Busby Berkeley Dreams - Magnetic Fields

Busby Berkeley 

(29 November 1895-14 March 1976) 

Hollywood film director and musical choreographer.

Berkeley was famous for his elaborate musical production numbers that often involved complex geometric patterns. Berkeley's works used large numbers of showgirls and props as fantasy elements in kaleidoscopic on-screen performances. All of this was quite ironic as these were all created during a depression. This song is about being so in love you've lost touch with what's real.

 

Intro:
G D C

C G D

Verse:
G                D          C
I should have forgotten you long ago
C          G        D
But you're in every song I know
G           D         C
Whining and pining is wrong and so
    Am           G
On and so forth, of course of course,
    C                  D
But no, you can't have a divorce

Chorus:
  G                   D
I haven't seen you in ages
    C                       Em 
But it's not as bleak as it seems
G        C                 G
We still dance on whirling stages
      D     G        D 
In my Busby Berkeley dreams
G                              D
The tears have stained all the pages
   C                   Em
Of my True Romance magazines
D         G              D
We still dance in my outrageously beautiful
C     G        D
Busby Berkeley dreams

Verse: 
G            D            C
And now you want to leave me for good
C   G         D    
I refuse to believe you could
G      D             C
You forget we're not made of wood
     Am              G
Well darling you may do your worst
  C                    D
Because you'll have to kill me first

Chorus:
  G                   D
I haven't seen you in ages
    C                       Em 
But it's not as bleak as it seems
G        C                 G
We still dance on whirling stages
      D     G        D 
In my Busby Berkeley dreams
G                              D
The tears have stained all the pages
   C                   Em
Of my True Romance magazines
D         G              D
We still dance in my outrageously beautiful
C     G        D
Busby Berkeley dreams
Solo (with number of beats per chord in parenthesis): 
G  D(2) C(4)
C  G(1) G(1) D(4)

G  D(2) C(4)
D(8) 


  G                   D
I haven't seen you in ages
    C                       Em 
But it's not as bleak as it seems
G        C                 G
We still dance on whirling stages
      D     G        D 
In my Busby Berkeley dreams
G                              D
The tears have stained all the pages
   C                   Em
Of my True Romance magazines
D         G              D
We still dance in my outrageously beautiful
C     G        D
Busby Berkeley dreams
Outro:
G                 D   
Do you think it's dangerous
        C     G        D
To have Busby Berkeley dreams?

Beth - Kiss

"Beth" is a ballad by Kiss, originally released on their 1976 album, Destroyer. To date, it is their highest-charting single in the US, reaching #7 on Billboard's Hot 100 chart. It is one of only two gold selling singles for the band (the other being 1979's "I Was Made for Lovin' You"), and their first of two Top Ten singles (along with 1990's "Forever", #8) in the US. Beth was named #3 in VH1's 25 Greatest Power Ballads.Kiss' drummer Peter Criss sings the song, which was co-written by Criss and guitarist Stan Penridge. The song was written before Criss had joined the band, while he and Penridge were members of Chelsea. A bootleg exists of the song from 1971, but the song was sung "Beck, what can I do?" "Beck" was the nickname of fellow Chelsea member Mike Brand's wife, Becky, who would call often during practices to ask Mike when he was coming home. Years later, while in Kiss, both Bob Ezrin and Gene Simmons are incorrectly credited for changing the song's title to "Beth," presumably to be more recognisable as a female name.
The song was a last-minute addition to the Destroyer album. According to Bill Aucoin, the manager of Kiss at that time, Simmons and Paul Stanley did not want "Beth" on the album because it was not a typical Kiss song. Aucoin insisted on keeping the song on the record.

When released as a single, however, "Beth" was initially the B-side of "Detroit Rock City". Some of the initial credit for the flip-hit goes to Rosalie Trombley, at the time the music director at "The Big 8" CKLW in Windsor, Ontario. Trombley's daughter had a copy of the 45 and was hooked on "Beth", and began nagging her mother about it. "Beth" wasn't being promoted as the "A" side, but Trombley added it to CKLW's playlist. After "Beth" became a smash, Kiss presented Trombley's daughter with a gold record. Kiss and Casablanca Records reissued "Beth" as an A-side with "Detroit Rock City" as the B-side, and it was far more successful.The single went gold in the US (the first Kiss single to do so) on January 5, 1977 and in Canada on December 1, 1976. In 1977, Kiss received a People's Choice Award for "Beth", one of the few industry awards the band ever won. "Beth" is also credited as invigorating sluggish sales of the Destroyer album, which many fans initially saw as a misstep. It is also the only Kiss song that features no instrumental performances by any member of the band. Criss is backed by a piano and a string orchestra, a stark departure from the hard rock-oriented band.

The song was written by Criss and Penridge, both of whom were in Chelsea. A demo tape of the song, however, was recorded later, during Criss' tenure in another band, Lips, immediately before he joined Kiss. In an article for Rolling Stone, Paul Stanley questioned Criss' role in co-writing the song, saying, "Peter had nothing to do with it." During the recording sessions for the song, Criss was the only Kiss member in the studio. Live, "Beth" was performed by Criss alone on stage backed by a tape of the instrumental track. The acoustic version featured on Kiss Unplugged is the only recording with members of Kiss solely backing up Criss. The version of "Beth" featured on the group's 2003 Kiss Symphony: Alive IV DVD and subsequent album (less Ace Frehley) would be the only time the song was performed live with an ensemble. In 2010, the song was performed live for the first time with Eric Singer on acoustic guitars during their Sonic Boom Over Europe Tour and again on their The Hottest Show on Earth Tour in 2011.It has since then been re-shelved in live concerts, but the band still continues to perform the song regularly at Meet and Greets.

(INTRO)

C - Dm - G (x2)

(VERSE 1)

(C)Beth I hear you (Dm)callin’ But I (Em)can’t come home right (Am)now (G)

(F)Me and the boys are (G)playin’ and we (C)just can’t find the (Esus4)sound (E)

(CHORUS)

(Am)Just a few more (G)hours and I’ll (F)be right home to (Em)you

I (D7)think I hear them (F)callin’ (G) Oh, (Am)Beth what can I do? (Am - G)

(F)Beth what (G)can I (Am)do?

(VERSE 2)

(C)You say you feel so (Dm)empty that our (Em)house just ain’t a (Am)home (G)

(F)I’m always somewhere (G)else and (C)you’re always there a-(Esus4)lone (E)

(CHORUS)

(Am)Just a few more (G)hours and I’ll (F)be right home to (Em)you

I (D7)think I hear them (F)callin’ (G) Oh, (Am)Beth what can I do? (Am - G)

(F)Beth what (G)can I (Am)do?

(INSTRUMENTAL: VERSE CHORDS)

(OUTRO)

(C)Beth I know you’re (Dm)lonely and I (Em)hope you’ll be al-(Am)right (G)

‘Cause (F)me and the boys will be (G)playin’  all (C)night (Dm - G - C)

P. S. I Love You - Bobby Vinton (Mad Men Season One)

"P.S. I Love You" is a popular song. The music was written by Gordon Jenkins, the lyrics by Johnny Mercer. The song was published in 1934. The original hit version in the 1930s was recorded by Rudy Vallée. It was revived in the 1950s by The Hilltoppers and in the 1960s by The Vogues, and again in 1984 by country music singer Tom T. Hall. A number of other versions have also been recorded, as well as one by Bobby Vinton which appeared in Mad Men season 1 episode 3, "Marriage of Figaro."

C                          Em7      A7

Dear, I thought I'd drop a line;

              Dm7  G7                Em7-5    A7

The weather's cool,    the folks are fine;

D7                       G7/6

I'm in bed each night by nine --

C D7    Dm7  G7

P.S. I love you.

C                      Em7    A7

Yesterday we had some rain,

           Dm7  G7             Em7-5   A7

But all in all,    I can't complain.

D7                   G7/6

Was it dusty on the train?

C Bb9    C9   C

P. S. I love you.

Bridge:

  C7          Gm7           Gm7

Write to the Browns just as soon as you're able;

FM7          F6

They came around to call.

D7         Am7          D7

I burned a hole in the dining room table,

    Bb7    A7+5   D7-5        G7sus4   G7

And let me see--I guess that's all.

C                      Em7   A7

Nothing else for me to say,

            Dm7     G7             Em7-5   A7

And so I'll close . . . but by the way,

D7                   G6       F#7    

Ev'rybody's thinking of you--

C Fm  Fdim  C9   C 

P.S.   I   love you.

Band of Gold - Don Cherry (Mad Men Season One)

"Band of Gold" is a popular song, generally considered a Traditional Pop standard, with music by Jack Taylor and lyrics by Bob Musel. It was published in 1955. The biggest hit version was recorded by Don Cherry in 1955. This version reached the top five on the pop chart in the United States. Another recording was done in 1955 by singer Kit Carson (born Liza Morrow) that reached number 17 on the Top 100, and there was also a British cover by Petula Clark. Cherry re-recorded the song for his album, There Goes My Everything, in 1968. Singer Mel Carter recorded the song in two different versions, once in 1965 and again in 1966. The latter version peaked at number 32 on the Billboard Hot 100 chart and went to number one on the Easy Listening chart, where it remained for two weeks in May 1966.

The Norwegian-American singer Mary Anderson with Carsten Klouman's orchestra recorded it in Oslo on March 23, 1956, and on May 22, 1956 (vocal). The song was released on the 78 rpm record HMV AL 6027. 

Don Cherry's recording of "Band of Gold" was the first song played after the opening credits in the first episode of the first season of AMC's Emmy-winning television series Mad Men, and also appears in Mad Men's sixth season finale.

Cherry's recording is also among the pop and rock hits sampled in the early break-in comedy rock hit "The Flying Saucer (Parts 1 & 2)" by Buchanan & Goodman in 1956.

I’ve never wanted (F)wealth untold, 

My (C7)life has one (F)design

A (C7)simple little (F)band of gold, 

To (C7)prove that you are (F)mine (Bb - F)

Don’t (C)want the world to (F) have and hold, 

For (C7)fame is not my (F)line

Just (C7)want a little (F)band of gold 

To (C7)prove that you are (F)mine (Bb - F)

Some sail (Gm)away to A-(C7)ra-(F)by 

And other (Gm)lands of myst-(C7)er-(F)y

But all the (Gm)wonders that they (F)see (Dm) 

Will never (Gm)tempt me (C7)

Their memories will (F)soon grow cold

But (C7)’til the end of (F)time

There’ll (C7)be a little (F)band of gold

To (C7)prove that you are (F)mine (Bb - F)

Don’t (C)want the world to (F) have and hold, 

For (C7)fame is not my (F)line

Just (C7)want a little (F)band of gold 

To (C7)prove that you are (F)mine (Bb - F)

Bye-Bye Birdie - Ann-Margret (Mad Men Season 3, Episode 2)

Bye Bye Birdie is a 1963 musical comedy film from Columbia Pictures. It is a film adaptation of the stage production of the same name. The screenplay was written by Michael Stewart and Irving Brecher, with music by Charles Strouse and lyrics by Lee Adams. Directed by George Sidney, the film version starred Dick Van Dyke, reprising his Broadway role as Albert Peterson, along with Maureen Stapleton as Mae Peterson, Janet Leigh as Rosie DeLeon, Paul Lynde reprising his Broadway role as Harry MacAfee, Bobby Rydell as Hugo Peabody, and Ann-Margret as Kim MacAfee.

The story was inspired by the phenomenon of popular singer Elvis Presley and his being drafted into the United States Army in 1957. Jesse Pearson plays the role of teen idol Conrad Birdie, whose character name is a word play on another pop singer of the era, Conway Twitty. Presley himself was the first choice for the role of Birdie, but his manager, Colonel Tom Parker, rejected the idea as he did not want Presley in any roles that were parodies of himself. Ed Sullivan appears as himself, host of the popular, long-running CBS TV variety show.

Several significant changes were made in the plot and character relationships in the film from the stage version. The film was rewritten to showcase the talents of rising star Ann-Margret, adding the title song for her and dropping songs by other characters.
In Mad Men (Season 3, Episode 2), the opening sequence of Bye Bye Birdie is shown (twice), and later the ad agency's Peggy Olsen sings the tune to herself in front of a mirror in an attempt to emulate Ann-Margret's appeal as somebody who can "be 25 and act 14". Later, in Episode 4, the ad man Salvatore Romano directs a knock-off parody of the sequence for a commercial for Pepsi's new diet drink, Patio.

(C)Bye-bye, (F)Birdie. (G7)I’m gonna (C)miss you so.

Bye-bye, (A)Birdie. (G7)Why'd you have to (C)go.

(C)No more (F)sunshine. (G7)It’s followed (C)you away.

I'll cry, (A)Birdie, (G7)’til you're home to (C)stay.

(F)I’ll miss the way you smile, (C)As though it's just for me.

(D7)And each and ev'ry night I’ll (G)write you faithful-(G7)ly.

(C)Bye-bye, (F)Birdie. (G7)It's awful (C)hard to bear.

Bye-bye, (A)Birdie. (G7)Guess I'll always (C)care.

(G7)Guess I'll always (C)care.

(G7)Guess I'll always (C)care.

(Reprise)

(C)Bye Bye (F)Birdie, (G)The army’s got (C)you now

I’ll try (A)Birdie (G7)to forget some-(C)how

(C)No more (F)sighing (G)each time you (C)move those lips

No more (A)crying (G7)when you twitch those (C)hips

(F)You’ll swivel and you’ll sway, (C)you’re super duper class

(D7)There’s nothing left to say but (G)Conrad you’re a (G7)gas!

(C)Bye-Bye (F)Birdie, (G)Ta-ta oh (C)sweetie pie

Bye-Bye (A)Birdie (G7)time for me to (C)fly

(G7)Time for me to (C)fly—

(G7)Time to say good-(C)bye

(SPOKEN: Bye now!)

On The Street Where You Live - Vic Damone (Mad Men, Season 1, Episode 1)

"On the Street Where You Live" is a song with music by Frederick Loewe and lyrics by Alan Jay Lerner, from the 1956 Broadway musical, My Fair Lady.  It is sung in the musical by the character Freddy Eynsford-Hill, who was portrayed byJohn Michael King in the original production. In the 1964 film version, it was sung by Bill Shirley, dubbing for actor Jeremy Brett.

The most popular single of the song was recorded by Vic Damone in 1956 for Columbia Records. It reached No. 4 on theBillboard chart and #6 on Cashbox magazine's chart. It was a No. 1 hit in the UK Singles Chart in 1958.  Eddie Fisher also had a top 20 Billboard hit with the song in 1956, reaching No. 18. Lawrence Welk and His Orchestra released a version that went to No. 96 in 1956. Andy Williams' recording appeared in the Billboard top 40 in 1964, reaching No. 3 on the adult contemporary chart and #28 on the Billboard Hot 100.

The song has been recorded by a variety of other performers, including Ray Conniff, Andy Williams, Lawrence Welk (whose band also performed it on his weekly TV series numerous times), Doris Day, Frank Chacksfield, Alfie Boe, Bobby Darin,Dean Martin, Nat King Cole, Holly Cole, Marvin Gaye, Perry Como, Ray Reach, Harry Connick Jr., Gene Pitney, The Miracles (on their I'll Try Something New album), Earl Grant, Dennis DeYoung, Quincy Jones, David Whitfield, Nancy Wilson, Ilse Huizinga, Matt Dusk, Richard Clayderman, Ricki Lee Jones, Mr Hudson & The Library, Peggy Lee, Vocal Spectrum, Steve Hogarth from Marillion and Bill Frisell, André Previn & Shelly Manne.

It was featured in a series five episode of the BBC One sitcom My Family, and in the first episode of AMC's Mad Men. In the film Blast from the Past, Brendan Fraser's character, Adam, sings a verse to Alicia Silverstone's character, Eve. It was also sung by the character Tony, played by Nicholas Hoult, in the first episode of Channel 4 teen drama Skins. A mariachi band sing a Spanish version in the movie Joe Versus the Volcano and it is also performed by Willie Nelson on the soundtrack to the movie "Valentine's Day." The song was used to promote the 50th anniversary week of Coronation Street. It is also featured on McDonald's UK 2011 advertisement for its latest breakfast wrap.

Am  D7  G  D7

I have (G6)often walked (D7)down this (Gmaj7)street before(G6)

(D7)But the (Gmaj7)pavement always (Bbdim)stayed beneath my (Am7)feet before(D7)

All at (Am7)once am I (Cm6)several (Bm7)stories high(Em7)

Knowing (A7)I'm on the (D7)street where you (G6)live. 

(D7)Are there (G6)lilac trees (D7)in the (Gmaj7)heart of town? (G6)

(D7)Can you (Gmaj7)hear a lark in (Bbdim)any other (Am7)part of town? (D7) 

Does en-(Am7)chantment pour (Cm6)out of (Bm7)every door? (Em7) 

No, it's (A7)just on the (D7)street where you (G)live. 

(B7)For oh, the towering (C6)feeling 

Just to (Cm6)know some-(Bbdim)how you are (G)here (G6)

The (Gdim)o-(Em6)overpowering (C＃m7)feeling(F＃7) 

That any (B)second you may (F＃m7)sudden-(G)ly (A7)ap-(Am6)pear! (D7)

People (G6)stop and stare, (D7)they don't (Gmaj7)bother me (G6)

(D7)For there's (Gmaj7)nowhere else on (Bbdim)earth that I would (Am7)rather be (D7)

Let the (Am7)time go by, (Cm6) I won't (Bm7)care if I (Em7)

Can be (A7)here on the (D7)street where you (G)live (G6)

Botch-A-Me - Rosemary Clooney (Mad Men, Season One)

Botcha-A-Me (Ba-Ba-Baciami Piccina)


Written by Luigi Astore, Riccardo Morbelli, and Eddie Stanley
Peak Position: #2 Year: 52 (Cover version of the theme from the 1952 Italian film Una Famiglia Impossible.)

"Botch-a-Me" is a popular song, written in 1941. The original Italian version ("Ba-Ba-Baciami Piccina") by Alberto Rabagliati was written by Riccardo Morbelli (words) and Luigi Astore (music). English lyrics were written by Eddie Stanley. "Baciami" in Italian means "kiss me".

The song was popularized by Rosemary Clooney in 1952. The recording was released by Columbia Records as catalog number 39767. The record first reached the Billboard magazine charts on June 20, 1952 and lasted 17 weeks on the chart, peaking at #2.

The Rosemary Clooney version appears in season one of the TV show Mad Men, as well as the Mad Men, Vol. 1 album.

C7 Cdim7

(C7)Botch-a-me, I´ll-botcha you and ev´rything goes crazy

(F)Bah-(Dm7)bah, (Gm)botch-a-me, bam(C)bino


Bah-bah-(F)bo, (Dm7)bo, (Gm)boca picco(C)lino


When-a (Gm)you kiss (C)me and (F)I´m a-kiss-a (Dm7)you


(G7)Tra la la la (C7)la la la la la (F)loo

(F)Bah-(Dm7)bah, (Gm)botch-a-me, my (C)baby


Bah-bah-(F)bo, (Dm7)bo, (Gm)just say ´Yes´ and (C)maybe


If-a (Gm)you squeeze (C)me and (F)I´m a-squeeza (Dm7)you


(G7)Tra la la la (C7)la la la la la (F)loo

(F)Bee-oo, (Dm7)bye-oh, (Gm)bee-oo, (C)boo


Won´t you (F)botch-a-, (Dm7)botch-a-(Gm)me?


(C)Bee-oo, (F)bye-oh, (Dm7)bee-oo, 

(G7)boo

(C7)When you botch-a-me, I a-botcha you and ev´rything goes crazy

(F)Bah-(Dm7)bah, (Gm)botch-a-me, bam(C)bino


Bah-bah-(F)bo, (Dm7)bo, (Gm)boca picco(C)lino


And then (Gm)we will (C)raise a (F)great big fami(Dm7)ly


(G7)Tra la la la (C7)la la la la la (F)lee

(instrumental break)

(C7)Botch-a-me, I´ll-botcha you and ev´rything goes crazy

(F)Bah-(Dm7)bah, (Gm)botch-a-me, my (C)baby


Bah-bah-(F)bo, (Dm7)bo, (Gm)just say ´Yes´ and (C)maybe


If-a (Gm)you squeeze (C)me and (F)I´m a-squeeza (Dm7)you


(G7)Tra la la la (C7)la la la la la (F)loo

(F)Bee-oo, (Dm7)bye-oh, (Gm)bee-oo, (C)boo


Won´t you (F)botch-a-, (Dm7)botch-a-(Gm)me?


(SPOKEN: Kiss me!!)


(C)Bee-oo, (F)bye-oh, (Dm7)bee-oo, 

(G7)boo

When you (F)botch-a-me, I a-(G7)gotcha 
you!


(C7)(SPOKEN: C´mon a-you, kissa me, eh?!!)

(F)Bah-(Dm7)bah, (Gm)botch-a-me, bam(C)bino


Bah-bah-(F)bo, (Dm7)bo, (Gm)boca picco(C)lino


And then (Gm)we will (C)raise a (F)great big fami(Dm7)ly


(G7)Tra la la la (C7)la la la la la 

(G7)Bee-oo, bye-oh, (C7)bee-oo, boo


(Gm)Botch-a-me, bam(C)bino, botch-a-(F)me

(SPOKEN: That´s nice!!)

Lollipops and Roses - Jack Jones (Mad Men, Season One)

Words & Music by Tony Velona
Recorded by Jack Jones, 1962 (#66)

Em7           A7  F#m7           Bm7
Tell her you care each time you speak, 

Cdim        Em7           F#m7        B7
Make it her birthday each day of the week, 

Em7      Gdim          DM7        Gm7
Bring her nice things, sugar-and-spice things -- 

D          Em7           D            B7
Roses and lollipops and lollipops and roses. 


Em7             A7    F#m7             Bm7
One day she´ll smile, next day she´ll cry; 

Cdim       Em7           F#m7      B7
Minute to minute you´ll never know why.

Em7       Gdim     DM7        Gm7
Coax her, pet her, better yet get her 

D           Em7         D             DM7
Roses and lollipops and lollipops and roses. 


Bridge:

   Em7  A7       DM7    Bm7 Em7  A7      DM7        Bm7
We try    acting grownup    but,    as a rule, 

      Dm7 G7       CM7      Am7  Dm7  G7      CM7  A7
We´re all   little children,    fresh    from school 


   Em7       A7       F#m7           Bm7
So carry her books -- that´s how it starts;

Cdim        Em7            F#m7           B7
Fourteen or forty, they´re kids in their hearts.

Em7       Gdim   DM7         Gm7
Keep them handy, flowers and candy, 

D         Em7            D             DM7
Roses and lollipops and lollipops and roses. 


(Instrumental interlude - use bridge chords)


Em7           A7      F#m7           Bm7
So carry her books -- that´s how it starts;

Cdim         Em7           F#m7          B7
Fourteen or forty, they´re kids in their hearts.

Em7       Gdim    DM7        Gm7
Keep them handy, flowers and candy, 

D          Em7         D               B7
Roses and lollipops and lollipops and roses,


Coda:

D         Em7            D       D6
Roses and lollipops and roses.

Manhattan - Ella Fitzgerald (Mad Men, Season One)

"Manhattan" is a popular song and part of the Great American Songbook. It has been performed by Lee Wiley, Oscar Peterson, Blossom Dearie, Tony Martin, Dinah Washington, Ella Fitzgerald and Mel Torme, among many others. It is often known as "I'll Take Manhattan" based on the opening line. 

The music was written by Richard Rodgers and the words by Lorenz Hart for the 1925 revue "Garrick Gaieties". It was introduced by Sterling Holloway (later the voice of the animated Winnie the Pooh) and June Cochran. The song appears to describe, in several choruses, the simple delights of Manhattan for a young couple. The joke is that these 'delights' are really some of the worst, or at best cheap, delights that New York has to offer, as anyone who has visited Mott Street will understand. A particular Hart delight is the rhyming 'spoil' with 'boy and goyl'.

Since its debut, it has regularly appeared in popular culture. It was first heard on the silver screen in the 1929 short Makers Of Melody, a tribute to Rodgers and Hart sung by Ruth Tester and Allan Gould. Since then, it has been used in the Rodgers and Hart biopic Words And Music (1948), Two Tickets To Broadway (1951), Don't Bother To Knock (1952) (sung by Anne Bancroft), Beau James (1957), Silent Movie (1976), Mighty Aphrodite (1995), The English Patient (1996), Kissing Jessica Stein (2001) and many other movies and TV shows, most recently in the 2007 AMC production Mad Men episode "New Amsterdam". In the film All About Eve (1950), the song is played on the piano at the party when Margo and Max are in the kitchen. 

In the early and mid-1950s, singer Julius La Rosa became a national celebrity for his exposure on several of the shows hosted by one of the most popular television stars of the era, Arthur Godfrey. On October 19, 1953, La Rosa sang "Manhattan" on one of Godfrey's radio shows. Immediately after he finished, Godfrey fired him on the air, saying, "that was Julie's swan song with us".

	D	F#m7	Bm7	A7	D	A7	G/B	A7	F#m7	Bm7-5
	Summer	journeys	to Ni	ag'ra a	nd to	other p	laces	aggra	vate all our	cares;

	Em7	A7-9
We'll s	ave our fa	res.

	D	F#m7	Bm7	A7	D	A7	G/B	A7
	I've a	cozy    l	ittle fl	at in w	hat is k	nown as	old Manh	attan;

	C9	B9	Bb9	Em7	A7-9
	We'll settle d	own	right h	ere in	town.

Melody:

	D	Fdim	Em7	A7/6	D9
	We'll have Ma	nhattan,	the Bronx and	Staten I	sland, too;

	Fdim	Em7	A7	A7+5	D	Fdim	Em7	A7
It's l	ovely	going t	hrough	the zo	o.

	D	Fdim	Em7	A7/6	Bm7
	It's very	fancy	on old De	lancy St	reet, you know;

	G7	F#7	F7	E7	F7	E7	A7	G/B	A7
	The	subw	ay ch	arms us	so	when balmy b	reezes blow	to and	fro.

	D	Am7	B7	Em7	A7/6	DM7
	And	tell me	what street	compares with	Mott Sreet	in July?

	F3m7	Fdim	Em7	G/B	A7+5	F#m7
	Sweet p	ushcarts	gently	gli -	ding	by.

	B7	Fdim	B7	Em7	G/B	Gdim	Edim	F#m	Bm7	E9
	The	great	big	city's a	wond'rous	toy	just	made for a	girl and	boy.

	D	Fdim	Em7	A7/6	A7-9	D6	Fdim	Em7	A7
	We'll turn Ma	nhattan	into an	isle	of    j	oy.

We'll go to Yonkers, where true love conquers in the wilds,

And starve together, Dear, in Childs'.

We'll go to Coney and eat baloney on a roll;

In Central Park we'll stroll

Where our first kiss we stole, soul to soul.

And "My Fair Lady" is a terrific show, they say;

We both may see it close someday.

The city's clamour can never spoil the dreams of a boy and goyl;

	D	Fdim	Em7	A7/6	A7-9	D6	Fdim	Em7	A7-9	D6
	We'll turn Ma	nhattan	into an	isle	of    j	oy.

The Great Divide - The Cardigans (Mad Men, Season 1, Episode 2)

"With so many armchair historians in the audience, juxtaposing untimely music against a carefully painted 1960s backdrop is risky business. But it's also an incredibly effective way for Mad Men's writers to say that what's happening on screen is so important that they've got to risk everything expected of them to make a point. Here's a look at the most compelling musical anachronisms in the series so far and how the show used them to emphasize important moments:

"The Great Divide" by the Cardigans 
Season 1, Episode 2: "Ladies Room"

The first time a musical anachronism disrupts the show's historically accurate rhythm comes at the end of the second episode in the first season. Don has just spoken with Betty's new psychiatrist, who helps the adman realize he's more emotionally disconnected from his wife than he thought. As Don closes the door of his study to speak further to the doctor, the Swedish alternative rock band's 1996 music box ballad creeps through the Drapers' seemingly perfect 1960's home. A white double oven comes into view before fading quickly.

The Cardigans' "The Great Divide" is, of course, about division, describing "a monster growing in our heads raised upon the wicked things we've said." The 1960s was full of ditties about breaking up and falling apart. That Mad Menbucks history and pulls from the repertoire of the 1990's strongly emphasizes how a seemingly perfect midcentury family will come to reckon with the divides of modernity. From this point forward, the expanding gap between Don and Betty will drive the plot forward and force the protagonist to pose a series deeply existential questions. Their answers will shape the course of his family and the other characters at the agency."
http://www.theatlantic.com/entertainment/archive/2012/06/mad-men-is-set-in-the-60s-so-why-does-it-use-music-from-today/258222/

 C        Am7       Fmaj7  Fm6       C

There's a monster growing in our heads

       Am7          Fmaj7    Fm6        D#  

raised up on the wicked things we've said

  Cm7      G#maj7  G7         C Am7

a great divide between us now

    Fmaj7   Fm6         Cm D7 G7-->

something we should know

------->G7b9          C     Am7 Fmaj7

There's something to remember

    Fm6         C      Am7 Fmaj7

and something to forget

   Fm6       C        Am7 Fmaj7

as long as we remember

        Fm6      C         Am7

there's something to regret

    Fmaj7   Fm6         Cm D7 G7 G7b9

something we should know

 C        Am7         Fmaj7  Fm6    C

There's a mountain higher than we knew

     Am7        Fmaj7 Fm6      D#

it's high but such a bitter view

  Cm7      G#maj7   G7        C Am7

a great divide between us now

    Fmaj7   Fm6         Cm D7 G7-->

something we should know

------->G7b9           C     Am7 Fmaj7

There's something to remember

    Fm6         C      Am7 Fmaj7

and something to forget

   Fm6       C        Am7 Fmaj7

as long as we remember

        Fm6      D#     Cm7                       

there's something to regret

G#maj7 G7 D# Cm7 G#maj7 G7 D#

  Cm7      G#maj7  G7       D#

A great divide between us now

   Cm7            G#maj7 G7          Cm D7 G7-->

on different sides of a great divide

------->G7b9          C     Am7 Fmaj7

There's something to remember

    Fm6        C      Am7 Fmaj7

and something to forget

   Fm6       C        Am7 Fmaj7

as long as we remember

        Fm6      C         Am7

there's something to regret

    Fmaj7   Fm6         Cm D7 G7 G7b9

something we should know

Cm D7 G7 G7b9