REGISTER NOW AND GET
• 5 FREE tracks! • 101 tracks for $9.99
ClassicsOnline Home » RODGERS, Richard: Easy to Remember - Songs of Richard Rodgers and Lorenz Hart (1925-1946)
A sentimental snapshot of the prolific songwriting duo from 1925–46 recordings in all their originally intended finery.
EASY TO REMEMBER
Songs of RODGERS & HART - Original 1925–1946 Recordings
'Tuneful and tasty, schmaltzy and smart;
Music by Rodgers, lyrics by Hart.'
That famous couplet by Irving Berlin goes a long way towards summing up the enduring appeal of the famous songwriting duo of Richard Rodgers and Lorenz Hart.
For almost twenty years, from 1920–1943, they personified the savvy yet sentimental kind of tunes that poured off the Broadway stage.
Porter was more sophisticated, Kern more deeply harmonic, the Gershwins considerably jazzier. Still, when you look back on that period in time, no one captured it better than Rodgers and Hart. They gave voice to the feelings of everyday guys and gals, but they did it with a certain streetwise poetry (courtesy of Hart) and tuneful invention (thanks to Rodgers) that warranted John O'Hara's observation:
'If those of us who lived and loved and suffered through that time could have put our passions into words and music, it would have sounded just like Rodgers and Hart.'
This collection of artists from the period (in some cases, the original interpreters) puts us even closer to the sensation of hearing an era put into song. Want to know what America was like during the two World Wars? Then listen to the sound of Rodgers and Hart.
Richard Rodgers and Lorenz Hart came from two different worlds in turn-of-the-century Manhattan. Hart, the older, was born in 1895 to a bohemian, artistic family governed by his warm-hearted mother, Frieda. Their home was a combination salon and saloon for artists of the day and Hart grew up in that kind of gemütlickheit environment.
Rodgers, on the other hand, was born in 1902 to a more rigidly conventional household where his doctor father held the reins. Music was a part of his growing up, however, and it wasn't long before his parents began encouraging their prodigy, who could play piano pleasingly by the time he was six.
At fifteen, Rodgers placed a song in a benefit show called One Minute Please. Another young man named Phillip Leavitt heard his work and thought he'd get along fine with an acquaintance of his named Lorenz Hart.
Despite the many differences in age, background, style between the two young men, they did click and started writing. By 1920, they has been asked to write the score for the musical Poor Little Ritz Girl. Unfortunately, most of their collaborations were cut by the time it opened on Broadway.
Rodgers, licking his wounds, went to Columbia University, where he and Hart honed their craft by writing the annual Varsity Shows. Soon, they were considered good enough to be invited to write the score for The Garrick Gaieties, a revue that the prestigious Theatre Guild was producing to raise money for the decoration of their new home.
The first tune on this collection, Manhattan, was the one that changed it all. In his autobiography, Richard Rodgers recalled how at the 17 May 1925 opening performance, 'the hairs stood up on the back of my head' as he sensed the audience's positive response to this number. The zesty Paul Whiteman treatment here gives the music full value, but deprives us, alas, of Hart's wiseguy lyrics rhyming 'what street' with 'Mott Street' and 'fancy' with 'Delancey'.
So impressive was their success and so quickly did the musical theatre world move in those days that by September they had opened a Revolutionary War musical, Dearest Enemy, best remembered now for "Here In My Arms", and by March of 1926, they scored an impressive hit with a perfect piece of period fluff, The Girl Friend. From it, you'll hear The Revelers (the most famous close-harmony group of the period) with the classic The Blue Room.
And then, two months later, they returned to the second edition of The Garrick Gaieties and topped their earlier triumph with the feisty, fetchingly rhymed Mountain Greenery. ('While you love your lover let / Blue skies be your coverlet …'), here performed by popular vocalist of the time, Frank Crumit.
Over the next four years, they wrote eight shows. Most were hits, a few were flops, but they indicated an amazing batting average, even though most of them couldn't be revived today because of their tissue-paper books wrapped around cardboard characters.
But there were some incredible musical gems hidden inside these shows. Peggy-Ann (1926) yielded Where's That Rainbow, sung here by the great Helen Morgan. A very young Bing Crosby croons his way through You Took Advantage Of Me from Present Arms (1928) and Twenties' favourites Franklyn Baur and George Olsen offer a pair of hits from A Connecticut Yankee, Thou Swell and My Heart Stood Still.
Rodgers and Hart rode out the rest of the Twenties boom years with trifles like Spring Is Here and Heads Up!, but their first show to follow the great stock market crash was a bizarre Florenz Ziegfeld spectacle entitled Simple Simon (1930). It began as a kind of fractured Mother Goose story-book engineered for the talents of Ed Wynn, but along the way, Rodgers and Hart kept being urged to add more contemporary numbers.
What audiences made of a cynical song about a taxi-dance can only be left to the imagination, especially as slurred by the alcoholic Lee Morse, who was finally fired. The brilliant Ruth Etting stepped into the show for the first time on opening night and stopped the proceedings cold with this tart, touching number: Ten Cents A Dance.
Rodgers and Hart came up with one more Broadway show during this period, an unsuccessful satire of Hollywood called America's Sweetheart, whose hit song was I've Got Five Dollars sung here (but not on stage) by the same Lee Morse whose drinking cost her Ten Cents A Dance, backed up here by classy sidemen like Benny Goodman and Tommy Dorsey.
But then, Rodgers & Hart heeded the siren song of the very place they had just been mocking and went west to California to provide the scores for a selection of new 'talkie' musicals.
None of the movies they were involved with became big hits, but they did yield some lovely songs, performed here by their original stars: Jeanette McDonald does Isn't It Romantic from Love Me Tonight (1932), Al Jolson brings his unique style to You Are Too Beautiful from Hallelujah, I'm A Bum (1932) and Bing Crosby croons It's Easy To Remember from Mississippi (1935). Jessie Matthews also introduced Dancing On The Ceiling in the British film Evergreen.
A great showbiz footnote rests with the popular standard Blue Moon, which originally appeared in a 1934 movie called Manhattan Melodrama as "The Bad In Every Man". As such, it was one of the last things John Dillinger heard before being gunned to death. With a more upbeat lyric change, it became a pop hit. Rodgers and Hart returned to Broadway in 1935 with the circus spectacle Jumbo and followed it with ten other shows which included many of their greatest hits.
From that prolific period we include Sophie Tucker's brassy rendition of The Lady Is A Tramp from Babes In Arms (1937), Mary Jane Walsh's plaintive I Didn't Know What Time It Was from Too Many Girls (1939) and the kooky blending of Betty Garrett and Milton Berle on Ev'rything I Got from By Jupiter. There are also two extended orchestral passages here of Rodgers' music used in a symphonic piece for orchestra/voice and a dance sequence designed for use without lyrics – All Points West (1937) and Slaughter On Tenth Avenue from On Your Toes (1936).
They indicate two things which spelled the end of this once unbeatable partnership. Hart was an increasingly unstable alcoholic who drank to hide his self-disgust over being under five foot tall, and homosexual. He began to be more and more unreliable, going on binges for weeks. Rodgers frequently had to check into hospitals alongside Hart to enable them to write.
These two works also show Rodgers wanting to create in a different direction – something bigger, more open, more expansive. He couldn't have guessed it at the time, but what he was looking for was Oscar Hammerstein.
When the Rodgers–Hart relationship finally crumbled, Rodgers turned to Hammerstein and they wrote Oklahoma!, which opened triumphantly in March 1943. To help take the curse off its giant success for Hart, Rodgers remounted one of their greatest hits, A Connecticut Yankee, six months later, hoping it would save his former collaborator from the grave. It didn't work. On opening night, Hart embarked on a bender that lasted for days. When he was finally found, he had developed pneumonia, which finally killed him on 22 November at the age of 48.
For several decades, Rodgers and Hart made magic together. But beneath the excitement of the music and the wit of the lyrics, it was the melancholy of Larry Hart's life which won out in the end.
'Nobody's heart belongs to me', he wrote near the end of his life and that could very easily serve as his epitaph.
Manhattan (introducing 'Sentimental Me')
From Garrick Gaities, 1925
Victor 19769, mx BVE 33332-10. Recorded 1 September 1925, Camden N.J.
The Blue Room
From The Girl Friend
Victor 20082, mx BVE 35666-2. Recorded 8 June 1926, New York
From Garrick Gaities, 1926
Victor 20124, mx BVE 35949-2. Recorded 29 July 1926, New York
From A Connecticut Yankee
Columbia 1187-D, mx W 144961-3. Recorded 7 November 1927, New York
Where's That Rainbow
Brunswick 111. Recorded July 1927, London
My Heart Stood Still
From A Connecticut Yankee
Victor 21034, mx BVE 40501-5. Recorded 1 November 1927, New York
You Took Advantage Of Me
From Present Arms
Victor 21398; mx BVE 43670-1. Recorded 25 April 1928, New York
Ten Cents A Dance
From Simple Simon
Columbia 2146-D, mx W 150062-3. Recorded 3 March 1930, New York
I've Got Five Dollars
From America's Sweetheart
Columbia 2417-D, mx W 151335-3. Recorded 20 February 1931, New York
Isn't It Romantic
From Love Me Tonight
Victor 24067, mx PBS 68368-2. Recorded 5 July 1932, Hollywood
You Are Too Beautiful
From Hallelujah I'm A Bum
Brunswick 6500, mx B 12762-A. Recorded 20 December 1932
Dancing On The Ceiling
Columbia DB 1403, mx CA 14473-1. Recorded 4 May 1934, London
It's Easy To Remember
Decca 391, mx DLA 95-B. Recorded 21 February 1935, Los Angeles
Victor 24849, mx BS 87358-1. Recorded 12 January 1935, New York
The Lady Is A Tramp
From Babes in Arms
Decca 1472, mx DLA 949-A. Recorded 21 September 1937, Los Angeles
All Points West
From Musical Narrative
Victor 36198, mx CS 06557-2, 06558-1. Recorded 28 March 1937, New York
I Didn't Know What Time It Was
From Too Many Girls
Columbia 35236, mx WCO 26104-A. Recorded 25 September 1939, New York
Ev'rything I've Got
From By Jupiter
RCA Victor 45-0017, mx D6-VB-3056-1. Recorded 15 October 1946, New York
Slaughter On Tenth Avenue
From On Your Toes
Victor 36183, mx CS 102291-1, 102292-1. Recorded 28 June 1936, New York
Last Albums Viewed
RODGERS, Richard: Easy to Remember - Songs of Rich...