How Does Your Garden Grow?

Tin Pan Alley Sings About Gardens

Last month as we celebrated the onset of spring with the arrival of the birds, the flowers in our gardens were peeking out from the cold and snow. By May, most gardens have begun to flourish and the warmth and joy of spring envelops us (in the northern part of the northern hemisphere) as we enjoy the beauty of the blooms and blossoms. Over the years, as with almost every subject on earth, the composers of Tin Pan Alley wrote songs about gardens and the beauty they bring to us. This month we bring you a small sample of some of those wonderful songs.

From obscure songs by obscure composers to better known songs by some of America's greatest, as with other subjects we find that songs about this subject abound. There is something peaceful and comforting about a well tended garden. One can find serenity and joy in the beauty of nature's best. Gardening itself is a hobby that provides feelings of accomplishment and challenge.

In this month's feature we find much the same; serenity, comfort and joy. Several of our songs are from my personal favorite composer, Carrie Jacobs-Bond who always seems to manage to capture the deepest meanings of whatever she writes about. As you enjoy the beauty of gardens and the beautiful flora they contain, so too we hope you enjoy these excellent songs from the past.

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Richard A. Reublin, May, 2006. This article published May, 2006 and is Copyright © 2006 by Richard A. Reublin and The Parlor Songs Association, Inc. Text, images or music may not be reproduced in part or in total without written permission of the author or a company officer. Some uses may not require written permission when in compliance with our published usage policy

 

Walking In Her Garden (from Three Songs) 1904 Words and Music by: Carrie Jacobs-Bond Cover artist: Bond This month's feature includes three songs (not the three in this one booklet) by Carrie Jacobs-Bond, my personal favorite composer from Tin Pan Alley. Her ability to speak to the heart and get to the soul of a subject is legendary. Her music elevates to more than the standard TPA fare, but more an art form. It is no doubt it was her ability to meld memorable or pleasant melodies with meaningful lyrics that made her so popular for well over forty years. Several of her songs continue to be a part of today's music. In a word, almost all of her music is timeless. This particular work was included in a book of three songs. The other two songs included were The Angelus and Nothing But A Wild Rose. This group followed her Seven Songs (1901) which really got her career going. That group included I Love You Truly (Scorch format) which is played at most weddings even today.   The song, as with many of her songs is a sweet tale of a lovely lady walking in her garden contemplating love and then mercilessly murdering a daisy to do the old, "he loves me, he loves me not" test of love. It's actually a very gentle and tender song and like many of her works, is through composed (with no repeating verses or chorus). Written in waltz time, the song begins with a short introduction. Much like the flowers she speaks of, the music is flowing and dainty. The music makes heavy use of arpeggiated chords. In fact the original sheet music uses them from start to finish. In a departure from my usual policy of authentic reproduction, I found the continuing arpeggios so tiring that I took them out except for the introduction and transitions. I personally believe the piece sounds more flowing without all that repetitive distraction. Carrie would no doubt disagree.   Carrie Jacobs-Bond suffered many tragedies in her life but managed to overcome them all through courage and determination. Her life is inspirational and her ability to overcome the odds made her one of America's most loved composers. We've featured many of her works on ParlorSongs and still have many more to present. We recommend you spend the time to learn much more about this remarkable woman by visiting our in depth biography of her and our June, 2000 feature on her music. For even more of her songs we've published, use our search page and search for "Carrie Jacobs-Bond." Take a musical walk in Carrie's garden, (Hear and see the music with Scorch) Listen to MIDI version Lyrics

In The Garden of My Heart 1908 Music by: Ernest R. Ball Words by: Caro Roma Cover artist: unknown Ernest R. Ball is best remembered as a composer of Irish songs, more correctly, for just a few of them including what is arguably the greatest Irish song of all time, When Irish Eyes Are Smiling. His other Irish songs included Mother Machree and Rose of Killarney. However those few songs do not define the real range of his composing skill. That range is defined by a number of romantic ballads, many of which we have featured over the years. Songs such as Down The Trail To Home Sweet Home, (Scorch format) To Have, To Hold, To Love (Scorch) and When The Birds in Georgia Sing of Tennessee (Scorch) demonstrate the "non Irish" side of his ability as does this excellent but obscure work from 1908.   This song, one of his earliest is also through composed and as with our first feature song makes heavy use of arpeggios in the introduction and the first section marked Con Moto. The music transitions to a section marked animato that is more flowing and is heralded by a trumpet like motif. The final "Vivace con furia" section soars and is a beautiful ballad, more an operatic aria than a "common" popular song. This song is one of my discoveries of the month as I believe it has a beauty that should have lasted but seems to have been lost to time and overshadowed by his later works. The lyricist, Caro Roma created a beautiful set of lyrics that fit perfectly with the melody and tone of the work.   Ernest R. Ball (b. July 21, 1878 Cleveland, OH. d. May 3, 1927 Santa Ana, CA) Ball was precocious in music from the start. He was given music instruction at the Cleveland Conservatory, and as early as age 13 began giving music lessons to others. Today he is noted mostly as one of America's best loved composers of Irish songs and is often called the American Tosti (Francesco Paolo Tosti, 1846-1916, a prolific and talented Italian song composer and teacher.) Though he was famed as a composer of Irish tunes, he wrote many other "mainstream" songs, actually, many more than his "Irish" output.   In 1905, Ball was already in New York City and working as a relief pianist at the Union Square Theater and later worked in Tin Pan Alley at the Whitmark publishing house as a song demonstrator. Ball remained a loyal employee of Whitmark for the rest of his life in spite of his fame. Ball's early attempts at composing were self described as "flops." In 1904 he wrote In The Shadow Of The Pyramids with Cecil Mack. Introduced by the dynamic and popular May Irwin, that song was also a "flop." In 1905 he was given a few verses written by the then state Senator, James J. Walker, who later became famous as Jimmy Walker, Mayor of New York City. He put one of the verse to music, and called it Will You Love Me In December as You Do In May?. It became a national hit. This song caused Ball to reassess his approach and in he later recounted that he realized this song had "come from the heart" where his earlier songs had been fabricated and structured. Ball said, "Then and there I determined I would write honestly and sincerely of the things I knew about and that folks generally knew about and were interested in."   From that beginning and from 1907 to 1910, Ball wrote a number of 'mainstream' songs that were moderately successful. But in 1910, a collaboration with Chaucey Olcott, changed his career. In that year, Ball wrote the Irish classic, Mother Machree. Two years later, in 1912 the lyricist of Mother Machree, Rida Johnson Young, joined him again to publish When Irish Eyes Are Smiling and his position as a writer of Irish ballads was cemented forever. He wrote hundreds of songs over his career, many Irish, many not and it is said his output amounted to over 25 million copies of sheet music sold. His last song published was appropriately, Irish, the 1927 hit Rose of Killarney with lyrics by William Davidson.   Ball also enjoyed a long career in vaudeville as a singer of his own ballads. During later appearances, he costarred with his wife, Maude Lambert. In 1927, A few minutes after his act on a Santa Ana, CA vaudeville theater, he suffered a fatal heart attack and died, just 49 years old. Fittingly, he had just performed a medley of his greatest hits as a recap of his great musical accomplishments. On hearing of his death, the great Irish tenor John Mc Cormack said; "Ernie is not dead. He will live forever in his songs." Ball was buried at Lake View Cemetery Cleveland, Cuyahoga County Ohio, USA   Caro Roma (1866 - 1937) was the stage name for Carrie Northly (as we said, use of pseudonyms is one of the problems in finding reliable information about many women composers). Northly was born in California in 1866 to a father who had moved there to take part in the gold rush and by age three was performing on stage. Her talent prompted her family to send her to Boston to study at the prestigious New England Conservatory of Music at an early age. By the time she was a teenager, she was retained by a French Opera company on tour in Canada as their orchestra conductor. When she returned to Boston she joined the Henry Savage Opera Company and soon became prima donna. She sang opera in San Francisco as well as Europe and performed for Royalty in several countries. At the same time she was developing as a classical performer, she developed her writing and compositional skills. From early childhood, she wrote songs and poetry and wrote over 2,500 poems during her life, many of which she set to music. Interestingly, she wrote a number of sea songs and composed at least one song cycle, The Wandering One, with lyrics by Clement Scott. Besides her most famous song, Can't Yo' Heah Me Calling, (Scorch) she also wrote; Faded Rose, The Angelus, Thinking of Thee and Resignation. In collaboration with the famed "Irish" song composer Ernest R. Ball she also wrote lyrics for In The Garden Of My Heart, Love Me Today and Tomorrow May Never Come. In 1932 Roma gave a concert at age 71 in Los Angles where she personally performed 19 of her own compositions. She died in California in 1937   Enjoy this wonderful Ball song. ( Scorch plug-in required) listen to MIDI version Lyrics

Take Me Back To The Garden of Love 1911 Music by: Nat Osborne Words by: E. Ray Goetz Cover artist: E. H. Pfeiffer We've been to a plain garden, one of the heart and now we visit a garden of love complements of Osborne & Goetz. The cover is one by the great E. H. Pfeiffer whom we featured in a biography way back in 2002 or so. The cover also includes an inset photo of Clark & Turner, one of many forgotten vaudeville teams who often adorned the covers of sheet music. The use of popular performers photos on sheet music was one of the earliest forms of product endorsement begun by Charles K. Harris, a master promoter of music.   This piece carries a dedication to "Miss Mabel McKinley." McKinley, was a well known soprano who was also the niece of President William McKinley. Time magazine said in their September 24, 1923 issue; (McKinley) "long a popular adornment of the vaudeville stage, has formed her own concert company and scheduled her concert debut for Oct. 7 (1923) in Aeolian Hall. In private life " Miss McKinley," daughter of Abner McKinley, is the wife of Dr. H. L. Baer of Mount Vernon, N. Y. For years she was soloist of the Church of the Ascension there, taking also an active part in civic and War work. Since an opening in San Francisco several years ago, she has crossed the continent five times in vaudeville." I rarely am able to discover the facts about people to whom songs are dedicated so was quite pleased to find this information.   The verse to the song sounds very familiar, almost operatic in it's quality. In a somewhat somber tone in 6/8 time, we are told of someone who is away from their loved one and fears unfaithfulness. The verse gives way to a brighter chorus in waltz time that begs the far away lover to "take me back to the garden of love." Clearly the garden is an allegory for the togetherness of love and the comfort of a lover's arms. I believe that almost all songs are inspired by personal experience so I wonder what event in the songwriters life may have prompted such a song? It is a pleasant song but not particularly memorable.   Nat Osborne (b.? - d?) I'm a little surprised that I can find no meaningful biographical data on Osborne given his relatively robust publishing credits. Among his works published are: Bow-Wow Blues (1921), Here's Your Hat, What's Your Hurry? (1903), Another Good Man Gone Wrong (19??) and You Wanted Someone To Play With (1929) and Take Me Back To The Garden Of Love (1911). Osborne collaborated with a number of other major songwriters including Cliff Freind and Ballard MacDonald.   E. Ray Goetz (b. 1886 - d. 1954) Goetz was best known for his contributions to Broadway shows from around 1906 on into the late twenties. No doubt his best known individual song is For Me And My Gal (Scorch format)(1917). He worked with a virtual who's who of Tin Pan Alley and his collaborations included George Meyer, Jean Schwartz, Pete Wendling and Vincent Bryan. Among the Broadway shows he wrote songs for were; The Babes and the Baron (1906), Ziegfeld Follies of 1907, Hanky Panky (1912), Robinson Crusoe Jr. which included another of his great hits, Yaaka Hula Hickey Dula (midi) (1916), Hitchy Koo (1917 & 1918), George White's Scandals (1922 & 23) and Naughty Cinderella (1925).   Hear and see this garden song ( Printable using the Scorch plug-in) Listen to MIDI version Lyrics

Life's Garden 1914   Music by: Carrie Jacobs-Bond Words by: Fred Jacobs Smith Cover artist: unknown   Yet another Carrie Jacobs-Bond song provides us with another garden allegory, this time representing life in general. In this case, Bond uses the garden as a basis for the search for happiness and comfort. She speaks of different kinds of flowers; sympathy and devotion. Within those "flowers" she discovers a heart and soul and then her final ideal; her mother. Many of Bond's songs speak to family and the ties that bind. Her tragic life included many losses; her mother, her husband and ultimately her son by his own hand. Perhaps she was able to reach out and touch them through her music and often spoke of mysteries and encounters with the spirits of those gone away.   The song is simple in its lyrics and beautiful in melody. A very unique aspect of this song are the lyrics written by her son. She and her son suffered great hardships together in the early years of her career and when she started her publishing business, though the son was but a child, she included him as a part of the company (Bond & Son) and he stayed a part of the title long after his tragic passing. The melody is bright and uplifting. Through composed, there is a feeling of flow and continuity from start to finish. This is one of her best melodies from her most productive period.   Listen to and see this song (Scorch plug-in) Listen to MIDI version Lyrics

A Cottage In God's Garden 1917 Words and Music by: Carrie Jacobs-Bond Cover artist: Marie Johnson A few years later, after having moved to California from Chicago . Bond established a home she called "the end of the road" in Hollywood. She also built an estate she called a "cabin" in Grossmont, California near La Mesa. The cover of this sheet is very different from the most commonly recognized cover scheme for Bond songs (see above song cover) of roses and features a marvelous watercolor by Marie Johnson of Bond's home in Grossmont . This period photo of the home shows a less colorful view from a different angle and gives a little more detail.   As you might expect, the song is about her cabin, referred to now in this song as a cottage. The song struck me with its good humor and brightness. A great deal of happiness comes through in the song and it is clear that Bond is quite taken by her new home and even showing us a bit of braggadocio. The melody also struck me as almost taunting when combined with the lyrics. It has a somewhat childlike nature; " I've a cottage in God's garden, Upon a mountain high, Away from strife and turmoil, And all life's din and cry." It's almost as though I expected the next line to be; "nyah nyah na nyah nyah." No matter, it's a well done song and fun as well. Given her struggles, she deserved this rare moment of happiness.   Enjoy this less well known Bond song (Scorch plug-in required) Listen to MIDI version Lyrics

Old Fashioned Garden 1919 Words and Music by: Cole Porter Cover artist: unknown   One of America's greatest songwriters, Cole Porter also took us into a garden with this 1919 song. In a somewhat plain wrapper, with Porter you can be assured the contents inside will be anything but plain. This is one of his earliest songs. Written in Paris while studying there with Vincent D'Indy, the song has joined many of his other songs as a timeless song hit.   The verse is very upbeat in 2/4 time but it is the chorus that really shines and is the most memorable part of the song. I suspect most of you will immediately recognize it. The verse describes a chance encounter with a garden that reminds him of a childhood garden. He describes the flowers that abound in the garden; phlox, hollyhock, violets, eglantines, columbines and marigolds! The chorus tells us about the old fashioned garden that it reminded him of, one that had an old fashioned missus getting old fashioned kisses from an old fashioned beau. You'll love it if you've never heard it before and enjoy it once again if you have.   Cole Porter (b. 1892 - d. 1964) Born in Peru, Indiana, Porter attended Yale and graduated in 1913. While at Yale he wrote the "Bulldog" song, (Bulldog! Bulldog! Bow Wow Wow! Eli, Eli Yale! Bulldog! Bulldog! Bow Wow Wow! Our Team will never fail!) the official fight song of Yale. A rather inauspicious start to his songwriting career. After Yale, Porter attended Harvard where he did not write a fight song (as far as I can find) but did write a show, See America First, that was a flop running for only 15 performances.   During the First World War, Porter joined the French Foreign Legion and served as an officer during the war. This aspect of his career was given coverage in the 1946 film biography of Porter Night and Day, starring Carey Grant as Porter. In the film, the composition of Porter's Night and Day takes place on the battlefield during a lull in fighting. However, the song was not really composed until 1932. After the war, Porter stayed in France and studied with the composer Vincent D'Indy in Paris. A more recent film about Porter, also titled after one of his songs, D'Lovely starring Kevin Kline was issued in 2004.   In 1937, Porter was seriously injured in a horseback riding accident that put him in a hospital for two years and resulted in further confinement to a wheelchair for five more years. Continuing problems over twenty years culminated in the amputation of his leg in 1958. Despite his hardships, Porter managed to produce some of America's greatest songs and Broadway productions. His first show, See America First (1916), described as an opera in two acts was not very well-received by audiences and only ran for 15 performances before closing. Among his other Broadway productions are: Paris (1928), Fifty Million Frenchmen (1929) The Gay Divorcee (1932), Anything Goes (1934), DuBarry Was A Lady (1939), The Man Who Came To Dinner (1939) and Kiss Me Kate (1948).   Porter's hit songs are more than I can list here but among his best known are: Old Fashioned Garden (1919) You Do Something To Me (1929), What Is This Thing Called Love (1929), Let's Do It (1928), Night and Day (1932), I Get A Kick Out Of You (1934), Begin The Beguine (1935), I Love Paris (1953) and I've Got You Under My Skin (1936). Porter died in Santa Monica, California in 1964   Listen to this Cole Porter favorite. ( Scorch plug-in version) Listen to MIDI version Lyrics

I Know Where A Garden Grows 1920 Music by: John H. Densmore Words by: George Elmoor Cover artist: unknown   Given all the strange locales for gardens shown in song thus far, I'm surprised that anyone could pinpoint the exact location of a garden but Densmore and Elmoor did in this song. A rather plain brown wrapper hides the true value of the music within. Remember, you can't tell a book by its cover although the incredible artwork of Tin Pan Alley sheet music surely attempted to, and succeeded in selling a "book" with its cover.   The song begins "gracefully in waltz rhythm and though in waltz time, it is definitely not a waltz to dance to. Thorough the regular use of fermata, densmore nearly creates a hesitation waltz but the song comes off more as an art song than a dance or popular song. Definitely for skilled hands and voice, only the more accomplished home pianists and singers would be comfortable with this work. Written in C, Densmore makes liberal use of accidentals throughout and in doing so changes the mood from section to section. The score also uses pedaling much more than a usual pop song of the era and is very liberally marked to ensure a performance as Densmore envisioned it. The second section that begins at measure 21 strikes me as very similar to passages in the World War One work, In Flander's Fields (Scorch format). Through composed, the flow of the song is very masterful with contrasting passages that probably just would not work in strophic form. An interesting work indeed.   John Hopkins Densmore (1880 - 1943) Densmore attended college at Harvard (1904) where he wrote Veritas, "the Harvard football song" which has since been replaced as the primary song by Ten Thousand Men. His commercial songs include April, If God Left Only You and I Know Where A Garden Grows.   Listen to this 1920 "garden" song ( Printable using the Scorch plug-in) Listen to MIDI version Lyrics

Garden of Dreams 1909 Music by: Harry J. Lincoln Cover artist: unknown   Reveries are dreamy sorts of works with no lyrics. Composed purely for listening and imagining, the composers of these works often would pull a title out of their hat based on the images they felt and heard in the music. Placing yourself in a place, time or activity can do wonders for your imagination and serenity so more often than not, reveries are very soothing in nature to listen to.   It is in that spirit that Lincoln created this work. Marked a slow Andante the piece has one of the most sublime melodies I believe I've heard in a long time. After a short introduction, the melody appears with a bit of an ostinato accompaniment. There follows an interlude that is marked piu marcato and is played at an increased tempo. This transition seems urgent and provides a great deal of contrast. In some respects it's a bit of a wake up from the sleepy state of the first section. The next section is a variation on the main theme, at the Andante tempo. This time with the melody in the left hand two octaves lower and now with the accompaniment in the right hand. There follows another transition with a melody repeated in multiple 8th note clusters which repeats. We return to the original melody and short coda to conclude the piece. I upped the tempo a bit for the final recapitulation of the melody. If you use the Scorch plug in to view and listen to the music, you can adjust the tempo for this and any other song featured in this format. Use the slider on the toolbar above the music to make the adjustment.   Listen to this classic reverie ( Printable using the Scorch plug-in) Listen to MIDI version Lyrics (There are no lyrics for this work)

Only A Dream of You 1909 Music by: Harry J. Lincoln Words by: George Graff Jr. Cover artist: Barbelle   So you may be asking, "what is this song doing here? It is not a garden song." True enough in title but in melody it is the very same wonderful melody as Garden of Dreams. The cover too is the same save the title. In fact, it is that work, repackaged with lyrics. Garden of Dreams was so popular that later that same year, Lincoln teamed up with lyricist Graff to produce a song version. It was not uncommon for reveries to make this sort of metamorphosis. Why they felt compelled to change the title is a mystery. Most reconstituted reveries were published in song versions using the original title in order to cash in on the original's popularity. Perhaps the reason was that the lyricist either could not think of a good set of lyrics using the garden of dreams idea or he had a ready set of lyrics he wanted to use and Lincoln agreed. I include this "non garden" titled song this month so that you can compare and contrast the song with the original reverie.   The song is based on the principal melody of the reverie and starts right off with an introduction that exposes the melody. The key for the song (E flat) is different from the original (F). Both start in common time but the song but while the original stays in that time, the song 's chorus does not. The chorus for this song takes place as an expansive 12/8 Maestoso melody. At this point we hear the lyrics that define the title. The song is in strophic form so we get to enjoy the verse and chorus melodies twice. In some respects, I believe in the song treatment of the melody is an improvement over the reverie.   Harry J. Lincoln was perhaps best known for his rousing march songs written in the early years of the 20th century into the war years. Perhaps his best known work is The Midnight Fire Alarm (Scorch format), written by Lincoln in 1900 and republished by E.T. Paull in 1908 and became one of Paull publishing's more famous works. Some other Lincoln works we've featured include Trinity Chimes (Scorch)(1911), My Western Rose (midi) (1910) and The United Musician's March (midi) (1915).   Listen to Only A Dream of You ( Printable using the Scorch plug-in) Listen to MIDI version. Lyrics

The Fairy Gardeners 1925 Words and Music by: Cuthbert Harris Cover artist: unknown   When I first glanced at this piece, I dismissed it as a simple children's tune. On closer examination it was clear that if this were a teaching piece, it was a definite cut above your usual beginner's practice piece. In fact, I believe it deserves ranking among the best songs from the Tin Pan Alley era. If not that, it certainly deserves hearing and playing rather than being lost in the bins of our collection. I'm glad I took that second look as now I claim it as one of my "discoveries" of the month.   Why this simply covered sheet captivated me can be found in the music and the lyrics. The lyrics and title are what seem childish. There are hundreds of children's songs and learning pieces that include reference to fairies. Even the cover is similar to many of the children's works of the period. The lyrics to this work are in fact, a bit on the young person's side but when you combine them with what I consider a masterful presentation of music to fit lyrics (or vice versa) you have a work that truly conveys intellectual meaning and emotional meaning as well. The first section of the song sets the stage and the story begins to tell us of something strange on its way. Cuthbert creates a very mysterious sound and through the use of triplets adds a bit of "fairy" traipsing to the setting. A transitional section in chromatic progression adds to the mystery and tension then we arrive at the prime melody. A Key change (from F to D) brightens things up for the entry of the little people. A bright and pleasing tune with staccato accompaniment makes you imagine the little gnomes marching to your garden to "plant and sow." There's more, lot's more so rather than hold you up, hurry on and listen to this fabulous work. You'll enjoy it best if you view it using the Scorch plug in, just click on the cover or the link below. If you do not have Scorch already, there will be a link in the window to take you to the Sibelius site where you can download and install it.   Dr. Cuthbert Harris (1870 - 1932) Born in London, Harris graduated from Durham College in England in 1899 with a Doctorate in music. An organist, composer and teacher he is best known for his compositions for organ most of which continue in today's organ repertoire. Among his organ works are Andante sostenuto in F, At Eventide, Berceuse in G, Chanson pastorale, Concluding Voluntary in D minor, Concluding Voluntary in G major and Festival Postlude in C. Harris authored a book of studies for the organ titled First Studies for the Organ and also authored a number of piano method books including two written under the pseudonym Gladys Cumberland; A Child's Primer In The Elements Of Music (1924) and A Short Primer In The Elements Of Music also in 1924. The Fairy Gardeners is the only secular work by Harris I've found. Besides The Fairy Gardeners, Harris also published Give Thanks and Sing in 1922. To listen to short midi samples of his organ works, and even buy some of them visit the Bardon Music (UK) site. That site was the source of the list of his organ compositions and some of the basic facts of his biography.   Listen to "Fairy Gardeners " ( Scorch plug-in) Listen to MIDI version. Lyrics

This article published May, 2006 and is Copyright © 2006 by Richard A. Reublin and The Parlor Songs Academy Text, images or music may be reproduced only in accordance with our usage policy. Commercial use is prohibited without permission. Though the songs published on this site are in the Public Domain, MIDI renditions are protected by copyright as recorded performances.   Thanks for visiting us and be sure to come back again next month to see our new feature or to read some or all of our over 120 articles about America's music. See our resources page for a complete bibliography of our own library resources used to research this and other articles in our series.   If you'd like to contribute an article to us at ParlorSongs, we'd love to have your help and contribution. The "rules" for submissions can be found here, we'd love to have submissions by any of our readers, anytime and would enjoy having a "reader submission" or "favorites" feature from time to time. Heck, get involved, help us out and write a feature for us!

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