Irving Berlin came from the old school of Broadway songwriters who did not write songs specifically for characters and plot points, but rather as independent numbers in shows that were more revues than book musicals per se. But Berlin was also highly adaptable, and he approached his assignment as substitute for Jerome Kern (who had died suddenly) on Dorothy and Herbert Fields' musical about Annie Oakley in the spirit of integrated musicals that producers Richard Rodgers and Oscar Hammerstein II had established with Oklahoma! only three years before. Berlin's songs for Annie Get Your Gun were all about character and plot, from the bawdy "Doin' What Comes Natur'lly," in which Annie affirms the value of a common-sense barnyard education, to the witty "Anything You Can Do," which illuminates her final confrontation and reconciliation with love interest Frank Butler. Ordinarily, that should have meant that the songs were less easy to extract for the hit parade, but in fact Berlin's score produced more chart hits through cover versions than any Broadway score before or since. (For the record, they were: "They Say It's Wonderful," Top Five for Frank Sinatra with three other chart versions; "Doin' What Comes Natur'lly," Top Five for Freddy Martin & His Orchestra, vocal by Glenn Hughes, with two other chart versions; "The Girl That I Marry" for Frank Sinatra; "I Got the Sun in the Morning," Top Ten for Les Brown & His Orchestra, vocal by Doris Day, with one other chart version; and "Who Do You Love, I Hope?," Top Ten for Elliot Lawrence & His Orchestra, vocal by Rosalind Patton. "There's No Business Like Show Business," while never a hit single, quickly became a standard.)