MARLENE DIETRICH FRIEDRICH HOLLAENDER oy aU)Impressum © 2011 by Edition DUX, Maching 1D 784 / ISMN 979-0-50017-065-5 / ISBN 978-3-86849-151-7 Umschlag: Rauchbauer & Partner Werbeagentur GmbH, Gaimersheim Notensatz: Frank Speer, Berlin Nachdruck verboten! Fotokopieren verboten! www.dux-verlag.deInhalt / Contents 4 Introduction 6 Biografie / Biography 48 Black Market 37 Falling In Love Again 7 “4 Ich bin die fesche Lola 2 Ich bin von Kopf bis FuB auf Liebe eingestellt 8 _Ichweinicht, zuwem ich gehore 19 Tlusions : 40 I've Been In Love Before 28 Jonny, wenn du Geburtstag hast 16 "Kinder, heut Abend, da such ich mir was aus 25 Little Joe, The Wrangler 7 34 Nimm dich in Acht vor blonden Frau’n! 12 Peter, Peter, komm zu mir zuriick! 53 The Boys In The Backroom 2 ‘The Man’ In The Navy v7 ‘The Ruins Of Berlin - 32 ‘Wenn ich mir was wiinschen diirfte 46 You've Got That LookIntroduction Falling in Love Again ... and Again ... and Again From Berlin to Hollywood Friedrich Hollaender and Marlene Dietrich: those two names together evoke the spirit of a bygone era of brilliance, impudence, and courage: Berlin in the Weimar Republic — they are its voice. When they later relocated to Hollywood, they again collabo rated and kept that spirit alive for their new culture and for the new times, but you could still catch a whiff of the old spirit in the new songs. The partnership and their songs maintain their fascination across the borders, over the years. First, of course, there was Der blawe Engel, or The Blue Angel. It was not the first German sound film, but one of the most illustri- ‘ous, based on the provocative novel by Heinrich Mann. With the story transported to the 1920s, it was Dietrich’ performance, even more so than Emil Jannings as the erstwhile title figure Professor “Unrat,” that captured the audience's imagination. Lola- Lola gave voice to the moral upheaval of the day in her murky Tingel-Tangel, that crude cabaret or honky-tonk with its crass songs. Those tawdry tunes brought the dive to life, gave Marlene Dietrich her true character, and made the film a hit. “Friedel” Hollaender, master of both words and lyrics, and his jazz band Weintraubs Syncopators, captured the moment with his immor- tal “Ich bin von Kopfbis Fu8 auf Liebe eingestellt” As “Falling in Love Again” it immediately became an English-language stan- dard as wel. The film was shot in two languages simultaneously, though the German-language version remains the authoritative original, even with subtitles. With a watchful eye, we can spot the composer himself at the piano, swigging a beer or banging out the wedding march. Hollaender later told the story behind that “evergreen” that made his fame and fortune in his memoirs: when the last song, the big hit for Lola-Lola, was still needed, he sat down and composed a melody. Then he hastily wrote a crude dummy text to serve for demonstrating the new tune until he wrote the real words for it. When he delivered the song to the assemblage of director, stars and crew, everyone was bowled away. The throwaway lyric was a stroke of genius. Only Jannings was dubious: If Marlene sang that number, he said, she would steal the show from him. And indeed she did. ‘One day as Marlene wandered among the sets humming a melancholy melody, Hollaender overheard her. He picked up the tune and wrote the song “Wenn ich mir was wiinschen diirfte” for her to record. Shortly thereafter, he adapted it, with a new verse, for the film Der Mann, der seinen Mérder sucht. Decades later, Marlene took another of his Weimar-era film songs into her rep- extoire, “Ich weif nicht, zu wem ich gehdre” — and it fit her so perfectly that the song is forever associated with her, rather than with Anna Sten, who sang it on screen. Dietrich also recorded Hollaender’s cabaret songs “Jonny” and “Peter.” adapting each to her own style and transforming them into classics. When Hollaender opened his own satirical cabaret in Berlin, ironically named the Tingel Tangel ‘Theater, Marlene appeared at the premiere, and following the intermission, she was coaxed onstage to deliver her hits with Hollaender at the keyboard —a special performance that again stole the show. But the times were changing, and not for the better. Marlene had already relocated to Hollywood, where she brought an English- language version of “Jonny” to the screen for Song of Songs. She kept her distance from Hitler's Germany, even though they relentlessly endeavored to lure her back, For that cocky jazz musician, left-wing satirist, and Jewish composer Hollaender, on the other hand, the Nazis had no use — he was on their black list. In early 1933 he fled overnight, landed in California, and be- came Fredrick Hollander, one of the most prolific Hollywood composers of the thirties and forties. At Paramount, Marlene and “Fred” were back together with Desire and Angel. And here they connected with another ex-Berliner, Ernst Lubitsch, who also knew that irony and playful ambiguity were far much more seductive than explicit revelations. Once more, Hollander became known as Marlene’ “personal composer. although new lyricists were providing the English words: the clever Leo Robin and Frank Loesser. At Universal, they collaborated on Destry Rides Again, where Hollander’s infectious songs guaranteed a comeback for Marlene after a spell of sagging fortunes. Together, they were on top once more. “The Boys in the Backroom” revealed a new incarnation of the sassy barroom singer Lola-Lola, who now found herself transported to the Wild West. Seven Sinners revived the trans- gressive spirit of cosmopolitanism, impudence, and proud individualism with “The Man's in the Navy? as the cross-dressing Marlene strutted across the stage in her saucy, white sailor’s uniform. They were both Americans now. Dietrich delivered their songs to the Gls in her USO shows, updating the boisterous “Boys in the Backroom.” to keep their fighting spirits up. Later, as she mounted a concert career as an imperiously elegant chanteuse, Holla(e)nder’s songs from both sides of the Atlantic remained staples of her repertoire: above all, her audiences always thirsted for her climactic number, “Falling in Love Again.” (Incidentally, Marlene never sang the “much too sentimental” adaptation by Sammy Lerner that the publishers later launched as the authorized American version of the song.)‘Their last and perhaps most brilliant collaboration was on Billy Wilder’s A Foreign Affair. The magic spell of Berlin's underworld came to life once more, even though the smoky cabaret scenes where they appeared together were filmed in Hollywood. As in the old days, we see Hollander at the keyboard; the pianist and the diva are an organic unity. Notably, this was the one chance Hollywood gave him to write his own lyrics. "Black Market” and “Illusions” are brilliantly sharp and cynical — verbal fireworks concealing an undertone of melancholy. Here is the greatest realization of the artistic cocktail that was Dietrich and Hollander, ‘words and music, Germany and America, in an intoxicating blend. ‘The ruins of bygone Berlin... there is life in them still. Alan Lareau ‘This collection is the product ofa collaboration between Frederick Hollander Music, Rolf Budde and Gerhard Halbig A very special thank you goes out to Viktor Rotthaler for his support during the production ofthis edition ‘May the songs continue to come alive in performances the world over! Dieser Band entstand durch die Zusammenarbeit von Frederick Hollander Music, Rolf Budde und Gerhard Halbig, Ein ganz besonderer Dank gilt Viktor Rotthaler fur die Unterstteung beim Entstehen dieser Ausgabe. “Mogen die Lieder immer wieder im Gesang zum neuen Leben erweckt werden!Biografie Friedrich Hollaender wurde am 18, Oktober 1896 als Sohn. deutscher Eltern in London geboren. Sein Vater Victor war gefeierter Komponist von Revuen, Operetten und popularen Liedern, der heute noch immer fiir ,Kirschen in Nachbars Garten* und dem ,Schaukellied* bekannt ist. In Berlin wuchs Friedrich in einer besonders musikalischen Familie auf, zu der sein Onkel Gustav Hollaender, Leiter des berihmten Stern- Konservatoriums, und Felix Hollaender, Schrifisteller und Dramatiker bei Max Reinhardt, gehdrten. Der junge Friedrich studierte Komposition am Stern- Konservatorium und war Student in der Meisterklasse von Engelbert Humperdinck. Im 1. Weltkrieg diente Hollaender im Militar als Musikdirektor, wo er die Truppen an der franzésischen Front unterhielt. Erst nach dem Kriegsende begann er seine Karriere am Theater mit dem Komponieren von Bihnenmusik fiir Max Reinhardts Inszenierungen und mit Eigenkompositionen fir solche avantgardistischen, literarischen Kabaretts wie ,Schall und Rauch’, ,Wilde Biihne* und ,GréBenwahn’. Neben dem Schreiben seiner eigenen populiren Musik und Lyrik arbeitete Hollaender mit vielen berithmten Schriftstellern wie z, B. Kurt Tucholsky, Klabund ‘und Walter Mehring zusammen. In diesen Jahren wurde er fiir seine ,Lieder eines armen Midchens’, die er fiir seine erste Frau, die Sangerin Blandine Ebinger, geschrieben hatte, berithmt, In den folgenden Jahren schrieb er viele Schlager und mehr als ein Dutzend Revuen (oft in Zusammenarbeit mit Rudolf Nelson und Marcellus Schiffer) wie ,Laterna Magica’, »Das bist Dut, Bei uns um die Gedichtniskirche rum" und ,Der rote Faden’. Hollaender spielte auch mit der sensationellen Jazzband Weintraubs Syncopators. 1929 begann Hollaenders lange und erfolgreiche Filmkarriere, als er beaufiragt wurde, die Musik fiir Josef von Sternbergs Film Der blaue Engel” zu komponieren. Marlene Dietrichs verlockende Darbietung von ,.Ich bin von Kopf bis Fu auf Liebe eingestellt* brachte sowohl der Schauspielerin als auch dem Lied internationalen Erfolg und legendaren Status. Gewiss bleibt es Hollaenders bekanntestes Lied und ist von Musikern wie Bryan Ferry, Billie Holiday, Count Basie, Dionne Warwick, Petula Clark, Greta Keller, Linda Ronstadt, Jean Sablon, Udo Lindenberg, Nana Mouskouri, Leontyne Price, Ute Lemper, Sammy Davis Jr. und den Beatles interpretiert worden. Der beispiellose Erfolg von ,Der blaue Engel” sicherte Hollaenders Karriere als Filmkomponist bei der UFA, Deutschlands wichtigstem Filmstudio jener Zeit. Vor seiner Einwanderung in die USA fahrte Hollaenders Vertrag bei der UFA zu einer Reihe von Klassischen Filmen, wie z. B. ,Einbrecher’, ,Der Mann, der seinen Mérder sucht’, ,Stirme der Leidenschatt* und Ich und die Kaiserin’, dbrigens auch sein Debiit als Regisseur. Hollaender drehte drei verschiedene Fassungen des Filmes gleichzeitig auf Franzsisch, Deutsch und Englisch mit, drei verschiedenen Besetzungen, was damalsalsbahnbrechend galt Im aufregenden kulturellen und kiinstlerischen Milieu der Weimarer Republik erdffinete Hollaender 1931 sein eigenes, Biography Frederick Hollander was born to German parents in London ‘on October 18, 1896. His father Victor was a widely acclaimed composer of revues, operettas and popular songs, still known today for his “Kirschen in Nachbars Garten” and “Schaukel- cd” Frederick grew up in Berlin, surrounded by an excep- tional musical family, including uncles Gustav Hollaender, head of the famous Stern Conservatory, and Felix Hollaender, writer and dramatist with Max Reinhardt. ‘Young Frederickstudied compositionatthe Stern Conservatory and was one of Engelbert Humperdinck’s master students. During World War I Hollander served in the military as musical director, entertaining troops on the front lines in France. Soon after the war he began his theatrical career writing stage music for Max Reinhardt’s productions and was a house composer for such avant-garde literary cabarets as “Sound And Smoke” (Schall und Rauch”), “Wild Stage” (“Wilde Biihne”) and “Megalomania” ("Gré8enwahn’). In addition to writing his own popular music and lyrics, Hollander collaborated with ‘many famous authors including Kurt Tucholsky, Klabund and Walter Mehring, It was during this prolific period that Hollander garnered fame and recognition for his series of “Songs Of A Poor Girl” (“Lieder eines armen Madchens”), written for his first wife, singer Blandine Ebinger. In the following years he went on to write numerous hit songs and over a dozen popular revues (often in conjunction with Rudolf Nelson and Marcellus Schiffer), including “Laterna Magica’, “Das bist Du!’, “Bei uns um die Gedichtniskirche rum” and “Der rote Faden.” Hollander also worked with the sensational jazz band Weintraubs Syncopators. Hollander’s long and successful film career began auspiciously in 1929, when he was hired to compose the music for Josef von Sternberg’ landmark film “The Blue Angel” (“Der blaue Engel”). Marlene Dietrichis sultry rendition of “Falling In Love Again” (“Ich bin von Kopf bis Fuss auf Liebe eingestellt”) pro- pelled both the actress and the song to international success and legendary status. “Falling In Love Again” remains Hol- lander's signature piece and has been interpreted by recording artists as diverse as Bryan Ferry, Billie Holiday, Count Basie, Dionne Warwick, Petula Clark, Greta Keller, Linda Ronstadt, Jean Sablon, Udo Lindenberg, Nana Mouskouri, Leontyne Price, Ute Lemper, Sammy Davis Jr. and The Beatles. The un- precedented success of “The Blue Angel” ensured Hollander a place as featured film composer with UFA, Germany's pre- mier film studio. Prior to his emigration to the US., Holland- er’s work with UFA produced a succession of classic it films, such as: “Einbrecher’, “Der Mann, der seinen Mérder sucht’, “Stiirme der Leidenschaft” and “Ich und die Kaiserin’, which was also his directorial debut. Hollander shot three different versions of the film simultaneously, in French, German and in English, each using three separate sets of actors. Caught up in the cultural and artistic maelstrom of Weimar Germany, in 1931 Hollander opened his own highly success-erfolgreiches Kabarett-Theater ,Tingel-Tangel* im Keller des beriihmten Berliner Theater des Westens”. Seine Revuen waren Tagesgesprich in Berlin und waren bekannt fir ihre jazzigen Lieder. Wegen seiner mutigen Anti-Hitler-Revuen, wie ,Spuk in der Villa Stern’, gelangte er ins Visier det Nationalsozialisten, was ihm fast sein Leben kostete. Zwei Jahre spaiter zwang Hitlers Machtergreifung Hollaender und seine zweite Frau Hedi Schoop, aus Deutschland zu flichen und in die USA einzuwandern. Sein Ruf als Komponist der Lieder zum Film Der blaue Engel" war ihm bereits vorausgeeilt. Er fing wieder an, fir Marlene Dietrich Lieder zu komponieren, wie z. B. ,The Boys In The Backroom’, ,You've Got That Look’, .[llusions’ »Black Market* und I've Been In Love Before’. Hollaenders Karriere in Hollywood umfasste 23 Jahre und_schloss Lieder und Musik fiir hunderte Filme, wie 2. B. Sabrina’, »Destry Rides Again’, ,Here Comes Mr. Jordan’, ,A Foreign ‘Affair® (in dem Hollaender die Rolle des Klavierspielers fair Marlene iibernahm), ,Desire* und das Kultmusical ,The Five ‘Thousand Fingers Of Dr. T’, ein. Er wurde viermal fiir den Oscar" nominiert: 1937 fiir besten Original-Song ,Whispers In The Dark" (aus dem Film Artists And Models"); 1942 fiir beste Filmmusik fiir ,Talk Of The Town's 1948 fiir besten Original-Song ,.This Is The Moment“ (aus dem Film The Lady In Ermine") und 1953 fir beste Filmmusik fiir ,The Five ‘Thousand Fingers Of Dr. T* 1956 kehrte Hollaender nach Deutschland zuriick, wo man in Minchner und Berliner Kabarett-Theatern seine Musik wiederentdeckte. Et komponierte weiterhin Musicals und schrieb die Partitur fiir den Film Das Spukschloss im Spessart" (1959). Obgleich er zumeist fir seine musikalischen Werke bekannt ist, schrieb Hollaender auch einige Bicher: seine Autobiographie Von Kopf bis Fug: mein Leben mit Text und Musik (1965); Ich starb an einem Dienstag (1972); Arger ‘mit dem Echo (1972) und Die Witzbombe und wie man sie legt (1972). Sein erster Roman Those Torn From Earth (1941, urspriinglich auf Englisch) wurde posthum iibersetzt und 1995 unter dem Titel Menschliches Treibgut im Weidle Verlag, Bonn, in Deutschland verdffentlicht. Fiir Hollaenders Leistungen fiir die deutsche Kultur wurde er mit dem Schwabinger Kunstpreis und 1959 mit dem Bundes- verdienstkreuz, ausgezeichne. Die Kunst imitierte das Leben noch einmal, als der Regisseur Billy Wilder, fir den Hollaender die Partitur des 1948-Klas- sikers A Foreign Affair” komponierte, seinem alten Freund die Rolle des Sangers/Bandleaders in einem DDR-Nachtlokal im Film ,One, Two, Three (1961) gab. Spater im Leben hei- ratete er noch 2weimal. Am 18, Januar 1976 starb Hollaender in Miinchen knapp vor seinem 80. Geburtstag. Seine zeitlose ‘Musik wird immer noch weltweit aufgeftihrt fal cabaret-style theater, “Tingel ‘Tangel’, ensconced beneath Berlin’ “Theater des Westens” His shows were among the top attractions of the day, hailed for their jazzy music, witty lyrics and daring political satire. Hollander’s courageous and openly anti-Hitler revues, such as “Spuk in der Villa Stern’, made him. an early Nazi target and nearly cost him his life. Within two years Hitler's unrelenting rise to power would force Holland- er and his second wife Hedi Schoop to flee Germany for the United States. In 1933 Hollander arrived in Hollywood to discover that his “Blue Angel” reputation had preceded him - as did Marlene Dietrich ~ and he continued writing songs for the actress, including “The Boys In The Backroom’, “You've Got ‘That Look’, “Illusions’, “Black Market” and “I've Been In Love Before’. Hollander's Hollywood career spanned twenty-three years and included songs and musical scores for hundreds of films, among them “Sabrina’, “Destry Rides Again’, “Here Comes Mr. Jordan’, “A Foreign Affair” (in which Hollander also appears as Dietrich’s night club piano player), “Desire’ and the cult musical “The Five Thousand Fingers Of Dr. 7” He garnered four Academy Award nominations: 1937 for Best Song “Whispers In The Dark” (from “Artists And Models”); 1942 for Best Score (from “Talk Of The Town”); 1948 for Best Song “This Is The Moment” (from “That Lady In Ermine”) and in 1953 for Best Musical Score (from “The Five Thousand Fingers Of Dr. T"). Hollander returned to Germany in 1956, where his music enjoyed a revival, presented in sprightly cabaret revues in ‘Munich and Berlin. He continued to compose for musicals and wrote the score to the 1959 film, “Das Spukschloss im Spessart’, Although best known for his musical work, Hollander also wrote several books: his autobiography Von Kopf bis Fufs: mein Leben mit Text und Musik (1965); Ich starb an einem Dienstag (1972); Arger mit dem Echo (1972); and Die Witzbombe und ‘wie man sie legt (1972). Notably, his first novel Those Torn From Earth (1941, written in English) was posthumously translated and published in Germany (by the Weidle Verlag) in 1995 as ‘Menschliches Treibgut. For Hollander’s lasting contributions to German Culture, he was awarded the Schwabinger Kunstpreis and in 1959 the Bundesverdienstkreuz (Order of Merit of the Federal Repub: lic of Germany). Art imitated life for Hollander once again when director Billy Wilder (for whom Hollander had scored the 1948 classic “A Foreign Affair”) nostalgically cast his longtime friend as the singer/bandleader in an East German night club in the 1961 film “One, Two, Three’ Later in life he remarried two more times. Hollander passed away in Munich, Germany, on Janu- ary 18°, 1976, just short of his 80* birthday. His timeless music continues to be performed and recorded around the world.Ich weif nicht, zu wem ich gehére As featured in the UFA film ,,Stiirme der Leidenschaft* ‘Music: Friedrich Hollaender Lyrics: Friedrich Hollaender & Robert Liebmann J=92 L.Spre- chen die Main 2Bi - ner hat zirt t mf Ents ” Dm {© Musi: 1991 Ufton Vail nH, gn 2005 oredr Hallader Msi © a9) ion Vapi mS ge So Prec inde Mae seigosd 2K? ts eioog Deetrice Bese: sae Mocoinerine GeAm B mths) a ‘Treu-e hat bringt er mir Fr F a Dm Gaim Lie - be — macht lockt mich ein a B Emtbswei nicht, fun = glick = lich sein Ja soll dennge = horn doch auch ~ lent ‘wei nicht, G cH D Dédim av u12 Peter, Peter, komm zu mir zurtick! Music: Rudolf Nelson Lyrics: Friedrich Hollaender J=50 Em Am? D Daug? G 1.Wie Konnt mich ein Mann nur so be-rau - schen, wie be-ging ich nur den Wahn, 2.Sprach man: ,Pe- ter, ich hab dich be-tro - gen. Sag-te er: .Wenn's dich nur freut* Em D Daim Em ar D mei-nen gu ten Pe- ter ein - zu-tau - schen, der mir nie = mals was ge- tan Nie ist ein Ge-wit - ter auf - ge - 20 gen, er war var - lich je ~ der~ zeit. F Daim D> pits G Week-te man ihn nachts aus sei-nem Bet = te laut und roh per Te - le - fon: Und ganz oh - ne Grund ging ich zu an - —dern, sags te Pe-ter-chen a - dieu! © Music: 1929 Ati Muserag Gb aigned 2007 to Drea Dresden Buhen- und Mstverag Gb © Lyi 1929 Aro! Mashedag Gab, signed 208 Federck Holand scar Am? a D wPe- ter, ich hab kei - ne Zi - ga ret " Was sprach Pe - ter? Bring sie Geb ich’ mich nun jetzt an all die an - 7 tut mein Herz nach” thm so ich war so ge- areiPR Fr TPP RE Pre it. 2. Em AG a’ Am’ D> GB G spi - ter sieht man erst al-les ein!The Ruins Of Berlin As featured in the Paramount Film “A Foreign Affair” ‘Music & Lyrics: Friedrich Hollaender d= 116 Am Am™i> Am Dm? a Some-times at night feel in all your sor Pete] Pe Pi P iF © Copyright 1948 Sony/ATV Masi Pushing [Alig Reserved International Coppi Secured. Ud by perminon of Masi Sle Lite.——S row That's when youre phan-toms of the — past i. i B B A F BI A maj Amit AsKinder, heut Abend, da such ich mir was aus As featured in the UFA film ,Der blaue Engel* (“The Blue Angel”) L.Frih - ling kommt, Sper - ling piept, aus BI 2.Man - ner gibt inn und dick, und — Klein nen Mann ver ~ liebt und wei nicht, der schon und chic, schiich - tem 0 ~ er Geld hat, ist mir gleich, ‘mich macht er aus ~ sicht? Mire - gal ~ gend - el © Musi: 134 Ufton Vlasic nb, signed 205 to Freer Hollander Misi © tyres 1880 UistonVerlpgaticha mbH, sgt 207 9 Dreang Dreimasen Buchan: und Mankveag Gabi ‘Music: Friedrich Hollaender Lyrics: Robert Liebman ten - kel und kif in wel der ef. die Lie - be reich! nen trifft die Wahll7 hingn mir schon zum Hal = se18Illusions As featured in the Paramount Film “A Foreign Affair” Music & Lyrics: Friedrich Hollaender bet - ter play z B Fm G) Cm Cn? o F ‘And yet we al - ways scheme too much © Copyright 196 Sony/ATV Masi Paling [A Rights Reserved Intrional Copyright Secure Used by pemion of Mas Sls Lime20 Want to. buy some il - Iu sions? Slight-ly used, B Dm Gm mvs) o built on sand, a rw Er Co? F Bb aim F Faug Be ‘They had @ touch of For in this cra - zy pa-ra-dise you are with paina Want to buy some il - Iu sions? Slight-ly just like new? Bi Abm Boma? and they're all Cn? Dp Gm coaddisyE, B Too bad they all fell a-part as dreams They were love-ly illu 1, 2. Gm Cut? F Ctaim Cm? Faug |B» om? BS sions, but they just wwould-n’t come2 Ich bin von Kopf bis Fuf auf Liebe eingestellt As featured in the UFA film ,,Der blaue Engel“ (“The Blue Angel”) Music & Lyrics: Friedrich Hollaender An? Gtim = C? Gm rit - sel-haf = ter Schim 7 ein wJe ne sais pas quoi bebt in mei- nen Hin - . in ih - rem hei - Ben Druck, c Ga Cag Fo Caug liegt in den Au - gen im : : sch nen Frou sie méch - ten sich ver-schwen : nie ge - nug. te te © 1990 Uaon Veraggeeicha mbH23 F Am? Ghim Em? Doch wenn sich mei - ne AU ~ bei ei - nem Vis - a - vis Thr wer - det es ver - zei ihr miisst es halt ver- stehn, ganz tif in sel - ne gen, was. spre- chen dann ‘es lockt mich stets von em, ich_— find es 50 Kopf bis Fus auf Lie - be o FS Faim a F FO Boo und sonst gar soll ich ma - chen,24 F Gm Bom CT Fe kann halt He - ben nur und sonst gar nichts, = schwirrn mich das Licht, Kopf bis Fu auf F Cm DT Gm? Bom = F%6 das ist meine Welt25 Little Joe, The Wrangler As featured in the film “Destry Rides Again” Music: Friedrich Hollaender J=116 Lyrics: Frank Loesser The Wran- gle, he ta (©1959 (Reneed) EMI ROBBINS CATALOG INC. clave ri Rights Administered by ALFRED MUSIC PUBLISHING CO, INC. [ARs Reserved Ved by Pemision.267 By BT he sure did like this. ik - ker and it from place to place he float - ed till ~—she had wo - men by the ~— do - zens and he. Ab aim EB BT SYS 8 aos Ba ms tS SL ome oo swore they were his cou - sins ‘til he met up hus - bands +28 Jonny, wenn du Geburtstag hast Music & Lyrics: Friedrich Hollaender Gm Gei- ger Jon-ny Star, dee hat wil-des Blut in sei- ner lassen Haut, Get - get Jon-ny Star, eines A-bends sa ein s- es blon-des Ding, mehr der Jon- ny Star, eines schd-nen Ta - ges__ war er durch-ge- brannt, Bro Daug Gm D Gm auf der Gei- ge spiel, rit dem Bo - gen zielt, oh! Bis zum ——Stups-ns-chen ver - Klirt, hat sie auf sein Spiel ge- hort, oht LieS in tau-send-fa-chem Schmerz man - ches tum - ge-knick-tes Herz, © 110 He-Verag sige 205 1 Frederick Molander Music29 po B Bb Bb = Denn sein Kat - zen Und er sah ihr hat er je - de Nacht ‘ne neue Klei - ne Braut. Nur das blon - de sprach kein Wort und gab thm heim-lich ei - nen Wink. ‘man - ches Miind-chen, man - che Klei - ne wei - Be Hand. Fr Klei - ne wei = Be und er sett den geht. von Zeit’ au gant und gar, - auf zum Knie Lieb - chen war, blick ver = wirrt die Mid - chen EL - fen - bein - chen bis Mi - di, das sein letz - tes D antoyD Hnd-chen krab-beln durch sein sché - nes_ Haar, und die Frau-en rings im Chor Bo-gen an mur si Ben Me-lo - die, bis die Klei- ne sehn-suchts-krank Doch ein Pfand sie bei sich tragt, Zeit ver~geb-lich in die Po - ny - Bar’ - A789 vy F br schaun ver = list zu ihm em - por gen ihm ihr Lie - bes - durch den wwei-chen Gei -gen-klang wie hyp - sit in sei - ne uun-term Her-zen regl. singt, wenn sie sich nachts ins und sie sin -30 Ge - burts-tag ast Ge burts- tag hast Ge - burts- tag hast —— bin ich bei dir zu Gast______ flr. ei - ne Nacht — bin ich bei dir zu Gast fir. ci'- ne Nacht — du si Be Kleine Last_______der_Lie - bes - nacht! B Am Ban? Ee) Ich trum so viel von dir, ach, komm doch [chs trium so viel von di, ‘ach, komm doch Jon - ny Ich_ trum = so viel,» von dir, ach, komm dochWenn du Wenn du du ich * noch ou - lett dein Spiel er - gota! ich an Pa ~ pal burts - tag burts = tag burts - tag Wenn Wenn, Der hast________ und hast bin hast, du doch du doch schickt bald dein je - den je - den Dol - lars ‘mich dein ich bei Arm ~ chen 31 hitist hitistWenn ich mir was wiinschen diirfte As featured in the UFA film ,Der Mann, der seinen Mérder sucht ‘Music & Lyrics: Friedrich Hollaender ‘Men schens-kind, gra-de dein Schmerz, dein Leid Fm @ Cm B wi-ren sle-sen - gro? ‘Wiinsch dir nichts, ‘dum-mes Men -schen-kin Wiin-sche PERE PRT ei pe = sind nur chm, 80 (©1951 Uist Vaasa bth ‘Esigned 2005 to Frederick Hollander Music33 Cm @ Ay win -schen dir - te kim ich in Ver - le - gen - heit, was ich mir denn o Ay Gt Cm wiin -schen soll - te: ei-ne schlim-me o-der gu - te Zeit. Wenn ich mir was wan schen diirf - te, mocht ich etwas lick - lich sein,aM Nimm dich in Acht vor blonden Frawn! As featured in the UFA film ,,Der blaue Engel“ (“The Blue Angel”) ‘Music: Friedrich Hollander Lyrics: Friedrich Hollaender & Richard Rillo rife mu-erst ih-ren 1.Wenn el - ne Frau dich ver-strickt ins Lie-bes - spiel, Sel auf der Hut, stil-le 2.Je = der-mann glaubt, die Blon - di nen sind na - iv! peal Schau dir ihr Haar erst auf sei - ne Far - be gan- zen Sex - Ap Mal_ dir kein Glick mit den blon- den Katz-chen Wasser sind ja tiefl raus den Cha - rak - ter ‘eh du’s ge- abnt, kom-men schon die ‘© Masc 190 UstonVerlasgsicha mained 2050 Frederick Hol © Lyi: 1830 Unton Verapamil 5 sgn 205 oer Hallander Mie ‘50% signed 2007 to Dre Dreimasien Buchen-und Musveag Gib35. Dunk -le - re Frau-en sind ja ge-wohn-lich sanft wie der Mond. Und wenn das Blond-chen all dei-ne Lieb mit Treu-e dir lohnt, f Schwe-rer durch-schau-en wirst_ du die si - Ben Racker in_—Blond. ist sie ganz si - cher heim-lich ge-for - ben was - ser -stoff - blond, Nimm nen nicht gleich36 den = ke im- mer: Ach-tung vor dem37 Falling In Love Again (German version: Ich bin von Kopf bis Fu auf Liebe eingestellt) As featured in the UFA film “The Blue Angel” (,,Der blaue Engel“) Music: Friedrich Hollaender Jeo English Lyrics: Reginald Connelly hhow man - y times (© 1930 Uson Veangencha ‘ged 2005 to Frederik Molander Msc38 D pm pr G Gm Dsus D p™ ps Dag En? Emi) a? AB pss Dp Pom D pm pr what am T to do, I can't help it ea RT F oY G Gm pes) Dm p> Daug D Emit Ent) 7 Ae ply it how 139 pew) Dp BP Bm help to me like moths a-round a D pip G Gm pss) DFE B En? Emth9 Tove 2 gain, ted Enya ap !pisus) p main A? can't help40 Tve Been In Love Before As featured in the Universal film “Seven Sinners” Music: Friedrich Hollaender J=100 Lyrics: Frank Loesser been in love be - fore, lee Em? Agim a pmajr Been learn - ing to a - Some old wo-men_ taught TT © 1940 Renewed) 1 ROBBINS CATALOG INC is Administered by ALFRED MUSIC PUBLISHING CO, INC,41 pia Baug E GmyBb AT D ORF Em? Adi a Em'/G Fe what a bore Bu? BE D/A ce Baug B past that makes you hate me, makes you love me, too. a42 The Man’s In The Navy As featured in the Universal film “Seven Sinners” Music: Friedrich Hollaender Lyrics: Frank Loesser ders broad and glo - ri- ous? See that smile? That smile’s no - to You can bet your life : those nice blue trou - sers walk a- bout? ‘© 1D EM Robins Catslogu ne Uninet Mis Pablaing Gblots big of men have mance from 1.Now lots of men stand 2.Now lots of men just arms like heay last. Novem - en and lots Dui? Git But when ten thou-sand — gor- geous wo - love “you, Bet - But when he says "I you can bet your life the man’s in the you can bet your life the man's in the six foot sev can't remem - ber that of men have all gol - ber and leave the la - dy as yes 43 en and den and ter- day's chase him like some some poor kid whoseIch bin die fesche Lola As featured in the UFA film ,,Der blaue Engel“ (“The Blue Angel”) Music: Friedrich Hollaender Lyrics: Friedrich Hollaender & Robert Liebmann a a z ° a Ras - se fir ~ pier, nie er = Cetin Dn? a Dm? Didim c Al - le flie-gen auf — mich. Kei - ne wirkt so wie ich! Ken-nen sie denn viel - leicht noch cin Weib, das mir gleich? tr? Das ist schon ein Pro - gram, Me - ckert’s im Gram-mo - phon, © Msi: 1930 Ulton Vergiechaft mb gn 2005 9 Fer Hllnder Mac © ypc 1880 Ulin Vergpgeclichal nb, 0 signed 205 to Frederik Holande Muse and 0% signed 2007 to Dreikang-Deemasken Buehnen- und Mosikverlag Gn sich. reicht. o Freier steht Ra - dio schon45 wird sanft wie cin die Sen-sa- ti + Haus in mein’ Sa tet ihm aufs Pe - dal,46 You've Got That Look As featured in the film “Destry Rides Again” Music: Friedrich Hollaender Lyrics: Frank Loesser J=68 Ka c Am? Dt Bm) ET You've got that look, that look that leaves me weak. You with your eyes a- cross that ta - ble tech~ nique, You've got that look, that look. Am? DT Bait)? Am? Ebdim An? DG. You with your Iet’s get more than friend-ly de- signs. o I should be brave and say: have no more of it: f a (01939 (Renewed) EMI ROBBINS CATALOG INC. Eachus Print Righs Administered by ALFRED MUSIC PUBLISHING CO. INC.Baths) B En) ‘An? ow left hook, that D G and split look that leaves me BP a pint__ GBb5/B» Acs A ¢ ‘Yet here's What they weak, a7 B with them. DS. al Fine Daug?Black Market As featured in the Paramount Film “A Foreign Affair” ‘Music & Lyrics: Friedrich Hollaender cn DyF an cm be Ob 1. Black mar-ket sneak a round the cor - ner Bu - da-pes-ter Stra - Se, Black 2. Black mar - ket c00-co0 clocks and treas~ ures, thou - sand lit-tle pleas - ures. Black yl MI Bombs) BT Ab E dim mar -ket peck a-round the cor-ner: La police qui pas se". Comet TI show you things you mar -ket laces for the mis- sis, chew-ing gum for kiss- es. Come! And see my big bi- > Ff | z {© Copyright 1948 Sony/ATV Music Publishing. r ‘©Copyright 1948 Sony/ATV Music Publishing,can-not get ese - where “no-cu-lars this a Gib) cro Got some Browse a~ round. week. bro-ken down Tve Bm? DyF deals? 49 En) A @e i Make with the of - fs and youll get your On ly sx cartons one pa a Gr) cm fe 7 pow-dered milk for bikes, souls for Luck - y_ Strikes. milk and mi-cros-cope for liv ~ er-wurst and soap. Dnt, as Like wed-ding rings? got so man-y toys.50 radars) Caug. Tip-toe, Trade your things —____ your can - dy. Step up, boys first____e - costs aim Gaug some georgeous mer - es My cam- era, It’s yours, that’s how. —s Asim = ple Th a8 ay Dmtbs/G Gaug c Gang c ea Six by ning "just your size. You take ar, I take spam,51 Caug. Gmt5/C “a a! F96 Fm® Dm75) c A Rembrandt? Sa - la - mi? Black lin - ge-rie from An ink - ling, 2 twink-ling of real sym - pa b. aug" Gavg? c c Fm 1 sell my goods be-hind the screen. No ceil - ing, Ym sell - ing out, take all T've got! ‘Am - bi - tons!mvs, o mvs) c a feel - ing, a ver-y smooth rou - tine. You buy my goods and boy, my goods - vie - tions! ‘The works! Why not? Enjoy my goods, for boy my goods be53 The Boys In The Backroom As featured in the film “Destry Rides Again” Music: Friedrich Hollaender _— Lyrics: Frank Loesser . Copyright 199 Urner Make Corporation, USA ‘Unnerl MCA Mas i AT Rpts Reserved Intrtiona Copyright Secure, Used prison of Masi Ses Limited.Em Am Ami Any? Dr @ FP pm Gl Gi c Ehdim35Falling In Love Again | Ich bin die fesche Lola | Nimm dich in Acht vor blonden Frau‘n! Kinder, heut Abend, da such ich mir was aus | Peter, Peter, komm zu mir zuriick! SI Se SSR RC ee cr eee Rue ona CS CML Me ee Ich bin von Kopf bis FuB auf Liebe eingestellt I've Been In Love Before You've Got That Look | Little Joe, The Wrangler | The Boys In The Backroom HNN fee ne