The Alphabet Song) (1948) 1-1 Each Night He Would Find Her There Swinging in the Coconut Tree

Aquellos Ojos Verdes 2-21 Aba Daba Honeymoon, The (1914) 1-1 See Green Eyes on page 46. (wm) Arthur Fields, Walter Donovan (RR) in the 1951 film: Two Weeks With Love by Debbie Reynolds & Carlton Carpenter 42nd Street Verse: See Forty-Second Street on page 42. ‘Way down in the Congo land lived a happy chimpanzee. She loved a monkey with a long tail. Lordy, how she loved him! A, You’re Adorable (The Alphabet Song) (1948) 1-1 Each night he would find her there swinging in the coconut tree. (wm) Buddy Kaye, Fred Wise, Sid Lippman (P) Perry Como. And the monkey gay, at the break of day, Loved to hear his Chimpie say: When Johnny Jones was serenading Mary He sure could quote a lot of poetry Chorus: “Aba, daba, daba, daba, daba,daba, dab,” But he’d much rather tell her Said the Chimpie to the Monk What he learned in his speller “Baba, daba, daba, daba, daba, daba, dab,” When they both attended PS 33 Said the Monkey to the Chimp All night long they’d chatter away, “A” you’re adorable All day long they’re happy and gay, “B” you’re so beautiful Swinging and singing in their honky, tonky way. “C” you’re a cutie full of charm “D” you’re a darling “Aba, daba, daba, daba, daba, daba, dab,” “E” you’re exciting Means “Monk, I love but you.” “F” you’re a feather in my arm “Baba, daba, dab,” in monkey talk “G” you look good to me Means “Chimp, I love you too.” “H” you’re so heavenly Then the big baboon, one night in June “I” you’re the one I idolize He married them and very soon “J” we’re like Jack and Jill They went upon their Aba Daba Honeymoon. “K” you’re so kissable “L” is the love light in your eyes Ac-cent-tchu-ate the Positive (1944) 2-1 “M,” “N,” “O,” “P” I could go on all day (m) Harold Arlen (w) Johnny Mercer (I) Film: Here Come the Waves “Q,” “R,” “S,” “T” alphabetically speaking you’re OK by Bing Crosby & Sunny Tufts. (P) Bing Crosby & The Andrews Sisters “U” make my life complete “V” means you’re very sweet Verse: Gather round me, ev’rybody, “W,” “X,” “Y,” “Z” Gather round me while I preach some, It’s fun to wander thru the alphabet with you Feel a sermon coming on me. To tell you what you mean to me The topic will be sin and that’s what I’m “a gin.” If you wanna hear my story Then settle back and just sit tight While I start reviewing the attitude of doing right. You’ve got to ac cent tchu ate the positive, E lim my nate the negative. Latch on to the affirmative, Don’t mess with Mister In between. You’ve got to spread joy up to the maximum, Bring gloom down to the minimum, Have faith, or pandemonium li’ble to walk upon the scene. To illustrate my last remark, Jonah in the whale, Noah in the Ark. What did they do just when ev’rything looked so dark? “Man,” they said, “We better ac cent tchu ate the positive, E lim my nate the negative. Latch on to the affirmative, Don’t mess with Mister In between. No! Don’t mess with Mister In between.” Page 1 Across the Alley from the Alamo (1947) 1-1 Ain’t Misbehavin’ (1929) 1-2 (wm) Joe Greene (P) The Mills Brothers (CR) Stan Kenton and his (w) Andy Razaf (m) Thomas “Fats” Waller, Harry Brooks (I) Night Orchestra Club Revue: Connie’s Hot Chocolates by Louis Armstrong; Recorded by Ruth Etting, Fats Waller, Louis Armstrong, Bill Robinson, Teddy Across the alley from the Alamo Wilson, The Mills Brothers Lived a pinto pony and a Navajo Who sang a sort of Indian hi-de-ho to the people passing by No one to talk with, all by myself The pinto spent his time a-swishin’ flies No one to walk with, but I’m happy on the shelf And the Navajo watched the lazy skies Ain’t Misbehavin’, I’m savin’ my love for you And very rarely did they ever rest their eyes I know for certain the one I love On the people passing by I’m thru with flirtin’, it’s just you I’m thinking of Ain’t Misbehavin’, I’m savin’ my love for you Bridge: One day they went a-walkin’along the railroad track They were swishin’ not a-lookin’ toot-toot they never came back Like Jack Horner, in the corner Across the alley from the Alamo Don’t go nowhere, what do I care When the summer sun decides to settle low Your kisses are worth waiting for, believe me A fly sings an Indian hi-de-ho to the people passing by I don’t stay out late, don’t care to go I’m home about eight, just me and my radio Across the alley from the Alamo [Fine] Ain’t Misbehavin’, I’m savin’ my love for you Lived a pinto pony and a Navajo Who used to bake frijoles in cornmeal dough For the people passing by Ain’t She Sweet (1927) 1-2 (w) Jack Yellen (m) Milton Ager (I) Paul Ash and his Orchestra They thought that they would make some easy bucks (RR) 1940’s by Jimmy Lunceford and his Orchestra If they’re washin’ their frijoles in Duz and Lux A pair of very conscientious clucks to the people passing by Ain’t she sweet? See her coming down the street Then they took this cheap vacation Now I ask you very confidentially: Ain’t she sweet? Their shoes were polish’d bright Ain’t she nice? Look her over once or twice No, they never heard the whistle Now I ask you very confidentially: Ain’t she nice? Toot-toot they’re clear out of sight Just cast an eye in her direction Across the alley from the Alamo Oh, me! Oh, my! Ain’t that perfection When the starlight beams its tender glow I repeat, don’t you think that’s kind of neat The beans go to sleep and there ain’t no dough And I ask you very confidentially: Ain’t she sweet? For the people passing by. Alexander’s Ragtime Band (1911) 2-1 Again (1949) (wm) Irving Berlin. Recorded in 1911 by Arthur Collins; Byron (w) Dorcas Cochran (m) Lionel Newman (I) Film Road House by Ida Harlan; Billy Murray. 1912 by Prince’s Orchestra; Victor Military Lupino (P) Vic Damone (P) Doris Day (P) Tommy Dorsey (P) Gordon Band (CR) Bing Crosby and Connee Boswell Jenkins (P) Vera Lynn (P) Art Mooney (P) Mel Tormé (P) Peggy Lee Verse 1: Oh, ma honey, oh, ma honey, Again, this couldn’t happen again. Better hurry and let’s meander. Ain’t you goin’, ain’t you goin’ This is that “once in a lifetime”, this is the thrill divine To the leader man, ragged meter man? What’s more, this never happened before Oh, ma honey, oh, ma honey, let me take you to Alexander’s Though I have prayed for a lifetime Grand stand, brass band. Ain’t you comin’ along? That such as you would suddenly be mine Refrain: Come on and hear, come on and hear Mine to hold as I’m holding you now yet never so near Alexander’s Ragtime Band. Mine to have when the now and the here disappear Come on and hear, come on and hear, What matters, dear, for when this doesn’t happen again It’s the best band in the land. We’ll have this moment forever, but never, never again They can play a bugle call like you never heard before, So natural that you want to go to war. That’s just the bestest band what am, honey lamb! Come on along, come on along Let me take you by the hand up to the man, up to the man Who’s the leader of the band. And if you care to hear that Swanee River played in ragtime Come on and hear, come on and hear Alexander’s Ragtime Band. Page 2 Alice Blue Gown (1916) 2-1 Christine: Say you love me every waking moment, (w) Joseph McCarthy (m) Harry Tierney (I) Musical Irene by Edith Turn my head with talk of summertime... Day (R) 1940 Film version by Anna Neagle (CR) Judy Garland Say you need me with you now and always... Promise me that all you say is true, that’s all I ask of you Refrain: In my sweet little Alice blue gown, When I first wandered down into town Raoul: Let me be your shelter, let me be your light I was both proud and shy, as I felt ev’ry eye, You’re safe, No one will find you But in ev’ry shop window I’d primp, passing by. Your fears are far behind you... Then in manner of fashion I’d frown Christine: All I want is freedom, a world with no more night And the world seemed to smile all around. And you, always beside me, to hold me and to hide me... Till it wilted I wore it, I’ll always adore it, My sweet little Alice blue gown.” Raoul: Then say you’ll share with me, one love, one lifetime Let me lead you from your solitude All Alone (1924) 2-2 Say you need me with you here, beside you..

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