Richard Rodgers was one of the theater’ greatest composers.  Diamonds attract pearls.  Rodgers attracted the best of his time.  When it came to lyricists, he had the great fortune of working with two of the very best.

Larry Hart

Lorenz “Larry” Hart was his first.  Some of his more famous lyrics include, “Blue Moon”, “Isn’t It Romantic?”, “The Lady Is a Tramp”, “Where or When”, “Bewitched, Bothered, and Bewildered”, “Falling in Love with Love”,  and “My Funny Valentine”.

Hart attended Columbia University, where a friend introduced him to Richard Rodgers, and the two joined forces to write songs for a series of amateur and student productions.  The great success of their score for the 1925 Theatre Guild production, The Garrick Gaieties, brought them great acclaim.

They continued working together until Hart’s death in 1943, along the way producing scores for a series of hit shows and making a substantial contribution to the Great American Songbook.

As a lyricist, Hart was an advocate of internal rhyme and multisyllabic rhyming, and his lyrics have often been praised for their wit and technical sophistication.

After one whole quart of brandy
Like a daisy, I’m awake
With no Bromo-Seltzer handy
I don’t even shake

Men are not a new sensation
I’ve done pretty well I think
But this half-pint imitation
Put me on the blink

I’m wild again, beguiled again
A simpering, whimpering child again
Bewitched, bothered and bewildered – am I

Couldn’t sleep and wouldn’t sleep
When love came and told me, I shouldn’t sleep
Bewitched, bothered and bewildered – am I

Lost my heart, but what of it
He is cold I agree
He can laugh, but I love it
Although the laugh’s on me

I’ll sing to him, each spring to him
And long for the day when I’ll cling to him
Bewitched, bothered and bewildered – am I

He’s a fool and don’t I know it
But a fool can have his charms
I’m in love and don’t I show it
Like a babe in arms

Love’s the same old sad sensation
Lately I’ve not slept a wink
Since this half-pint imitation
Put me on the blink

I’ve sinned a lot, I’m mean a lot
But I’m like sweet seventeen a lot
Bewitched, bothered and bewildered – am I

I’ll sing to him, each spring to him
And worship the trousers that cling to him
Bewitched, bothered and bewildered – am I

When he talks, he is seeking
Words to get, off his chest
Horizontally speaking, he’s at his very best

Vexed again, perplexed again
Thank God, I can be oversexed again
Bewitched, bothered and bewildered – am I

Rodgers and Hart

“Bewitched, Bothered and Bewildered” is a show tune and popular song from the 1940 Rodgers and Hart musical Pal Joey. The original lyrics present an unabashed celebration of feminine sexuality that has been bowdlerized in most covers to remove the song’s blatant sexual allusions. One such line is “When love came and told me I shouldn’t sleep,” replacing the original “Until I could sleep where I shouldn’t sleep”; another switch changed “And worship the trousers that cling to him” to “And long for the day I’ll cling to him.”

The authentic allusions are preserved in Frederica von Stade’s 1990 recording with the London Symphony Orchestra, and in the Patti Lupone recording of the 1995 City Center concert version.

Here’s another classic Larry Hart lyric.

Behold the way our fine feathered friend,
His virtue doth parade
Thou knowest not, my dim-witted friend
The picture thou hast made
Thy vacant brow, and thy tousled hair
Conceal thy good intent
Thou noble upright truthful sincere,
And slightly dopey gent

You’re my funny valentine,
Sweet comic valentine,
You make me smile with my heart.
Your looks are laughable, un-photographable,
Yet, you’re my favorite work of art.

Is your figure less than Greek?
Is your mouth a little weak?
When you open it to speak, are you smart?
But, don’t change a hair for me.
Not if you care for me.
Stay little valentine, stay!
Each day is Valentine’s Day

Is your figure less than Greek?
Is your mouth a little weak?
When you open it to speak, are you smart?
But, don’t change a hair for me.
Not if you care for me.
Stay little valentine, stay!
Each day is Valentine’s Day

I think one of my all-time favorite lyrics is

“You make me smile with my heart.
Your looks are laughable, un-photographable,
Yet, you’re my favorite work of art.

Pure Larry Hart.

Can’t resist another.  My favorite rendition of this song is actually sung by James Taylor.

My romance doesn’t have to have a moon in the sky
My romance doesn’t need a blue lagoon standing by
No month of May, no twinkling stars
No hide away, no softly guitars

My romance doesn’t need a castle rising in Spain
Nor a dance to a constantly surprising refrain
Wide awake I can make my most fantastic dreams come true

My romance doesn’t need a thing but you
My romance doesn’t need a thing but you

OK, so I’m a Larry Hart fan.  Here’s one of his best.

I work at the Palace ballroom, but gee that palace is cheap
When I get back to my chilly hall room, I’m much too tired to sleep
I’m one of those lady teachers, a beautiful hostess you know;
One that the palace features, at exactly a dime a throw.

Ten cents a dance, that’s what they pay me
Gosh how they weigh me down.
Ten cents a dance, pansies and rough guys, tough guys who tear my gown.
Seven to midnight I hear drums, loudly the saxophone blows,
Trumpets are tearing my ear-drums, customers crush my toes.

Sometimes I think, I’ve found my hero
But it’s a queer romance;
All that you need is a ticket,
Come on big boy, ten cents a dance.

Fighters and sailors and bow-legged tailors
Can pay for their tickets & rent me
Butchers and barbers and rats from the harbour
Are sweethearts my good luck has sent me

Thought I’ve a chorus of elderly beaus
Stockings are porous with holes at the toes
I’m here till closing time
Dance and be merry it’s only a dime
Sometimes I think, I’ve found my hero
But it’s a queer romance;
All that you need is a ticket.
Come on, come on big boy, ten cents a dance.

Oscar Hammerstein

Oscar Hammerstein is generally acknowledged as the King of the Broadway lyricists.  Not only was he a great lyricist, but he also wrote the books for his and Rodgers’ musicals.

They include:  Oklahoma!, Carousel, Allegro, South Pacific, The King and I, Me & Juliet, Flower Drum Song, and The Sound of Music as well as the musical film State Fair.  The history of the American Musical Theater in one short paragraph.

Hammerstein was the master of simplicity.  His lyrics spoke to millions and were as American as apple pie and yet as original as an elephant’s eye.

There’s a bright golden haze on the meadow
There’s a bright golden haze on the meadow
The corn is as high as an elephant’s eye
And it looks like it’s climbing right up to the sky

O what a beautiful morning, O what a beautiful day
I’ve got a beautiful feeling, everything’s going my way

All the cattle are standing like statues
All the cattle are standing like statues
They don’t turn their heads as they see me ride by
But a little brown mav’rick is winking her eye

O what a beautiful morning, O what a beautiful day
I’ve got a beautiful feeling, everything’s going my way

All the sounds of the earth are like music
All the sounds of the earth are like music
The breeze is so busy it don’t miss a tree
And an ol’ weeping willow is laughin’ at me

O what a beautiful morning, O what a beautiful day
I’ve got a beautiful feeling,  everything’s going my way

He was also a master at writing to character.  Here, in just the reading of this song, one knows the inside story of Ado Annie in Oklahoma!

Rodgers & Hammerstein

It ain’t so much a question of not knowin’ what to do.
I knowed whut’s right and wrong since I been ten.
I heared a lota stories and I reckon they are true
About how girls’re put upon by men.
I know I mustn’t fall into the pit,
But when I’m with a feller, I fergit!

I’m jist a girl who cain’t say no,
I’m in a turrible fix
I always say “Come on, let’s go”
Jist when I orta say nix!
When a feller tries to kiss a girl,
I know she oughta give his face a smack.
But as soon as someone kisses me,
I somehow, sorta, wanta kiss him back!

I’m jist a fool when lights are low
I cain’t be prissy and quaint
I ain’t the type that can faint
How c’n I be whut I ain’t?
I cain’t say no!

Whut you goin’ to do when a feller gits flirty,
And starts to talk purty?
Whut you goin’ to do?
S’posin’ ‘at he says ‘at yer lips’re like cherries,
Er roses, er berries?
Whut you goin’ to do?
S’posin’ ‘at he says ‘at you’re sweeter ‘n cream,
And he’s gotta have cream er die?
Whut you goin’ to do when he talks that way,
Spit in his eye?

I’m jist a girl who cain’t say no,
Cain’t seem to say it at all
I hate to disserpoint a beau
When he is payin’ a call!
Fer a while I ack refined and cool,
A settin on the velveteen setee
Nen I think of thet ol’ golden rule,
And do fer him what he would do fer me!

I cain’t resist a Romeo
In a sombrero and chaps
Soon as I sit on their laps
Somethin’ inside of me snaps
I cain’t say no

(Sigh)

(If you missed the beginning of this series, please start with The IRA Awards Part 1)

For more inspirational music, thoughts and ideas from Peter Link,
please visit Watchfire Music.

Even More Inspiration

• The Decline of Lyrical Craftsmanship – Part 1
• Tempo
• Goin’ Home – Digi-Book
• Wonderful
• Through An Open Door
• Kickstarter.com Campaign – I

James Taylor

If you were to ask me, “Who has been your favorite pop star throughout your life?” I’d have to answer that it is a tie between The Beatles and James Taylor.  Perhaps that dates me; perhaps, on the other hand, it doesn’t.  Both have had such musically triumphant careers and both are sure to be long lasting.

Also both churned out mountains of great music and for me that’s the bottom line.  The Beatles were perhaps more eclectic, but Sweet Baby James was, well, just so sweeeet!

As a lyricist, James can be somewhat impressionistic like Paul and Joni, but also could just nail it down with the best of them.  He wrote this song for a musical, “Working”, and as a story-telling song, it’s one of the best.  It wins my Ira Award for Best Song for a Musical Written by a Pop Star.

Now my grandfather was a sailor

He blew in off the water

My father was a farmer

And I, his only daughter

Took up with a no good mill working man

From Massachusetts

Who dies from too much whiskey

And leaves me these three faces to feed

Millwork ain’t easy

Millwork ain’t hard

Millwork it ain’t nothing

But an awful boring job

I’m waiting for a daydream

To take me through the morning

And put me in my coffee break

Where I can have a sandwich

And remember

Then it’s me and my machine

For the rest of the morning

For the rest of the afternoon

And the rest of my life

Now my mind begins to wander

To the days back on the farm

I can see my father smiling at me

Swinging on his arm

I can hear my granddad’s stories

Of the storms out on Lake Eerie

Where vessels and cargos and fortunes

And sailors’ lives were lost

Yes, but it’s my life has been wasted

And I have been the fool

To let this manufacturer

Use my body for a tool

I can ride home in the evening

Staring at my hands

Swearing by my sorrow that a young girl

Ought to stand a better chance

So may I work the mills just as long as I am able

And never meet the man whose name is on the label

It be me and my machine

For the rest of the morning

And the rest of the afternoon

Gone for the rest of my life

Then James can turn around and write with great depth sharing his own spiritual corner on life with us in this wonderful insight into his style of life.  This song expresses the nature of James the best for me, capturing the essence of the man better than any of his others.  I like to think of him sitting out on his back porch in the Berkshires, pen in one hand, guitar in the other.

The secret of life is enjoying the passage of time

Any fool can do it

There ain’t nothing to it

Nobody knows how we got to

The top of the hill

But since we’re on our way down

We might as well enjoy the ride

The secret of love is in opening up your heart

It’s okay to feel afraid

But don’t let that stand in your way

‘Cause anyone knows that love is the only road

And since we’re only here for a while

Might as well show some style

Give us a smile

Isn’t it a lovely ride

Sliding down

Gliding down

Try not to try too hard

It’s just a lovely ride

Now the thing about time is that time

Isn’t really real

It’s just your point of view

How does it feel for you

Einstein said he could never understand it all

Planets spinning through space

The smile upon your face

Welcome to the human race

Some kind of lovely ride

I’ll be sliding down

I’ll be gliding down

Try not to try too hard

It’s just a lovely ride

Isn’t it a lovely ride

Sliding down

Gliding down

Try not to try too hard

It’s just a lovely ride

Now the secret of life is enjoying the passage of time

James has had a great effect on me in my life and in my music.  His mastery of chord progressions and guitar meanderings always blows my mind and stimulates my imagination.  Musically, he is probably my biggest influence.  When his new CDs come out, I’m always first in line, knowing that in a short time I’ll be lying on the couch back home with my headphones on, a big smile upon my face and wonder in my heart.

I don’t know that his lyrics have had a similar impact, but I do know that one of my favorite songs I’ve ever written came from the wish to some day be able to write a song like the one above, “Isn’t It A Lovely Ride.”

This next song, as beautifully sung by Jenny Burton, is definitely a reaction to my hero, Sweet Baby James, and my own shot at putting my stamp on my own soul.

When I consider the heavens

The works of Thy fingers

The moon and the stars

You ordained

When I consider a child

The steps that he’s taking

His light and his joy

So ingrained

When I think of the way

That each breath comes unnoticed

Sustaining this delicate life

I am swept off my feet

In breathless wonder

At the mystery of life

When I consider the music

Of all the great masters

And know it was You

They all heard

And the works of our Shakespeares

King Davids and Keats

You gave them each

Every word

When I contemplate

The pure fabric of nature

Bewildered by all we have learned

I am swept off my feet

In breathless wonder

At the miracle of life

And I think on these things

And the wonder life brings

From the greatest of things to the small

And though I spend my life

Searching life’s solemn secrets

I know I’ll never know all

As I ponder the atom

The boundless vast ether

The billions of lives

On this stone

I consider the gift

Of God’s imagination

And begin to explore

The unknown

But this whimsical world

It just slips through my fingers

As I try to hold on to the air

And I’m swept off my feet

In breathless wonder

At the miracle of life

And I think on these things

Yes I think on these things

And the wonder life brings

Even More Inspiration

• The Ira Awards Part 2
• Kickstarter.com Campaign – I
• WFM Listening Room – Series II Finale
• WFM Listening Room Series II – 3
• Progress Afoot
• Life At Its Best

Fairly soon after I got here, I landed a job selling orange drink in an intermission refreshment stand at Carnegie Hall. I fairly quickly rose through the ranks to assistant bartender in the intermission café.

One of my duties every Saturday afternoon was to restock all the refreshment stands on each tier of the hall. I would come in around 2:00 in the afternoon before the evening concert and schlep cases through the empty hall to the tiers.

On one particular Saturday afternoon before a James Taylor concert, being a big fan of Sweet Baby James, I was fascinated with the setting up of the stage for the concert.

As the afternoon went by and I schlepped and the roadies worked on stage setting up speakers and platforms, mics and monitors, while all this was taking place, I couldn’t help but notice that there was one man who wasn’t working at all. Instead, he sat in a chair facing the empty house and quietly read a book while all those around him worked away.

I’m a bit nearsighted and so, since I was schlepping through the back of the house, I couldn’t quite make out the face, but as I would sometimes just stop and watch, he would read, sometimes stop reading and just look up and out into the house lost in thought – and then go back to his reading. He was in his own world.

As I finished my last trek, I decided to walk down the aisle and get a closer look at the stage. They too were just finishing their set up and the musicians in the band were wandering onto the stage and beginning to tune and sound check.

As I got about halfway down the aisle, I was taken aback to see that the loafer who spent the afternoon reading a book while all around him worked was none other than James Taylor. I sat in fascination as then they did their sound check and then all left the stage to go to dinner – all that is, except James Taylor. He went back to reading his book alone on the empty stage.

The wonderful thing about my job was that I really only worked before and after the show and at intermission. The rest of the time, besides a few minutes set up here and there, I was free to watch the concerts. In the two years that I worked at Carnegie Hall I saw the greatest artists of the day at their best. It was an unexpected secondary education that I will never forget and always be grateful for.

That night James was James. The consummate pop artist at his laid back best. Of all the artists I saw during those incredible 2 years, this man seemed to me most at home on stage. That night we, the audience, were in James’ living room. At one point a drunken heckler up in the third tier got carried away and made a fool out of himself during one of James’ raps. James simply stopped talking, looked up in the direction of the man, smiled and said, “I’m gonna ask y’all up there to help me out here.” That’s all he said.

At once ten people in the seats around the heckler got up and physically escorted him out of the hall as James went back to the business at hand.

I learned something about performing that day I shall never forget. In order to make your audience feel right at home, you, the performer have to be at home. That afternoon James made Carnegie Hall his home. That night we all went over to James’ house for a concert.

I’ve used and taught this technique for many years now. It’s good for performers, actors, teachers and speech makers. It’s called Make The Space Your Own. Thank you, James.

For more inspiring music you can download
and information about Peter Link, please visit Watchfire Music.

Even More Inspiration

• Live Music Lives!
• WFM Listening Room – Series II – Event 4
• WFM Listening Room Series II – 3
• Love Is The Reason For Living
• Watchfire Music Acquires Solo Thoughts
• Thinking And Creativity