It's the wrong time, and the wrong place Though your face is charming, it's the wrong face It's not her face, but such a charming face That it's all right with me It's the wrong song, in the wrong style Though your smile is lovely, it's the wrong smile It's not her smile, but such a lovely smile That it's all right with me You can't know how happy I am that we met I'm strangely attracted to you There's someone I'm trying so hard to forget Don't you want to forget someone, too?
It's the wrong game, with the wrong chips Though your lips are tempting, they're the wrong lips They're not her lips, but they're such tempting lips That, if some night, you are free Then it's all right, yes, it's all right with me. Cole Porter Lyrics provided by SongLyrics. Note: When you embed the widget in your site, it will match your site's styles CSS. This is just a preview! Cannot annotate a non-flat selection. Make sure your selection starts and ends within the same node.
All News Daily Roundup. Album Reviews Song Reviews. Song Lyrics. Review: RIFF-it. Ella Fitzgerald. Buddy Bregman. Liner Notes. Fred Lounsberry. Arranged By. Hot lyrics. About Ella Fitzgerald. Activity years. The title song of Can-Can presented a challenge - how to write something that wasn't the can-can, the famous one by Offenbach, but sort of evoked it while also sounding like Cole Porter. He succeeded brilliantly:. When working on a musical, Porter preferred to steer clear of the story, and of tedious story conferences.
So back in New York his librettist Abe Burrows would mail him suggestions as to what, roughly, the sung material ought to be about:. Our hero is going to fall in love with the girl and he is going to be astounded by the fact. I should think it would be a good idea if the lyrics would contain, in addition to the hero's happiness, something about the fact that he is surprised by all this He'll be frightened, happy, chilled, warmed, ecstatic, puzzled, upset, shocked, and delighted.
When love comes in And takes you for a spin Oo-la-la-la! C'est Magnifique It's Paris in , and His Honor is so scandalized by the new can-can dance that he decides to clean up the town.
Fortunately, while on a fact-finding mission to the club, the judge falls in love with Pistache. The leading man was Peter Cookson, a modestly successful stage and screen actor who hadn't sung since high school and was astonished to find all the love songs of a new Cole Porter score dropped in his lap.
And so it was on May 7th at the Shubert Theatre that Mr Cookson got to introduce the world to this:. I particularly like Cole's lyrics to sing because he made it fun to sing a song.
He gave it a freshness. When I first would see one of his songs, the surprise of the couplet or the inner rhyme was always exciting to me. And yet this song has no inner rhymes - nor many non-inner ones. There's a vernacular expression - "It's all right with me" - transformed into a rueful reflection on romantic attraction, but he doesn't rhyme it until the tag at the end of the song.
It's the wrong song In the wrong style Though your smile is lovely It's the wrong smile It's not her smile But such a lovely smile Porter didn't need to rhyme because the words are so strong they delineate the situation with great economy but absolute precision. For many lyric writers, rhyme imposes structure. Here, even as Porter eschews rhyme, his structure is very formal and disciiplined. And notice how within it the central image intensifies with each section: The wrong face, and then the wrong smile, and then the wrong lips.
And likewise the only two-syllable word he uses grows more intimate: a charming face, a lovely smile, such tempting lips. It's brilliantly spare writing. Musically, it's also classic Porter - lyrically flowing, but underneath shifting very subtly from major to minor. The producer of Can-Can , Cy Feuer, a short bullet-headed fireplug of a man, told me he'd complimented Porter on the score and predicted the critics would love it. But the reviewers did love Gwen Verdon, in the supporting role of the saucy can-can dancer Claudine.
This wasn't meant to happen: the reviews were supposed to go to Lilo, the French cabaret star specially imported for the role of Pistache. Instead, Gwen got the notices and the nightly ovations, and, as she put it to me rather delicately many years later, a somewhat strained atmosphere developed backstage.
Because of that, the movie studios and, even more so, their stars were wary of a film version of Can-Can - notwithstanding that, thanks to Miss Verdon and the score, it was second only to Kiss Me, Kate as Porter's longest-running Broadway hit.
No matter: no actress wanted to wind up like Lilo. The part of "Claudine" survived in much diminished form for Juliet Prowse. So the plot became rather more ordinary - and casting Louis Jourdan as the prudish uptight judge when he was obviously one of the most effortlessly seductive men on the planet rendered what was left of the original premise even more idiotic.
A lot had happened to Cole Porter between the Broadway version and the movie. But offstage the composer's world was disintegrating. The year after Can-Can , his beloved wife Linda died of emphysema. In , after years of pain from being crushed by his horse in a riding accident, Porter had his leg amputated. And after that he never wrote another song.
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