#47: The Man That Got Away

The night is bitter,
The stars have lost their glitter,
The winds grow colder,
And suddenly you're older
And all because of
The man that got away.

No more his eager call,
The writing's on the wall,
The dreams you dreamed have all
Gone astray.
The man that won you
Has run off and undone you.
That great beginning
Has seen its final inning,
Don't know what happened
It's all a crazy game.

Two great musicians who generally collaborated with others -- Harold Arlen and Ira Gershwin -- teamed up for this 1953 torchsong that Judy Garland wailed during the mid-decade movie, A Star Is Born. Arlen had written the music for Garland's hit movie, The Wizard of Oz, 15 years earlier, and was seen as the perfect steward for her comeback after years of substance abuse problems. Wizard lyricist Yip Harburg had been blacklisted for supposed Communist ties at this height of the McCarthy era and was therefore skipped over in favor of Gershwin, whose still-preserved hand-written notes reveal the extent to which he labored over the themes and rhymes of this bluesy ballad. The adjacent rhymes and the repeated melodic phrases create a churning sound and contribute a near-ominous tone to this lament.

"The Man That Got Away" was a critical number in the film; it's the moment that both leads Garland's character to get discovered as a rising star and foreshadows the alcohol-drenched downfall of her husband and mentor. Unsatisfied with the staging, lighting and costuming, director George Cukor had to scene reshot multiple times, to great expense, to perfect it.

While the movie did not do well, the song endured, and many have since recorded it, including Sinatra, who sang "The Gal That Got Away." Here's Garland in the film, and then a decade later on her television show. Audra Ann McDonald takes it on here in a quiet version.

#52: You Do Something to Me

You do something to me
Something that simply mystifies me
Tell me why it should be
You have the power to mystify me

The first song in Cole Porter's madcap 1929 musical, Fifty Million Frenchmen, "You Do Something to Me," feels a bit lazy. Mystify rhymes with itself. Power is one syllable. But it somehow works and makes into the Great American Songbook for its simple, yet terribly clever, bridge alone:

Let me live 'neath your spell
Do do that voodoo that you do so well

So many people have been enchanted with this tune since the classic version of the Twenties. Here's Leo Reisman's recording; notice how he treats the bridge, with a Charleston-like rhythm. I prefer Lee Wiley, who actually began her career with Leo and sang her version of "You Do" in the 1940s, but you may like Doris Day or the "Emperor of Easy," a young Andy Williams, with his own ring-a-ding flourishes, in the 1950s. Used again and again in films -- Night and Day (Jane Wyman in 1946), The Helen Morgan Story (Gogi Grant in 1957), and Can-Can (Louis Jordan in 1960) -- there's also this touching little scene on television between Judy Garland and Frank Sinatra in the early 1960s -- and a elegantly-orchestrated, beautifully-lit, and bizarrely-sung rendition by Sinead O'Connor on the Arsenio Hall Show from the early '90s. You may also recall Hank Azaria singing it in the 2001 Julia Roberts-Catherine Zeta-Jones movie, "America's Sweethearts." So, pick a decade, and get caught in the spell.

#54-53: Get Happy / Happy Days Are Here Again

It was called "a meeting of god and titan exponentially more genuine and torch-passing than the Bill Clinton-J.F.K. photograph." While Barbra Streisand had reinvented the old FDR theme song, "Happy Days Are Here Again," as a slow vamp for a 1962 album, it was Judy Garland's idea to combine it with one of her own favorites, "Get Happy," for their duet on Garland's television show.

Written a year apart, "Happy Days" (1929) was both Milton Ager and Jack Yellen's most famous song, while "Get Happy" (1930) was Harold Arlen and Ted Koehler's first together. After the television performance of two legends -- one a 21-year-old just starting her career and the other a star for decades -- Judy reprised the song at the London Palladium with another powerhouse, her daughter, Liza. Want someone other than Judy? Shame on you. Okay, fine. Here's Broadway rockstars Patti LuPone and Audra McDonald giving the intertwining "Happy" tunes a whirl.

#64-55: Garland-Carroll Sing Arlen-Rodgers

It's 14 songs -- and two divas -- for the price of one blog entry. In 1964, Judy Garland hosted Diahann Carroll on her variety show for a Harold Arlen-Richard Rodgers medley, featuring:

It's Only a Paper Moon (Arlen, with Yip Harburg and Billy Rose), previously featured as #81.

#64: Dancing on the Ceiling (Rodgers, with Lorenz Hart) was introduced in the 1930 show, Evergreen, in which the daughter of an aged singer surprises the music world by pretending to be her mother -- and, of course, looking quite good for her age. Here's the enchanting Jo Stafford with her rendition.

#63: That Old Black Magic (Arlen, with Johnny Mercer) spent 14 weeks at the top of the Billboard charts in 1943. Years later, Sinatra sang "That Old Jack Magic" at Kennedy's inaugural festivities, and Marilyn Monroe warbled it in the film version of Bus Stop. Check out the bossa nova-like version by Vikki Carr.

#62: The Gentleman Is A Dope (Rodgers, with Oscar Hammerstein II) sounds like a response to the Rodgers and Hart song, "The Lady Is a Tramp," and comes from the 1947 musical Allegro, which bucked the traditional R&H string of musical comedies by dealing with the corruption of large institutions. While the show did not do well, Jo Stafford sure knows her way around a Rodgers tune.

#61: Ill Wind (Arlen, with Ted Koehler) is a haunting tune written for the collaborators' last show at the Cotton Club in 1934. Used in the movie Cotton Club, Arlen has captured the feeling of a strange storm with his use of churning lows and frenzied highs musically.

#60: It Might As Well Be Spring (Rodgers, with Oscar Hammerstein II) won the Academy Award for Best Song in 1945, appearing in the film State Fair. With its use of lattice-like musical intervals and alliterative, assonant lyrics to match ("as restless as a willow in a windstorm" and "jumpy as a puppet on a string"), it's deservedly one of the most popular R&H cabaret numbers more than a half-century after Shirley Jones sang it on the Danny Thomas show.

Not making it on the Top 100: Hit the Road to Dreamland (Arlen, with Johnny Mercer). I'm not feeling it.

#59: Surrey With a Fringe on Top (Rodgers, with Oscar Hammerstein II) is the "Greased Lightnin'" of Oklahoma, where cowboy Curly is trying to impress his girl, Laurey, with his buggy. While I'm not exactly sure why this became so popular with cabaret singers, there is a romantic charm to the theme with its folksy lyrics ("chicks and ducks and geese better scurry"). It makes our list because of the diversity of renditions that it sparked, from a Vegas version by Nat King Cole to the cool-as-a-cucumber Blossom Dearie.

#58: Stormy Weather (Arlen, with Ted Koehler). All of the songs on this list, it deserves better than Garland using it to change keys in the midst of this medley -- and better than #58, actually. Enjoy it over and over again -- with the woman who made this famous, Lena Horne, and Ella Fitzgerald in a rare performance from 1975.

#57: Bali Ha'i (Rodgers, with Oscar Hammerstein II), an ode to the mystical island -- "where the sky meets the sea" and based on Ambae Island -- from the musical South Pacific and sung by Bloody Mary. It's now also a brand of lager sold in Indonesia. "Here am I your special island. Come to me, Come to me." Diahann only sings one line ("Bali Ha'i may call you"), but in it you hear that dramatic octave jump striking a sudden minor chord that gives this song its allure. For the rest, try Peggy Lee's smoky version.

What did not make the top 100: Let's Take the Long Way Home (Arlen, with Johnny Mercer), a Bing Crosby tune for which I cannot even find a version online.

#56: Manhattan (Rodgers, with Lorenz Hart), an adorable, bouncy love letter to the different sections of the famed New York island. Diahann only belts out one quick line ("I'll take Manhattan") in the above recording, so you're missing out on its tongue-and-cheekness; "Tell me what street compares with Mott Street in July...sweet pushcarts gently gliding by" is only amusing you know how hot and stinky New York can be in summer, and Chinatown is wonderful -- but few pushcarts have ever "gently glided by" there. See what else you can chuckle at in this version by Lee Wiley in 1951.

Not earning a place in our top 100: The Sweetest Sounds (Rodgers, with Oscar Hammerstein II) from the musical Cinderella. Boring.

#55: Any Place I Hang My Hat is Home (Arlen, with Johnny Mercer), from the 1946 Broadway show St. Louis Woman, takes a languid look at the lifestyle of a loose-living lady. While Lena Horne turned down the role -- created specifically with her in mind -- because of the stereotype it seemed to project, here's Susannah McCorkle and Vanessa Williams in a recording and a concert performance respectively.

Nice medley, right? Diahann had become the first African-American woman to win the best actress Tony two years earlier for the Rodgers musical, No Strings, and would later star in the groundbreaking TV show, Julia. Judy was, of course, Judy -- and had been the voice of Harold Arlen songs for years. Garland's variety show series was critically acclaimed and nominated for multiple Emmys, but it was cancelled after one season, perhaps suffering from being pitted against TV's Bonanza. Oh, America.

#75: Zing! Went the Strings of My Heart

Dear, when you smiled at me
I heard a melody
It haunted me from the start
Something inside of me
Started a symphony
Zing! Went the strings of my heart

When Burton Lane heard the eleven year-old Frances Gumm sing "Zing! Went The Strings of My Heart" during her sisters' act at the Paramount Theater in Hollywood, he knew he had found a star. She sang it again for the impatient MGM impresario Louis B. Mayer, who agreed. Indeed, Frances would become one of the biggest stars in Hollywood history -- soon after she changed her name to Judy Garland. Garland would go on to sing the James Hanley tune in the movie, Listen, Darling, in 1938, a year before The Wizard of Oz. Advance this YouTube clip to 2:30 to hear an angelic young Judy, or try the brassier version 25 years later. For an even more contemporary take, here's Rufus Wainwright's "Zing" at the London Palladium.

#77: What'll I Do?

When I'm alone

With only dreams of you

That won't come true

What'll I do?

Written in 1923, this Irving Berlin gem takes a colloquial phrase of its day and uses the first three syllables as a triplet that has baffled Brits every since ("whattle eye?"). The result, a kind-of syncopated waltz, became a recurring melody in the 1974 The Great Gatsby with Robert Redford and Mia Farrow; Sam and Diane danced to the ballad in a fantasy sequence on the 1980s' television show, "Cheers," after the two broke up for good. More recently, the Coca Cola Company served up 30 seconds of Judy Garland's version for a commercial.

A simple and haunting melody with lyrics to match ("what'll I do with just a photograph to tell my troubles to?"), "What'll I Do" has a rhyme on the fourth and sixth syllable of each verse whose quickly repeated sounds enhance its wounded effect. Berlin said that this was his favorite composition; fellow songwriter Johnny Mercer listed it as one of his favorites, too. It's sadly fitting that YouTube has captured "Golden Girls" actress Bea Arthur taking the spotlight in this rendition, as she recently passed away and was mourned by audiences around the world.