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

What Katie Did - The Libertines

This song is not about Kate Moss, it is about Peter Doherty's other girlfriend Katie Lewis. After leaving The Libertines, Doherty formed Babyshambles, and released the song "What Katy Did Next" on their 2005 album Down in Albion, which is about his fling with Kate Moss. The beginning of his song is Doherty singing about doing lots of heroin after the break up, and how there was nothing she could do about it. This is recorded in an early '60s style, with the "Shoop Shoop" lyrics a reference to the 1964 hit "The Shoop Shoop Song (It's In His Kiss)" and the mention of "Mrs. Brown" conjuring "Mrs. Brown You've Got A Lovely Daughter." This is done with a hint of irony.  The "Shoop Shoop Shoop delang-a-lang was a replacement for the line "Shoot shoot shoot the line-a-line" and Mrs Brown is a reference to heroin as you can tell from the next line of the song "I can feel it coming down but it wont take none too long." Also, even though Pete sings the song on some early demos, the album version is sung by Carl.

Chorus:
The chords for this line throughout the song are in this order, cos you only
change the chord at the start of each new shoop, shoop, shoop delang delang.
C,Em,Am*,F,Fm,C*,Em,Am*,F,Fm
Shoop, shoop, shoop delang, delang. x8

Verse:
C**           Em               Am*
What you gonna do Katie? You're a sweet, sweet girl.
            F*                 Fm*              C    
But it's a cruel, cruel world, a cruel, cruel world.
                    Em                  Am*
My pins are none too strong Katie. Hurry up missus Brown,
       F                           Fm                 C**
I can feel'em coming down and it won't take none too long.


Pre Chorus:
               B   A#  A                             Dm
But since you said goodbye, the polka-dots filled my eyes,
Gsus4             C*
And I don't know why,

Chorus:
Chords as explained above
Shoop, shoop, shoop delang, delang. x4

Verse:
            Em                 Am*
What you gonna do Katie? You're a sweet, sweet girl.
           F*                  Fm*              C
But it's a cruel, cruel world, a cruel, cruel world.
                      Em              Am*
Safety pins are none too strong Katie, They hold my
       F                           Fm                 C**
Life together and I never say never and I never say never again.

Pre Chorus:
               B   A#  A                             Dm
But since you said goodbye, the polka-dots filled my eyes,
Gsus4             C*
And I don't know why.

Chorus:
Chords as explained above
Shoop, shoop, shoop delang, delang. x4

Free Time:
C                      A*                            Dm
But since you said goodbye, the polka-dots filled my eyes,
G7               C6
And I don't know why.

Chorus:
Chords as explained above
Shoop, shoop, shoop delang delang. x16

Free Time:
C*                     A*                           Dm7
But since you said goodbye, the polka-dots filled the sky,
G                C6
And I don't know why.

Zing! Went The Strings Of My Heart - Judy Garland

"Zing! Went the Strings of My Heart" is a 1934 popular song with words and music by James F. Hanley. It was introduced by Hal Le Roy and Eunice Healey in the Broadway revue Thumbs Up! Probably the most notable recordings were made by Judy Garland (who sang it in the 1938 film Listen, Darling and recorded it for Decca Records in 1939) and by The Trammps (reaching #17 on the R&B chart in 1972), but many other versions have been made. Among the artists and groups to have recorded this song include Ernestine Anderson, June Christy, Frank Sinatra, Royce Campbell, The Kirby Stone Four, Billy Eckstine, Richard Himber Orchestra, Brenda Lee, Jesse Belvin, The Coasters, The Satintones, The Dimensions,Brent Spiner, Enoch Light, The Move, The Darts, Chet Baker, Smoking Popes, Dinah Shore, Les Paul and Mary Ford, and Rufus Wainwright (who recorded the song on a tribute album to Judy Garland). In 2011, a Bing Crosby radio version of the song was released on iTunes by the Crosby Estate. This was one of the first songs that Barbra Streisand ever recorded, in 1955 at Nola Recording Studios in New York when she was 13 years old. The recording is yet to be released.

(C) Dear when you smiled at me, (Am) I heard a melody; 

(Dm) It (A+) haunted (Dm7) me from the (G7) start

(F) Something inside of me (Fm6) started a symphony

(C) Zing! (Am) went the (D7) strings of my (Dm7) heart (G7 - G7+5)

(C) Twas like a breath of spring, (Am) I heard a robin sing; 

(Dm) A- (A+) bout a (Dm7) nest set a- (G7) part

(F) All nature seemed to be (Fm6) in perfect harmony

(C) Zing! (A7) went the (D7) strings of (G7) my (C) heart 

Your (Dm7) eyes made (G7) skies seem (C) blue again;

(Dm7) What else could I do again? 

But (F＃m7) keep re- (B7) peating (Em) through and (A7) through

I (Am7) love (D7) you, (Dm7) Love (G7+5) you

(C) I still recall the thrill, (Am) I guess I always will; 

(Dm) I (A+) hope ’twill (Dm7) never de- (G7) part

(F) Dear with your lips to mine (Fm6) a rhapsody divine

(C) Zing! (A7) went the (D7) strings of (G7) my (C) heart 

(Instrumental)

Your (Dm7) eyes made (G7) skies seem (C) blue again;

(Dm7) What else could I do again? 

But (F＃m7) keep re- (B7) peating (Em) through and (A7) through

I (Am7) love (D7) you, (Dm7) Love (G7+5) you

(C) I still recall the thrill, (Am) I guess I always will; 

(Dm) I (A+) hope ’twill (Dm7) never de- (G7) part

(F) Dear with your lips to mine (Fm6) a rhapsody divine

(C) Zing! (A7) went the (D7) strings of (G7) my 

(C) Zing! (A7) went the (D7) strings of (G7) my

(C) Zing! (A7) went the (D7) strings of (G7) my (C) heart!

Istanbul (Not Constantinople) - Renato Carosone

Written as a response to "C-O-N-S-T-A-N-T-I-N-O-P-L-E" recorded in 1928 by Paul Whiteman and his Orchestra, this swing-style song, with lyrics by Jimmy Kennedy and music by Nat Simon was recorded in 1953. The lyrics comically refer to the official 1930 renaming of the city of Constantinople to Istanbul. It also references other renamed cities, specifically the renaming of New York City from New Amsterdam. One of the better-known versions of "Istanbul (Not Constantinople)" is the cover by the alternative rock band They Might Be Giants (TMBG), who released it on their album Flood in 1990. It was released as the second single from that album in the same year. TMBG's version is at a faster tempo than the original.

Dm 
Istanbul was Constantinople, now it's Istanbul, not Constantinople
             A7                                                  
Been a long time gone, old Constantinople
                Dm                            A7 
Now it's Turkish delight on a moonlit night
Dm
Every gal in Constantinople lives in Istanbul, not Constantinople
          A7                                                              Dm         A7 - Dm
So if you've a date in Constantinople, she'll be waiting in Istanbul

CHORUS:
Dm 
Even old New York was once New Amsterdam
Em7-5                      A7               Dm                         A7
Why they changed it I can't say, people just liked it better that way
Dm 
So take me back to Constantinople, no you can't go back to Constantinople
             A7                                                             Dm 
Been a long time gone, Constantinople, why did Constantinople get the works?
           A7                                     Dm
That's nobody's business but the Turks