The list author says: "CLASSIC AMERICAN POPULAR SONG: THE SECOND HALF-CENTURY, 1950-2000 by David Jenness and Don Velsey was published in 2006 and is an explicit successor to Alec Wilder's monumental American Popular Song The Great Innovators 1900-1950. It's dedicated to Wilder's memory and picks up the history of the Broadway/Hollywood/jazz/cabaret musical tradition, aka the Great American Songbook, where Wilder left off. It also fills in a few earlier gaps (including Wilder's own songs). The authors don't have Wilder's individuality of style or his personal authority as a composer, but they're shrewd and analytical. This list, like my Wilder lists, notes one recording, where available, of every song covered in the book. (There's some overlap with the Wilder book; songs already covered there are omitted here.) The first two chapters are limited to musical and historical background, so we start with Chapter 3.
Chapter 3 LATE FLOWERING FROM OLD STOCK
HAROLD ARLEN (1905-86); COLE PORTER (1892-1964); IRVING BERLIN (1888-1989)
SONG UNAVAILABLE Who Will It Be When the Time Comes?"
"I Love a New Yorker (Harold Arlen, music; Ralph Blane and Harold Arlen, lyric - from My Blue Heaven, film, 1950) Louise Carlyle "a blithe up-tempo song in the style of Arlen's early Cotton Club songs""
"With the Sun Warm upon Me (Harold Arlen, music; Dorothy Fields, lyric - from The Farmer Takes a Wife, film, 1953) Steve Kirwan "an evocative song, with a crucial contribution from Dorothy Fields...one little touch adds a lot""
"1) It's a New World Judy Garland "a very beautiful example of Arlen's radiant major-key gift...extraordinary verse...touch of early-modern English poetry" 2) Lose That Long Face Judy Garland "a rhythmically irresistible, get-happy kind of song" (both Harold Arlen, music; Ira Gershwin, lyric - from A Star Is Born, film, 1954)"
"Don't Like Goodbyes (Harold Arlen, music; Truman Capote and Harold Arlen, lyric - from House of Flowers, 1954) Frank Sinatra "should be a standard...the familiar upward glide...verbally confiding bridge...stunning ending""
"1) Push de Button Lena Horne "amusing...complex rhythmic pattern" 2) Cocoanut Sweet Lena Horne wih orchestra conducted by Lehman Engel "Arlen...surpasses his normally high standard...a gift that Arlen had beyond the other great composers...development by variation" (both Harold Arlen, music; E. Y. Harburg, lyrics - from Jamaica, 1957 )"
"What Good Does It Do? (Harold Arlen, music; E. Y. Harburg, lyric - from Jamaica, 1957) Tony Bennett "a bigger song in a blueslike tempo and rhythm...wonderfully sinuous vocal line...Harburg outdoes himself throughout""
"1) There's a Sweet Wind Blowin' My Way (Harold Arlen, music; E. Y. Harburg, lyric - cut from Jamaica, 1957) Tammy Grimes "sweeping, beautiful ballad...top-rate Arlen...release is special, with very strong syncopated triplets...and a passionate vocal line" 2) Why Do You Make Me Like You? (Harold Arlen, music; Martin Charnin, lyric - from Softly, unproduced, 1966) "superb, big-blues ballad""
"Goose Never Be a Peacock (Harold Arlen, music; Johnny Mercer, lyric - from Saratoga, 1959) Sylvia McNair with Andre Previn, piano "demanding, with an eloquent vocal line and a typical vamplike bass chord pattern""
"Paris Is a Lonely Town (Harold Arlen, music; E. Y. Harburg, lyric - from Gay Purr-ee, film, 1962) Audrey Lavine "one of his big moody ballads...a powerful song with a big range...should have been a hit""
"That's a Fine Kind o' Freedom (Harold Arlen, music; Martin Charnin, lyric - 1965) Barbra Streisand "fast vamp-and-blues style, reverts to the style of Bloomer Girl, 1944, with Harburg...a bit pallid""
"1) No Lover (from Out of This World, 1950) Marin Mazzie "opening strain...set in a big portamento that sounds like a moment of sexual bliss, and a release whose last phrase repeats the effect" 2) You Don't Remind Me (cut from Out of This World, 1950) Ken Page "words are...direct and attractive...song has a fine close" (both Cole Porter, music and lyrics)"
"Why Don't We Try Staying Home? (Cole Porter, music and lyric - cut from Fifty Million Frenchmen, 1929; copyright 1966) Susannah McCorkle "keeps the melodic line very simple, the rhythm very regular: the words are in the spotlight...chorus is elegant, but the verse...is a marvel...a dream of a Porter song - but it was written decades earlier""
"Can-Can (Cole Porter, music and lyric - from Can-Can, 1953) Steve Ross "quite persuasive: the off-beat 'can-can' is perfect, and the brilliant compound rhymes...are mighty satisfying, even when you know it's easy with a rhyming dictionary""
"Come to the Supermarket in Old Peking (Cole Porter, music and lyric - from Aladdin, TV, 1958) Barbra Streisand "a bizarrely funny song - Porter must have been on some great medication or thinking of Beatrice Lillie when he wrote this one""
"The Best Things Happen While You're Dancing (Irving Berlin, music and lyric - from White Christmas, film, 1953) Danny Kaye "a honey of a song...opens with a leisurely version of a Charleston rhythmic figure...already the song is in motion...the bridge is also a winner""
"Love, You Didn't Do Right by Me (Irving Berlin, music and lyric - from White Christmas, film, 1953) Rosemary Clooney "conventional but ineffably charming, probably because of the lavish use of slow triplets to set relaxed, conversational words""
"Falling Out of Love Can Be Fun (Irving Berlin, music and lyric - from Miss Liberty, 1949) Mary McCarty "a winner, owing to the intricate rhythmic elan with which Berlin treats an unusual take on romance""