The great reveal: Songs and music references in the series Two weeks in Lisbon

Note: If you are using the TTS feature, you will have to manually put it on pause if you want to listen to any of the linked videos without the feature talking over them.

Regular readers know that most entries in this blog contain sometimes direct and sometimes indirect, sometimes for obvious and sometime for obscure reasons, references to songs and pieces of music. Beginning in 2022, I began to collect, identify, explain and present them in a single post at the end of that trip’s journal. Here, then, are the songs you might have seen (or missed) as you read about my two weeks in Lisbon. As with the previous music post, I’ll embed videos from YouTube and, since I haven’t licensed any of them, hope they’re allowed to remain under the fair use provision of the law since this blog isn’t monetized in any way.

This is also the great reveal for those who participated in the Music for Charity Challenge in which winners were challenged to identify the song references with the prizes being a contribution made in their honor to the 501(c)(3) charity of their choice.

Return to Lisbon – The Travel Day.

For the first song, you need look no further than the first section header, Come Fly With Me by Jimmy Van Heusen and Sammy Cahn. The reason should be self-evident. And in this instance, I’ll go with the classic Sinatra version.

If you were reading quickly, you might have missed these references, “After a commuter flight from Baltimore to New York, I got on a big “jet airliner” to “fly away” that should have evoked The Steve Miller Band’s Jet Airliner written by Paul Pena and John Denver’s Fly Away. I’ll stick with the original for the former and take a duet Denver sang with Olivia Newton-John for the latter. (Acknowledging possible generational differences for purposes of the Music for Charity Challenge, I’ll accept songs of the same title by either Lenny Kravitz or Tones and I.)

Lenny Kravitz Alternate:

Tones and I Alternate:

Then, after the post’s first photo, I noted that the least appealing weather “would be cold with the skies a hazy shade of winter.” Though Hazy Shade of Winter was written by Paul Simon, let’s rock out with The Bangles this time.

Finally, in describing my flight delay from Amsterdam I noted that, “Lisbon had become London and awoke to such a foggy day that visibility was less than 100 meters”. For this, I’ll supply one of my favorite versions of the George and Ira Gershwin classic A Foggy Day featuring this live performance by the incomparable Judy Garland.

Rhythms, bica, and acronyms.

As in the previous post, the first header, Fascinating Rhythm is not merely a song title but it’s another classic and, like the final song in the first post is by George and Ira Gershwin. I included it because I was writing about the changes to the rhythms of my day. I could have chosen from any number of versions of this song but I thought many of you might not have ever heard the great Susannah McCorkle sing. (McCorkle sadly committed suicide when she was 55 years old.)

I suspect that only an extreme Frank Sinatra fan would pick up on the lone remaining musical reference in this post. It appears in the sentence, “Although the Brazilian climate was favorable for growing coffee, and the Portuguese “discovered” the area in 1500, they didn’t start cultivating the crop – using mainly slave labor – until 1727 but once they’d started, you’d find an awful lot of coffee in Brazil.” Here’s The Coffee Song co-written by Bob Hilliard and Dick Miles:

Morning turns to afternoon and time is on my side.

This post cites a pair of songs – one that’s obvious and one that takes some focus while reading it.  The obvious one appears in the post’s title and is itself a song title. That, of course is Time is on My Side selected as an expression of my appreciation for having no structured time while on an overseas trip. For many of you, this song is probably closely associated with the 1964 release by The Rolling Stones. However, the song was written by Jerry Ragovoy (under the pseudonym Norman Meade) and not by a member of that band. The song had its initial release in October 1963 as the B-Side of Kai Winding’s less memorable Baby Don’t Come on With Me. Soul singer Irma Thomas released her version (also as a B-Side) a few months later with Jimmy Norman adding to the bare bones lyrics that Ragovoy had penned. The Rolling Stones release came in June. Here’s the original version with a note that the singers comprising the group called the Gospelaires are Cissy Houston and Dionne and Dee Dee Warwick.

Hyper attentive readers will spot the second song inside the post in the first sentence under the section header Walk the Walk that reads, “Those of you who have come away with me as I recount my various adventures” and embedded in that phrase is the title Come Away With Me a song composed and recorded by Norah Jones. I used this mainly to see who’s paying attention. 😏

Alone on a Hill.

Here, the first of three references comes in the post’s title which describes not merely some of my time at the Miradouro dos Barros but also, of course, is excerpted from the Lennon and McCartney classic The Fool on the Hill. I was on a hill, after all and the eyes in my head saw the world spinning round. Let’s go with the original, shall we?

There’s one of my first indirect song references in this post. It comes when I write about the street where I live. I hope it evoked the Alan Jay Lerner and Frederick Loewe classic On the Street Where You Live from My Fair Lady. For this, I choose Nat King Cole. Sometimes I choose a song just to work in a performer or performance. This was one of those times.

Finally, there’s the section header “What goes up must come down” which is an apt description of my day’s ascents and descents  but was chosen mainly to make you hear the David Clayton-Thomas song Spinning Wheel. Blood, Sweat & Tears seems the only appropriate version.

 

One entrant noted that this lyric could also refer to a song of the same name that was unfamiliar to me. A little research found not one but at least two songs titled What Goes Up Must Come Down. The first is by Rube Bloom and Ted Koehler. I’m going to give you two covers of this one because I can’t choose between Count Basie with Jimmy Rushing on vocals and Kay Starr with Les Paul on guitar.

There’s also a seventies soul tune with this title written by John Sibley and recorded by Tyrone Davis.

Of course, there’s the section header “Sup-sup-Suppertime. That song reference is Suppertime from “You’re a Good Man, Charlie Brown” with music and lyrics by Clark Gesner. This is from the 1999 Broadway revival.

 

Friday Morning Mellow.

This post gets a little obscure both in the song choices and the citations themselves. Although the post’s title feels generic, it actually includes the title of a song by the Houston, Texas based group Khruangbin and the feeling their composition evokes.  (If you’re curious about how I came to know this group, it was through the NPR Tiny Desk Concert series that was then kept alive by YouTube. If you’re curious about the name, since their music is influenced by Thai funk-rock, the name is a rough transliteration of the Thai word for airplane.) Herewith, the video for Khruangbin’s Friday Morning. Writing credits go to Laura Lee Manders and Mark Stefan Speer.

After two entrants submitted Bob Marley’s Mellow Mood, I decided to accept it as an alternate. I’d tried to point away from this by not capitalizing either word but since there is a possibility of legitimate confusion, I’ll include it.

The next refence comes in the section header “Can words express the feel of sunlight in the morning?”. This is a lyric from the Don McClean composition Castles in the Air. This felt appropriate because of the way the sun shone on me as I was walking up to Castelo São Jorge that morning.

The final song reference is a little twisted. Writing about the way in which Saint George became closely associated with Portugal, I penned, “As it turns out, there are several links including the fact that Georgy Boy is, in fact, considered a patron saint of Portugal.” I intended this, of course, to allude to the song Georgy Girl from the eponymous movie. The writing credits go to Jim Dale and Tom Springfield. I don’t know if anyone ever covered this song but, to me, that would be irrelevant since it belongs wholly to one of Australia’s great exports, The Seekers, and Judith Durham’s spellbinding lead vocal.

Always gonna be another hill to climb.

I reported on Lisbon’s hills on my first visit so, while I could always choose a flat walking path while in Baixa or by walking along the river, once out of those riverside neighborhoods it seems there’s always a hill to climb. Hence, the post’s title takes a line from the Jessi Leigh Alexander and John Clifton Mabe penned song The Climb recorded by Miley Cyrus.

The other song reference in this post is in the section header that reads, “Through streets broad and narrow”. This lyric comes from the song Molly Malone. While Molly and the song are most closely associated with Dublin, a Scotsman named James Yorkton produced the first published version in 1884. And, while The Dubliners probably have the most famous performance and Sinead O’Connor produced a quite mournful one, I chose instead this one by Possibly Irish to entertain you.

Here’s another version of Molly Malone that I stumbled upon. I like it for the joy of audience participation and because it has a segue into another of my favorite traditional Celtic tunes, Belle of Belfast City with this one performed by Irish House Party.

Saturday in the Park.

For readers of a certain age, this post title is a song that they will remember immediately. They’ll see the lyric and hear the driving rhythmic piano and base leading to the horns of Chicago in the Robert Lamm composition Saturday in the Park that was appropriate on many levels. It was Saturday. My first stop (after A Ginjinha) was Edward VII Park and, with the Winter Wonderland in full force there was music, and ice cream. A real celebration.

Then, of course, there’s that ascensor, the Glória Funicular. Since this song had its release in 1982, in this instance you needn’t be a child of the seventies to remember Laura Branigan belting the song Gloria co-written by Gaetano Bigazzi, Trevor Stanley Veitch, and Umberto Tozzi.

New Year’s Eve – Everything Old.

I chose the Peter Allen and Carol Bayer-Sager song Everything Old is New Again for the post’s  title because it reflected an old year turning into a new one but also because of my uncharacteristic behavior that might not have been uncharacteristic 40 or 50 years ago. There are lots of good versions of this song including the performance by Anne Reinking and Ersebet Foldi in the movie All That Jazz but I thought, stick with the original.

Next is one you might not have picked up on and that’s both a section header and a song title, Wine with Dinner. This song is one by Loudon Wainwright III and since I did, indeed, have wine with dinner, it works. At least on that level.

The section header Oh, What a Night, when I set out to spend New Year’s Eve in the Praça do Comercio might bring to mind this hit song by Frankie Valli and the Four Seasons (actually titled December, 1963)

and the Bob Gaudio and Judy Parker song certainly has appropriate elements in its lyric for what happened. But I’d already referenced it in my post about a trip to London in my Olympic Host Cities and Me series. So I thought I’d seek a slightly different track and use the Verne Allison composition Oh, What a Night as recorded by The Dells. (Here again, for purposes of the Challenge, I’ll accept either answer as correct.)

The last song in this post should jump out from the last header to most people. That, of course, is the John Lennon-Paul McCartney tune Let it Be. It’s importance should become clear Tuesday when I continue the lesson I began to learn on New Year’s Eve. For now, enjoy the song and an amazing band.

Don’t care what all the kids say.

This post is loaded with titles and lyrics. Did you get the first one? It’s the post title which is a lyric from the Imagine Dragons song Monday with writing credits to Andrew Tolman, Benjamin Arthur McKee, Daniel Coulter Reynolds, Daniel James Platzman, and Daniel Wayne Sermon.

And you barely had time to recognize this one before the next one comes up in the first section header. The late, great Sandy Denny wrote and recorded Who Knows Where the Time Goes with her group Fairport Convention in 1969. Since I appeared to have skipped a day, you needed to know where it went.

The next section header pairs two songs that are appropriate for how I spent much of the day (that I called “Transit day” in the notes I made that evening) even though the lyrics aren’t tightly connected to my actual experience. Still, the first is Bus Stop written by Graham Keith Gouldman (who spent part of his career as the bassist and co-lead vocalist for 10cc). The Hollies recorded this one in 1966.

The second half of this section header pulls a bit of the lyric from The Trolley Song written by Hugh Martin and Ralph Blane for the movie Meet Me in St. Louis (that also featured one of the great sad Christmas songs). The movie’s star, Judy Garland, made this part of her repertoire.

Because I can never escape The Beatles (or in this instance just Paul McCartney) the penultimate section header includes the title from his song Another Day. Visiting miradouros in Lisbon is almost a daily experience.

Everybody’s Free.

Two aspects of this post made my song choice Everybody’s Free (To Wear Sunscreen) by Baz Luhrmann seem appropriate. First, it was a clear and sunny day. Perhaps the sunniest I’d had in my first week in Lisbon and sunscreen can always be appropriate on sunny days. But more than that, the climax of the post comes with my resolution to try and be more consistent in releasing my frustrations that I’d hinted at in the reference to Let It Be. This spoken song is, in my opinion, a worthwhile addition to that resolution.

This one has another acceptable alternate. There’s a song with this title by Rozalla co-written by Nigel Swanston and Tim Cox that certainly could have fit here.

Welcome to the Dollhouse.

So my intention here is a bit of a stretch musically because the title refers to the movie and its title song Welcome to the Dollhouse and that connection to the post is obvious.  Here’s the song with music and lyrics by Jill Wisoff.

However, the soundtrack also featured a lot of classical music and since I was thinking along the lines of “allegro ma non troppo”, from The Competition, and classical music has been notably absent thus far, I thought this was the ideal time for such an interlude. I’ll give you three of the pieces that appear in the soundtrack credits though I cite only two in the post itself. First, Chopin Waltz in A Flat Major (Op. 69) commonly called “L’Adieu” performed here by Arthur Rubinstein and hinted at in this sentence about parting from the guide I’d encountered, “After a brief adieu, we waltzed away from one another.”

Next is Solveig’s Song from Edvard Grieg’s Peer Gynt Suite Number 2 (Op. 55). The words come from Ibsen’s play. The singer in the video is Sissel Kyrkjebø. She is singing with the London Philharmonic. This translation of the lyric, “Mas disso eu tenho certeza: você voltará novamente.” (But this I know for certain: You will return again.) that appears in the song inspired it’s inclusion.

Finally, if you want a very long musical interlude, I give you Carnival of the Animals by Camille Saint-Saëns. I’ll admit that I don’t recall which parts of this composition appear in the film. But it’s a nice half-hour or so nevertheless. The performance is by The Art of Sound and Vision. (Consider this a bonus track and not included in the contest.)

Second Thursday – My day with Ana Part 1.

In general, you need to look to the section headers to find this post’s song references with the first citation being the exception. Here, in the brief passage about Wednesday I wrote that I didn’t “spend the day on the couch chilling in my Snuggie.” I lifted this image from The Lazy Song recorded by Bruno Mars with writing credits to Bruno Mars, Philip Lawrence, Ari Levine, and Keinan Warsame.

The first header is Hey There. Keep in mind that sometimes it’s only one aspect of a song that connects to the post or section and that connection can be ephemeral. That’s the case here. This Richard Adler – Jerry Ross tune wafted into my mind when I began thinking about the first place Ana and I went – Estrela. This translates to English as star and the opening line of the refrain here is, “Hey there, you with the stars in your eyes”. That’s it. That’s the connection. Now, here’s a reminder that Rosemary Clooney was much more than George’s aunt.

Because Ana and I had a rather long pause in front of the Casa dos Bicos and a lengthy discussion about José Saramago and his book Blindness, I thought something to do with blindness was the appropriate header for this section. Rummaging through my brain and thinking about songs I’d heard on the Sirius/XM channel 74 (BB King’s Bluesville) I came up with Sonny Boy Williamson II who composed and performed Eyesight to the Blind.

My Day with Ana Part 2.

Once again the first reference appears in the first section header – My Secret Place. This is the title of what I think is an underappreciated Joni Mitchell composition. It’s from her album Chalk Marks in a Rain Storm and Peter Gabriel appears as a guest vocalist. Of course, the header has to do with those little “secret” spots that Ana pointed out as we walked through Alfama.

It’s easy to miss the next song title because it arose from equal parts happenstance and intentionality on my part. You need to note that Santo António is, among other things, the patron saint of Love and Marriage. I have to admit that this Jimmy van Heusen – Sammy Cahn song isn’t among my favorites but it’s probably one of the best known Sinatra recordings.

If you think the sentence about our ascent from the Miradouro to Saint Vincent’s is a little awkward, you’re right. It’s intentionally so. When I was writing about Molly Malone, it brought to mind one of my favorite performers of traditional Celtic music (though they also sang songs with a more country flair) and that would be The Rankin Family from Cape Breton, Newfoundland. When I thought about them, I determined that I would somehow work in a reference to one of their songs in the hope that folks might seek them out on hearing them. Leon Dubinsky wrote the song Rise Again that, as Anne Murray notes in the video, became something of an anthem for the Rankins. I was going to use the Rankin’s version of the song but since they appear in this video at the beginning of the second verse and you get Anne Murray, too, well, that’s too good a combination to pass up.

Here, because it’s my blog and I can at least try to do whatever I want, I’m going to include The Rankin Family singing traditional songs. It has nothing to do with my time in Lisbon or the Challenge but I hope you’ll enjoy it.

Here, the final section header quotes a less than obvious lyric. The line, “It’s okay, I’ll probably survive it” is from another song I personally like – What’s Another Goodbye – written by Kent M Robbins and recorded by Conway Twitty. If you’re quite reasonably wondering what this line or this song has to do with the closing section of the post, the answer is almost nothing at all for the lyric I quoted but the chorus opens with this,

What’s a penny to a millionaire / What’s another seashell to the sea

And there you have the entire connection. I missed seeing the seashell collection but I’ll probably survive it.

My Day with Ana – Part 3.

You might not have recognized that the phrase “To fill the empty spaces” in the opening section header is a lyric from the Pink Floyd song Empty Spaces written by Roger Waters for their rock opera The Wall. The rock opera’s title and its themes of alienation all but made this the proverbial no-brainer.

And then we reached the Blue Wall and, while I didn’t quote the lyric exactly when I wrote, “Fortunately, there’s such a lot of wall to see as it completely encircles a large hospital complex that includes the Psychiatric Hospital and we didn’t know what might be waiting around the bend.”, my intent to evoke the lyrics of Moon River should be clear. Certainly, Andy Williams had the most famous recording of this Henry Mancini and Johnny Mercer tune but since I found the version from the film, you get the pleasure of hearing Audrey Hepburn.

Yet again, it’s a section header that points you to a little known song. “Was this the jungle? appears in the song In the Greenhouse released by the group America on their Hourglass album. Songwriting credit goes to Dewey Bunnell, Robert Haimer, and Billy Mumy (and yes that is, indeed the same Billy Mumy who played Will Robinson on the 1960s television show Lost in Space). Since we were going to the Estufa Fria, at least the title of the song seemed appropriate.

There should be nothing obscure about the final section header. Perhaps I should have written the original title Con te Partiró –  translated as Time to Say Goodbye and a song that seemed ubiquitous in the nineties. With music by Francesco Sartori and lyrics by Lucio Quarantotto, I have no choice but to use the version with Andrea Bocelli and Sarah Brightman.

It’s a beautiful morning.

The initial song reference here is in the post’s title because it aptly described this Friday morning. It’s the title of a song as well. The Felix Cavaliere – Eddie Brigati penned A Beautiful Morning as members of The Rascals. The song reached as high as number three on the Billboard music chart and the band was inducted into the Rock and Roll Hall of Fame in 1997.

I didn’t waste any time getting to a second song title as the title and lyric line Three Little Birds appears in the second sentence of the post and continued to reflect my optimism about the day. It’s always good to have a little Bob Marley to start the day.

Late in the post, two section headers contain somewhat sideways song references. The first, No coins in the fountain is intended to evoke Three Coins in a Fountain. I have to go back to Ol’ Blue Eyes who recorded the classic version of this Jule Styne – Sammy Cahn standard.

The other, “I gotta have art” is an homage to the song You Gotta Have Heart from the musical Damn Yankees. It was written by Richard Adler and Jerry Ross.

Saturday – Paint the town with rain.

Not for the first time the first song reference comes in the post’s title. The actual song title is simply Saturday but to help readers identify it and remove the sort of ambiguity found in two previous entries, I added the phrase “paint the town” that appears in the last line of the chorus. Tyler Joseph gets the songwriting credit. If rain was paint, it would have literally painted the town.

The second reference comes close on the heels of the post title. In fact, it’s in the first sentence. The phrase I used isn’t a direct quote from the lyrics but certainly should evoke the song Walkin’ After Midnight to anyone familiar with it and if it doesn’t, listen to the song and it will. Alan Block and Don Hecht share the songwriting credit for the Patsy Cline classic. (For this, I’ll also accept the JJ Cale penned song simply titled After Midnight. Eric Clapton probably had the best known recording of this but I found one with Clapton and Cale.)

The final section header, Walking in the Rain (which I certainly was) is itself the title of a song that was written by Barry Mann, Phil Spector, and Cynthia Weil. It charted twice. The first time came in its initial release by the Ronettes in 1964. Jay and the Americans covered it in 1969. (It describes me to a tee, don’t you think? 😉 )

Sunday Rain.

This post is packed with music beginning, of course with the post title Sunday Rain. Six people share the writing credit on this one – Nate Mendel, Dave Grohl, George Rathenberg, Odie Hawkins, Rami Jaffeet, and Chris Shiflett –  and performed by the Foo Fighters.

Again, you don’t have to wait long for song number two. The title Sunday Morning Coming Down appears in the first sentence. This Kris Kristofferson penned tune didn’t become a hit until Johnny Cash recorded and released it but I’ll give the writer his props.

The post’s first paragraph ends with the post’s third song reference. Lazing on a Sunday Afternoon. This one minute long Freddie Mercury might ditty pass by quickly in Queen’s A Night at the Opera album but it is legitimately there.

You have to read all the way to the second section header before you reach the fourth of six song references in this post. Yes, I See the Rain is a song. It was written by Thomas Macaleese and William “Junior” Campbell and originally recorded by the group Marmalade. I know it from this Under the Covers collaboration between Susannah Hoffs and Matthew Sweet.

Even if you’re unfamiliar with Bob Dylan’s A Hard Rain’s Gonna Fall, the fact that I wrote ‘gonna’ rather than ‘going to’ should have made it obvious that this was a reference to something. I’ll switch things up a little and roll with the Leon Russell cover.

Finally, we get to Remains of the Day. Now, admittedly, this one probably brought to mind the Kazuo Ishiguro novel or the film adaptation starring Anthony Hopkins and Emma Thompson. But I’m executing the most trickeration of any citation because beyond being mildly descriptive of the rest of the post, the song itself isn’t really relevant to the contents. The song I’ll point you to is the Danny Elfman song composed for Tim Burton’s movie The Corpse Bride.

Monday, Monday.

Readers of a certain age or with musical tastes that include the 1960s likely saw this title and immediately heard four voices – 2 men and 2 women – singing “Bah-da Bah-da-da-da” in beautiful harmony. The song and the post title Monday, Monday are one and the same. Composed by John Phillips, I chose it because this was my second Monday in Lisboa. Since this song earned the Mama’s and the Papa’s the 1967 Grammy for Best Vocal Performance by a Duo or Group, that’s the version I’ll include here.

The second of four song references in this final post comes close on the heels of the first and, if you were (a) reading carefully and (b) a fan of either Anne Murray or The Monkees, you’d recognize the phrase “wiped the sleep out of my eyes” in the third sentence from the John Stewart composition (no, not the comic John Stewart) Daydream Believer. I chose it because I actually did wipe the sleep from my eyes and this last walk was, in a way, something of a daydream for me. I think The Monkees had it first so I’ll go with their version even if you can’t go wrong if you prefer Anne Murray.

I hope I hit you over the head with this next one because the last one is tough. The title of the second and third section headers – On a Clear Day and Rise and Look Around You – have the same source. That is, of course, the song by Alan Jay Lerner and Burton Lane On a Clear Day You Can See Forever which was also a film with the same name. Barbra Streisand sang it in the film and in this live performance. It’s appropriate here because I had a clear day after two days of rain and because walking to the Gulbenkian Museum I did nothing but rise and rise.

The very last song reference comes later in the text of the post and it’s both a lyric and the title. I wrote, “…I needed no one to tell me why I don’t like Mondays or, more specifically, this Monday.” The song is, I Don’t Like Mondays. It was written by Bog Geldof and was something of a hit for The Boomtown Rats.

As I did in previous posts of this nature, I’m adding a list of titles, songwriters, and performers whose videos I downloaded from YouTube in case videos are deleted or blocked. Of course, you’re always free to try out different performances and I’ve suggested a few throughout.

Come Fly With Me by Jimmy Van Heusen and Sammy Cahn (Performed by Frank Sinatra).

Jet Airliner by Paul Pena (Performed by The Steve Miller Band).

Fly Away by John Denver (Performed by John Denver and Olivia Newton-John).

Hazy Shade of Winter by Paul Simon (Performed by The Bangles).

A Foggy Day by George and Ira Gershwin (Performed by Judy Garland).

Fascinating Rhythm by George and Ira Gershwin (Performed by Susannah McCorkle).

The Coffee Song by Bob Hilliard and Dick Miles (Performed by Frank Sinatra).

Time is on My Side by Jerry Ragovoy (as Norman Meade) (Performed by Irma Thomas and the Gospelaires).

Come Away With Me by Norah Jones (Performed by Norah Jones).

The Fool on the Hill. By John Lennon and Paul McCartney (Performed by The Beatles).

On the Street Where You Live by Alan Jay Lerner and Frederick Loewe (From the Broadway show My Fair Lady) (Performed by Nat King Cole).

Spinning Wheel by David Clayton-Thomas (Performed by Blood, Sweat & Tears).

Suppertime by Clark Gesner (Performed by Roger Bart).

Friday Morning by Laura Lee Manders and Mark Stefan Speer (Performed by Khruangbin).

Castles in the Air by Don McLean (Performed by Don McLean).

Georgy Girl by Jim Dale and Tom Springfield (From the film Georgy Girl) (Performed by The Seekers).

The Climb by Jessi Leigh Alexander and John Clifton Mabe (Performed by Miley Cyrus).

Molly Malone by James Yorkton (Performed by Possibly Irish with a bonus performance by Irish House Party).

Saturday in the Park by Robert Lamm (Performed by Chicago).

Gloria by Gaetano Bigazzi, Trevor Stanley Veitch, and Umberto Tozzi (Performed by Laura Branigan).

Everything Old is New Again by Peter Allen (Performed by Peter Allen).

Wine With Dinner by Loudon Wainwright III (Performed by Loudon Wainwright III).

Oh, What a Night by Verne Allison (Performed by The Dells).

Let it Be by John Lennon and Paul McCartney (Performed by The Beatles).

Monday by Andrew Tolman, Benjamin Arthur McKee, Daniel Coulter Reynolds, Daniel James Platzman, and Daniel Wayne Sermon (Performed by Imagine Dragons).

Who Knows Where the Time Goes by Sandy Denny (Performed by Fairport Convention).

Bus Stop by Graham Keith Nash (Performed by The Hollies).

The Trolley Song by Hugh Martin and Ralph Blane (From the film Meet Me in St. Louis). (Performed by Judy Garland)

Another Day by Paul McCartney (Performed by Paul McCartney).

Everybody’s Free (To Wear Sunscreen) by Baz Luhrmann (Performed by Baz Luhrmann).

Welcome to the Dollhouse by Jill Wisoff (From the film Welcome to the Dollhouse) (Performed by Daniel Rey).

Waltz in A flat Major (L’Adieu) by Frederic Chopin (Performed by Arthur Rubinstein).

Solveig’s Song by Edvard Grieg (From Peer Gynt Suite Number Two Op 55) (Performed by Sissel Kyrkjebø with the London Philharmonic).

Carnival of the Animals by Camille Saint-Saens (Performed by The Art of Sound and Vision) Bonus track.

The Lazy Song by Bruno Mars, Philip Lawrence, Ari Levine, and Keinan Warsame  (Performed by Bruno Mars).

Hey There by Richard Adler and Jerry Ross (Performed by Rosemary Clooney).

Eyesight to the Blind by Sonny Boy Williamson II (Performed by Sonny Boy Williamson II).

My Secret Place by Joni Mitchell (Performed by Joni Mitchell and Peter Gabriel).

Love and Marriage by Jimmy van Heusen and Sammy Cahn (Performed by Frank Sinatra).

Rise Again by Leon Dubinsky (Performed by Anne Murray, The Rankins and friends).

Gaelic Medley Traditional (Performed by The Rankin Family) Bonus track #2.

What’s another Goodbye by Kent M. Robbins (Performed by Conway Twitty).

Empty Spaces by Roger Waters (From the rock opera The Wall) (Performed by Pink Floyd).

Moon River by Henry Mancini and Johnny Mercer (From the movie Moon River) (Performed by Audrey Hepburn).

In the Greenhouse by Dewey Bunnell, Robert Haimer, and Billy Mumy (Performed by America).

Con te Partiró (Time to Say Goodbye) by Francesco Sartori and Lucio Quarantotto (Performed by Andrea Bocelli and Sarah Brightman).

A Beautiful Morning by Felix Cavaliere and Eddie Brigati (Performed by The Rascals).

Three Little Birds by Bob Marley (Performed by Bob Marley and The Wailers).

Three Coins in a Fountain by Jule Styne and Sammy Cahn (Performed by Frank Sinatra).

You Gotta Have Heart by Richard Adler and Jerry Ross (From the Broadway show Damn Yankees) (Performed by James Komack, Nathaniel Frey, Albert Linville, and Russ Brown from the film Damn Yankees).

Saturday by Tyler Joseph (Performed by Twenty One Pilots).

Walkin’ After Midnight by Alan Block and Don Hecht (Performed by Patsy Cline).

Walking in the Rain by Barry Mann, Phil Spector, and Cynthia Weil (Performed by The Ronettes).

Sunday Rain by Nate Mendel, Dave Grohl, George Rathenberg, Odie Hawkins, Rami Jaffeet, and Chris Shiflett (Performed by The Foo Fighters).

Sunday Morning Coming Down by Kris Kristofferson (Performed by Kris Kristofferson).

Lazing on a Sunday Afternoon by Freddie Mercury (Performed by Queen).

I See the Rain by Thomas Macaleese and William “Junior” Campbell (Performed by Susannah Hoffs and Matthew Sweet).

A Hard Rain’s Gonna Fall by Bob Dylan (Performed by Leon Russell).

Remains of the Day by Danny Elfman (From the film The Corpse Bride).

Monday, Monday by John Phillips (Performed by The Mamas and The Papas).

Daydream Believer by John Stewart (Performed by The Monkees).

On a Clear Day (You Can See Forever) by Alan Jay Lerner and Burton Lane (From the film On a Clear Day) (Performed by Barbra Streisand).

I Don’t Like Mondays by Bob Geldof (Performed by The Boomtown Rats).

Alternate acceptable answers:

Fly Away by Lenny Kravitz (Performed by Lenny Kravitz).

Fly Away by Toni Watson (Performed by Tones and I).

Mellow Mood by Bob Marley (Performed by Bob Marley).

What Goes Up, Must Come Down by Rube Bloom and Ted Koehler  (Performances by Count Basie Orchestra with Jimmy Rushing / Alternate performance by by Kay Starr).

What Goes Up (Must Come Down) by John Sibley (Performed by Tyrone Davis).

December, 1963 (Oh, What a Night) by Bob Gaudio and Judy Parker (Performed by Frankie Valli and the Four Seasons).

Everybody’s Free by Nigel Swanston and Tim Cox (Performed by Rozalla).

After Midnight by JJ Cale (Performed by Eric Clapton and JJ Cale).