the little girl should answer “yes.”

I was half-weeping with joy and quietly singing along.  The experience of being in a room of people united by that impulse is wondrous.  And to be led by Terry and Mark means we were all in the best loving hands:

I saw, in the darkness behind the piano (out of camera view) the approving ghosts of Ethel Waters, Count Basie, Fats Waller, and Nora Bayes.

I wouldn’t want to go back to 1908.  No video cameras there; no blog.  But I dream wistfully of a time when everyone knew some of the same songs; when people sang along; when the common language was love, and about love.  Terry and Mark so sweetly embody that time in music.  I bless them.

May your happiness increase! 

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FATS FINDS ME

July 2009 New York 006

This wonderful jazz artifact emerged from an antique store somewhere near Hillsdale, New York — a hot little room with too much sheet music to go through in one visit.  (The double and triple copies of songs that must have been popular are always revealing: in Maine, everyone must have been singing CHONG, HE CAME FROM HONG KONG in 1931; here, I perceived a collective obsession with songs about Old Wyoming.  Go figure.)  I picked out about a dozen pieces of music — Ray Noble, Connee Boswell, and others — and took them to the counter to find out the prices the amiable proprietor had in mind.  Of course, when she began to mutter after every other sheet, “Oh, this one’s going to be expensive,” I knew I was in trouble.  But I had to have the Waller-Razaf one above.

I admire its Deco caricatures, top and bottom, as well as the list of other Waller-Razaf songs (all obscure) that made up the musical score.  And, of course, this post is another example of cyber cross-pollination: Ricky Riccardi — sole proprietor of The Wonderful World of Louis Armstrong online — has been posting extensively researched segments on Louis’s recordings of the song from 1929 on.  Extremely rewarding reading! 

But there’s more.  Songs of that period had both choruses and verses — the verse serving to set up the song’s dramatic situation.  And the whole idea of chorus and verse was tied to theatrical presentation.  AIN’T MISBEHAVIN’ has two simultaneous verses.  One I knew (as recorded by Seger Ellis and others) turns out to have been the boy’s part.  But I had never heard the girl’s . . .

Here they are, for your edification and for singing around the parlor piano.  Or perhaps in the car – – –

BOY:  Though it’s a fickle age, With flirting all the rage, Here is one bird with self-control; Happy inside my cage.

GIRL:  Your type of man is rare, I know you really care, That’s why my conscience never sleeps; When you’re away somewhere.

BOY:  I know who I love best, Thumbs down on all the rest, My love was given heart and soul; So it can stand the test.

GIRL:  Sure was a lucky day; When fate sent you my way, And made you mine alone for keeps, Ditto to all you say.

The Boy’s lines are slangy; the Girl’s much more sentimentally pedestrian (and perhaps the logic of her conscience never sleeping is awry) but they do Andy Razaf every credit. 

More purchases to share soon!