I Wish I Were in Love Again Kent

I Wish I Were In Love Again
Written: 1937	Music by: Richard Rodgers	Words by: Lorenz Hart	Written for: Babes in Arms (Broadway Show (1937)
Page Bill of fare
Primary Stage || Tape/Video Cabinet || Reading Room || Posted Comments || Credits

On the Main Stage at Cafe Songbook
Two Twenty-first Century Performances of "I Wish I Were in Love Over again"
Amanda McBroom	Audra McDonald
(Please consummate or break 1 video before starting another.)
Amanda McBroom (left, in a higher place) at the John Anson Ford Theatre, Los Angeles Baronial, 2002 Annotation: Neither Ms. McBroom nor Ms. McDonald include the verse .	Audra McDonald With Keith Lockhart and David Krane on piano (The second of a two-office tribute to composer Richard Rodgers broadcast on WNET/13, New York, c. Aug. i, 2002.) Ms. McDonald has recorded "I Wish I Were in Honey Again" on her 2002 album Happy Songs.
For More Performances of "I Wish I Were in Love Over again," meet the Cafe SongbookRecord/Video Chiffonier (Video credits )

Buffet Songbook Reading Room "I Wish I Were in Beloved Once more" Critics Corner || Lyrics Lounge
About the Show and Pic Babes in Arms
Richard Rodgers, Musical Stages: An Autobiography, New York: Random House, 1975 (Da Capo paper bound ed., 2002, pictured in a higher place. Babes in Arms studio cast album 1951 Babes in Arms studio bandage anthology 1989 Babes in Artillery cast album from the 1999 New York Metropolis Middle Encores! production Frederick Nolan, Lorenz Hart: A Poet on Broadway, New York, Oxford Academy Press, 1994. The Mickey Rooney & Judy Garland Collection (Babes in Arms / Babes on Broadway / Girl Crazy / Strike Upward the Band) DVD box set Words and Music--DVD	About the Prove Babes in Arms Babes in Arms was not only a typical "Come on kids, let's put on a testify" musical, simply perhaps the commencement of its kind. The idea for it emerged while Rodgers and Hart were walking in Central Park and noticed some creative children making upward their own games. It's plot was slight and far fetched just the Rodgers and Hart score produced more American standard songs than any other prove by the songwriting team. The story begins when a troupe of Low era vaudevillians are unable to get work and then decide to low-cal out for the territories in an attempt to make some kind of living-- leaving behind their kids to fend for themselves. The youngsters resist existence sent to a work farm by putting on a show of their own to heighten coin for a local youth center. Aught much comes of it until a deus ex machina in the form of a French transatlantic aviator crash-landing his plane in their midst generates plenty publicity to brand the kids' bear witness a striking. Babes in Artillery tried out in Boston and then opened in New York at the Shubert Theater April 14, 1937. Despite its lack of the de rigueur line of semi-nude show girls to stir upwards ticket sales, it ran for the ameliorate part of a yr (289 performances), closing Dec 18, 1937. Rodgers and Hart had decided they wanted this show to be all their own then they wrote the book every bit well as the words and music; and they brought in George Balanchine for the choreography. The bandage was restricted to youngsters, many of whom eventually became stars, including Mitzi Green, Alex Courtney, Alfred Drake, Ray Heatherton, The Nicholas Brothers, Dan Dailey, Robert Rounseville, Grace MacDonald, and Wynn Murray. The show within the evidence that the kids put on is a revue, and all merely one of the Rodgers and Hart songs are the focal points for its skits. The merely exception is "My Funny Valentine." It is integrated into the main story, Billie, played by Mitzi Green, singing information technology about her new love "Val," brusk for "Valentine," played by Ray Heatherton. Richard Rodgers has noted that because he and Hart were and so interested in writing songs that helped to develop the story, they went and then far equally to change the name of one of their characters to Valentine to brand the song fit the story. (Musical Stages, p, 181, hard-jump Ed.). "I Wish I Were in Love Again" is introduced in the show by Grace McDonald (Dolores) and Rolly Pickert (Gus) singing a comic duet (Act 1, Scene 3) nigh a couple who has broken upwardly; and although they love having ridded themselves of the trials and tribulations of their relationship observe themselves bored without them. Revivals: At that place take been no Broadway revivals of Babes in Arms perhaps because despite the spectacular score, the book is but too slight and too dated; notwithstanding, there accept been two studio albums: i with Mary Martin on Columbia Records, from 1951; and i with Judy Blazer and Judy Kaye from 1989. This product uses the original 1937 orchestrations and therefore provides a rare opportunity to hear the musical portions of the show more or less as originally performed, before and so many of the songs emerged as standards creating their ain indelible impressions. There was also one New York concert revival by City Eye Encores! in Feb. 1999, for which there is a cast album. Despite the lack of a Broadway revival, Babes in Arms has been mounted countless times in high schoolhouse and stock productions using a revised volume with a summer theater as the setting and in which the interns put on the show within the prove. The Lorenz Hart Website in its discussion of the revivals of Babes in Artillery offers a refutation of the notion that Babes in Arms has never been recreated in its original form because the volume is "too slight and besides dated." Encounter IBDB.org entry for complete show production dates, complete cast, other credits, songs/sung by, Broadway revivals, etc. "I Wish I Were in Love Over again" in the Movie Babes in Artillery "I Wish I Were in Beloved Again" was dropped from the movie Babes in Arms. The Hollywood forces that created the flick version (in 1939, starring Judy Garland and Mickey Rooney) inexplicably got rid of near of the not bad Rodgers and Hart songs from the show leaving just "Where or When" and the title vocal. Hollywood, mayhap recognizing its mistake did manage to utilise some of them later in the biopic Words and Music (1948). See IMDB.com entry for Babes in Arms, the pic, (plot summary, cast, product credits, soundtrack info., etc.) "I Wish I Were in Love Over again" in the Movie Words and Music Words and Music, (1948), the very much less than authentic biopic of Rodgers and Hart, is nevertheless valuable for the performances of their songs. "I Wish I Were in Honey Again" is sung past Judy Garland and Mickey Rooney (playing Hart). Hart, dead by the fourth dimension the picture show was fabricated, would have enjoyed the irony of Hollywood cutting the song from the movie version of the show he wrote it for but having the stars of that picture come back and sing it in this wildly inaccurate story of his life. Judy Garland and Mickey Rooney sing "I Wish I Were in Dear Over again" in Words and Music, 1948.
back to top of page
Critics Corner
from Alec Wilder, American Popular Song The Slap-up Innovators, 1900-1950, New York: Oxford Academy Press, 1972.	Alec Wilder is fond of both the words and the music of "I Wish I Were in Beloved Once more" but finally gives the nod to the lyric as being the more than powerful element in the song: Allow me say that the tune, from the verse through to the terminate, is a perfect set up of notes for the lyric. It is even strong enough to sustain itself as an instrumental slice. Just once y'all've heard the lyric, your attention must be drawn toward the words. (American Popular Song, p. 204, hard-jump edition)
Philip Furia and Michael Lasser, America's Songs, New York: Routledge, 2006.	Philip Furia and Michael Lasser polish a light on the dark, masochistic grapheme of " I Wish I Were in Love Again": For Furia and Lasser the bottom line of the song is the pushing of romance "to a masochistic extreme." Humans wish to be in love even when they know "how bad it feels, looks and even smells." They bespeak out how Hart ironically enumerates love'southward charms: "the blackened eye"; the "conversation with the flying plates"; and "the cocky-deception that believes the prevarication"of statements similar "'I'll love you til the 24-hour interval I die'." They conclude the song is Lorenz Hart'southward "backhanded tribute to [dearest's] power" (America's Songs, p. 139, difficult-jump Ed.).
David Lehman. A Fine Romance Jewish Songwriters, American Songs. New York: Next Book/Schocken, 2009.	David Lehman concurs with Furia and Lasser" on the masochistic nature of Hart's lyric: Hart is peerless at the melancholy of sexual allure, the masochism of the smitten lover. Given the choice between a quiet salubrious life and the classic quarrel of a man and married woman, Hart'south lover knows exactly which to adopt. From "I Wish I Were in Dear Over again," this couplet sums upwards the whole logic of romance in a noir mode: The words "I'll love you till the day I die," The self-deception that believes the prevarication-- (A Fine Romance, p. 19)
Philip Furia, The Poets of Tin Pan Alley: A History of America'due south Great Lyricists, New York/Oxford: Oxford Academy Press, 1990.	Philip Furia uses the words of "I Wish I Were in Love Again" to illustrate feature elements of "Society Poetry," a type of light verse that near defines the nature of then many Songbook lyrics, lyrics with a sophisticated subject matter expressed in everyday, unsentimental language, language that "is never formal and elevated but 'terse and idiomatic and rather in the conversational key'. When love congeals, it shortly reveals The faint aroma of performing seals, The double-crossing of a pair of heels, I wish I were in dear over again." (The Poets of Tin can Pan Alley, p. 7)
Gerald Mast. Tin can't Aid Singin' The American Musical on Stage and Screen . Woodstock, NY: Overlook Press, 1987.	Gerald Mast gives Hart's love lyrics an oxymoronic and paradoxical spin: If honey for Hart tin can be a joyous agony, it tin can as well exist a pain in the neck. In "I Wish I Were in Love Again," the singers are defenseless betwixt the pain of being in honey and the hurting of not being in love. In love there are sleepless nights and daily fights. Out of love you miss the kisses and y'all miss the bites. You're sane, but you'd rather be gaga or punch drunk. . . . Merely 1 thing is sure with a Hart love lyric: yous can't win one way or the other. (Can't Help Singin', p. 169, hard-bound Ed.)
dorsum to peak of page
Lyrics Lounge
Click here to read the lyrics for "I Wish I Were in Love Again" as sung past Ella Fitzgerald on the album Ella Fitzgerald Sings the Rodgers and Hart Songbook . Ella's version corresponds to the original, consisting of the verse followed by two refrain s. Watch the video beneath to hear Sinatra sing "I Wish I Were in Love Again" accompanied by the streaming lyrics. This version is from his 1956 recording on Capitol, A Swingin' Matter . Ed.'s note: Sinatra omits the verse and proceeds to sing the two refrains much as Hart wrote them with only ane interesting change. For the first refrain, Hart's line reads, "But / I would rather be gaga." For the second refrain Hart changes the line up just a fleck having it read, "But I'd rather be punch-boozer." Sinatra sings the 2d version, the one with "dial-drunkard" instead of "gaga, "for both refrains. No incertitude Hart used them every bit existence more or less synonymous terms, having the singer hateful he/she would rather be partly out of his mind than sane, non "all at that place" every bit he puts it, because you have to exist "gaga" and/or "punch-boozer" in order to exist in love. Why Sinatra excised "gaga," we don't know. 1 tin only wonder if he had known of his latter mean solar day colleague, Lady Gaga, would he take understood the give-and-take better and sung the first refrain as Hart wrote it. Had he, he would have been swimming confronting the tide of this fourth dimension. It has been suggested that "gaga" is (or was c. 1956) a figure of speech more typically applicable to an off-kilter woman and "punch-boozer" to a man in a similar state, hence Sinatra's choice. This notion is supported by the Garland/Rooney duet from 1948 (See in a higher place.) in which she sings, and acts out, the "gaga" line; whereas, he does the aforementioned for "punch-drunk." Information technology is probable that Grace McDonald and Rolly Pickert divided the lines this way in the original Broadway production of Babes in Artillery in 1937. Stacey Kent's rendition confirms the idea that the issue is a menses sensitive one. In her 2001 recording, she enunciates "punch-drunk" twice, singing both refrains as Hart wrote them and and then repeating the second refrain. Plain she is beyond any femine disfavor to such language. 2012 should further behave out this change with a vengence when women'southward boxing becomes an Olympic event for the first time, and so that women can experience beingness punch-drunk literally instead of just equally a result of love. This makes Ms. Kent'due south version an ironic foreshadow in song of what is at present happening in the band. This commentator prefers Hart's metaphorical "dial-drunkeness" for both sexes. The complete, authoritative lyrics for "I Wish I Were in Honey Again'" can be found in: Click here to read Cafe Songbook lyrics policy.
back to summit of page

Company Comments Submit comments on songs, songwriters, performers, etc. Feel free to suggest an addition or correction. Please read our Comments Guidelines before making a submission. (Posting of comments is field of study to the guidelines. Not all comments will be posted.)

To submit a comment, click here.

Posted Comments on "I Wish I Were in Love Again": No Comments as withal posted

dorsum to top of page

Credits (this folio)

Credits for Videomakers of videos used on this page: Amanda McBroom: amandamcbroom Audra McDonald: varadero1839 Judy Garland and Mickey Rooney: storyjan Carmen McRae: Cheeseford Stacey Kent: giordy2089 Borrowed cloth (text): The sources of all quoted and paraphrased text are cited. Such content is used under the rules of fair apply to further the educational objectives of CafeSongbook.com. CafeSongbook.com makes no claims to rights of any kind in this content or the sources from which it comes. Borrowed material (images): Images of CD, DVD, book and similar product covers are used courtesy of either Amazon.com or iTunes/LinkShare with which CafeSongbook.com maintains an affiliate status. All such images are linked to the source from which they came (i.e. either iTunes/LinkShare or Amazon.com). Any other images that appear on CafeSongbook.com pages are either in the public domain or appear through the specific permission of their owners. Such permission will be best-selling in this space on the page where the paradigm is used. For further information on Buffet Songbook policies with regard to the above matters, run into our "Nearly Cafe Songbook" folio (link at top and bottom of every page).

The Buffet Songbook Tape/Video Cabinet: Selected Recordings of "I Wish I Were in Dear Again" (All Record/Video Chiffonier entries below include a music-video of this page'south featured song. The yr given is for when the studio track was originally laid downwardly or when the alive performance was given.)

Performer/Recording Index (*indicates accompanying music-video) Judy Garland (1947 & 1948*) Frank Sinatra (1956)* Carmen McRae (1965)* Tony Bennett (1973) Bobby Short (1975) Rosemary Clooney (1958 & 1989) Wesla Whitfield (1997) Joni Mitchell (2000) Stacey Kent (2001)* Amada McBroom (2002)* Karen Akers (2006) Audra McDonald (2006)*

dorsum to pinnacle of page

1947 & 1948 Judy Garland album: The Complete Decca Masters (Plus) Notes: This is a 4 CD box set up including ii takes of "I Wish I Were in Dearest Again," both recorded with vocal by Garland and piano accompaniment by Eadie Griffith and Rack Godwin in Hollywood on November 15, 1947. Click here for Less expensive private CDs containing versions of the vocal--including duet with Rooney. Video: Run into below for alive duet with Mickey Rooney in Words and Music, 1948)

back to elevation of folio

1956 Frank Sinatra anthology: A Swingin Affair (bundled and conducted by Nelson Riddle) Notes: The recording was made on Nov 20, 1956 and is Sinatra's only recording of the vocal. Click hither for other Sinatra albums containing this track. Video: For streaming lyrics, watch and listen in the Buffet Songbook Lyrics Lounge, this page.

dorsum to top of page

1965 Carmen McRae albums: Alive or Woman Talk Notes: The performance on the video below is similar to merely not exactly the aforementioned as the one on the albums referenced higher up. The anthology rails was recorded live at The Village Gate, New York, in December 1965, and originally released on Mainstream (MRL 800) Woman Talk. The video below is Carmen performing in Frg, c. 1965, accompanied by the Clarke-Boland Big Band. (Delight complete or pause 1 video earlier starting another.)

dorsum to superlative of page

1973 Tony Bennett album: Tony Bennett Sings The Rodgers and Hart Songbook Notes: Bennett originally recorded xx Rodgers and Hart tracks at CBS studios in NYC, September 28-xxx, 1973, with Ruby Braff, trumpet, George Barnes and Wayne Wright, guitars, and John Giuffrida, bass. After much ado about many things, they were somewhen released on 2 albums through the private Improv characterization in 1976 and 1977. Rhinoceros records has reissued the original sessions in remastered sound on 1 CD, which is a cracking thing for everyone.

dorsum to summit of page

1975 Bobby Brusque album: Bobby Short Celebrates Rodgers and Hart Notes: Studio LP originally recorded at Atlantic Recording Studios, NYC, October, 1975 with personnel: Bobby Short (vocals, piano); Beverly Peer (bass); Richard Sheridan (drums, percussion). Curt, main cabaret pianist and singer held along at the Cafe Carlyle in NYC for several decades. Its hard to think of performers who served Rodgers and Hart, especially with Hart's tender nonetheless bitter ironies, meliorate than he.

back to top of page

1958 & 1989 Rosemary Clooney albums: Swing Effectually Rosie; Best of the Agree Years 1958 1989 Best of the Hold Years (2 CDs) Notes: In 1958, Clooney recorded "I Wish I Were in Love Over again" as a single on Coral which then appeared on the LP Swing Around Rosie. On this recording she is accompanied past The Buddy Cole Trio. In 1989 she recorded the song for Concord Jazz on the album Show Tunes. The track has been re-released on The Best of the Concord Years. Personnel on this album includes Scott Hamilton (tenor sax), Warren Vache' (cornet), John Oddo (pianoforte), John Clayton (bass) and Jeff Hamilton (drums). The great preponderance of songs on the Concord collection are jazz inflected versions of American Songbook standards (no music video currently available). "The fact that ane of the most successful pop singers of the '50s went on to become one of the virtually acclaimed jazz singers of the '80s and '90s shouldn't be marked up to the uncomplicated attrition of the WWII generation of jazz vocalists. Rosemary Clooney was comfortable (and skilled) singing in many different circumstances, and the fact that she could exhibit endless reserves of patience when forced to record pop fluff during the '50s by no ways affected her beloved for the Great American Songbook — it may really have intensified it" (from iTunes review).

back to top of folio

Wesla Whitfield (1997) anthology: Teach Me Tonight Notes: On this studio album, arrangements and pianoforte are by Whitfield's hubby Michael Greensill; reeds, Noel Jewkes; bass, Michael Moore; drums, Joe La Barbera (no video currently bachelor).

back to top of folio

Joni Mitchell (2000) album: Both Sides At present Notes: Mitchell's venture into jazz inflected Songbook selections was recorded in 2000 at Air Studios, U.k. and includes arrangements by Gordon Jenkins and Vince Mendoza. "Joni Mitchell is no stranger to jazz, every bit evidenced by her work with the legendary bassist and composer Charles Mingus toward the end of his life. On her 20th album, Mitchell forgoes the outer reaches of Mingus'south jazz in favor of interpreting more traditional American vocal pop. By interpreting textile normally associated with Billie Holiday and Ella Fitzgerald, the Canadian iconoclast travels downwards the aforementioned road equally her onetime pal Linda Ronstadt. Unlike Ronstadt's mid-'80s 3-album foray with Nelson Riddle into the bang-up American standards songbook, Mitchell approaches this project on a more personal and conceptual level, every bit she traces the arc of a modern romantic relationship. "Backed past the bouncing sounds of the London Symphony Orchestra, Mitchell's burnished vocals provide a perfect friction match equally she goes from discovering love ("At Final") to seeing it brainstorm to crumble ("Sometimes I'thousand Happy") and ultimately collapse ("Stormy Weather condition"). Jazz greats Wayne Shorter and Herbie Hancock add some seize with teeth to the lush orchestrations. Mitchell weaves a personal bear upon into the conceptual framework by including a radically altered version of her own "A Case of You" and "Both Sides Now." BOTH SIDES Now provides a haven for pop-vocal fans whose definition of the genre begins and ends with Sinatra" (from CD Universe Product Clarification).

back to top of page

Stacey Kent (2001) album: In Love Once more: The Music of Richard Rodgers Notes: Studio anthology recorded at Ardingly, England, July-September, 2001 with Jim Tomlinson, tenor sax and flute; Colin Oxley, guitar; David Newton, piano; Simon Thorpe, bass; Jasper Kviberg, drums. Video: Same track as on album referenced above (Delight complete or suspension ane video earlier starting another.)

back to meridian of folio

Karen Akers (2006) anthology: Like it Was Notes: Scott Yanow describes Akers on this studio album as a "superior cabaret singer" who sticks to the lyrics equally written while existence accompanied by jazz inflected sidemen including Dave Schiavone (flute, saxophone); Don Rebic (piano); Scrap Jackson (bass musical instrument); Eric Willis (drums)-- from CD Universe.

back to height of folio

turnerengly1992.blogspot.com

Source: http://greatamericansongbook.net/pages/songs/i/i_wish_i_were_in_love_again_f.html

Share this post