Peggy Lee On Record (1941-1995)

Discussion in 'Music Corner' started by Ridin'High, Dec 29, 2016.

  1. Hey Vinyl Man

    Hey Vinyl Man Another bloody Yank down under...

    Me neither. I think Guitars ala Lee is easily the best missing link between rock and shimmering '60s MOR pop, though it's sufficiently different from both that of course it wasn't a hit. But what a sound!
     
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  2. Man at C&A

    Man at C&A Senior Member

    Location:
    England
    Interesting. I have an immaculate original UK vinyl of this that I've not played yet, thinking its probably not great. I don't think it's ever been reissued on vinyl.
     
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  3. Ridin'High

    Ridin'High Forum Resident Thread Starter


    You are right to zero in on biographers, i.m.o. Shortcomings, limitations, biases, and agendas can play a role in everybody's work. One of the measures of a great biographer is how aware he is of his own defects, and how actively he works toward keeping them in check ... I'd rather talk about Peggy, though.

    By listening to the interview that covers the first third of the following clip, you can get an understanding of how she envisioned the subject matter at hand. (If you haven't seen the clip before, you might want to stay put for the other two thirds, in which we catch Peggy rehearsing at home for an upcoming concert, and thereby giving us a glimpse into how she operated). Peggy was about to turn 50 at this point in time (1969).





    Singers of Peggy's generation went through several seismic changes within the realm of popular music -- Elvis and The Beatles being the human representatives of the biggest ones. We have to remember that, for artists of her generation, such changes had a severe impact in their livelihood. Suddenly, clubs, TV programs, etc. were no longer keen on booking them, or were otherwise willing to do so for a dramatically reduced fee. Also, the music which those singers had proudly cultivated for decades was all of the sudden being ignored and, worse, dissed as a thing of the past.

    Peggy's initial reaction was no different than those of her peers. What set her apart from many of them was how quickly she got past her initial reaction, not only coming to terms with the new musical trends but also embracing and absorbing them into her own musical world. The fact that Elvis Presley ended up covering a Peggy Lee hit (rather than the other way around) attested to her ability to stay current within the post-Elvis world. As for the post-Beatles universe, Peggy Lee would memorably wound up exclaiming "if you can beat 'em, join them!" And so did she. Meanwhile, both Lennon and McCartney acknowledged liking her music.

    Coming back to the specific topic of rock 'n' roll, the primary source for Peggy's dislike were the lyrics, as heard on mid-1950s radio. She felt that much too many of the lyrics came across as vapid, lacking any substance. Nevertheless, Peggy gradually found reasons to like the music itself, which had originally struck her as too overly repetitive. (Perhaps she did so from the beginning. Or perhaps, and more likely, the woman grew to like it as she became increasingly exposed to it.) In the end, she absorbed the rock beat into her own musical compass, seeing it as a modification of (and even improvement on) some of the music genres with which she had grown.

    Here is an excerpt of what she was saying in the early 1960s: “As we all know, the old type of rock ‘n’ roll is disappearing ... I mean the numbers with poor, nonsensical lyrics and the monotonous tunes. But the original foundation of rock ‘n’ roll, the work songs and the blues, will remain. They are true American music and for years to come they will influence pop songs and dance numbers, especially the beat.” (She had plenty more to say, but this quote should give you the gist of it.)




    I'm all for that. Now please go convince Peggy!
     
    Last edited: Feb 6, 2018
  4. Ridin'High

    Ridin'High Forum Resident Thread Starter

    THE MAN I LOVE
    (PEGGY LEE'S 11th ALBUM)
    (1957)



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    Original Formats

    The album The Man I Love was originally released as the 12" LP shown above, and also as a set of three EPs, one of which can be seen below. Each EP contains four tracks, thereby covering the album's full, twelve-track program. Both of these original formats (1957) feature monophonic sound only.


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    Stereo Sightings

    Despite some claims to the contrary, this album has never been issued in actual stereo -- not in 1957, and not at any point afterwards. The stereo claim, once made in connection to a Japanese CD reissue (Toshiba-EMI TOCJ-5356), has been proven false. (Unfortunately, false claims of stereo are not rare for Japanese releases. Some of the claims seem to have come from the companies themselves, whose agents were perhaps confused or lacking in knowledge.)

    Further contributing to the confusion are two of the several vinyl reissues of this album. Instead of true stereo, they offer (or perhaps we shall say that "they suffer from") electronically re-chanelled sound, aka reprocessed stereo. One of them is the following 1970 US reissue, which came out not only on LP but also on cassette and 8-track cartridge:


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    As you can see, the release was given a title (The Folks Who Live on the Hill) different from the original. In addition to the use of reprocessed stereo, its other shortcomings include an abridged song program (10 instead of 12 tracks) and decidedly budget look. (Is is from a Capitol budget series, also featuring albums by fellow artists such as Frank Sinatra and Nancy Wilson, if memory serves.)

    From 1970 as well, the other electronically re-channeled item is a British reissue from a mail-order label, known as the World Record Club. Made available on both LP and reel, the Club's release includes all 12 original tracks and keeps the album's original title, but not the artwork:


    [​IMG]


    Note that this World Record Club reissue also uses the Capitol logo on its front cover. It was probably this item, more than any other around, which created the myth of a stereophonic Man I Love release.

    The fact that the album has never come out in stereo does not completely negate the possibility of true stereo. Two insiders
    with access to Capitol's vaults (one of them having gone to them in the 1970s) separately claimed to have seen unmixed tree-track tapes there, and to have even held them in their hands. They expressed absolute certainty on the matter. However, efforts to track down such hypothetical tapes have proven fruitless ever since the vault's contents were moved to Iron Mountain, and re-catalogued (computerized) in the process.


    [​IMG]


    Reception

    Capitol issued The Man I Love as part of its August 1957 batch of releases, which the company advertised under the banner "Capitol August Spectacular." Peggy Lee's album was granted promotional priority, amidst a group that also included the LPs This Is Nat King Cole, Black Satin and Velvet Brass (the latter from Jackie Gleason, the former from George Shearing).

    Trade reviews were favorable. In its August 1957 issue, Billboard published the following critical reaction to the album: "[t]his represents a powerful outing for the fine trushing of Peggy Lee. The romantic ballads get that wonderful, well-controlled, bluesy huskiness as its best. As if that weren't enough, the package lists Frank Sinatra as conductor of the big strings and woodwind line-up with arrangements by Nelson Riddle. Little more of merchandising value could be asked. Cover of Miss Lee being embraced by a friend is also a stopper. Bound to get good disc jockey support and the word would be to go on this."

    The Man I Love entered Billboard's Best-Selling Pop LPs chart during the week of September 23, 1957. It peaked at #20.


    Songs
    (I)

    Most of the 12 songs from the Man I Love album deserve to be highlighted for one worthwhile reason or another, but our discussion will circumscribe itself to just three of them. The first pick, "Happiness Is a Thing Called Joe," was recorded during the second of the album sessions (April 4, 1957), and is one of about 30 Harold Arlen numbers sung by Lee throughout her career (including even one number that she co-wrote with him).

    This was actually Peggy Lee's second recording of "Happiness Is a Thing Called Joe" for Capitol. The earlier one had been waxed on November 12, 1947, as part of her Rendezvous with Peggy Lee sessions, though ultimately left out of that 1948 album. (You can listen to that 1947 version here. She also sang the number on the radio.)

    This 1957 rendition is worthwhile for including the song's verse (missing from the earlier studio recording), and for featuring, along the way, some impressive displays of vocal range in the lower register. The YouTube clip below is, incidentally, one that I have actually posted in other forum threads. I am posting it again because its sound quality is, to my ears, optimal. The nuances of the singer's interpretation are easy to hear. As for the accompanying visuals (from the Mafia 2 video game), they are very enjoyable to me, but I realize that other viewers could find them distracting. Last but not least, good sound quality will hopefully offset the regrettable fact that the very ending of the vocal is missing from the clip.




    To be continued.
     
    Last edited: Feb 8, 2018
  5. jazzyvocalfan

    jazzyvocalfan Forum Resident

    Location:
    Columbus, Ohio
    I have to get over my resistance to her string heavy accompaniment on this album, which I wouldn't say has aged well, to enjoy her excellent singing. I prefer the Nelson Riddle sound more on Rosemary Clooney's "Love".
     
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  6. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Interesting. How do you feel about Nat Cole's Love Is The Thing?
     
  7. jazzyvocalfan

    jazzyvocalfan Forum Resident

    Location:
    Columbus, Ohio
    I have a similar reaction to that album; it's very much of its time. I much prefer the accompaniment on his After Midnight album.
     
  8. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Gotcha. So it's more out of personal listening preference than it is a deficiency on the part of The Man I Love. Just had to be sure :)
     
  9. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Has anyone else noticed that the arrangements for this album are in high keys for Peggy's range?
     
  10. jazzyvocalfan

    jazzyvocalfan Forum Resident

    Location:
    Columbus, Ohio
    Definitely just resistance on my part to the sound. I wish I could say why I think it detracts from rather than enhances Peggy Lee's vocal performance. Just personal preference.
     
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  11. Jackson

    Jackson Senior Member

    Location:
    MA, USA
    I think i’ve only listened to this album once, gonna dig out of my collection and give it a spin sometime this weekend. The album cover is one of my very favorites, and my favorite from Peggy’s catalog.
     
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  12. Bob F

    Bob F Senior Member

    Location:
    Massachusetts USA
    The subject of stereo (three-track) recording of The Man I Love came up in this old chestnut of a thread:

    » Frank Sinatra "COME FLY WITH ME": Stereo & mono questions (and other neat stuff)..

    That Sinatra thread also contained a discussion of the identity of ”the man she loved” on the original album cover, which parallels a similar discussion at the Sinatra Family Forum. Some might think that is the back of Frank’s head, but it’s not. (See here: » It's Dewey Martin.)
     
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  13. Hey Vinyl Man

    Hey Vinyl Man Another bloody Yank down under...

    This one is in the lower half of her Capitol catalog in my esteem, but I do love "That's All" and "The Folks Who Live on the Hill". Those two definitely make it worth owning, at least. The rest of it suffers from the same over-the-top production that a lot of Sinatra's work from this era had, which makes all too much sense given his involvement with the album.
     
  14. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    I enjoy The Man I Love from start to finish, but there are three performances that stand out for me - "Something Wonderful", "My Heart Stood Still" and "Then I'll Be Tired Of You". The former two are so wonderfully dramatic and symphonic, and Peggy sings the latter with such warmth and sentimentality. Sometimes I choke up when she delivers the line "if my throbbing heart / should ever grow tired of beating..."

    For me, the most exciting moment of the album is the climactic ending to "My Heart Stood Still". Years ago, before I heard this album, the only rendition of this song in my library was Chet Baker's recording, which couldn't be more different. He sings it upbeat with a swinging arrangement, while Peggy's is filled with an unabashed emotional intensity that I find electrifying and refreshing.

    "There Is No Greater Love" gets an honourable mention too. It's really a great album from start to finish, consistent in sentiment and style, and the cover art is lovely.
     
    Last edited: Feb 10, 2018
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  15. Jackson

    Jackson Senior Member

    Location:
    MA, USA
    So i had a chance to listen to 'The Man I Love'' late last night and enjoyed it tremendously. I'm now of the opinion that this is one of Peggy Lee's very best albums, and may be her most underappreciated one. Her singing was never better, or more powerful than it is on this album. It's her WEE HOURS, and as perfect a late night album as the Sinatra one, maybe that's what they were aiming for, if so they more than succeeded.
     
  16. Ridin'High

    Ridin'High Forum Resident Thread Starter

    XI. THE MAN I LOVE
    (Continued; Second Post)


    The Album Abroad


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    The Man I Love has been extensively issued and reissued on several continents. In the United Kingdom, there was a 1957 LP release and a 1984 LP reissue, the latter belonging to an excellent series which offered a cassette version as well. I believe that the 1984 vinyl version is the one pictured above. Note the sticker, which stresses the album's connection to Frank Sinatra, and boasts that the LP has "never sounded better" than in this "digitally remastered" edition.

    Canada, Japan, and the Netherlands can be counted among the other countries in which the vinyl was released. Japanese Toshiba EMI issued at least three LP editions. (Possibly more.) R
    eleases of The Man I Love in both India and South Africa are possible, too, even though I have yet to come across copies from either country.

    I am also aware of three Australian vinyl editions, all on EMI, and I believe that there was a fourth. The threesome which I have sighted should be of interest to collectors, because each has its own distinctive artwork. Here is just one of the trio:



    [​IMG]

    It's a 1970 budget reissue, part of the label's popular Music for Pleasure imprint. Actually, not one but two versions of the album came out on MFP in 1970. There was the above-shown version, produced for mass consumption Down Under, and there was this other version, produced for the United Kingdom:


    [​IMG]


    More recently (2012), this album enjoyed the distinction of being picked by the British label Pure Pleasure, for release on audiophile vinyl. I have not listened to that reissue, but I have been told that it sounds very good, as expected.

    Non-domestic EP versions of The Man I Love should pique the interest of collectors, too. From France, we have this lovely cover:


    [​IMG]


    And from Japan, we have the following alternative:


    [​IMG]


    The Man I Love has not been forgotten during the CD era, either. As is often the case, the Japanese were the first to issue the album on compact disc (1990). They went on to reissue it 12 years later.

    In the United States, the album was finally and officially reissued by the DRG label in 2009. O
    ut of all the CD editions in existence, that remastered DRG edition should currently be ranked at the top of the pack, although I feel that an even better remastering could be attained someday in the future.

    There are about 10 more CD editions of The Man I Love out there, most (not all) of them from European Public Domain labels. Some of them are part of twofer CD editions, while a few others are masqueraded by discs on which the album is not identified by its original title.



    General Discussion & Comments
    The Album's Obscurity (Or Lack Thereof)
    I'd like to dispel any notions that, within Peggy's canon, this album is an obscure or unknown one. (Some previous messages on this page could cause casual readers to have such an impression, which is far from being correct.) On the contrary, this is one of Peggy's best-known albums, just a run or two below Black Coffee. I know of quite a few Peggy Lee fans who list it among their top favorites.

    As suggested by my previous listing of numerous issues and reissues,
    the album has never been exactly obscure. It has remained "in print" over the decades. Even in the United States, it was one of the precious few Peggy Lee LPs to ever be officially reissued (on both vinyl and compact disc), a fact which attests to EMI's general confidence in the album's sales potential (or popularity).

    Among music critics, a lot of praise has bestowed upon the album as a whole. Just last year, it was picked for an extensive essay in the book The Great Jazz and Pop Albums, which should further contribute to keep its memory alive for musical generations to come.

    One of the other reasons why the album has never been at risk of being forgotten is a widely shared admiration for the closing track ("The Folks Who Live on the Hill"). But, more than anything else, it is the album's connection to Frank Sinatra that has kept its memory alive. From time to time, the album has received praise amidst Frank's fan "circles." Not infrequently, however, all or nearly all the praise has been bestowed on Frank alone. (I am also a Frank fan, mind you. Obviously, though, I cannot adhere to such a narrow perspective.)



    The Album As Part Of Sinatra's Canon


    Great comments, Jackson. I find myself agreeing with just about everything you said. (I do feel that I have heard her sing better in other things, but that's merely a matter of opinion or degree, and a minor matter at that. Besides, I realize that you are writing enthusiastically, right after re-playing the album, which is great!)

    Another great point that you make pertains to the The Man I Love as its connects to Sinatra's legacy of concept albums. Music critic Will Friedwald has proposed that The Man I Love is essentially the concept album that Sinatra would have made had he been a woman. From that critic's perspective, each of Frank's original Capitol best-known albums aimed at a different mood or concept. The Man I Love would have been consciously devised to present yet another of those conceptual moods: specifically, the marriage of intimacy and grandiosity, or the seemingly impossible union of bluesy and classical music. Along with Nelson and Frank, Peggy (in particular) would have proven that such an union is not only possible but it can also be a blissful one. (Friedwald did not use those exact words, and I might have tuned up or condensed his overall view much too much, but that's what I remember as the gist of his argument. I should probably look up his exact words, rather than speak from memory ... Well, perhaps I will do so, and add a quote or two in a future message.)


    Album Favorites


    Another great comment. "Symphonic" is a very suitable adjective for this album's orientation, and I suspect that Riddle (and perhaps also Sinatra) were thinking along such lines while conceiving the album and/or its arrangements.

    My own favorite numbers change from one listening to another. However, when all is said and done, "Then I'll Be Tired of You" and "That's All" are the interpretations that stay with me the longest, and which affect me the most.
    Both songs are such fantastic pieces of romance.

    "That's All" has some exquisite line readings, and is a gem from start to finish. So well does Peggy Lee capture the sentiment behind those lyrics that, from about the third line onwards, I become completely wrapped up in what I am hearing, and absolutely convinced that she is feeling every single emotion expressed through words & music.


    As for "Then I'll Be Tired of You," there are three or four line readings that I absolutely love, and which to me
    are worth "the full price of admission." You mentioned one of them ("throbbing heart ... tired of beating"). Another: "grass ... tired of growing." Also, the very brief, one-line start a cappella, and the final "tired of you."




    Next: More posts about the album being discussed. Future messages will concentrate on the album's background, with emphasis on the Peggy Lee-Frank Sinatra connection. Other forthcoming messages might consist of just photos related to the album's participants.
     
    Last edited: Feb 15, 2018
  17. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Reading your review of these numbers while simultaneously hearing parts of them play in my mind's ear gives me chills and goose bumps. Few albums present such acute symptoms as those that are felt when discussing this masterpiece, apparently. Yes, you are right about "That's All", and it deserves all of the praise you've bestowed upon it and more.

    Peggy's vocal performance on "That's All" is of particular interest because she does something with her phrasing not heard elsewhere. She gives a trombone-like slide to the musical slurs at the leading lines, especially in the following verse:

    There are those, I am sure, who have told you
    They would give you the world for a toy
    All I have are these arms to enfold you
    And the love time can never destroy

    It's a mannerism that is more commonly associated with the work of Sarah Vaughan, although it bears a far more emotionally nuanced performance at Peggy's music stand.

    However, the award for best arrangement on the album must go to "There Is No Greater Love". It's layered and nuanced, with excellent counterpoint in the violas and cellos. Really quite striking and beautiful. That performance is proof that stereophonic sound is not required for music to sound rich, full and elegant.

    Find a copy of the Pure Pleasure audiophile reissue. It's wonderful, and I suspect that you will be pleasantly surprised and sufficiently impressed. My only complaint is the poor reproduction of the cover art.
     
    Last edited: Feb 15, 2018
  18. Bob F

    Bob F Senior Member

    Location:
    Massachusetts USA
    Playlists for the 2009 DRG Records (EMI) CD, with two non-Sinatra bonus tracks:

    » The Man I Love by Peggy Lee on Spotify
    » Peggy Lee: The Man I Love - YouTube
     
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  19. MLutthans

    MLutthans That's my spaghetti, Chewbacca! Staff

    That is correct, yes. I bought it, new, in the 80s.
     
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  20. Ridin'High

    Ridin'High Forum Resident Thread Starter

    XI. THE MAN I LOVE
    (Continued; Third Post)

    The Album Sessions

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    We are fortunate to count with several photos from this album's sessions, which were held at the Capitol Tower on April 2, 4, and 8, 1957. I have chosen four of the available photos, each featuring at least one of the session's main participants. Peggy Lee was backed by a 32-piece orchestra under the baton of Frank Sinatra, conducting arrangements written by Nelson Riddle. Along with Peggy's rhythm section the instruments at play included harp, French horn, guitar, bass trombone, reeds, and strings (violas, violins, cellos). A partial, very limited view of the orchestra is provided in the last of these photos.


    [​IMG]

    We are also lucky to have several first-witness accounts from the sessions. There is, for instance, the following recollection, courtesy of pianist Lou Levy: "That's one of the prettiest albums ever. I remember [trumpet man] Manny Klein playing that lovely, forlorn solo ... in Nelson's written intro. I remember the piano was in the middle of the room, and I can see him there with the hat and her in the booth." (I assume that by "him," Levy meant Sinatra, not Riddle.)

    We might have another witness in Jess Rand, a press agent for several singers of note (Judy Collins, Sammy Davis Junior, Bobbie Gentry, Mel Tormé, et cetera). Or we might not. During his discussion of this album, one of Lee's biographers writes that Rand was in the control room while Peggy sang, and proceeds to quote what Rand had to say about it: "A lot of times she would have the lights turned down to do a ballad. I'm telling you, it was magic. She would lose herself in the music." This is certainly a noteworthy recollection on Rand's part, and one that reveals a facet of Peggy's modus operandi. However, the biographer's
    insertion of this quote in his discussion of The Man I Love might have been somewhat deceptive. I am inclined to think that the quote refers to Peggy's behavior at sessions of a smaller scale than those which involved this album's large orchestra. Besides, the comment itself is generalized; it clearly does not refer to one particular date.


    [​IMG]

    Perhaps not surprisingly, Frank (not Peggy) is the subject of all other witness accounts. They concentrate on the question of whether he was truly the sessions' conductor. For years, some folks harbored doubts on the matter. There were people who completely dismissed the notion, feeling certain that it was merely a marketing ploy. Nowadays, we know for certain that there was no ploy at all; we are also more aware of the fact that this was one out of over a handful of albums in which he was involved as conductor and/or producer.

    Presumably coached by Riddle in advance, Sinatra did conduct the dates -- as unanimously stressed by the various session musicians who have been asked or interviewed on the matter. Here is an excerpt from comments made by Lou Levy: "Frank ... was really there conducting ... [T]here were parts of it that actually had to be conducted, it wasn't all in tempo." And here is another excerpt, this one from harpist Stella Castellucci: "He handled the baton capably ... Nelson Riddle must have coached Sinatra in conducting the score. He gave every important cue to different parts of the orchestra as though he really knew what he was doing."



    [​IMG]

    Whenever she mentioned this album, Peggy made a point of giving Frank all the credit that he deserved. She kept on doing so through the years. In 1961: “I can only say that I have a lot of admiration for Frank. When I was between contracts at Decca and Capitol, I did an album with him conducting the band and producing. All I can say is, it was a pleasure. And although some people thought it was a fake, Sinatra did conduct, and he did a terrific job.” Around 1989, after an interviewer was very doubtful as to whether Sinatra could read music: "Frank did conduct. And he did it brilliantly ... [H]e was following the score and he knew every note in there, so he must have been doing something with his eyes." (She made several other comments along the same lines, and we will probably have reason to quote one or two of them in forthcoming posts.)

    [​IMG]


    Songs
    "That's All"

    Question: How many vocalists had some degree of involvement in the album The Man I Love? Answer: at least three. The third is the man who
    co-wrote the album's fourth song (along with a publicist-playwright, Alan Brandt). The singer's name? Bob Haymes.

    You might not know Bob but you might know Dick, his brother. For much of the 1940s, Dick ranked as Frank's greatest rival in the race for best male balladeer. Dick Haymes is also relevant to this ongoing Peggy Lee thread because he
    spent some months singing side by side with her, while they were serving as crooner and canary for The Benny Goodman Orchestra.

    Reportedly introduced by Nat King Cole in 1953, "That's All" is a bona fide standard, having been recorded by dozens and dozens of vocalists and instrumentalists for over 60 years now. (I do not know if Nat truly was the one to first take the song to the studio. The composer's own version, also from 1953, can be heard here.) Somewhat curiously, neither Dick nor Frank recorded this delicate ballad in the 1950s, while it was still fresh. Perhaps chance and circumstance prevented them from doing so, at the time. (Both would go on to record the number in ensuing decades.)

    Let us now return to our Peggy Lee channel.

    There will never ever be a weirder use of Peggy's "That's All" than in George Romero's
    Monkey Shines. During that horror movie's climactic scene, the quadriplegic protagonist manages to play Peggy Lee's ultra romantic version of the song on his tape deck. He does so as a ruse to lure his pet macaque, Ella, close to his sight. Though totally psychotic and evil, Ella has exquisitely good taste in music, and falls for the ruse. Then, as Peggy's misty voice comes through the speakers, and as Nelson's strings swell with passionate urgency, the protagonist grabs the pet with his mouth, and frantically shakes and bites her to death ....!!!




    Next: Before and after The Man I Love sessions. How the Lee-Sinatra collaboration came to be, and how the twosome promoted the album.
     
    Last edited: Feb 16, 2018
  21. MLutthans

    MLutthans That's my spaghetti, Chewbacca! Staff

    Exhibit A:
    s-l1600-314.jpg
    ECJ-50063.
     
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  22. Bob F

    Bob F Senior Member

    Location:
    Massachusetts USA
    .
    Complete musician lists and additional (watermarked) photos may be found in these “50 Years Ago Today” posts at the SFF:

    » Tuesday, April 2, 1957
    » Thursday, April 4, 1957
    » Monday, April 8, 1957
     
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  23. PhilBorder

    PhilBorder Senior Member

    Location:
    Sheboygan, WI
    Just listened to 'Black Coffee' album. Her phrasing is sometimes a bit too idiosyncratic for me, sometimes it works. Depends on the song
     
  24. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Just a stereo label on the disc but the performances are mono?
     
  25. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    This quote from Peggy reveals the possibility that she had not yet decided if she would return to Capitol's artist roster after she was no longer tied to Decca. Is there any further anecdotal information that could either confirm or deny such a condition existed at the time The Man I Love was recorded?
     
    Last edited: Feb 16, 2018
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