Ever hummed "There’s No Business Like Show Business" while folding laundry? Most people have. It’s the ultimate anthem for anyone who’s ever stepped on a stage or just felt like a bit of a performer. But here’s the thing: most folks don't realize that song—along with a dozen other massive hits—all came from a single, slightly chaotic 1946 Broadway musical.
We’re talking about Annie Get Your Gun.
It’s kind of a miracle the show even exists. Jerome Kern was supposed to write the music, but he died suddenly just after arriving in New York. The producers, Richard Rodgers and Oscar Hammerstein II, were desperate. They called Irving Berlin. He almost said no. He thought he couldn't write "hillbilly music." Fast forward a weekend, and he’d written "They Say It’s Wonderful" and "Moonshine Lullaby."
Basically, the man was a machine.
Why Annie Get Your Gun Songs Still Stick
Honestly, the score is just one "banger" after another. That’s a technical term, right? Berlin was a master of the "quodlibet"—a fancy way of saying two people sing different melodies at the same time and somehow it sounds like magic instead of a car crash.
Think about the Annie Get Your Gun songs you actually know. You’ve got "Anything You Can Do," which has been used to sell everything from sneakers to breakfast cereal. Then there's the romantic side. "They Say It's Wonderful" is probably one of the most perfect "I’ve never been in love but I’ve heard it’s cool" songs ever written.
The Big Hits (And the Ones We Forgot)
If you look at the tracklist, it’s honestly ridiculous how many standards are packed into two hours.
- "There’s No Business Like Show Business": Originally written just to cover a scenery change. It wasn't even meant to be the "main" song.
- "You Can't Get a Man With a Gun": This is Annie Oakley’s thesis statement. It’s funny, it’s fast, and it’s actually a pretty depressing look at 19th-century gender roles if you think about it too hard.
- "Doin' What Comes Natur'lly": Pure hillbilly charm. Berlin nailed the "backwoods" vibe he was so afraid of.
- "The Girl That I Marry": This one is... well, it’s a choice. Frank Butler sings about wanting a girl who is "soft and as pink as a nursery." Yeah. It hasn't aged like fine wine.
There's also "An Old-Fashioned Wedding." Berlin added this for the 1966 revival starring Ethel Merman again. It’s that classic counterpoint style where Frank wants a quiet wedding and Annie wants a circus. It’s loud, it’s fast, and it’s classic Merman.
The Songs We Don't Sing Anymore
We have to talk about the elephant in the room. Or rather, the song "I’m an Indian Too."
If you go see a production of Annie Get Your Gun today, you won't hear it. It’s been cut from almost every revival since the 90s. Why? Because it’s a parade of Native American stereotypes that make modern audiences—and rightfully so—cringe into their seats.
Lyrics like "Just like Battle Axe, Hatchet Face, Eagle Nose" are, to put it mildly, not great.
Some purists argue it was meant to be a satire of Annie’s ignorance. Maybe. But in 2026, most directors decide it’s just not worth the headache. Even the 1999 revival, which starred Bernadette Peters and later Reba McEntire, did a massive "script doctor" job on the whole show to make it less, well, offensive. They even cut "I'm a Bad, Bad Man" because it painted Frank Butler as a bit too much of a womanizer.
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The "Anything You Can Do" Legacy
Let's talk about the competition. "Anything You Can Do" is the peak of the show. It’s the moment Annie and Frank realize they are exactly the same person, which is why they can't stand each other.
The song is a vocal marathon. You have to hold a note for what feels like three business days.
"No you can't!"
"Yes I can!"
It’s simple. It’s brilliant. It’s also the perfect example of how Berlin used the Annie Get Your Gun songs to drive the plot. Most musicals back then were just a series of songs stuck together with some thin dialogue. This show was different. The songs actually told you who these people were.
Does it still work?
Sorta.
The "politics" of the show are messy. The ending—where Annie intentionally loses a shooting match so Frank’s ego doesn't shatter—is a tough pill to swallow for a modern audience. She literally shoots herself in the foot (metaphorically) to "get her man."
But the music? The music is bulletproof.
When Reba McEntire took over the role in 2001, she brought a country twang that made the songs feel fresh again. It proved that these melodies are sturdy. You can belt them, you can twang them, you can croon them.
Actionable Steps for Musical Fans
If you're looking to dive deeper into the world of Annie Oakley and Frank Butler, don't just stick to the movie soundtrack.
- Listen to the 1946 Original Cast Recording: Ethel Merman is a force of nature. Her voice isn't "pretty" in the traditional sense, but she has the power of a jet engine.
- Compare the 1999 Revival: Bernadette Peters brings a much softer, more vulnerable "Annie" to the table. It’s a completely different vibe for the same songs.
- Watch the 1950 Film: Betty Hutton is high-energy (some say too high), but seeing the "European Montage" helps you understand the scale Berlin was writing for.
- Check out the "Lost" Tracks: Look for "Let's Go West Again," a song Berlin wrote for the film that was cut but eventually surfaced on special editions.
The Annie Get Your Gun songs represent a specific moment in American history when we were obsessed with the "Wild West" but viewed it through a shiny, Broadway lens. It’s flawed, it’s loud, and it’s incredibly catchy.
Just maybe don't sing "I'm an Indian Too" at your next karaoke night. Stick to "Show Business." It’s safer for everyone involved.