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Teleflora's It Had to Be You Bouquet - Teleflora
Late Bloomer TV Movie A woman falls for a guy who bullied her in high school. Love at the Shore TV Movie Love in Design TV Movie Walker, Alvina August. Secret Summer TV Movie Darby Powell Michael Rady Derrick Henderson Jenifer Lewis Reggie Corbin Bernsen Nolan Powell Michelle Hurd Pam Davis Henderson Wade On January 31st Isham Jones hit the big three-oh, and his missus Marguerita decided to give him a baby grand.
He was a saxophonist and bassist, and from a long line of fiddlers, but the piano delighted him. The tale sounds plausible to me, but we shouldn't get hung up on whether it took an hour or all night: That group of compositions would be impressive if all were copyrighted within the same year, which they were. Sinatra eschewed "Spain", but he sang the remaining three - "I'll See You In My Dreams" on the radio with Tommy Dorsey in , "The One I Love" every which way for almost half-a-century, and finally in , saving the best till last:.
The musicologist Philip Furia calls that "who" - which has to wait for the song's next section to get its verb and its rhyme "could make me be true" - the first example in the American Songbook of what he calls "elasticated syntax", where the lyricist stretches the syntax across the boundaries of the composer's eight-bar compartments.
‘It Had to Be You’
If so, it was made for Sinatra's Dorsey-trombone trick of holding a note and connecting it up to the next phrase in order to tell the story better. If you've ever heard a singer take a big deep breath after "somebody who" and leave a gap you could drive a truck through before "could make me be true", you'll know they're not listening to what they're singing. Sinatra recorded "It Had to Be You" and the other Billy May arrangements in July, but a couple of months later he called May and said his voice was in better shape and he'd like to do the tracks again.
May told me he made a lot of changes: raising the key here, eliminating a verse there, re-orchestrating much of the material. Sometimes I wish they'd overhauled that, too. Sinatra sings the verse, which I always feel is musically very ordinary and lyrically superfluous:. Why do I do just as you say? Why must I just give you your way? Why do I sigh? Why don't I try To forget? It must have been that something lovers call fate Kept me saying I had to wait I saw them all Just couldn't fall Till we met Still, at least Sinatra sings the verse, as opposed to shouting it, as Tony Bennett does on his somewhat perplexing reading.
The words are commonplace - all about "the somebody who Could make me be true Could make me be blue And even be glad Just to be sad Thinking of you But they're deepened and warmed by the notes they sit on, which seem in some strange way to be written as a tune you already know. The music for the title phrase is unusual for a Twenties song; it's like an internal thought, a monologue. And there are all kinds of other unobtrusive, distinctive features, like the octave drop that gets you from the third section to the final stretch:.
Some others I've seen Might never be mean Might never be cross Or, try to be boss But, they wouldn't do. But then you hear that ethereal orchestral introduction of Billy's, and you realize he's very cleverly writing it to convey the sense of memory, as if Sinatra has a history with this song he's never sung before. But that streak is more than enough. There is a line in the final eight bars that sums up the difference men like Isham Jones and Gus Kahn made:.
We don't recognize the allusion now, but in many people did. Though other hearts have won her love I bear for her no dreams of ill Her face to me still dear shall be With all her faults, I love, I love her still! It's not just the stodgy prosody and inverted word order. In this case the guy means it about "all her faults", and he's condescending to them. Jones and Kahn don't borrow the words so much as transform them, so that they're an expression of that helpless surrender to love. That's why they're right for Billy Crystal at the end of a film in which he's spent much of the time niggling about Meg Ryan taking an hour to order a salad and then insisting the waiter bring the dressing on the side.
I have no idea why a hoary old 19th century parlor ballad written two years before Gustav Kahn's family left Koblenz should suddenly pop into the head of a German immigrant 38 years later, but in the gulf between that line's two deployments is the invention of the eternal, enduring American popular song. Sinatra cut it mighty fine, but I'm glad he got to it:. Personally autographed copies of both books are exclusively available from the Steyn store.
And, as with the Pundette, there are so far no duplications: Number is "It's A Wonderful World" one of four studio records on which Sinatra sings "ring-a-ding-ding". Many years ago, I met a delightful Jamaican lady, Susan Cadogan, who recorded a light reggae version of the song, but other than that, after all these years, in the anglophone world Sinatra still pretty much has the number to himself.
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It Had to Be You Quotes
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If you are already a member, please log in here:. Not yet a member of the Mark Steyn Club? Join now! Tweets by MarkSteynOnline. By the time Frank is singing about "that something lovers call fate" telling him "I had to wait", Harry is walking on, discarding his ice-cream cone in a trash can, and turning his head on the first line of the chorus: It Had To Be You It Had To Be You As Kahn's son Donald told me: I think when you get in a streak - and my dad and Isham were in a streak, where things are going well and the songs are making it - you just want to ride it out.
Yet Sinatra's reading is utterly sincere, and Riddle scored it in what he called "the tempo of the heartbeat", and with such attention to detail, from the stellar trumpets to the celesta: When the moon is on the rise Baby, I'm so blue Watching lovers making eyes Like we used to do When the moon is on the wane Still I'm waiting all in vain Should be Swingin' Down The Lane With you
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