SINGALONGS with NEALL CALVERT

Singalongs with Neall Calvert

Popular, inspirational, traditional/folk, rock 'n' roll, musicals, Beatles

One-World Jewel   (c) 2013 by Neall Calvert

Campbell River, BC, Canada   (250) 202-2202

SONGLIST

A - All of Me Amazing Grace Annie’s Song A Perfect Day A Place in the Sun Auld Lang Syne B - Be-Bop-A-Lula Bless This House Blue Moon Big Rock Candy Mountain Blue Skies Blowin’ In The Wind Bony Moronie Bring It On Home To Me Brother Jesus Bye, Bye, Blackbird C - Can’t Help Falling in Love Consider Yourself D - Danny Boy Do Lord Down In My Heart E - Edelweiss F - Forever Young Four Strong Winds G - Gentle On My Mind Gonna Build A Mountain Greensleeves Guardian Angels H - Hello, Dolly Henry the Accountant He’s Got the Whole World... Hey Jude PAGE 2	118 24 95 109 52 124 37 120 96 15 85 41 82 83 11 98 36 84 80 65 19 43 69 42 39 112 72 67 48 70 12 77	How Could Anyone How Great Thou Art I - I Can See Clearly Now If I Were A Rich Man If You Love Me I Love Myself the Way I Am Imagine In My Life In The Garden Isn’t It A Pity It’s In Every One Of Us I’ve Got Peace Like A River I Walk The Line J - Jamaica Farewell Jimmy Crack Corn K - Kum-Bah-Yah L - Up A Lazy River Let It Be Like A Ship . . . (Lullaby) Lilli Marlene (English) Lili Marleen (German) Look For A Star Love Can Build A Bridge Love Me Tender M - May You Always Maxwell’s Silver Hammer Memory (Cats) Morning Has Broken My Love O - Ob-La-Di, Ob-La-Da Octopus’s Garden Ode To Joy	93 21 87 29 35 20 89 106 17 115 22 66 126 44 6 3 119 91 30 46 47 14 64 34 4 101 125 99 63 108 102 81
Only You On the Sunny Side of Street Oh Susanna P - People Get Ready Pilgrim (Enya) Puff (The Magic Dragon) Put a Little Love in Ur Heart Put Your Hand in the Hand R - Red Roses for Blue Lady Rock And Roll Music Rock Around the Clock Roll Out The Barrel S - Sailing Sentimental Journey Shenandoah Silly Song Sloop John B Smilin’ Through Sometimes When We Touch Somewhere Over the R’bow Spanish Eyes Stand By Me (rock) Stand By Me (gospel) Sunrise, Sunset (Fiddler on the Roof) Sweet Caroline T - That’ll Be The Day That Lucky Old Sun That’s All Right, Mama The Boxer The Glory of Love The Happy Wanderer	123 121 49 107 113 73 59 62 116 74 26 105 61 27 28 60 2 33 5 7 117 88 111 92 58 75 13 122 8 57 1	The Minstrel Boy The Rose This Land is Your Land This Little Light of Mine Those Were The Days ‘Tis a Gift to be Simple Today True Love U - Unchained Melody Until It’s Time for You To Go V - Voice in the Silence W - Walking in the Sunshine Waltzing Matilda We’ll Keep A Welcome [Wales] We’re Off to See the Wizard We Shall Overcome What a Wonderful World When I’m Sixty-Four When Irish Eyes Are Smiling When You Wish Upon A Star Whiter Shade of Pale Who Will Buy (Oliver) Whole Lotta Shakin’ Goin’ On Will Ye Go, Lassie, Go Wind Beneath My Wings With A Little Help . . . Friends Without A Song Y - Yellow Submarine You Are So Beautiful You Must Have Been A B'ful Baby	9 40 18 94 79 100 56 31 68 114 51 23 78 16 110 45 86 103 55 38 90 54 53 25 97 104 32 76 127 10

Music is therapy, healing and play. 
Singing gets everyone together on the same page.

Choose your favourites for a birthday or

special occasion, then call Neall Calvert at 250-202-2202

 


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S O N G B O O K

THE HAPPY WANDERER

Children's song by Friedrich-Wilhelm Möller, Germany, 1946; lyrics by Edith Möller and Florenz Siegesmund ; popularized by Obernkirchen Children's Choir, led by Edith Möller, 1950s. I am grateful to the free online encyclopedia Wikipedia for being a source of material for these notes.

I love to go a-wandering,

Along the mountain track;

And as I go, I love to sing,

My knapsack on my back.

CHORUS:

Val-de-ri, val-de-ra, val-de-ri,

Val-de-ra-ha-ha-ha-ha-ha

Val-de-ri, val-de-ra,

1) My knapsack on my back.
  2) Come join my happy song.”
  3) From every greenwood tree.

4) As o’er the world we roam.

    5) Beneath God’s clear blue sky.

I love to wander by the stream,

That dances in the sun;

So joyously it calls to me:

“Come join my happy song!” CHORUS:

I wave my hat to all I meet

And they wave back to me;

And blackbirds sing so loud and sweet

From every greenwood tree. CHORUS:

High overhead the skylarks wing,

They never rest at home;

But just like me, they love to sing,

As o’er the world we roam. CHORUS:

Oh, may I go a-wandering,

Until the day I die;

And may I always laugh and sing

Beneath God’s clear blue sky. CHORUS:

SLOOP JOHN B

Traditional West Indies folk song, popularized by The Beach Boys in 1966. Rolling Stone magazine has listed the Beach Boys at #12 of the 100 Greatest Artists of All Time.

We come on the sloop John B—

My grandfather and me.

Round Nassau town we did roam. . . .

Drinking all night . . .

Got into a fight;

Well I feel so broke up—I wanna go home.

CHORUS:

So hoist up the John B’s sail,

See how the mainsail sets;

Call for the captain ashore,

Let me go home.

Let me go home . . . I wanna go home.

Well I feel so broke up—I wanna go home.

Well, the first mate he got drunk,

Broke in the captain’s trunk;

The constable had to come and take him away.

Sheriff John Stone,

Why don’t you leave me alone?

Well I feel so broke up—I wanna go home. CHORUS:

Well, the poor cook he caught the fits,

And threw away all of my grits;

And then he took and he ate up all of my corn.

Let me go home . . .

Why don’t they let me go home?

This is the worst trip I’ve ever been on.

CHORUS: then repeat last line.

KUM-BAH-YAH

Spiritual song from the 1930s; became a Scouting and campfire song, and was much popularized during the folk revival of the 1960s. Originally a song of harmony and spiritual unity, its being over-played has led to “Kumbaya” being used to refer to artificially covering up deep-seated disagreements. To say "It's all Kumbaya" means a fake kind of unanimity.

Kum-Bah-Yah, my Lord, Kum-Bah-Yah,

Kum-Bah-Yah, my Lord, Kum-Bah-Yah,

Kum-Bah-Yah, my Lord, Kum-Bah-Yah,

Oh, Lord, Kum-Bah-Yah.

Someone’s prayin’ Lord, Kum-Bah-Yah,

Someone’s prayin’ Lord, Kum-Bah-Yah,

Someone’s prayin’ Lord, Kum-Bah-Yah,

Oh, Lord, Kum-Bah-Yah.

Someone’s cryin’, Lord, Kum-Bah-Yah,

Someone’s cryin’, Lord, Kum-Bah-Yah,

Someone’s cryin’, Lord, Kum-Bah-Yah,

Oh, Lord, Kum-Bah-Yah.

Someone’s singin’, Lord, Kum-Bah-Yah,

Someone’s singin’, Lord, Kum-Bah-Yah,

Someone’s singin’, Lord, Kum-Bah-Yah,

Oh, Lord, Kum-Bah-Yah.

MAY YOU ALWAYS

by Larry Markes and Dick Charles, 1959; popularized by The McGuire Sisters in the U.S. and by Joan Regan 

in the U.K.

May you always walk in sunshine,

Slumber warm when night winds blow;

May you always live with laughter,

For a smile becomes you so.

May good fortune find your doorway,

May the bluebird sing your song;

May no trouble travel your way,

May no worry stay too long.

BRIDGE:

May your heartaches be forgotten,

May no tears be spilled;

May old acquaintance be remembered,

And your cup of kindness filled . . . and

May you always be a dreamer,

May your wildest dreams come true;

May you find someone to love—

As much as I love you.

May you always be a dreamer,

May your wildest dreams come true;

May you find someone to love—

As much as I love you.

SOMETIMES WHEN WE TOUCH

Lyrics by Dan Hill, music by Barry Mann, 1977. Has been popular for decades. “The famously soppy song that won't go away.” Check Macleans magazine online for a complete and quite amusing 35-year retrospective by Hill in 2010: http://www2.macleans.ca/2010/01/14/sometimes-it%E2%80%99s-too-much/

You ask me if I love you, and I choke on my reply;

I’d rather hurt you honestly than mislead you with a lie.

And who am I to judge you, on what you say or do?

I’m only just beginning to see the real you.

CHORUS:

And sometimes when we touch, the honesty’s too much,

And I have to close my eyes and hide;

I wanna hold you till I die, till we both break down and cry;

I wanna hold you till the fear in me subsides.

Romance and all its strategy leaves me battling with my pride;

But through the insecurity some tenderness survives.

I’m just another writer still trapped within my truth;

A hesitant prize fighter, still trapped within my youth. CHORUS:

BRIDGE:

At times I’d like to break you,

And drive you to your knees;

At times I’d like to break through

And hold you endlessly . . .

At times I understand you and I know how hard you’ve tried;

I’ve watched while love commands you,

And I’ve watched love pass you by.

At times I think we’re drifters, still searching for a friend;

A brother or a sister—but then the passion flares again. CHORUS:

JIMMY CRACK CORN

(THE BLUE TAIL FLY)

U.S. blackface minstrel song from the 1840s; now a popular children's song.

CHORUS:

Jimmy crack corn an’ I don’t care;

Jimmy crack corn an’ I don’t care;

Jimmy crack corn an’ I don’t care;

The master’s gone away.

When I was young I used to wait,

On my mas-ter and bring him his plate;

And pass the bottle when he got dry—

And brush away the blue tail fly. CHORUS:

When he would ride around the farm,

So numerous the flies they all would swarm;

One chanced to bite him on the thigh—

Oh, the devil take the blue tail fly! CHORUS:

When he would ride in the afternoon,

I would follow with the hickory broom;

The pony began to run and shy,

When bitten by the blue tail fly. CHORUS:

The pony run, he jumped, he pitched;

He threw my master in the ditch.

And when he died the jury wondered why—

The verdict was the blue tail fly. CHORUS:

They buried him under the ‘simmon tree,

His epitaph was there to see:

“Upon this stone I’m forced to lie—

Victim of the blue tail fly.” CHORUS:

(SOMEWHERE)

OVER THE RAINBOW

by Harold Arlen and E. Y. Harburg; from the 1939 movie musical The

Wizard of Oz. Ranked the top movie song of all time, sung by Judy Garland

Somewhere over the rainbow, way up high,

There’s a land that I heard of once in a lullaby.

Somewhere over the rainbow, skies are blue,

And the dreams that you dare to dream really do come true.

Someday I’ll wish upon a star

And wake up where the clouds are far behind me.

Where troubles melt like lemon drops

Away above the chimney tops—

That’s where you’ll find me.

Somewhere over the rainbow, bluebirds fly;

Birds fly over the rainbow—why then, oh why, can’t I?

[PIANO . . .]

Somewhere over the rainbow, bluebirds fly;

Birds fly over the rainbow—why then, oh why, can’t I?

If happy little bluebirds fly beyond the rainbow

Why, oh why . . . can’t . . . I?

THE BOXER

Written by Paul Simon, 1968; sung by Simon and Garfunkel; RS's #105 of top 500 songs ever.

I am just a poor boy, though my story’s seldom told,

I have squandered my resistance, for a pocketful of mumbles,

Such are promises—all lies and jest, still a man hears what he wants to hear

And disregards the rest, hmmm, mmmm. . . .

When I left my home and my family,

I was no more than a boy in the company of strangers . . .

In the quiet of the railway station, runnin’ scared;

Lying low, seeking out the poorer quarters where the ragged people go,

Looking for the places only they would know.

Li-la-li . . . li la-la-la li-la-li, li-la-li . . . Li la-la-la li-la-li, la-la-li-la li . . .

Seeking only workman’s wages

I come looking for a job, but I get no offers . . .

Just a come-on from the whores on Seventh Avenue;

I do declare, there were times when I was so lonesome

I took some comfort there . . . La la la, la la la la. . . .

Now the years are rolling by me,

They are rockin’ even me, I am older than I once was . . .

And younger than I’ll be, that’s not unusual;

No it isn’t strange, after changes upon changes,

We are more or less the same,

After changes we are more or less the same.

Li-la-li . . . li la-la-la li-la-li, li-la-li . . . Li la-la-la li-la-li, la-la-li-la li . . .

Li-la-li . . . li la-la-la li-la-li, li-la-li . . . Li la-la-la li-la-li, la-la-li-la li . . .

And I’m laying out my winter clothes,

Wishing I was gone, goin’ home . . .

Where the New York city winters aren’t bleedin’ me . . .

Leadin’ me . . . to go home . . .

In the clearing stands a boxer,

And a fighter by his trade and he carries the reminder . . .

Of every glove that laid him down or cut him till he cried out

In his anger and his shame: “I am leaving, I am leaving”—

But the fighter still remains, yes he still remains . . .

Li-la-li . . . li la-la-la li-la-li, li-la-li . . . Li la-la-la li-la-li, la-la-li-la li . . .

Li-la-li . . . li la-la-la li-la-li, li-la-li . . . Li la-la-la li-la-li, la-la-li-la li.

THE MINSTREL BOY

Early 19^th century Irish patriotic song written by Thomas Moore

in remembrance of friends killed in the Irish Rebellion of 1798

The minstrel boy to the war is gone,

In the ranks of death you’ll find him;

His father’s sword he hath girded on

And his wild harp slung behind him.

“Land of Song!” said the warrior bard.

“Tho’ all the world betrays thee,

One sword, at least, thy rights shall guard,

One faithful harp shall praise thee!”

The minstrel fell! But the foeman’s chain

Could not bring his proud soul under;

The harp he lov’d ne’er spoke again,

For he tore its chords asunder.

And said “No chains shall sully thee,

Thou soul of love and bra-ver-y;

Thy songs were made for the pure and free,

They shall never sound in sla-ver-y!”

YOU MUST HAVE BEEN

A BEAUTIFUL BABY

by Harry Warren and Johnny Mercer, 1938;

popularized by Bing Crosby, Tommy Dorsey and Bobby Darin

You must have been a beautiful baby,

You must have been a wonderful child;

When you were only startin’

To go to kindergarten,

I bet you drove the little boys wild.

And when it came to winning blue rib-bons,

You must have shown the other kids how;

I can see the judges’ eyes

As they handed you the prize—

I bet you made the cutest bow, oh,

You must have been a beautiful baby,

‘Cause baby take a look at you now.

REPEAT ALL:

BROTHER JESUS

Gospel song; source unknown

Brother Jesus, I am weary, hot and dusty

From my journey ‘cross this Earth;

Brother Jesus, I desire to return to

The waters of my birth.

Lord, I cast my spirit free,

As your arms encircle me;

And my soul is setting sail

Across yo-ur . . . a-zure sea.

Yes my soul is setting sail

Across yo-ur . . . a-zure sea.

Brother Jesus, let me lay my burning body

In your cool embrace;

Brother Jesus, I’m your child, grant me once again

Your soothing grace.

Lord, I cast my spirit free,

As your arms encircle me;

And my soul is setting sail

Across yo-ur . . . a-zure sea.

Yes my soul is setting sail

Across yo-ur . . . a-zure sea.

HE’S GOT THE WHOLE WORLD

IN HIS HANDS

Traditional American spiritual first published in 1927

CHORUS:

He’s got the whole world in His hands,

He’s got the whole wide world in His hands,

He’s got the whole world in His hands,

He’s got the whole world in His hands.

He’s got the you and me, brother, in His hands

He’s got the you and me, sister, in His hands

He’s got the you and me, children, in His hands

He’s got the whole world in His hands.

CHORUS:

He’s got my body and my soul in His hands,

He’s got my body and my soul in His hands,

He’s got my body and my soul in His hands,

He’s got the whole world in His hands.

CHORUS:

THAT LUCKY OLD SUN

by Haven Gillespie and Beasley Smith, 1949; popularized by Frankie Laine;

also performed by Frank Sinatra and Ray Charles and others

Up in the mornin’, out on the job,

Work like the devil for my pay;

But that lucky old sun, got nothin’ to do,

But roll around heaven all day.

Fuss with my woman, toil for my kids,

Sweat till I’m wrinkled and gray;

While that lucky old sun, got nothin’ to do,

But roll around heaven all day.

Dear Lord above, can’t you know I’m pining,

Tears all in my eyes;

Send down that cloud with a silver lining,

Lift me to Paradise . . .

Show me that river, take me across,

Wash all my troubles away;

Like that lucky old sun, give me nothin’ to do,

But roll around heaven all day.

[PIANO . . . ]

. . . Send down that cloud with a silver lining,

Lift me to Paradise . . .

Show me that river, take me across,

Wash all my troubles away;

Like that lucky old sun, give me nothin’ to do—yeah!

But just roll around heaven all day.

LOOK FOR A STAR

1960s popular song written by Tony Hatch; featured in the film Circus of Horrors; popularized by four different U.S. artists simultaneously.

When life doesn’t seem worth the living,

And you don’t really care who you are;

When you feel there is no one beside you—

Look for a star.

When you know you’re alone and so lonely,

And your friends have traveled afar;

There is someone waiting to guide you—

Look for a star.

CHORUS:

Oh everyone has a lucky star,

That shines in the sky up above;

If you wish on a lucky star,

You’re sure to find someone to love . . .

A rich man, a poor man, a beggar—

No matter whoever you are;

There’s a friend who’s waiting to guide you—

Look for a star.

[PIANO . . . ]

A rich man, a poor man, a beggar

No matter whoever you are;

There’s a friend who is waiting to guide you—

Look for a star.

There’s a friend who is waiting to guide you—

Look for a star.

BIG ROCK CANDY MOUNTAIN

Written by hobo Harry “Haywire Mac” McClintock; first published 1928 [this is the sanitized version: soda water instead of alcohol, etc.]

In the Big Rock Candy Mountains

There’s a land that’s fair and bright;

Where the handouts grow on bushes

And you sleep out ev’ry night.

Where the boxcars are all empty,

And the sun shines ev’ry day.

Oh, I’m bound to go where there ain’t no snow,

Where the rain don’t fall and the wind don’t blow—

In the Big Rock Candy Mountains.

CHORUS:

Oh, the buzzin’ of the bees in the peppermint trees,

Round the soda water fountains;

Where the lemonade springs and the bluebird sings—

In the Big Rock Candy Mountains.

In the Big Rock Candy Mountains

You never change your socks;

And little streams of lemonade

Come a-tricklin’ down the rocks.

The hoboes there are friendly,

And their fires all burn bright;

There’s a lake of stew—and soda, too;

You can paddle all around ‘em in a big canoe—

In the Big Rock Candy Mountains. CHORUS: 2X

WE’LL KEEP A WELCOME

IN THE HILLSIDES

Traditional Welsh ballad; perhaps by Mai Jones

INTRO:

Far away a voice is calling,

Bells of memory chime:

“Come home again, come home again,”

They call through the oceans of time.

We’ll keep a welcome in the hillsides,

We’ll keep a welcome in the vales;

This land you knew will still be singing,

When you come home again to Wales.

This land of song will keep a welcome,

And with a love that never fails,

We’ll kiss away each hour of hiraeth*

When you come home again to Wales.

REPEAT TO HERE:

SLOWLY:

We’ll kiss away each hour of hir-aeth—

When you come home again to Wales.

*Hiraeth: pronounced “HEAR’-eye-th”: longing for home.

IN THE GARDEN

by C. Austin Miles, 1913; appears in at least 193 hymnals

I come to the garden alone,

While the dew is still on the roses;

And the voice I hear, falling on my ear,

The One of All discloses . . .

CHORUS:

And He walks with me, and He talks with me,

And He tells me I am His own;

And the joy we share as we tarry there,

None other has ever known.

He speaks, and the sound of His voice,

Is so sweet the birds hush their singing;

And the melody, that He gave to me,

Within my heart is ringing . . .

CHORUS:

I’d stay in the garden with Him,

Tho’ the night around me is falling;

But He bids me go, through the voice of woe,

His voice to me is calling . . .

CHORUS:

THIS LAND IS YOUR LAND

by Woody Guthrie, 1940; Canadian lyrics by The Travellers, 1955

CHORUS:

This land is your land. This land is my land.

From Bonavista to Vancouver Island.

From the Arctic Circle to the Great Lake waters—

This land was made for you and me.

As I was walking that ribbon of highway,

I saw above me that endless skyway;

I saw below me that golden valley—

This land was made for you and me. CHORUS:

I’ve roamed and rambled, and I followed my footsteps,

To the fir-clad forests of our mighty mountains,

And all around me a voice was sounding—

This land was made for you and me. CHORUS:

When the sun comes shining and I was strolling,

And the wheat fields waving, and the dust clouds rolling;

As the fog was lifting a voice was chanting:

This land was made for you and me. CHORUS:

DOWN IN MY HEART

by George Willis Cooke, 19^th century U.S. Unitarian minister

I’ve got the joy, joy, joy, joy

Down in my heart,

Down in my heart,

Down in my heart!

I’ve got the joy, joy, joy, joy

Down in my heart—

Down in my heart today!

I’ve got the light, light, light, light

Down in my heart,

Down in my heart,

Down in my heart!

I’ve got the light, light, light, light

Down in my heart—

Down in my heart today!

I’ve got the peace, peace, peace, peace

Down in my heart,

Down in my heart,

Down in my heart!

I’ve got the peace, peace, peace, peace

Down in my heart—

Down in my heart today!

I LOVE MYSELF THE WAY I AM

New Thought song by Jai Michael Josefs; inspired by the teachings of the late Ken Keyes Jr., author of many books including The Handbook to Higher Consciousness

I love myself the way I am,

There’s nothing I need to change;

I’ll always be the perfect me,

There’s nothing to rearrange.

I’m beautiful and capable,

Of being the best me I can,

And I love myself just the way I am.

– I love you the way you are,

There’s nothing you need to do;

When I feel the love inside myself

It’s easy to love you.

Behind your fears, your rage and tears

I see your shining star,

And I lo-ove you just the way you are.

I love the world the way it is

‘Cause I can clearly see,

That all the things I judge are done

By people just like me.

So till the birth of peace on earth,

That only love can bring;

I’ll help it grow, by loving everything.

I love myself the way I am,

And still I want to grow;

But change outside can only come,

When deep inside I know,

I’m beautiful and capable,

Of being the best me I can;

And I love myself just the way I a-a-a-am;

Yes, I love myself just the way I a-a-a-am;

I love myself—just the way I am!

HOW GREAT THOU ART

Christian hymn based on a poem by Carl Gustav Boberg and a Swedish folk melody, put together in 1888; translation by British missionary Stuart K. Hine, 1931.

O Lord my God, when I in awesome wonder,

Consider all the worlds Thy hands have made;

I see the stars, I hear the rolling thunder,

Thy power throughout the universe displayed . . .

CHORUS:

Then sings my soul, my Saviour, God, to thee,

How great Thou art, how great Thou art.

Then sings my soul, my Saviour, God, to thee,

How great Thou art, how great Thou art!

When through the woods and forest glades I wander,

And hear the birds sing sweetly in the trees;

When I look down from lofty mountain grandeur,

And hear the brook, and feel the gentle breeze . . .

CHORUS:

When Christ shall come, with shout of acclamation,

And take me home, what joy shall fill my heart.

Then I shall bow, in humble adoration,

And then proclaim: “My God, how great Thou art!”

CHORUS:

IT’S IN EVERY

ONE OF US

Written by David Pomerantz, 1973; popularized by The Muppets

It’s in every one of us, to be wise;

Find your heart, open up both your eyes.

We can all know everything

Without ever knowing why . . .

It’s in every one of us,

You and I.

It’s in every one of us, to be free;

Find your self, open your eyes and see.

We can all have everything

Without ever knowing how . . .

It’s in every one of us,

Here and now!

WALKING IN THE SUNSHINE

Written and performed by Roger Miller, 1967

Walking in the sunshine, sing a little sunshine song,

Doot ‘n’ dooh, doot ‘n’ dooh-dooh-dooh;

Put a smile upon your face as if there’s nothing wrong,

Doot ‘n’ dooh, doot ‘n’ dooh-dooh-dooh;

Think about a good time you had a long time ago,

Think about forgettin’ about your worries and your woes!

Walking in the sunshine, sing a little sunshine song,

Doot ‘n’ dooh, doot ‘n’ dooh-dooh-dooh.

La-la, la-la, la-dee-oh,

Whether the weather be rain or snow;

Pretending can make it real—

A snowy pasture, a green and grassy field . . .

Walking in the sunshine, sing a little sunshine song,

Doot ‘n’ dooh, doot ‘n’ dooh-dooh-dooh;

Put a smile upon your face as if there’s nothing wrong,

Doot ‘n’ dooh, doot ‘n’ dooh-dooh-dooh;

Think about a good time you had a long time ago,

Think about forgettin’ about your worries and your woes,

Walking in the sunshine, sing a little sunshine song,

Doot ‘n’ dooh, doot ‘n’ dooh-dooh-dooh;

Walking in the sunshine, sing a little sunshine song,

Doot ‘n’ dooh, doot ‘n’ dooh-dooh-dooh;

Walking in the sunshine, sing a little sunshine song!

AMAZING GRACE

Christian hymn; words by John Newton, 1779;

estimated to be played 10 million times annually.

Amazing grace, how sweet the sound,

That saved a soul like me!

I once was lost, but now I’m found;

Was blind, but now I see!

‘Twas grace that taught my heart to feel,

And grace my fears relieved;

How precious did that grace appear,

The hour I first believed.

Through many dangers, toils and snares,

I have already come;

‘Tis grace that brought me safe thus far,

And grace will lead me home.

When we’ve been there ten thousand years,

Bright shining as the sun;

We’ve no less days to sing God’s praise,

Than when we first begun.

Amazing grace, how sweet the sound,

That saved a soul like me! 

I once was lost, but now I’m found,

Was blind, but now I see!

WILL YE GO, LASSIE, GO

Also known as “Purple Heather” and “Wild Mountain Thyme.” Folk song by Francis McPeake; lyrics are a variant of the song "The Braes of Balquhither" by Scottish poet Robert Tannahill (1774-1810). First recorded 1957 by McPeake's nephew.

O the summer time is comin’,

And the trees are sweetly bloomin’;

And the wild mountain thyme,

Grows around the bloomin’ heather,

Will ye go, lassie, go?

CHORUS:

An’ we’ll all go together,

To pluck wild mountain thyme;

All around the bloomin’ heather,

Will ye go, lassie, go?

I will build my love a bower,

Near yon pure crystal fountain;

And on it I will pile

All the flowers of the mountain,

Will ye go, Lassie, go? CHORUS:

If my true love, she were gone,

I would surely find another;

Where wild mountain thyme,

Grows around the bloomin’ heather.

Will ye go, lassie, go? CHORUS:

O the summer time is comin’,

And the trees are sweetly bloomin’;

And the wild mountain thyme,

Grows around the bloomin’ heather,

Will ye go, lassie, go? CHORUS:

ROCK AROUND THE CLOCK

by Max C. Freedman and James E. Myers. Recorded by Bill Haley and the Comets, 1954. Credited as the song that brought rock 'n' roll to mainstream culture.

One, two, three o’clock, four o’clock rock!

Five, six, seven o’clock, eight o’clock rock!

Nine, ten, eleven o’clock, twelve o’clock rock!

We’re gonna rock around the clock tonight!

Put your glad rags on and join me, hon’,

We’ll have some fun when the clock strikes one,

CHORUS: We’re gonna rock around the clock tonight;

We’re gonna rock, rock, rock till broad daylight;

We’re gonna rock, gonna rock,

Around the clock tonight!

When the clock strikes two and three and four,

If the band slows down we’ll yell for more, CHORUS:

When the chimes ring five and six and seven,

We’ll be rockin’ up in seventh heaven, CHORUS:

When it’s eight, nine, ten, eleven too,

I’ll be going strong and so will you, CHORUS:

When the clock strikes twelve, we’ll cool off, then

Start rockin’ round the clock again, CHORUS:

SENTIMENTAL JOURNEY

1940s popular song by Les Brown and Ben Homer, lyrics by Bud Green.

INTRO:

Every rolling stone gets to feel alone,

When home sweet home is far away;

I’m a rolling stone who’s been so alone—

Until today.

Gonna take a sentimental journey,

Gonna set my heart at ease;

Gonna make a sentimental journey,

To renew old memories.

Got my bag, I got my reservation,

Spent each dime I could afford;

Like a child in wild anticipation,

Long to hear that, “All aboard!”

Seven, that’s the time we leave, at seven;

I’ll be waiting up for heaven;

Countin’ every mile of railroad track that takes me back;

Never thought my heart could be so “yearny”;

Why did I decide to roam?

Gotta take this sentimental journey,

Sentimental journey home.

Seven, that’s the time we leave, at seven;

I’ll be waiting up for heaven;

Countin’ every mile of railroad track that takes me back;

Never thought my heart could be so “yearny”;

Why did I decide to roam?

Gotta take this sentimental journey,

Sentimental journey home.

SHENANDOAH

Traditional American folk song of uncertain origin, dating to early 19^th century. Shenandoah is the name of both a river and an Indian chief; perhaps the two became conflated during constant repetition when sung on American whaling boats.

O Shenandoah, I long to hear you,

Way hay, my rolling river!

Oh, Shenandoah, I can’t be near you,

Way hay, I’m bound away,

‘Cross the wide Missouri.

O Shenandoah, I love your daughter,

Way hay, my rolling river!

She lives across the stormy water,

Way hay, I’m bound away,

‘Cross the wide Missouri.

O Shenandoah, I’m bound to leave you,

Way hay, my rolling river!

Oh, Shenandoah, I’ll not deceive you,

Way hay, I’m bound away,

‘Cross the wide Missouri;

‘Cross the wide Missouri.

IF I WERE A RICH MAN

from Fiddler on the Roof, by Jerry Bock & Sheldon Harnick; original Broadway production 1964

If I were a rich man, daidle, deedle, daidle, digguh, digguh, deedle, daidle, dum.

All day long I’d biddy, biddy bum, if I were a wealthy man!

Wouldn’t have to work hard,

Daidle, deedle, daidle, digguh, digguh, deedle, daidle, dum.

If I were a biddy, biddy rich, digguh, digguh, deedle, daidle man.

I’d build a big tall house with rooms by the dozen,

Right in the middle of the town;

A fine tin roof with real wooden floors below.

There would be one long staircase just going up

And one even longer coming down;

And one more going nowhere just for show.

I’d fill my yard with chicks and turkeys and geese

And ducks for the town to see and hear; squawking just as noisily as they can.

And each loud quack and cluck and gobble and honk

Will land like a trumpet on the ear;

As if to say, here lives a wealthy man—Sigh!

I see my wife, my Golde,

Looking like a rich man’s wife with a proper double chin;

Supervising meals to her heart’s delight.

I see her putting on airs and strutting like a peacock,

Oy! What a happy mood she’s in,

Screaming at the servants day and night.

The most important men in town will come to fawn on me;

They will ask me to advise them, like Solomon the wise.

“If you please, Reb Tevye; pardon me, Reb Tevye.”

Posing problems that would cross a rabbi’s eyes;

Boi-boi-boi; boi-boi-boi; boi-boi-boi—

And it won’t make one bit of diff’rence if I answer right or wrong,

When you’re rich they think you really know.

If I were rich, I’d have the time that I lack,

To sit in the synagogue and pray;

And maybe have a seat by the eastern wall.

And I’d discuss the holy books with the learned men seven hours ev’ry day;

This would be the sweetest thing of all—Sigh!

If I were a rich man, daidle, deedle, daidle, digguh, digguh, deedle, daidle, dum.

All day long I’d biddy, biddy bum, if I were a wealthy man.

Wouldn’t have to work hard,

Daidle, deedle, daidle, digguh, digguh, deedle, daidle, dum.

Lord, who made the lion and the lamb, you decreed I should be what I am;

Would it spoil some vast eternal plan, if I were a wealthy man?

LULLABY

by Cris Williamson, appeared on her 1985 album Snow Angel (also wrote “Song of the Soul”)

Like a ship in the harbour,

Like a mother and child;

Like a light in the darkness,

I’ll hold you awhile.

We’ll rock on the water,

I’ll cradle you deep;

And hold you while angels,

Sing you to sleep.

REPEAT

REPEAT AGAIN, singing la-la's for first half

TRUE LOVE

Cole Porter song from the 1955 movie High Society

I give to you and you give to me,

True love, true love.

And on and on it will always be,

True love, true love.

For you and I have a guardian angel

On high with nothing to do;

But to give to me and to give to you,

Love forever true.

I give to you and you give to me,

True love, true love.

And on and on it will always be,

True love, true love.

For you and I have a guardian angel

On high with nothing to do;

But to give to me and to give to you,

Love forever true.

For you and I have a guardian angel

On high with nothing to do;

But to give to me and to give to you,

Love forever true;

Love forever true.

WITHOUT A SONG

by Vincent Youmans, Billy Rose and Edward Eliscu. Used in the 1929 musical play Great Day. Recorded by many famous artists from 1951 to 2011. Original words in verse two read “a darkie's born.”

Without a song, the day would never end,

Without a song, the road would never bend;

When things go wrong, a man ain’t got a friend

—without a song.

That field of corn would never see a plow;

That field of corn would be deserted now;

A man is born, but he’s no good no how

—without a song.

I got my trouble and woe,

But sure as I know the Jordan will roll;

I’ll get along, as long as a song is strong in my soul!

I’ll never know what makes the rain to fall;

I’ll never know what makes the grass so tall;

I only know there ain’t no love at all

—without a song.

SMILIN’ THROUGH

Best-known tune of British composer of

light musical theatre, Arthur A. Penn; about 1910

There’s a little brown road windin’ over the hill

To a little white cot by the sea;

There’s a little green gate

At whose trellis I wait,

While two eyes o’ blue

Come smilin’ through—

At me!

There’s a gray lock or two in the brown of the hair,

There’s some silver in mine, too, I see;

But in all the long years

When the clouds brought their tears,

Those two eyes o’ blue

Kept smilin’ through—

At me!

LOVE ME TENDER

Sung by Elvis Presley in the 1956 movie Love Me Tender. Adapted from the tune “Aura Lee,” a sentimental Civil War ballad.

Love me tender, love me sweet,

Never let me go;

You have made my life complete,

And I love you so.

CHORUS:

Love me tender, love me true,

All my dreams fulfill;

For my darlin’ I love you,

And I always will.

Love me tender, love me long,

Take me to your heart;

For it’s there that I belong,

And we’ll never part. CHORUS:

Love me tender, love me dear,

Tell me you are mine;

I’ll be yours through all the years,

Till the end of time. CHORUS:

When at last my dreams come true,

Darling this I know;

Happiness will follow you,

Everywhere you go. CHORUS:

IF YOU LOVE ME

Original French lyrics by Edith Piaf, music by Marguerite Monnot; first performed by Piaf in New York in 1949. Well-known as a Japanese hit; also in Great Britain.

If the sun, should tumble from the sky,

If the sea, should suddenly run dry;

If you love me, really love me,

Let it happen, I won’t care!

If it seems that ev’rything is lost,

I will smile and never count the cost;

If you love me, really love me,

Let it happen, darling, I won’t care!

Shall I catch a shooting star?

Shall I bring it where you are?

If you want me to, I will;

You can set me any task,

I’ll do anything you ask,

If you’ll only love me still!

When at last our life on earth is through,

I will share eternity with you;

If you love me, really love me,

Then whatever happens, I won’t care!

CAN’T HELP FALLING IN LOVE

Lyrics by Peretti, Creatore and Weiss to the melody “Plaisir d'Amour” (France, 1784). 1960s popular song performed by Elvis Presley, often used as his show-closer; also 1990s by UB40

Wise men say,

Only fools rush in;

But I can’t help

Falling in love with you.

Shall I stay,

Would it be a sin,

If I can’t help

Falling in love with you.

CHORUS:

Like a river flows,

Surely to the sea,

Darling, so it goes,

Some things are meant to be.

Take my hand,

Take my whole life too,

For I can’t help

Falling in love with you. CHORUS:

Take my hand,

Take my whole life too,

For I can’t help

Falling in love with you;

For I can’t help 

Falling in love with you.

BE-BOP-A-LULA

Sung by Gene Vincent; reached #7 on the pop charts in 1956. Also covered by John Lennon on his 1975 album Rock ‘n’ Roll, and many others

W-e-l-l, be-bop-a-lula she’s my baby,

Be-bop-a-lula I don’t mean maybe;

Be-bop-a-lula she’s my baby,

Be-bop-a-lula I don’t mean maybe;

Be-bop-a-lula she-e-e’s my baby love,

My baby love, my baby love . . .

Well, she’s the girl in the red blue jeans;

She’s the queen of all the teens;

She’s the one—that I know;

She’s the one that loves me so!—Say . . .

Be-bop-a-lula she’s my baby,

Be-bop-a-lula I don’t mean maybe;

Be-bop-a-lula she-e-e’s my baby love,

My baby love, my baby love . . .

Well, she’s the one that’s got that beat;

She’s the one with the flyin’ feet;

She’s the one that walks around the store;

She’s the one that gets more, more, more!—Say . . .

Be-bop-a-lula she’s my baby,

Be-bop-a-lula I don’t mean maybe;

Be-bop-a-lula she-e-e’s my baby love,

My baby love, my baby love . . .

REPEAT VERSE 1:

WHEN YOU WISH

UPON A STAR

by Leigh Harline and Ned Washington for Walt Disney's 1940 animated film Pinocchio. Winner of 1940 Best Song Academy Award. Representative song of the Walt Disney company. Known around the world; in some countries it is a Christmas song, referring to the Star of Bethlehem.

When you wish upon a star,

Makes no difference who you are;

Anything your heart desires

Will come to you.

If your heart is in your dream,

No request is too extreme;

When you wish upon a star

As dreamers do.

Fate is kind;

She brings to those who love

The sweet fulfillment of

Their secret longing.

Like a bolt out of the blue

Fate steps in and sees you through;

When you wish upon a star

Your dreams come true.

GENTLE ON MY MIND

Written and performed by John Hartford, it was Glen Campbell's first big hit song; winner of two Grammys in 1968. Hartford wrote it in 15 minutes, in an inspired state after watching the movie Dr. Zhivago.

It’s knowing that your door is always open

And your path is free to walk,

That makes me tend to leave my sleeping bag

Rolled up and stashed behind your couch.

And it’s knowing I’m not shackled by forgotten words and bonds,

And the ink stains that have dried upon some line,

That keeps you in the back roads by the rivers of my memory,

And keeps you ever gentle on my mind.

It’s not clinging to the rocks and ivy

Planted on their columns now that binds me,

Or something that somebody said

Because they thought we fit together walkin’.

It’s just knowing that the world will not be cursing or forgiving

When I walk along some railroad track and find,

That you’re moving on the back roads by the rivers of my memory,

And for hours you’re just gentle on my mind.

Though the wheat fields and the clothes lines

And the junkyards and the highways come between us,

And some other woman’s crying to her mother

‘Cause she turned and I was gone.

I still might run in silence, tears of joy might stain my face,

And the summer sun might burn me till I’m blind,

But not to where I cannot see you walkin’ on the back roads,

By the rivers flowing gentle on my mind.

I dip my cup of soup back

From the gurglin’, crackling cauldron in some train yard;

My beard a rough’ning coal pile

And a dirty hat pulled low across my face;

Through cupped hands ‘round a tin can,

I pretend I hold you to my breast and find,

That you’re wavin’ from the back roads

By the rivers of my memory,

Ever smilin’, ever gentle on my mind. . . .

THE ROSE

by Amanda McBloom; first performed and made famous by Bette Midler,

in the 1979 film The Rose. There are many cover versions.

Some say love, it is a river that drowns the tender reed;

Some say love, it is a razor that leaves your soul to bleed;

Some say love, it is a hunger, an endless aching need;

I say love, it is a flower and you can sow the seed.

It’s the heart afraid of breaking that never learns to dance;

It’s the dream afraid of waking that never takes the chance;

It’s the one who won’t be taken, who cannot seem to give;

And the soul afraid of dying that never learns to live.

When the night has been too lonely, and the road has been too long;

And you think that love is only for the lucky and the strong;

Just remember in the winter, far beneath the bitter snows,

Lies the seed that with the sun’s love, in the spring becomes the rose.

BLOWIN’ IN THE WIND

Words and music by Bob Dylan; anthem of the 1960s civil-rights and anti-war movements

How many roads must a man walk down

Before you call him a man?

Yes, ‘n’ how many seas must a white dove sail

Before she sleeps in the sand?

Yes, ‘n’ how many times must the cannonballs fly

Before they’re forever banned?

The answer, my friend, is blowin’ in the wind,

The answer is blowin’ in the wind.

How many times must a man look up

Before he can see the sky?

Yes, ‘n’ how many ears must one man have

Before he can hear people cry?

Yes, ‘n’ how many deaths will it take till he knows

That too many people have died?

The answer, my friend, is blowin’ in the wind,

The answer is blowin’ in the wind.

How many years can a mountain exist

Before it’s washed to the sea?

Yes, ‘n’ how many years can some people exist

Before they’re allowed to be free?

Yes, ‘n’ how many times can a man turn his head,

Pretending he just doesn’t see?

The answer, my friend, is blowin’ in the wind,

The answer is blowin’ in the wind.

The answer, my friend, is blowin’ in the wind,

The answer is blowin’ in the wind.

FOUR STRONG WINDS

Written by Ian Tyson early 1960s. Recorded by a wide range of famous singers. In 2005, chosen by CBC listeners as greatest Canadian folk song of all time.

CHORUS:

Four strong winds that blow lonely, seven seas that run high,

All those things that don’t change, come what may;

But our good times are all gone, and I’m bound for moving on,

I’ll look for you if I’m ever back this way.

Think I’ll go out to Alberta, weather’s good there in the fall,

Got some friends that I could go to working for,

Still I wish you’d change your mind, if I asked you one more time,

But we’ve been through that a hundred times or more.

CHORUS:

If I get there before the snow flies, and if things are going good,

You could meet me if I sent you down the fare.

But by then it would be winter, nothing much for you to do,

And those winds sure can blow cold away out there.

CHORUS:

EDELWEISS

One of the best-loved songs from the 1959 Rodgers & Hammerstein musical The Sound of Music, and the last song the musical duo wrote together. The Edelweiss, a white flower that grows high in the Alps, symbolized the Von Trapp family's love of their homeland of Austria during a time when it was threatened by the Nazi annexation.

Edelweiss, Edelweiss,

Ev’ry morning you greet me.

Small and white, clean and bright,

You look happy to meet me.

Blossom of snow, may you bloom and grow,

Bloom and grow forever.

Edelweiss, Edelweiss,

Bless my homeland forever.

REPEAT ALL:

JAMAICA FAREWELL

Lyrics by Irving Burgie, Lord Burgess, mid-1950s, to a tune well known in the West Indies. Popularized by Harry Belafonte and the Kingston Trio.

Down the way where the nights are gay,

And the sun shines daily on the mountain tops

I took a trip on a sailing ship,

And when I reached Jamaica I made a stop.

CHORUS:

But I’m sad to say, I’m on my way,

Won’t be back for many a day.

My heart is down, my head is turning around,

I had to leave my little girl in Kingston town.

Sounds of laughter everywhere,

And the dancing girls swaying to and fro.

I must declare my heart is there,

Though I’ve been from Maine to Mexico.

CHORUS:

Down at the market you can hear,

Ladies cry out while on their heads they bear,

Ackey rice, salt fish are nice,

And the rum is fine any time of year.

CHORUS:

WE SHALL OVERCOME

From an early gospel song; published in 1947; anthem of the U.S. civil-rights movement (1955–1968); popularized by Joan Baez and Pete Seeger.

We shall overcome, we shall overcome,

We shall overcome some day;

Oh, deep in my heart, I do believe,

We shall overcome some day.

We’ll walk hand in hand [3X]. . .

We are not afraid [3X] . . . today . . .

REPEAT 1ST VERSE:

LILLI MARLENE

Underneath the lantern, by the barrack gate,

Darling I remember the way you used to wait;

'Twas there that you whispered tenderly,

That you lov'd me, you'd always be,

My Lilli of the lamplight,

My own Lilli Marlene.

Time would come for roll call, time for us to part;

Darling I'd caress you and press you to my heart.

And there 'neath that far-off lantern light

I'd hold you tight, we'd kiss goodnight,

My Lilli of the lamplight,

My own Lilli Marlene.

Orders came for sailing somewhere over there,

All confined to barracks was more than I could bear;

I knew you were waiting in the street,

I heard your feet, but could not meet,

My Lilli of the lamplight,

My own Lilli Marlene.

Resting in a billet just behind the line,

Even tho' we're parted your lips are close to mine;

You wait where that lantern softly gleams,

Your sweet face seems to haunt my dreams,

My Lilli of the lamplight,

My own Lilli Marlene.

LILI MARLEEN

A poem written by Hans Leip of Germany in 1915 was turned into this song by Norbert Schultze in 1938, part of his successful musical “Girl Under the Lantern.” It became a favourite of German soldiers in WW II; its popularity spread to the Allied troops and soon became their favourite as well, a curious example of song transcending the hatreds of war. American troops particularly liked Lilli Marlene as sung by the German-born actress and singer, Marlene Dietrich. It has resurrected as a hit song several times since then, in several countries.

Vor der Kaserne, vor dem grossen Tor,

Stand eine Laterne, und steht sie noch davor,

So woll’n wir uns da wiederseh’n,

Bei der Laterne, woll’n wir steh’n,

Wie einst, Lili Marleen, wie einst, Lili Marleen.

Unser beiden Schatten sah’n wie einer aus;

Dass wir so lieb uns hatten, das sah man gleich daraus.

Und alle Leute soll’n es sehn,

Wenn wir bei der Laterne steh’n,

Wie einst, Lili Marleen, wie einst, Lili Marleen.

Schon rief der Posten: sie blasen Zapfenstreich;

Es kann drei Tage kosten—Kam’rad, ich komm ja gleich!

Da sagten wir auf Wiederseh’n;

Wie gerne wollt ich mit dir geh’n,

Mit dir, Lili Marleen! Mit dir, Lili Marleen!

Deine Schritte kennt sie, deinen zieren Gang,

Alle Abend brennt sie, doch mich vergass sie lang,

Und sollte mir ein Leids gescheh’n;

Wer wird bei der Laterne steh’n,

Mit dir, Lili Marleen! Mit dir, Lili Marleen!

Aus dem stillen Raume, aus der Erde Grund,

Hebt mich wie im Traume dein verliebter Mund.

Wenn sich die späten Nebel drehn,

Werd’ ich bei der Laterne stehn,

Wie einst, Lili Marleen, wie einst, Lili Marleen.

HELLO, DOLLY!

The plot of the 1964 musical Hello, Dolly!, music and lyrics by Jerry Herman, originated in an 1835 English play, A Day Well Spent, that experienced many incarnations before becoming the iconic Broadway show of the late Sixties that ran for 2,844 consecutive performances.

Hello Dolly! Well, hello Dolly!

It’s so nice to have you back where you belong.

You’re looking swell, Dolly, we can tell Dolly,

You’re still glowin’, you’re still crowin’,

you’re still—goin’ strong!

We felt the room swayin’, for the band’s playin’,

One of your old favourite songs from way back when—so . . .

Take her wrap, fellas, find her an empty lap, fellas,

Dolly’ll never go away again!

Hello Dolly! Well, hello Dolly!

It’s so nice to have you back where you belong.

You’re looking swell, Dolly, we can tell Dolly,

You’re still glowin’, you’re still crowin’,

you’re still—goin’ strong!

We felt the room swayin’, for the band’s playin’,

One of your old favourite songs from way back when—so . . .

Golly gee, fellas, find her an empty knee, fellas,

Dolly’ll never go away,

Dolly’ll never go away,

Dolly’ll never go away again!

OH! SUSANNA

A minstrel song by famous U.S. composer Stephen Foster, first published 1848. One of the most popular American songs ever written.

I came from Alabama wid my banjo on my knee,

I’m g’wan to Louisiana, my true love for to see.

It rained all night, the day I left, the weather it was dry,

The sun so hot I froze to death, Susanna, don’t you cry.

CHORUS:

Oh, Susanna, don’t you cry for me,

I’ve come from Alabama wid my banjo on my knee.

I had a dream the other night, when everything was still,

I thought I saw Susanna, a-coming down the hill,

The buckwheat cake was in her mouth, the tear was in her eye,

Say I, I’m coming from the south, Susanna, don’t you cry.

CHORUS 2X:

VOICE IN THE SILENCE

© Copyright 1997 by Neall Calvert

It makes no difference who you are

Or the years and the miles you have roamed;

Sooner or later we all have to start

On the journey that leads back home;

Even for you there exists a way

Though there isn’t a clue where to start;

When it’s dark as the night and you can’t find the light,

The way out’s the way in to your heart.

CHORUS:

There’s a voice in the silence whispering

To those who are willing to hear:

“Turn ‘round and walk the other way,

Your saving grace is near.”

There’s a voice in the silence whispering

The words ring out quiet and clear:

“Turn ‘round, real life's the other way

With saving grace that's dear.”

You may think that life is an easy path

Through meadows and you cannot fail;

Suddenly there shines a brighter light—

You’re high on a perilous trail;

Still you must keep on walking,

Each soul has its own destiny;

And when you’re ready to step from the mind of the crowd,

The Eternal One sings in your key. CHORUS:

But to live from your truth is not easy,

For the world is still waiting to hear,

That the path with a heart leads to victory

And there can be an end to fear;

So I say to you, brothers and sisters,

From someone who’s been through the dark:

Take body and soul ever seriously,

The rest you can treat as a lark. CHORUS:

A PLACE IN THE SUN

by Ronald Miller and Bryan Wells; a 1966 soul single by Motown star Stevie Wonder

Like a long, lonely stream

I keep runnin’ towards a dream,

Movin’ on, movin’ on;

Like a branch on a tree

I keep reachin’ to be free,

Movin’ on, movin’ on.

CHORUS:

‘Cause there’s a place in the sun

Where there’s hope for ev’ryone,

Where my poor restless heart’s gotta run;

There’s a place in the sun

And before my life is done

Gonna find me a place in the sun.

Like an old dusty road

I get weary from the load,

Movin’ on, movin’ on;

Like this tired, troubled earth

I’ve been rollin’ since my birth,

Movin’ on, movin’ on. CHORUS:

[PIANO . . . ]

There’s a place in the sun

Where there’s hope for ev’ryone,

Where my poor restless heart’s gotta run;

There’s a place in the sun

And before my life is done,

Gonna find me a place in the sun.

WHOLE LOTTA SHAKIN’ GOIN’ ON

Origins disputed, but credited to Sunny David & Dave Williams. Made Jerry Lee Lewis, who radically altered the original, an instant sensation in 1957; he convinced audiences that rock 'n' roll could come from a piano rather than just guitars. Lewis's version rated by Rolling Stone magazine #61 top song of all time. In 2005, permanently preserved at the Library of Congress.

Well, come on over baby, a whole lotta shakin’ goin’ on;

I said, come on over baby, baby you can’t go wrong;

I ain’t fakin’, I got a whole lotta shakin’ goin’ on.

Come on over baby, we got chicken in the barn . . .

I said, come on over baby, really got the bull by the horns—ah-hah!

I ain’t fakin, I got a whole lotta shakin’ goin’ on.

I said shake it, baby, shake it;

I said shake it, baby, shake it;

I said shake, don’t you let it break, now,

Shake it, shake it, shake it;

Come on over, a whole lotta shakin’ goin’ on. [PIANO . . . ]

Come on over, baby, we got chicken in the barn

Whose barn, what barn, my barn;

Come on over baby, really got the bull by the horns—ah-hah!

I ain’t fakin’, I got a whole lotta shakin’ goin’ on.

(QUIETER:) I said shake it, baby, shake it;

I said shake it, baby, shake it;

I said shake, don’t you let it break, now,

Shake it, shake it, shake it;

Come on over, whole lotta shakin’ goin’ on.

(LOUDER:) Well shake it, baby, shake it;

I said shake it, baby, shake it;

I said shake, don’t you let it break now,

Shake it, shake it, shake it;

Come on over, whole lotta shakin’ goin’ on.

WHO WILL BUY?

Music and lyrics by Lionel Bart, from the musical Oliver!, based on the Charles Dickens novel Oliver Twist, that debuted in London's West End in 1960

Who will buy this wonderful morning?

Such a sky you never did see.

Who will tie it up with a ribbon,

And put it in a box for me?

So I can see it at my leisure,

Whenever things go wrong;

And I would keep it as a treasure

To last my whole life long.

CHORUS:

Who will buy this wonderful feeling?

I’m so high, I swear I could fly.

Me oh my, I don’t want to lose it,

So what am I to do,

To keep the sky so blue?

There must be someone who will buy.

Who will buy this wonderful morning?

Such a sky you never did see.

Who will tie it up with a ribbon,

And put it in a box for me?

There’ll never be a day so sunny,

It could not happen twice.

Where is the man with all the money?

It’s cheap at half the price! CHORUS:

Who will buy this morning of mornings?

Makes you feel you’re walking on air.

Ev’ry tree and flower is singing:

How fortunate are we,

To be alive to see,

The dawning of a day so fair!

WHEN IRISH EYES

ARE SMILING

Words by Olcott and Graff, Jr.; music by Ball; for the musical The Isle O'Dreams. Published in 1912, a time when many songs romanticizing Ireland appeared in Great Britain and the U.S. This is the chorus.

When Irish eyes are smiling,

Sure it’s like a morn in spring;

In the lilt of Irish laughter

You can hear the angels sing.

When Irish hearts are happy,

All the world seems bright and gay;

And when Irish eyes are smiling,

Sure they steal your heart away.

TODAY

Written in 1964 by Randy Sparks, founder of The New Christy Minstrels; also popularized by John Denver.

CHORUS:

Today while the blossoms still cling to the vine,

I’ll taste your strawberries, I’ll drink your sweet wine;

A million tomorrows shall all pass away,

‘Ere I forget all the joy that is mine today.

Oh, I’ll be a dandy and I’ll be a rover,

You’ll know who I am by the song that I sing;

I’ll feast at your table, I’ll sleep in your clover;

Who cares what the morrow shall bring?

CHORUS:

I can’t be contented with yesterday’s glory,

I can’t live on promises, winter to spring;

Today is my moment and now is my story;

I’ll laugh and I’ll cry and I’ll sing.

CHORUS:

THE GLORY OF LOVE

Written in 1936 by Billy Hill; covered by many famous singers, including Bette Midler in the 1988 movie Beaches

You’ve got to give a little, take a little,

And let your big heart break a little;

That’s the story of, that’s the glory of love.

You’ve got to laugh a little, cry a little,

Before the clouds roll by a little;

That’s the story of, that’s the glory of love.

As long as there’s the two of us,

We’ve got the world and all its charms;

And when the world is through with us,

We’ve got each other’s arms;

You’ve got to win a little, lose a little,

And sometimes have the blues a little;

That’s the story of, that’s the glory of love.

REPEAT: “As long as . . .”

SWEET CAROLINE

Written and performed by Neil Diamond; released in 1969. In 2007, Diamond revealed the inspiration for the song was a photo of President John F. Kennedy's daughter Caroline on horseback at age 11. He performed it for her on her fiftieth birthday in 2007.

[PIANO . . . ]

Where it began . . . I can’t begin to knowin’,

But then I know it’s growin’ strong . . .

Was in the spring . . . and spring became the summer,

Who’d have believed you’d come along? . . .

Hands . . . touchin’ hands . . .

Reachin’ out . . . touchin’ me . . . touchin’ you . . .

Sweet Caroline . . . good times never seemed so good . . .

I’ve been inclined . . . to believe they never would,

But . . . now . . . I . . .

Look at the night . . . and it don’t seem so lonely,

We fill it up with only two;

And when I hurt . . . hurtin’ runs off my shoulders,

How can I hurt when I’m with you? . . .

Warm . . . touchin’ warm . . .

Reachin’ out . . . touchin’ me . . . touchin’ you . . .

Sweet Caroline . . . good times never seemed so good . . .

I’ve been inclined . . . to believe they never would,

Oh . . . no . . . no . . .

Sweet Caroline . . . good times never seemed so good . . .

I’ve been inclined . . . to believe they never would.

[PIANO . . . ]

PUT A LITTLE LOVE

IN YOUR HEART

Written by Jackie DeShannon and her brother, Randy Myers, and Jimmy Holiday; originally performed by DeShannon in 1968, it was a major hit for her, along with her “What the World Needs Now is Love”; covered extensively.

Think of your fellow man, lend him a helping hand,

Put a little love in your heart.

You see it’s getting late, oh please don’t hesitate,

Put a little love in your heart.

CHORUS:

And the world will be a better place,

And the world will be a better place,

For you, and me, you just wait and see . . .

Another day goes by, and still the children cry,

Put a little love in your heart.

If you want the world to know, we won’t let hatred grow,

Put a little love in your heart. CHORUS:

Take a good look around, and if you’re looking down,

Put a little love in your heart.

I hope when you decide, kindness will be your guide,

Put a little love in your heart. CHORUS:

ENDING:

Put a little love in your heart.

Put a little love in your heart.

Put a little love in your heart.

Put a little love in y-o-u-r . . . hea-rt!

SILLY SONG

by Geof Morgan,Washington State folk singer of the 1960s and 1970s

CHORUS:

I’m gonna be silly . . . take it all willy-nilly;

I’m gonna be a fool, throw away the rules,

I’m gonna laugh, when I don’t know.

Yes, I’m gonna be silly; maybe go dancing on a lily,

And I’m gonna be laughing with both hands clapping

When it comes my time to go.

I’m tired of planning . . . my whole life away;

Be quiet in class! Keep off the grass!

And you can retire someday.

That’s a bunch of baloney—I’m retiring right now;

I’m gonna be a clown, laugh much too loud,

I’m gonna roll in the grass with the cows . . . yecchh!

CHORUS:

It’s time for recess; time to go out and play;

I want to watch a sunrise, send an Eskimo pies;

Forget about making it rhyme—who cares!

I’ve swallowed that time clock, and punched out myself;

I’m gonna Push on Pull doors, wear chartreuse underdrawers

And give that sad face to somebody else!

CHORUS: Repeat last two lines.

SAILING

Written by Gavin Sutherland in 1972; best performed by Rod Stewart

I am sailing, I am sailing,

Home again, ‘cross the sea;

I am sailing, stormy waters,

To be near you, to be free.

I am flying, I am flying,

Like the bird, ‘cross the sky;

I am flying, passing high clouds,

To be near you, to be free.

Can you hear me, can you hear me,

Through the dark time, far away;

I was crying, forever trying,

To be near you, who could say.

[PIANO . . . ]

We are sailing, we are sailing,

Home again, ‘cross the sea;

We are sailing, stormy waters,

To be near you, to be free;

To be near you, to be free.

PUT YOUR HAND

IN THE HAND

Written in the early 1970s by Gene McLellan (also wrote “Snowbird”); first recorded by Anne Murray; also popularized by the band Ocean.

CHORUS:

Put your hand in the hand

Of the man who stilled the water;

Put your hand in the hand

Of the man who calmed the sea.

Take a look at yourself

And-a you can look at others diff’rently,

By puttin’ your hand in the hand

Of the man from Galilee.

Ev’ry time I look into the holy book

I wanna tremble (tremble).

When I read about the part

Where the carpenter cleared the temple (temple);

For the buyers and the sellers

Were no diff’rent fellas

Than what I profess to be;

And it causes me pain to know

I’m not the one I want to be.

CHORUS: Then repeat last two lines 2X

MY LOVE

Written by Tony Hatch; 1975 international pop hit sung by Petula Clark; translated into and sung in 

many languages.

CHORUS:

My love is warmer than the warmest sunshine,

Softer than a sigh;

My love is deeper than the deepest ocean,

Wider than the sky.

My love is brighter than the brightest star

That shines every night above;

And there is nothing in this world

That can ever change my love.

Something happened to my heart the day that I met you;

Something that I never felt before;

You are always on my mind no matter what I do;

And every day it seems that I want you more.

CHORUS:

Once I thought that love was meant for anyone else but me;

Once I thought you’d never come my way;

Now it only goes to show, how wrong we all can be;

For now I have to tell you every day.

CHORUS 2X, second time slower:

LOVE CAN BUILD A BRIDGE

A country ballad by American mother/daughter singing duo The Judds that became a top country hit in 1991.

I’d gladly walk across the desert

With no shoes upon my feet,

To share with you the last bite

Of bread I had to eat;

I would swim out to save you

In your sea of broken dreams;

When all your hopes are sinking,

Let me show you what love means—

CHORUS:

Love can build a bridge,

Between your heart and mine;

Love can build a bridge—

Don’t you think it’s time,

Don’t you think it’s time.

I would whisper love so loudly

Every heart would understand,

That love and only love,

Can join the tribes of man;

I would give my heart’s desire,

So that you might see,

The first step is to realize,

That it all begins with you and me—CHORUS:

BRIDGE:

When we stand together,

It’s our finest hour;

We can do anything—anything!

If we keep believing in the power!

CHORUS: (Repeat . . . )

DO LORD

Traditional spiritual; verse lyrics by Alan Magee, late of Vancouver

CHORUS:

Do Lord, oh do Lord, oh do remember me;

Do Lord, oh do Lord, oh do remember me;

Do Lord, oh do Lord, oh do remember me;

Look away beyond the blue.

I’ve got a song within my heart

That heaven gave to me (repeat 1st two lines X3)

Look away beyond the blue. CHORUS

I will sing my song for you

If you’ll sing yours for me (X3)

Look away beyond the blue. CHORUS

I will sing both loud and long

‘Cause music sets me free (X3)

Look away beyond the blue. CHORUS

I’VE GOT PEACE LIKE A RIVER

African-American spiritual; lyrics expanded by Alan Magee, late of Vancouver

SLOW GOSPEL STYLE, 1st VERSE:

I’ve got peace like a river,

I’ve got peace like a river,

I’ve got peace like a river in my soul;

I’ve got peace like a river,

I’ve got peace like a river,

I’ve got peace like a river in my soul.

I’ve got faith like a mountain, etc.

I’ve got thanks overflowing, etc.

I’ve got love like a fountain, etc.

I’ve got praise like a fire, etc.

I’ve got joy never-ending, etc.

Sing one line of each verse above

SLOWLY:

I’ve got peace like a river, etc.

GUARDIAN ANGELS

Released by American country music duo The Judds in 1990; lyrics adapted by N.C. to honour his own grandparents

A fifty-year-old photograph stares out from a frame;

And if you look real close you’ll see our eyes are just the same;

I never met them face to face, but I still know them well,

From the stories that my uncles would tell.

Cornelius was a farmer, he knew how to make things grow;

Johanna vowed she’d follow him wherever he would go;

As things turned out they raised seventeen

on a big Saskatchewan farm;

Well he kept . . . her . . . fed—and she kept him warm.

CHORUS:

They’re my guardian angels, and I know they can see

Every step I take—they are watching over me;

I know where I’m goin’ cause I know where I come from;

They’re my guardian angels . . . and I’m their special one.

Sometimes when I’m tired I feel Cornelius take my arm;

He says, “Keep a-goin’, music never did a body harm”;

And when I’m feeling troubled and I don’t know what to do,

Then he whispers, “Just do your best—we’re awful proud of you.”

CHORUS:

A fifty-year-old photograph stares out from a frame . . .

And if you look real close you’ll see, our eyes are just the same.

UNCHAINED MELODY

Written by Alex North and Hy Zaret for the 1955 prison film Unchained (hence the title). Has been recorded hundreds of times, most notably by the Righteous Brothers in 1965, whose version became a jukebox standard for the rest of the 20^th century.

Oh, my love, my darling,

I’ve hungered for your touch a long, lonely time.

Time goes by so slowly,

And time can do so much . . . are you still mine?

I need your love, I need your love,

God speed your love to me!

Lonely rivers flow to the sea, to the sea,

To the open arms of the sea.

Lonely rivers sigh, “Wait for me, wait for me!”

I’ll be coming home, “Wait for me!”

Oh, my love . . . (as above)

Lonely mountains gaze at the stars, at the stars,

Waiting for the dawn of the day.

All alone I gaze at the stars, at the stars,

Dreaming of my love far away.

Oh, my love . . . (as above)

FOREVER YOUNG

Written by Bob Dylan eight years after he stopped touring and had become a father; appeared on his 1974 Planet Waves album; also memorably sung by Joan Baez

May God bless and keep you always,

May your wishes all come true;

May you always do for others

And let others do for you.

May you build a ladder to the stars

And climb on every rung;

May you stay . . . forever young.

CHORUS:

Forever young, forever young,

May you stay . . . forever young.

May you grow up to be righteous,
May you grow up to be true;
May you always know the truth
And see the light surrounding you.
May you always be courageous,
Stand upright and be strong;
May you stay forever young. CHORUS:

May your hands always be busy,

May your feet always be swift;

May you have a strong foundation

When the winds of changes shift.

May your heart always be joyful,

May your song always be sung;

May you stay . . . forever young. CHORUS:

[PIANO . . . ]

CHORUS:

HENRY THE ACCOUNTANT

© by Paul Kaplan, Victoria (to the tune of “John Henry”)

Henry was an accountant,

He worked with a pencil in his hand;

If you had something that you needed added up,

Then Henry the Accountant was your man, Lord, Lord,

Henry the Accountant was your man.

I said Henry the Accountant was your man, Lord, Lord,

Henry the Accountant was your man.

When Henry was a little baby,

He was sitting on his daddy’s knee;

He picked up a crayon and a little piece of paper

He said, “Two plus one equals three, Lord, Lord;

Two plus one equals three.

Two plus one equals three, Lord, Lord,

Two plus one equals three.”

Now the man who bought the first calculator,

He thought he was mighty fine.

He walked up to Henry with a sneer on his lip,

He said, “Your job is gonna be mine, Lord, Lord,

Your job is gonna be mine.”

He said, “Your job is gonna be mine, Lord, Lord

Your job is gonna to be mine.”

So Henry stood up and drew his weapon;

He said, “A man ain’t nothing but a man.

We’ll have ourselves a race, and I’ll put you in your place,

Or I’ll die with this pencil in my hand, Lord, Lord,

I’ll die with this pencil in my hand”

“Oh I’ll die with this pencil in my hand, Lord, Lord

I’ll die with this pencil in my hand.”

So each man grabbed a fifty-pound ledger,

And Henry went to work with all his might;

Though his hand was getting cramped, and his shirt was getting damp

He swore he would not give up the fight, Lord, Lord

He swore he would not give up the fight.

He swore he would not give up the fight, Lord, Lord

He swore he would not give up the fight.

After three long hours in the battle,

The man with the machine had moved ahead;

He had Henry beat, until on the final sheet,

Suddenly his batteries went dead, Lord, Lord,

Suddenly his batteries went dead.

When suddenly his batteries went dead, Lord, Lord,

Suddenly his batteries went dead.

Henry beat that calculator,

Now his powers could never be denied.

But the terrible strain had been too much for his brain,

And he laid down his glasses and he died, Lord, Lord;

He laid down his glasses and he died.

He laid down his glasses and he died, Lord, Lord

He laid down his glasses and he died.

They buried Henry in the graveyard

With his trusty pencil and his pad.

And when the cheques don’t clear, they always shed a tear

For the last human being who could add, Lord, Lord

The last human being who could add.

The last human being who could add, Lord, Lord

The last human being who could add.

Henry was an accountant,

He worked with a pencil in his hand.

If you had something that you needed added up

Then Henry the Accountant was your man, Lord , Lord,

Henry the Accountant was your man. . . . SLOWER:

I said Henry the Accountant was your man, Lord , Lord,

Henry the Accountant was your man.

 GREENSLEEVES

Traditional English folk song and tune, first registered in London in 1580. Well-known in Shakespeare's time (Merry Wives of Windsor, 1602). Commonly believed to be, but definitely not written by, King Henry VIII.

Alas, my love, you do me wrong

To cast me off discourteously

For I have loved you well and long

Delighting in your company.

CHORUS: Greensleeves was all my joy

Greensleeves was my delight

Greensleeves was my heart of gold

And who but my Lady Greensleeves?

Your vows you’ve broken, like my heart

Oh, why did you so enrapture me?

Now I remain in a world apart

But my heart remains in captivity.

I have been ready at your hand

To grant whatever you would crave

I have both wagered life and land

Your love and good-will for to have.

If you intend thus to disdain

It does the more enrapture me

And even so, I still remain

A lover in captivity.

My men were clothèd all in green

And they did ever wait on thee

All this was gallant to be seen

And yet thou wouldst not love me.

Thou couldst desire no earthly thing

But still thou hadst it readily.

Thy music still to play and sing

And yet thou wouldst not love me.

Well, I will pray to God on high / That thou my constancy mayst see

And that yet once before I die / Thou wilt vouchsafe to love me.

Ah, Greensleeves, now farewell, adieu / To God I pray to prosper thee

For I am still thy lover true / Come once again and love me.

PUFF (The Magic Dragon)

Written by Leonard Lipton and Peter Yarrow. Lipton was inspired by an Ogden Nash poem, “Custard the Dragon.” Recorded by Peter's group Peter, Paul & Mary in 1963. Has achieved worldwide popularity. Has had to be frequently defended regarding drug-reference lyrics. There are none.

Puff, the magic dragon lived by the sea

And frolicked in the autumn mist in a land called Honah Lee;

Little Jackie Paper loved that rascal Puff,

And brought him strings and sealing wax and other fancy stuff—Oh!

CHORUS: Puff, the magic dragon lived by the sea

And frolicked in the autumn mist in a land called Honah Lee;

Puff, the magic dragon lived by the sea

And frolicked in the autumn mist in a land called Honah Lee.

Together they would travel on a boat with billowed sail;

Jackie kept a lookout perched on Puff’s gigantic tail,

Noble kings and princes would bow whene’er they came,

Pirate ships would lower their flag when Puff roared out his name. Oh!

CHORUS:

A dragon lives forever but not so little boys

Painted wings and giant rings make way for other toys.

One grey night it happened, Jackie Paper came no more

And Puff that mighty dragon, he ceased his fearless roar.

His head was bent in sorrow, green scales fell like rain,

Puff no longer went to play along the cherry lane.

Without his life-long friend, Puff could not be brave,

So Puff that mighty dragon sadly slipped into his cave. Oh!

CHORUS: FIRST HALF SOFTLY, then LOUDLY . . .

ROCK AND ROLL MUSIC

1957 hit single written and recorded by rock 'n' roll icon Chuck Berry. Covered by The Beatles (John Lennon singing), the Beach Boys, and many others. #128 on Rolling Stone magazine's 500 Greatest Songs of All Time. One of the songs that shaped rock and roll.

[PIANO . . .] CHORUS:

Just let me hear some of that

Rock And Roll Music,

Any old way you choose it;

It’s got a back beat, you can’t lose it,

Any old time you use it.

It’s gotta be Rock And Roll Music,

If you want to dance with me,

If you want to dance with me.

I’ve got no kick against modern jazz,

Unless they try to play it too damn fast;

And change the beauty of the melody,

Until they sound just like a symphony.

That’s why I go for that Rock And Roll Music... CHORUS:

I took my loved one over ‘cross the tracks

So she can hear my man a-wail a sax;

I must admit they have a rockin’ band,

Man they were going like a hurricane,

That’s why I go for that Rock and Roll Music...

CHORUS:

Don’t care to hear ‘em play a tango,

I’m in the mood to dig a mambo;

It’s way to early for a congo,

So keep a rockin’ that piano,

So I can hear some of that Rock And Roll Music...

CHORUS:

THAT’LL BE THE DAY

Written by Buddy Holly and Jerry Allison in 1956. The title comes from the phrase they heard used repeatedly by actor John Wayne in a world-weary way in the movie The Searchers. Recorded by The Quarrymen (precursor to The Beatles) as a 'demo disc only' in 1958; that's now considered one of the most valuable recordings ever.

CHORUS:

Well, that’ll be the day, when you say good-bye,

Yes, that’ll be the day, when you make me cry.

Ah, you say you’re gonna leave—you know it’s a lie,

‘Cause that’ll be the day . . . when I die!

Well, you give me all your lovin’ and your . . . turtle dovin’, all

Your hugs and kisses and your money too,

Well, you know you love me baby, until you tell me, maybe,

That some day, well, I’ll be through . . . CHORUS

When Cupid shot his dart, he shot it at your heart,

So if we ever part and I leave you

You say you told me and you . . . told me boldly—

That someday, well, I’ll be through . . . CHORUS 2X

YELLOW SUBMARINE

Written in 1966 by Paul McCartney as a children's song to be sung by Ringo Starr. John Lennon and Donovan helped with the lyrics, and many others helped with the sound effects. An animated film followed in 1968.

In the town where I was born

Lived a man who sailed the sea;

And he told us of his life

In the land of submarines.

So we sailed up to the sun

Till we found the sea of green;

And we lived beneath the waves

In our yellow submarine.

CHORUS:

We all lived in a yellow submarine,

A yellow submarine, a yellow submarine;

We all lived in a yellow submarine,

A yellow submarine, a yellow submarine.

And our friends are all aboard;

Many more of them live next door.

And the band begins to play [PIANO] . . . CHORUS:

As we live the life of ease

Everyone of us has all we need;

Sky of blue and sea of green,

In our yellow submarine.

CHORUS (2X):

HEY JUDE

Written in 1968 by Paul McCartney for John Lennon’s first son, Julian; he wrote it while on a motor trip to visit John's ex-wife, Cynthia, and Julian, to keep in touch during the divorce proceedings that led out of John's affair with Yoko Ono. The top-selling single of the 1960s; #8 on Rolling Stones magazine's Top 500 Songs. John considered it Paul's masterpiece.

Hey Jude, don’t make it bad.

Take a sad song and make it better.

Remember to let her into your heart,

Then you can start to make it better.

Hey Jude, don’t be afraid.

You were made to go out and get her.

The minute you let her under your skin,

Then you begin to make it better.

And anytime you feel the pain, hey Jude, refrain,

Don’t carry the world upon your shoulders.

For well you know that it’s a fool who plays it cool

By making his world a little colder.

Hey Jude, don’t let me down.

You have found her, now go and get her.

Remember to let her into your heart,

Then you can start to make it better.

So let it out and let it in, hey Jude, begin,

You’re waiting for someone to perform with.

And don’t you know that it’s just you, hey Jude, you’ll do,

The movement you need is on your shoulder.

Hey Jude, don’t make it bad.

Take a sad song and make it better.

Remember to let her under your skin,

Then you’ll begin to make it

Better, better, better, better, better, better, ahhhhh!

Da,da, da, da-da-da-da—da-da-da-da, hey Jude . . . .

WALTZING MATILDA

Written in 1895 by Australian poet and nationalist Banjo Paterson. To go“Waltzing Matilda” means to go travelling on foot with one's goods wrapped in a Matilda or bag and carried over the shoulder. There are more recordings of this than any other Australian song. Not the Australian national anthem, but it almost was. However, unofficially it is used as such, and is a fixture at Australian sporting matches.

Once a jolly swagman camped by a billabong

Under the shade of a coolibah tree,

*And he sang as he sat and waited while his billy boiled,

You’ll come a-waltzing Matilda with me.

CHORUS: Waltzing Matilda, waltzing Matilda,

You’ll come a-waltzing Matilda with me.

(*Repeat last two lines of verse.)

Down came a jumbuck to drink at the billabong,

Up jumped the swagman, grabbed him with glee,

*And he sang as he shoved that jumbuck in his tucker bag:

You’ll come a-waltzing Matilda with me. CHORUS

Down came the squatter mounted on his thoroughbred,

Up came the troopers—one, two, three!

*Where’s that jolly jumbuck you’ve got in your tucker bag?

You’ll come a waltzing Matilda with me. CHORUS

Up jumped the swagman, sprang into the billabong,

You’ll never catch me alive! said he.

*And his ghost may be heard as you pass by that billabong:

You’ll come a-waltzing Matilda with me. CHORUS

GLOSSARY: swagman: tramp; billabong: waterhole; coolibah: Australian tree; billy: can to heat water for tea; waltzing Matilda: slang for carrying a blanket roll; jumbuck: sheep; tuckerbag: knapsack; squatter: rancher; trooper: sheriff.

THOSE WERE THE DAYS

Lyrics by Gene Raskin in the early 1960s, set to a classic Russian folk tune; made famous by the Limeliters and then Mary Hopkin in 1968, produced by Paul McCartney on The Beatles' Apple label. Mary Hopkin was still singing and recording in 2011. Lyrics slightly altered by N.C. to give a more hopeful tone.

Once upon a time there was a tavern,

Where we used to raise a glass or two;

Remember how we laughed away the hours

And think of all the great things we would do . . .

CHORUS: Those were the days, my friend,

We thought they’d never end,

We’d sing and dance forever and a day;

We’d live the life we choose,

We’d fight and never lose,

For we were young and sure to have our way.

Then the busy years went rushing by us;

We lost our starry notions on the way;

If by chance I’d see you in the tavern,

We’d smile at one another and we’d say . . . CHORUS:

Just tonight I stood before the tavern;

Nothing seemed the way it used to be;

In the glass I saw a strange reflection;

Was that lovely woman really me? CHORUS:

Through the door there came familiar laughter;

I saw your face and heard you call my name;

Oh, my friend, we’re older but much wiser,

And in our hearts the dreams are still the same . . .

CHORUS: . . . (replace last line):

Those were the days—oh yes, those were the days!

DANNY BOY

Written by English songwriter Frederic Weatherley in 1910 and set to the Irish tune “Londonderry Air” three years later. Became famous very quickly; first recorded in 1915; then by many well-known singers into present day. Unofficial anthem of the Irish diaspora in Canada and the U.S.A.

Oh, Danny boy, the pipes, the pipes are calling,

From glen to glen and down the mountainside;

The summer’s gone, and all the roses falling;

It’s you, it’s you . . . must go and I must bide.

But come ye back when summer’s in the meadow;

Or when the valley’s hushed and white with snow . . .

It’s I’ll be here, in sunshine or in shadow,

Oh Danny boy, oh Danny boy, I love you so!

But when ye come, and all the flow’rs are dying,

If I am dead, as dead I well may be;

Ye’ll come and find the place where I am lying,

And kneel and say an Ave there for me.

And I shall hear, though soft you tread above me,

And all my grave will warmer, sweeter be;

For you will bend . . . and tell me that you love me,

And I shall sleep in peace until you come to me.

ODE TO JOY

Written by German poet, playwright and historian Friedrich Schiller in 1785; best known as the lyrics to the final movement of Ludwig van Beethoven's Ninth Symphony, written in 1815. Adopted as the anthem of the Council of Europe / European Union in 1972.

Brothers sing your country's anthem,

Shout your land's undying theme;

Light the wondrous tale of nations

With your people's golden dream.

Tell your father's noble story,

Raise on high your country's sign;

Join them in the lasting glory,

Brother lift your flag with mine.

Build the road of peace before us,

Build it wide and deep and long;

Speed the slow and check the eager,

Help the weak and claim the strong.

None shall push aside another,

None shall let another fall—

March beside me, oh my brothers,

All for one and one . . . for . . . all!

BONY MORONIE

Written in 1957 and performed by Larry Williams; covered by many other artists.

I’ve got a girl named Bony Moronie . . .

She’s as skinny as a stick of macaroni . . .

You ought to see her dancing with her blue jeans on . . .

She’s not very fat, just skin and bone . . .

CHORUS:

Well now, I love her, and she loves me,

Oh, how happy now we’re gonna be

Makin’ love underneath the apple tree.

Well I told her momma and her papa, too . . .

Just exactly what I’m gonna do . . .

I’m gonna get married on a night in June . . .

Rock ‘n’ roll by the light of the silvery moon . . . CHORUS

[PIANO . . . ]

Well she’s my one and only she’s my heart’s desire . . .

She’s a real upsetter, she’s a real live wire . . .

Everybody’s watchin’ when my baby walks by . . .

She’s so good lookin’ really catches the eye . . . CHORUS, 2X

BRING IT ON

HOME TO ME

1962 soul song written and recorded by R & B singer Sam Cooke. Covered by many top artists. Considered by the Rock and Roll Hall of Fame to be one of the 500 songs that formed rock and roll.

Well, if you ever change your mind

About leaving, leaving me behind;

Oh-oh, bring it to me, bring your sweet loving,

Bring it on home to me, oh yeah, oh yeah . . .

You know I laughed, when you left,

But now I know I’ve only hurt myself;

Oh-oh, bring it to me, bring your sweet loving,

Bring it on home to me, oh yeah, oh yeah . . .

I’ll give you jewelry, money too,

And that’s not all, all I’ll do for you;

Oh-oh, bring it to me, bring your sweet loving,

Bring it on home to me, oh yeah, oh yeah . . .

[PIANO . . . ]

Well, if you ever change your mind

About leaving, leaving me behind;

Oh-oh, bring it to me, bring your sweet loving,

Bring it on home to me, oh yeah, oh yeah. . . .

CONSIDER YOURSELF

Written and composed by Lionel Bart (who could neither read nor write music), from the 1960 musical Oliver!, based on the Charles Dickens novel Oliver Twist. First British musical to successfully translate to Broadway. Became the standard musical produced in British schools. Maintains its popularity to the present day.

Consider yourself at home, consider yourself one of the family;

I’ve taken to you so strong—it’s clear we’re going to get along!

Consider yourself well in, consider yourself part of the furniture;

There isn’t a lot to spare,

Who cares? What . . . ever we’ve got we share!

If it should chance to be we should see some harder days,

Empty larder days—why grouse?

Always a chance we’ll meet somebody to foot the bill,

Then the drinks are on the house!

Consider yourself our mate, we don’t want to have no fuss;

For after some consideration, we can state:

Consider yourself—one of us!

Consider yourself at home, consider yourself one of the family;

I’ve taken to you so strong, it’s clear we’re going to get along!

Consider yourself well in; consider yourself part of the furniture.

There isn’t a lot to spare,

Who cares? What-ever we’ve got we share!

Nobody tries to be lah-di-dah and uppity,

There’s a cup of tea for all.

Only it’s wise to be handy wiv a rolling pin,

When the landlord comes to call!

Consider yourself our mate, we don’t want to have no fuss;

For after some consideration, we can state:

Consider yourself—one of us!

BLUE SKIES

Composed by Irving Berlin in 1926 as a last-minute addition to the Rodgers & Hart musical Betsy. The musical lasted just 39 performances, but this song, by audience demand, received 24 encores on opening night. On the last repetition, the performer forgot the words and Irving Berlin, sitting in the front row of the audience, took over.

Blue skies smiling at me,

Nothing but blue skies, do I see.

Bluebirds singing a song,

Nothing but bluebirds all day long.

Never saw the sun shining so bright,

Never saw things going so right;

Noticing the days hurrying by,

When you’re in love, my how they fly

Blue days, all of them gone,

Nothing but blue skies from now on.

REPEAT ALL, then last two lines once again.

WONDERFUL WORLD

Written by Bob Thiele & George David Weiss in the 1960s to help ease tensions during the Vietnam War and the civil-rights struggles in the U.S. First recorded by Louis Armstrong in 1967 (that recording was inducted into the Grammy Hall of Fame in 1999). Covered by many top artists.

I see trees of green, red roses too;

I see them bloom for me and you;

And I think to myself . . . what a wonderful world!

I see skies of blue, and clouds of white;

The bright blessed day, the dark sacred night;

And I think to myself . . . what a wonderful world!

The colours of the rainbow, so pretty in the sky,

Are also on the faces of the people goin’ by;

I see friends shakin’ hands, sayin’ “How do you do.”

They’re really sayin’, “I love you.”

I hear babies cry; I watch them grow;

They’ll learn much more than I’ll ever know;

And I think to myself . . . what a wonderful world!

The colours of the rainbow, so pretty in the sky,

Are also on the faces of the people goin’ by;

I see friends shakin’ hands, sayin’: “How do you do.”

They’re really sayin’, “I love you.”

I hear babies cry; I watch them grow;

They’ll learn much more than I’ll ever know;

And I think to myself . . . what a wonderful world!

Yes, I think to myself . . . what a wonderful world!

I CAN SEE CLEARLY NOW

Written and recorded by Johnny Nash in 1972. #1 hit song covered by many artists throughout the years, including Jamaican reggae star Jimmy Cliff in 1993 for Cool Runnings, a film about the Jamaican bobsled team at the 1988 Calgary Winter Olympics.

I can see clearly now the rain is gone;

I can see all obstacles in my way;

Gone are the dark clouds that had me blind;

It’s gonna be a bright, bright sunshiny day.

Oh yes I can make it now the pain has gone;

All of the bad feelings have disappeared;

Here is the rainbow I’ve been praying for;

It’s gonna be a bright, bright sunshiny day;

CHORUS: Look all around, there’s nothing but blue skies;

Look straight ahead, there’s nothing but blue skies . . .

I can see clearly now the rain is gone;

I can see all obstacles in my way;

Here is the rainbow I’ve been praying for;

It’s gonna be a bright, bright sunshiny day.

CHORUS: Look all around, there’s nothing but blue skies;

Look straight ahead, there’s nothing but blue skies . . .

I can see clearly now the rain is gone;

I can see all obstacles in my way;

Here is the rainbow I’ve been praying for;

It’s gonna be a bright, bright sunshiny day;

It’s gonna be a bright, bright sunshiny day.

It’s gonna be a bright, bright sunshiny day;

It’s gonna be a bright, bright sunshiny day.

STAND BY ME

Originally recorded by Ben E. King; written by King and Jerry Leiber and Mike Stoller, who wrote many of Elvis Presley's first hits. Has been covered more than 400 times. #122 on Rolling Stone magazine's 500 Greatest Hits of All Time. The fourth-most-performed song of the 20^th century, according to BMI.

[PIANO . . .]

When the night has come—and the land is dark,

And the moon is the only light we see;

No I won’t be afraid, no I won’t be afraid,

Just as long as you stand, stand by me.

CHORUS:

And darlin’, darlin’, stand by me,

Oh now, now stand by me;

Stand by me, stand by me, stand by me.

If the sky, that we look upon—should tumble and fall,

And the mountains should crumble to the sea;

I won’t cry, I won’t cry, no I won’t shed a tear,

Just as long as you stand, stand by me.

CHORUS:

[PIANO . . .]

Whenever you’re in trouble you can stand by me;

Oh now, now stand by me,

Stand by me, stand by me, stand by me.

CHORUS:

IMAGINE

John Lennon's most iconic composition, written at his home in 1971, inspired by poems by Yoko Ono and a Christian prayer book given him by entertainer Dick Gregory. One of the most played songs of the 20^th century; #3 on Rolling Stone magazine's 500 Greatest Songs of All Times. (#1 is Bob Dylan's “Like A Rolling Stone” and #2 is The Rolling Stones' (I Can't Get No) Satisfaction.)

Imagine there’s no heaven; it’s easy if you try.

—No hell below us; above us only sky.

Imagine all the people, living for today,

Ah-ah-ah-ah-ah . . .

Imagine there’s no country; it isn’t hard to do.

Nothing to kill or die for, and no religion too.

Imagine all the people living life in peace,

You-ou-ou-ou-ou . . .

CHORUS:

You might say I’m a dreamer,

But I’m not the only one.

And I hope someday you’ll join us,

And the world will be as one.

Imagine no possessions, I wonder if you can.

No need for greed or hunger; a brotherhood of man.

Imagine all the people sharing all the world,

You-ou-ou-ou-ou . . .

CHORUS:

(HUM FIRST HALF OF VERSE)

Imagine all the people, sharing all the world.

You-ou-ou-ou-ou . . .

CHORUS:

A WHITER SHADE OF PALE

Written to a Bach-inspired melody by Matthew Fisher, Keith Reid and Jerry Brooker; recorded by their band, Procol Harum, in 1971 and immediately became a #1 hit. One of the most played songs in Britain. More than 1,000 recorded cover versions are known. #57 on Rolling Stone magazine's Greatest 500 Songs of All Time.

[PIANO . . .]

We skipped the light fandango

Turned cartwheels ‘cross the floor

I was feeling kind of seasick . . .

But the crowd called out for more.

The room was humming harder

As the ceiling flew away

When we called out for ano-ther dri-i-ink

The waiter brought a tray.

And so it was that la-a-ater

As the miller told his tale—

That her face, at first just ghostly,

Turned a whiter shade of pale. [PIANO . . . ]

She said, “There is no reason

And the truth is plain to see,”

But I wandered through my playing cards

And would not let her be

One of sixteen vestal virgins—

Who were leaving for the coast.

And although my eyes were open

They might just as well’ve been closed

And so it was that la-a-ater

As the miller told his tale—

That her face, at first just ghostly,

Turned a whiter shade of pale. [PIANO . . .]

And so it was . . .

LET IT BE

Written by Paul McCartney, released by The Beatles in 1970. Inspired by a dream Paul had during the tense times recording the White Album. In the dream, he had a conversation with his mother, Mary, who had died when he was 14; “It will be all right; just let it be,” she had said, he later reported. It's the favourite Beatle song of fans, winner of Grammy and Academy Awards, and widely considered to be one of the greatest songs of all time (though John Lennon didn't like it much). Rolling Stone: #20 of top 500.

When I find myself in times of trouble

Mother Mary comes to me,

Speaking words of wisdom: Let it be.

And in my hour of darkness

She is standing right in front of me,

Speaking words of wisdom: Let it be.

Let it be, let it be, let it be, let it be;

Whisper words of wisdom: Let it be.

And when the broken-hearted people

Living in the world agree,

There will be an answer: Let it be.

For though they may be parted

There is still a chance that they will see,

There will be an answer: Let it be.

Let it be, let it be, let it be, let it be;

Yeah, there will be an answer: Let it be.

Let it be, let it be, let it be, let it be;

Whisper words of wisdom: Let it be.

And when the night is cloudy

There is still a light that shines on me;

Shine until tomorrow: Let it be;

I wake up to the sound of music,

Mother Mary comes to me,

Speaking words of wisdom: Let it be.

Let it be, let it be, let it be, let it be;

Oh, there will be an answer: Let it be.

Let it be, let it be, let it be, yeah, let it be;

Whisper words of wisdom: Let it be.

 

 

Sunrise, Sunset

From the 1964 musical (and 1971 film) Fiddler on the Roof by Jerry Bock and Sheldon Harnick, based on life in Tsarist Russia in the 1894 book Tevye and His Daughters by Sholom Aleichem. First Broadway musical to surpass 3,000 performances; winner of nine Tony awards. The Fiddler (based on a Marc Chagall painting), is a metaphor for survival in uncertain times through (Jewish) tradition and joyfulness.

Is this the little girl I carried?

Is this the little boy at play?

I don’t remember growing older, when did they?

When did she get to be a beauty?

When did he grow to be so tall?

Wasn’t it yesterday when they were small?

CHORUS:

Sunrise, sunset; sunrise, sunset;

Swiftly flow the days;

Seedlings turn overnight to sunflow’rs,

Blossoming even as we gaze.

Sunrise, sunset; sunrise, sunset;

Swiftly fly the years;

One season following another,

Laden with happiness and tears.

Now is the little boy a bridegroom;

Now is the little girl a bride;

Under the canopy I see them, side by side.

Place the gold ring around her finger;

Share the sweet wine and break the glass;

Soon the full circle will have come to pass.

CHORUS:

HOW COULD ANYONE

This song – words and music by Libby Roderick, 1988 – has been translated into many languages, reprinted in numerous books (including Hometown by Pulitzer Prize–winner Tracy Kidder), sung at a UN Conference in Beijing by thousands of NGO representatives, and used in every conceivable format in hospitals, prisons, kindergartens, marches, peace gatherings, weddings, funerals and shelters. In 2005, CNN newsman Anderson Cooper did a special segment on Libby and the worldwide healing impact of the song. Turtle Island Records receives hundreds of letters from listeners describing healing uses of the song worldwide.
[ From www.libbyroderick.com/cd_new.html ]

How could anyone ever tell you,

You were anything less than beautiful;

How could anyone ever tell you

You were less than whole;

How could anyone fail to notice

That your loving is a miracle—

How deeply you’re connected to my soul.

REPEAT:

[PIANO . . . ]

REPEAT:

THIS LITTLE LIGHT

OF MINE

Gospel children's song written by Harry Dixon Loes, 1920. Based on words from the New Testament: “You are the light of the world” and “Let your light shine before men.”

This little light of mine, I’m gonna let it shine (3X)

Let it shine, let it shine, let it shine!

Everywhere I go, I’m gonna let it shine (3X)

Let it shine, let it shine, let it shine!

Put it under a bushel?—no! I’m gonna let it shine (3X)

Let it shine, let it shine, let it shine!

Ain’t nobody gonna “whoof” it out, I’m gonna let it shine (3X)

Let it shine, let it shine, let it shine!

SLOWER:

Monday, he gave the gift of love;

Tuesday, peace came from above;

Wednesday, told me to have more faith;

Thursday, gave me a little more grace;

Friday, told me to watch and pray;

Saturday told me just what to say;

Sunday, gave me the power divine

To let my little light shine!

This little light of mine, I’m gonna let it shine (3X)

Let it shine, let it shine, let it shine!

Let it shine, let it shine, let it shine!

ANNIE’S SONG

Recorded by singer-songwriter John Denver in 1974,“Annie's Song” immediately became a #1 hit in the U.S. According to Denver, he had just skied down a difficult run at Aspen and was immersed in the beauty and colours of the world around him as he sat on the chairlift, and wrote it in about ten minutes. Annie, his wife at that time, for whom it was written, said, “John and I had gone through a pretty intense time together and things were pretty good for us. He left to go skiing and he got on the Ajax chair and the song just came to him.”

You fill up my senses, like a night in a forest,

Like the mountains in spring time, like a walk in the rain.

Like a storm in the desert, like a sleepy blue ocean,

You fill up my senses, come fill me again.

Come let me love you, let me give my life to you,

Let me drown in your laughter, let me die in your arms.

Let me lay down beside you, let me always be with you,

Come let me love you, come love me again.

You fill up my senses, like a night in a forest,

Like the mountains in springtime, like a walk in the rain.

Like a storm in the desert, like a sleepy blue ocean,

You fill up my senses, come fill me again.

BLUE MOON

Written by Rodgers and Hart in 1934, on Hart's third complete new attempt at lyrics for this tune. Covered by many great artists through the years including Billie Holiday, Mel Torme, Elvis Presley (on his first album) and Bob Dylan. The 1961 doo-wop version by the Marcels made it to the Rock and Roll Hall of Fame as one of the 500 songs that shaped rock and roll.

Blue moon, you saw me standing alone

Without a dream in my heart

Without a love of my own.

Blue moon, you knew just what I was there for

You heard me saying a prayer for

Someone I really could care for.

And then there suddenly appeared before me

The only one my arms will ever hold

I heard somebody whisper, “Please adore me,”

And when I looked, the moon had turned to gold!

Blue moon, now I’m no longer alone

Without a dream in my heart,

Without a love of my own.

REPEAT ALL:

THE WIND

BENEATH MY WINGS

Written by Jeff Silbar and Larry Henley, 1982. Became a top country hit for Gary Morris in 1983, then a contemporary hit for Bette Midler in 1989 as a single from the soundtrack for the film Beaches; won two Grammy Awards in 1990. An international top-seller covered by many artists.

It must have been cold there in my shadow—

To never have sunlight on your face;

You’ve been content to let me shine;

You always walked one step behind.

I was the one with all the glory;

While you were the one with all the strength;

Only a face without a name;

I never once heard you complain . . .

CHORUS:

Did you ever know that you’re my hero;

And everything I’d like to be?

I can fly higher than an eagle—

‘Cause you are the wind beneath my wings.

It might have appeared to go unnoticed,

That I’ve got it all here in my heart;

I want you to know I know the truth—

I would be nothing without you . . .

CHORUS, then add:

You are the wind beneath my wings.

BYE, BYE, BLACKBIRD

Mort Dixon and Ray Henderson, 1926. Several commentators state that the lyrics are about a prostitute leaving the business to go home to her mother. Covered throughout the years by many top artists, more recently by Diana Krall (movie Public Enemies, 2009), Ringo Starr (Sentimental Journey, 1970) and Paul McCartney (Kisses on the Bottom, 2012).

Pack up all my care and woe,

Here I go, singing low;

Bye, bye blackbird.

Where somebody waits for me,

Sugar’s sweet, so is she—

Bye, bye blackbird.

No one here can love and understand me,

Oh, what hard-luck stories they all hand me;

Make my bed and light the light,

I’ll arrive late tonight—

Blackbird . . . bye bye.

REPEAT ALL:

MORNING HAS BROKEN

Christian hymn, lyrics by Eleanor Farjeon, 1931; made famous by Cat Stevens, 1971. Familiar piano arrangement is by Rick Wakeman of later Yes fame, who was not credited or paid till decades afterwards. Covered by many top artists including Judy Collins, Roger Whittaker, Kenny Rogers, and the Mormon Tabernacle Choir.

Morning has broken, like the first morning;

Blackbird has spoken, like the first bird;

Praise for the singing, praise for the morning,

Praise for them springing, fresh from the word.

Sweet the rain’s new fall, sunlit from heaven,

Like the first dewfall, on the first grass;

Praise for the sweetness of the wet garden,

Sprung in completeness, where his feet pass.

Mine is the sunlight, mine is the morning;

Born of the one light, Eden saw play;

Praise with elation, praise ev’ry morning,

God’s re-creation of the new day.

[PIANO . . .]

Morning has broken, like the first morning;

Blackbird has spoken, like the first bird;

Praise for the singing, praise for the morning,

Praise for them springing, fresh from the word.

‘TIS A GIFT

TO BE SIMPLE

Shaker dance song composed by Elder Joseph Brackett, 1848; popularized by American composer Aaron Copland in his ballet and orchestral suite Appalachian Spring, 1944. Ballet music was winner of the 1945 Pulitzer Prize for Music.

Tis a gift to be simple, tis a gift to be free,

Tis a gift to come down where we ought to be;

And when we find ourselves in the place that is right

It will be in the valley of love and delight.

When true simplicity is gained

To bow and to bend we shall not be ashamed;

To turn, turn, turn will be our delight

Till by turning, turning we come ‘round right.

MAXWELL’S SILVER HAMMER

Released on the Abbey Road album in 1969 by The Beatles. A crotchety Paul McCartney coyly has his character Maxwell bash in the heads of anyone who disagrees with him. “The song merely epitomizes the downfalls of life,” said Sir Paul much later. “It's my analogy for when something goes wrong out of the blue, as it so often does, as I was beginning to find out at that time in my life. I wanted something symbolic of that.”

Joan was quizzical, studied metaphysical

Science in the home; late nights all alone with a test-tube

Ohh-oh-oh-oh. . . .

Maxwell Edison majoring in medicine

Calls her on the phone

“Can I take you out to the pictures, Jo-o-o-oan?”

But as she’s getting ready to go,

A knock comes on the door . . .

Bang, bang, Maxwell’s silver hammer / Came down upon her head;

Bang, bang, Maxwell’s silver hammer / Made sure that she was dead.

Back in school again, Maxwell plays the fool again

Teacher gets annoyed

Wishing to avoid an unpleasant sce-e-e-ene;

She tells Max to stay when the class has gone away

So he waits behind,

Writing 50 times “I must not be so-oh-oh-oh . . .”

But when she turns her back on the boy,

He creeps up from behind . . .

Bang, bang, Maxwell’s silver hammer

Came down upon her head;

Bang, bang, Maxwell’s silver hammer

Made sure that she was dead. . . [PIANO] . . .

B.C. Thirty-One said, “We caught a dirty one.”

Maxwell stands alone,

Painting testimonial pictures ohh-oh-oh-oh;

Rose and Valerie screaming from the gallery

Say he must go free;

The judge does not agree and he tells them so-o-o-oo . . .

But as the words are leaving his lips, / A noise comes from behind . . .

Bang, bang, Maxwell’s silver hammer / Came down upon his head;

Bang, Bang, Maxwell’s silver hammer / Made sure that he was dead.

OCTOPUS’S GARDEN

By The Beatles, from Abbey Road, released in 1969. Written by Richard Starkey (Ringo Starr), his last song to be recorded by The Beatles. The idea came while Ringo was at Sardinia on Peter Sellers' sailboat. After a meal of squid and chips, the captain explained how octopuses gather up stones and shiny objects from the sea bed, with which they make gardens.

I’d like to be under the sea

In an octopus’s garden in the shade;

He’d let us in, knows where we’ve been

In his octopus’s garden in the shade.

I’d ask my friends to come and see

My octopus’s garden with me.

I’d like to be under the sea

In an octopus’s garden in the shade.

We would be warm below the storm

In our little hideaway beneath the waves;

Resting our head on the sea bed

In an octopus’s garden near a cave;

We would sing and dance around

Because we know we can’t be found.

I’d like to be under the sea

In an octopus’s garden in the shade.

We would shout and swim about

The coral that lies beneath the waves;

Oh what joy for every girl and boy

Knowing they’re happy and they’re safe.

We would be so happy you and me

No one there to tell us what to do.

I’d like to be under the sea

In an octopus’s garden with you.

In an octopus’s garden with you.

In an octopus’s garden with you.

WHEN I’M SIXTY-FOUR

Written by Paul McCartney when he was 16, but not released until the Sgt Pepper's Lonely Hearts Club Band album in 1967. “Paul wrote it in the Cavern days,” said John Lennon. “We just stuck a few more words on it like 'grandchildren on your knee' and 'Vera, Chuck and Dave'.” Paul's father's 64^th birthday in '67 may have triggered its release. Paul's children recorded the song at Abbey Road Studios and presented it to him on his own 64^th birthday.

When I get older losing my hair, / Many years from now.

Will you still be sending me a valentine,

Birthday greetings bottle of wine?

If I’d been out till quarter to three,

Would you lock the door?

Will you still need me, will you still feed me,

When I’m sixty-four. . . .

I could be handy, mending a fuse

When your lights have gone.

You can knit a sweater by the fireside

Sunday mornings go for a ride.

Doing the garden, digging the weeds,

Who could ask for more?

Will you still need me, will you still feed me,

When I’m sixty-four.

Every summer we can rent a cottage

In the Isle of Wight, if it’s not too dear;

We shall scrimp and save . . .

. . . Grandchildren on your knee: Vera, Chuck and Dave. [PIANO] . . .

Send me a postcard, drop me a line, / Stating point of view;

Indicate precisely what you mean to say:

Yours sincerely, wasting away.

Give me your answer, fill in a form, / Mine forever more.

Will you still need me, will you still feed me,

When I’m sixty-four.

Will you still need me, will you still feed me,

When I’m sixty-four. . . . Hooh!

WITH A LITTLE HELP FROM MY FRIENDS

By Lennon–McCartney, 1967, on Sgt Pepper. Written for Ringo to sing, thus with limited vocal range. Famous slow version sung by Joe Cocker, including at Woodstock. Rolling Stone: #311 of top 500.

What would you think if I sang out of tune,

Would you stand up and walk out on me?

Lend me your ears and I’ll sing you a song,

And I’ll try not to sing out of key.

Oh, I get by with a little help from my friends,

Ooh, I get high with a little help from my friends,

Ooh, I’m gonna try with a little help from my friends.

What do I do when my love is away?

(Does it worry you to be alone?)

How do I feel by the end of the day?

(Are you sad because you’re on your own?)

No, I get by with a little help from my friends,

Ooh, I get high with a little help from my friends,

Ooh, I’m gonna try with a little help from my friends.

Do you need anybody?

I need somebody to love.

Could it be anybody?

I want somebody to love.

Would you believe in a love at first sight?

Yes I’m certain that it happens all the time.

What do you see when you turn out the light?

I can’t tell you, but I know it’s mine.

Oh, I get by with a little help from my friends,

Ooh, I get high with a little help from my friends,

Oh, I’m gonna try with a little help from my friends.

Do you need anybody?

I just need someone to love,

Could it be anybody?

I want somebody to love.

Oh, I get by with a little help from my friends,

Ooh, gonna try with a little help from my friends,

Oh, I get high with a little help from my friends,

Yes, I get by with a little help from my friends

With a little help from my frie - - - nds!

BEER BARREL POLKA

(ROLL OUT THE BARREL)

Chorus to a song originally written in Czechoslovakian

as “Skoda Lasky“ (Unrequited Love), 1934.

Roll out the barrel,

We’ll have a barrel of fun;

Roll out the barrel,

We’ve got the blues on the run.

Zing! Boom! Tararrel,

Ring out a song of good cheer;

Now’s the time to roll the barrel,

For the gang’s all here!

REPEAT ALL:

IN MY LIFE

Lyrics by Lennon, music by McCartney; released in 1965 on the album Rubber Soul. Song originated in a suggestion by a journalist that Lennon should write about his childhood. Many revisions later, it became Rolling Stone's #23 of 500 Greatest Songs of All Time and Mojo magazine's top song of all time, second on CBC's top 50 tracks.

There are places I’ll remember

All my life though some have changed;

Some forever not for better

Some have gone and some remain.

All these places have their moments

With lovers and friends I still can recall;

Some are dead and some are living—

In my life I’ve loved them all.

But of all these friends and lovers

There is no one compares with you;

And these memories lose their meaning

When I think of love as something new.

Though I know I’ll never lose affection

For people and things that went before;

I know I’ll often stop and think about them—

In my life I love you more.

Though I know I’ll never lose affection

For people and things that went before;

I know I’ll often stop and think about them—

In my life I love you more;

In my life I love you more.

PEOPLE GET READY

Written by Curtis Mayfield, recorded by The Impressions in 1965. Considered by many in the music industry to be one of the top ten songs of all time. Covered by many top singers and groups. Inducted into the Grammy Hall of Fame in 1998. “I must have been in a very deep mood of . . . religious inspiration when I wrote that song,” Mayfield said.

People get ready

There’s a train a-comin’;

You don’t need no baggage—

Just get on board.

All you need is faith

To hear the diesels hummin’;

You don’t need no ticket—

Just thank the lord.

People get ready

For the train to Jordan;

It’s pickin’ up passengers

From coast to coast.

Faith is the key

Open the doors and board on;

There’s room for all

Amongst who loves the most.

[PIANO . . . ]

REPEAT VERSE 1:

OB-LA-DI, OB-LA-DA

Credited to Lennon–McCartney but written by McCartney (Lennon called it “more of Paul's 'granny' music”); appeared on the White Album in 1968; released as a single in 1976. Influenced by reggae: “Desmond” refers to Jamaican ska and reggae performer Desmond Dekker, who had made a tour through the U.K. On one online poll, considered the 'worst song ever.' (Over-played, perhaps, but that's undeserved).

Desmond has a barrow in the marketplace,

Molly is the singer in a band;

Desmond says to Molly, “Girl I like your face,”

And Molly says this as she takes him by the hand:

“Ob-la-di, ob-la-da, life goes on—bra-a-a,

La-la how the life goes on;

Ob-la-di, ob-la-da, life goes on—bra-a-a,

La-la how the life goes on.”

Desmond takes a trolley to the jeweller’s store,

Buys a twenty-carat golden ring;

Takes it back to Molly waiting at the door,

And as he gives it to her she begins to sing:

“Ob-la-di, ob-la-da, life goes on—bra-a-a,

La-la how the life goes on;

Ob-la-di, ob-la-da, life goes on—bra-a-a,

La-la how the life goes on.”

In a couple of years they have built a home,

Sweet home . . . [PIANO] . . .

With a couple of kids running in the yard

Of Desmond and Molly Jones—ha-ha-ha-ha

Happy ever after in the marketplace

Desmond lets the children lend a hand;

Molly stays at home and does her pretty face,

And in the evening she’s a singer with the band.

“Ob-la-di, ob-la-da, life goes on—bra-a-a,

La-la how the life goes on;

Ob-la-di, ob-la-da, life goes on—bra-a-a,

La-la how the life goes on.”

And if you want some fun . . .

Sing Ob-la-di-bla-da!

A PERFECT DAY

Words and music by Carrie Jacobs-Bond, 1909, written at the Mission Inn in Riverside, CA. This kind of sentimentality was popular in the late Victorian era, but has withstood the test of time. Phenomenally successful: 8 million sheet music and 5 million recordings sold in the first year; 25 million sheet music in Jacobs-Bond's lifetime, to make her the first woman with a career in composing. Covered by some of the greats, including Paul Robeson and Lawrence Welk.

When you come to the end of a perfect day,

And you sit alone with your thought,

While the chimes ring out with a carol gay,

For the joy that the day has brought,

Do you think what the end of a perfect day

Can mean to a tired heart,

When the sun goes down with a flaming ray,

And the dear friends have to part?

Well, this is the end of a perfect day,

Near the end of a journey, too;

But it leaves a thought that is big and strong,

With a wish that is kind and true.

For mem’ry has painted this perfect day

With colours that never fade,

And we find, at the end of a perfect day,

The soul of a friend we’ve made.

We’re Off To See

The Wizard

By Harold Arlen and E. Y. Harburg; from the 1939 fantasy adventure film The Wizard Of Oz (based on the 1900 novel by L. Frank Baum); considered one of the ten best films of all time.

We’re off to see the Wizard, the wonderful Wizard of Oz.

You’ll find he is a whiz of a Wiz, if ever a Wiz there was.

If ever oh ever a Wiz there was, the Wizard of Oz is one because

Because, because, because, because, because . . .

Because of the wonderful things he does—

We’re off to see the Wizard, the wonderful Wizard of Oz.

WHISTLE once through, slowly,

then REPEAT ALL:

STAND BY ME

(Gospel song)

Spiritual by Charles A. Tindley, arranged by Elvis Presley; lyrics altered by N.C.

When the storms of life are raging

Stand by me [Echo: Stand by me].

When the storms of life are raging

Stand by me [Stand by me].

When the world is tossing me

Like a ship out on the sea;

Thou who rulest wind and water,

Stand by me [Stand by me].

When I’m standing all alone

Stand by me [Stand by me].

When I’m standing all alone

Stand by me [Stand by me].

When I do the best I can

And my friends misunderstand;

Thou who never lost a battle,

Stand by me [Stand by me].

Thou who never lost a battle,

Stand by me [Stand by me].

Gonna Build a Mountain

From the 1961 West End musical Stop the World–I Want to Get Off by Leslie Bricusse and Anthony Newley. Became a Broadway show and a movie. Sung famously by Sammy Davis Jr.

Gonna build a mountain from a little hill;

Gonna build me a mountain ‘least I hope I will.

Gonna build a mountain, gonna build it high;

I don’t know how I’m gonna do it,

I only know I’m gonna try.

Gonna build me a daydream from a little hope;

Gonna push that daydream up the mountain slope.

Gonna build a daydream, gonna see it through;

Gonna build a mountain and a daydream,

Gonna make them both come true.

Gonna build a heaven from a little hell;

Gonna build me a heaven and I know darn well

If I build my mountain with a lot of care;

And take my daydream up the mountain

And heaven will be waiting there.

REPEAT FIRST VERSE, THEN ITS LAST 2 LINES

 

PILGRIM

By Irish musician Enya from her album A Day Without Rain, winner of the 2002 Grammy Award for Best New Age Album, which has sold 15 million copies.

Pilgrim, how you journey

On the road you chose,

To find out why the winds die,

And where the stories go;

All days come from one day,

That much you must know;

You cannot change what’s over,

But only where you go. . . .

One way leads to diamonds,

One way leads to gold;

Another leads you only

To everything you’re told.

In your heart you wonder

Which of these is true:

The road that leads to nowhere,

The road that leads to you.

Will you find the answer

In all you say and do?

Will you find the answer—in you? . . .

Each heart is a pilgrim,

Each one wants to know,

The reason why the winds die,

And where the stories go;

Pilgrim, in your journey,

You may travel far,

For pilgrim it’s a long way

To find out who you are.

Pilgrim it’s a long way

To find out who you are . . . [REPEAT last two lines]

UNTIL IT’S TIME FOR YOU TO GO

Words & music by Canadian First Nations singer-songwriter Buffy Sainte-Marie, from her 1965 Many A Mile album. Covered by top singers including Elvis Presley, Neil Diamond, Barbra Streisand and many others. According to Sainte-Marie: “The song popped into my head while I was falling in love with someone I knew couldn't stay with me.”

You’re not a dream

You’re not an angel

You’re a woman;

I’m not a king, I’m a man,

Take my hand;

We’ll make a space

In the lives that we planned;

And here we’ll stay

Until it’s time for you to go.

Yes, we’re diff’rent, worlds apart

We’re not the same;

We laughed and played / At the start like in a game;

You could have stayed outside my heart

But in you came; / And here you’ll stay

Until it’s time for you to go.

Don’t ask why of me,

Don’t ask how of me;

Don’t ask forever,

Love me, love me now.

This love of mine

Had no beginning, it has no end;

I was an oak, now I’m a willow,

Now I can bend; / And tho’ I’ll never

In my life see you again—

Still I will stay

Until it’s time for you to go.

ISN’T IT A PITY

Written and performed by ex-Beatle George Harrison, who was known for, among other things, his use of the diminished chord in popular music, as in this piece. Rejected by The Beatles, the song became the emotional and musical centrepiece of his 1970 solo album All Things Must Pass, with much acclaim. Covered by top artists.

[PIANO] . . .

Isn’t it a pity, now isn’t it a shame,

How we break each other’s hearts

And cause each other pain.

How we take each other’s love

Without thinking any more

Forgetting to give back

—Isn’t it a pity.

Some things take so long

But how do I explain?

When not too many people

Can see we’re all the same.

And because of all their tears

Their eyes can’t hope to see.

The beauty that surrounds them

—Isn’t it a pity. . . . [PIANO]

Isn’t it a pity; isn’t it a shame.

How we break each other’s hearts

And cause each other pain.

How we take each other’s love

Without thinking any more.

Forgetting to give back—isn’t it a pity.

Forgetting to give back—isn’t it a pity.

Forgetting to give back

Now, isn’t it a pity. . . . [PIANO]

Isn’t it a pity!

RED ROSES FOR A BLUE LADY

Words and music by Sid Tepper and Roy C. Bennet. Performed most notably by Wayne Newton starting in 1965; his most popular song.

I want some red roses for a blue lady;

Mister florist, take my order please.

We had a silly quarrel the other day;

Hope these pretty flowers chase her blues away.

Wrap up some red roses for a blue lady;

Send them to the sweetest gal in town;

And if they do the trick, I’ll hurry back to pick

Your best white orchid for her wedding gown!

REPEAT ALL:

SPANISH EYES

Words by Eddie Snyder and Charlie Singleton. Music previously an instrumental titled “Moon Over Naples” by Bert “Wonderland By Night” Kaempfert. Made popular by Al Martino in 1966. Covered by Elvis Presley, Julio Iglesias, Willie Nelson and others.

Blue Spanish eyes, teardrops are falling from your Spanish eyes;

Please, please don’t cry, this is just “adios” and not “goodbye.”

Soon I’ll return, bringing you all the love your heart can hold;

Please say “Sí, sí,” say you and your Spanish eyes will wait for me.

Blue Spanish eyes, prettiest eyes in all of Mexico;

True Spanish eyes, please smile for me once more before I go.

Soon I’ll return, bringing you all the love your heart can hold;

Please say “Sí, sí,” say you and your Spanish eyes will wait for me;

You and your Spanish eyes will wait for me;

You and your Spanish eyes will wait for me.

ALL OF ME

Lyrics and music by Seymour Simons and Gerald Marks, Marlong Music, circa 1931. One of the most recorded songs of its era (Bing Crosby, Billie Holliday, Ella Fitzgerald, Frank Sinatra, Louis Armstrong, Count Basie); more recently by Michael Bublé. Features prominently in the 1984 film of the same name, starring Steve Martin.

All of me, why don’t you take all of me;

Can’t you see, I’m no good without you.

Take my lips, I want to lose them,

Take my arms, I’ll never use them.

Your goodbye, left me with eyes that cry;

How can I, go on, dear, without you?

You took the part that held my heart,

So why not take all of me!

REPEAT ALL, scat singing up to

“You took the part…” then repeat last line.

LAZY RIVER

Lyrics by Sidney Arodin, music by Hoagy Carmichael, 1931. Considered a jazz and pop standard. Covered by hundreds of top artists, from Acker Bilk to Harry Connick Jr to The Platters to Michael Bublé.

Well, it’s . . . up a lazy river by the old mill stream,

That lazy, hazy river where we both can dream;

You can linger in the shade of an old oak tree,

Throw away your troubles, baby, dream a dream with me;

Well, up a lazy river where the robin’s song

Wakes up in the mornin’ as we roll along;

Blue skies up above—everyone’s in love,

It’s up a lazy river, how happy we will be, now,

Up a lazy river with me. [PIANO . . . ]

Up a lazy river by the old mill run,

That lazy, lazy river in the noonday sun;

You can linger in the shade of that fine ole tree,

Throw away your troubles, baby, dream with me;

Well, up a lazy river where the robin’s song

Wakes a brand new mornin’ as we roll along

There are blue skies up above and as long as we’re in love

It’s up a lazy river, how happy we could be

Up a lazy river with me.

BLESS THIS HOUSE

Published in 1927, written by Helen Taylor, an English poet, who originally titled it “Bless The House.” Her friend Mary Brahe composed the music. The song caught the attention of the world-famous Irish tenor John McCormack, who changed the title to “Bless This House,” made minor revisions in the lyrics and included it as a highlight of his repertoire. It became one of his best-selling recordings. Still widely heard from modern-day classical-style singers like Bryn Terfel.

Bless this house O Lord we pray;

Make it safe by night and day;

Bless these walls so firm and stout,

Keeping want and trouble out:

Bless the roof and chimneys tall,

Let thy peace lie over all;

Bless this door, that it may prove

ever open to joy and love.

Bless these windows shining bright,

Letting in God’s heav’nly light;

Bless the hearth a-blazing there,

With smoke ascending like a prayer;

Bless the folk who dwell within,

Keep them pure and free from sin;

Bless us all that we may be

Fit, O Lord, to dwell with thee;

Bless us all that one day we

May dwell, O Lord, with thee.

 

ON THE SUNNY SIDE

OF THE STREET

Music by Jimmy McHugh, lyrics byDorothy Fields, 1930. Covered by many top artists, including Sinatra, Judy Garland, Ella Fitzgerald. Arguably the best version is the 1945 recording by Tommy Dorsey and the Sentimentalists.

Grab your coat and get your hat,

Leave your worries on the doorstep;

Life can be so sweet

On the sunny side of the street.

Can’t you hear the pitter-pat?

And that happy tune is your step;

Life can be complete

On the sunny side of the street.

I used to walk in the shade

With those blues on parade;

But I’m not afraid

‘Cause this rover, crossed over!

And if I never had a cent

I’d be rich as Rockefeller,

With gold dust at my feet

On the sunny side of the street. [PIANO . . .]

I used to walk in the shade

With those blues on parade;

But I’m not afraid

‘Cause this rover crossed over!

And if I never had a cent

I’d be rich as Rockefeller,

With gold dust at my feet

On the sunny side of the street.

 

 

THAT’S ALL RIGHT, MAMA

Composed and recorded by Arthur Crudup, 1946; version recorded by Elvis Presley in 1956 is considered by Rolling Stone magazine to be the first-ever rock 'n' roll record.

CHORUS:

Well, that’s all right, Mama, that’s all right for you;

That’s all right, Mama, just any way you do,

Well, that’s all right, that’s all right;

That’s all right, now Mama, any way you do.

My Mama, she done told me, Papa done told me too,

Son, that gal you’re foolin’ with, she ain’t no good for you,

But that’s all right, that’s all right;

That’s all right, now Mama, any way you do.

I’m leavin’ town tomorrow, leavin’ town for sure,

They you won’t be bothered with me hangin’ round your door,

But that’s all right, that’s all right;

That’s all right, now Mama, any way you do.

I oughta mind my Papa, guess I’m not too smart;

If I was I’d leave you, go before you break my heart,

But that’s all right, that’s all right;

That’s all right, now Mama, any way you do. CHORUS:

ONLY YOU

Composed by Buck Ram; most successfully performed by The Platters in 1955, who came up with their hit arrangement after practising while driving in a car and going over a bump, which created the dynamic jump in the word “Only”.

Only you, can make this world seem right;

Only you, can make the darkness bright;

Only you, and you alone, can thrill me like you do;

And fill my heart with love for only you! . . .

Only you, can make this change in me;

For it’s true, you are my destiny;

When you hold my hand, I understand,

The magic that you do,

You’re my dream come true,

My one and only you . . .

REPEAT ALL: Add after last line:

. . . Only you.

 

 

AULD LANG SYNE

Robert Burns wrote most of the poetry for this traditional Scottish tune in 1788. Note that the “S” in “Syne” is pronounced as in “sign” and not “zyne”.

Should auld acquaintance be forgot

And never brought to mind?

Should auld acquaintance be forgot

And days of auld lang syne.

And days of auld lang syne, my dear,

And days of auld lang syne;

Should auld acquaintance be forgot

For days of auld lang syne.

We twa hae run aboot the braes

And pu’d the gowans fine.

We’ve wandered mony a weary foot,

Sin’ auld lang syne.

Sin’ auld lang syne, my dear,

Sin’ auld lang syne,

We’ve wandered mony a weary foot,

Sin’ auld ang syne.

We twa hae sported i’ the burn,

From morning sun till dine,

But seas between us braid hae roared

Sin’ auld lang syne.

Sin’ auld lang syne, my dear,

Sin’ auld lang syne.

But seas between us braid hae roared

Sin’ auld lang syne.

And ther’s a hand, my trusty friend,

And gie’s a hand o’ thine;

We’ll tak’ a cup o’ kindness yet,

For auld lang syne.

For auld lang syne, my dear,

For auld lang syne,

We’ll tak’ a cup o’ kindness yet,

For auld lang syne.

Memory

From the 1981 musical Cats by Andrew Lloyd Webber, based on Old Possum’s Book of Practical Cats, by T.S. Eliot. “Memory” is the climax of the musical and by far its most popular tune. Covered by many top artists.

Midnight, not a sound from the pavement
Has the moon lost her memory
She is smiling alone
In the lamplight
The withered leaves collect at my feet
And the wind begins to moan.

Memory, all alone in the moonlight
I can smile at the old days
I was beautiful then
I remember the time I knew what happiness was
Let the memory live again.

Every street lamp seems to beat
A fatalistic warning . . .
Someone mutters and the street lamp gutters
And soon it will be morning . . .

Daylight, I must wait for the sunrise
I must think of a new life
And I mustn’t give in
When the dawn comes
Tonight will be a memory too
And a new day will begin.

Burnt out ends of smoky days
The still cold smell of morning . . .
A street lamp dies, another night is over
Another day is dawning . . .

Touch me, it’s so easy to leave me
All alone with the memory
Of my days in the sun
If you touch me,
You’ll understand what happiness is
Look, a new day has begun.

I Walk The Line

Written and recorded by Johnny Cash in 1956. His first #1 hit single, it sold over 2 million copies. Uses the “freight train” rhythm common to many of Cash's songs. He hummed before each verse to get his pitch: the original version contained five key changes and ended up an octave lower than it starts. Cash wrote the words in 20 minutes in an outburst of devotion to his new wife, Vivian. “The lyrics came as fast as I could write,” he said.

Hmmm . . . I keep a close watch on this heart of mine
I keep my eyes wide open all the time
I keep the ends out for the tie that binds
Because you’re mine, I walk the line.

I find it very, very easy to be true
I find myself alone when each day is through
Yes, I’ll admit that I’m a fool for you
Because you’re mine, I walk the line . . . Hmmm . . .

As sure as night is dark and day is light
I keep you on my mind both day and night
And happiness I’ve known proves that it’s right
Because you’re mine, I walk the line.

You’ve got a way to keep me on your side
You give me cause for love that I can’t hide
For you I know I’d even try to turn the tide
Because you’re mine, I walk the line . . . Hmmm

I keep a close watch on this heart of mine
I keep my eyes wide open all the time
I keep the ends out for the tie that binds
Because you’re mine, I walk the line.

Because you’re mine, I walk the line.

Because you’re mine, I walk the line . . .

YOU ARE SO BEAUTIFUL

Composed by Bruce Fisher, Billy Preston and Dennis Wilson; performed most notably by Joe Cocker; piano arrangement by N.C.

[PIANO . . . ]

You are so beautiful to me

You are so beautiful to me

Can’t you see

You’re everything I hoped for

You’re everything I need

You are so beautiful to me.

Such joy and happiness you bring

Such joy and happiness you bring

Like a dream

A guiding light that shines in the night

You’re heaven’s gift to me

You are so beautiful to me. [PIANO . . .]

REPEAT FIRST VERSE

[PIANO . . . ]

*

When you wish upon a star

Your dreams come true.