I get no kick from champagne.
So tell me why should it be true
That I get a kick out of you?
Some get a kick from cocaine.
I’m sure that if I took even one sniff
That would bore me terrific’ly too
Yet I get a kick out of you.
If you’re so happy, you land in jail. I’m your bail.
If they ever put a bullet through your brain, I’ll complain.
If you ever lose your mind, I’ll be kind.
If you ever in a mill get sawed in half, I won’t laugh.
When they landed on Plymouth Rock.
Any shock they should try to stem,
‘Stead of landing of Plymouth Rock,
Plymouth Rock would land on them.
And good’s bad today,
And black’s white today,
And day’s night today,
When most guys today
That women prize today
Are just silly gigolos
Writing prose, Anything Goes.
In such an “anything goes” atmosphere Porter was freed up to even question the normal structure of his songs, to query and even challenge the standard introductory lead-ins and normalized language of Broadway music:
Just skip the darn thing and sing the refrain…
Indeed, Porter’s lyrics almost always seem to be slightly over the top, about to spill over into pure ridiculousness as they finally do in “You’re the Top,” where the same couple, Reno and Billy, again in an attempt to outdo one another, compare each other with almost anything that comes to mind, from the Louvre Museum, to a symphony by Strauss, to a Shakespeare sonnet and even Mickey Mouse. Blithely jumping across the bodies of outstanding individuals, expensive drinks, glorious visions of nature, national institutions, celebrity salaries, to end in marvelous industrial creations, moving across the whole society as if it were all of one glorious piece, again not unlike Williams in his Spring and All.
You’re the top!
You’re Napoleon Brandy.
You’re the purple light
Of a summer night in Spain,
You’re the National Galley
You’re Garbo’s salary,
You’re Ovaltine. (,)