Hirt was born in New Orleans, Louisiana, the son of a police officer. At the age of six, he was given his first trumpet, which had been purchased at a local pawnshop. He would play in the Junior Police Band with the children of Alcide Nunez, and by the age of 16, Hirt was playing professionally, often with his friend Pete Fountain. During this time, he was hired to play at the local horse racing track, beginning a six-decade connection to the sport.
In 1940, Hirt went to Cincinnati, Ohio, to study at the Cincinnati Conservatory of Music with Dr. Frank Simon (a former soloist with the John Philip Sousa Orchestra). After a stint as a bugler in the United States Army during World War II, Hirt performed with various swing big bands, including those of Tommy Dorsey, Jimmy Dorsey, Benny Goodman, and Ina Ray Hutton.
In 1950, Hirt became first trumpet and featured soloist with Horace Heidt's Orchestra. After spending several years on the road with Heidt, Hirt returned to New Orleans working with various Dixieland groups and leading his own bands. Despite Hirt's statement years later "I'm not a jazz trumpeter and never was a jazz trumpeter", he made a few recordings where he demonstrated his ability to play in that style, during the 1950s with bandleader Monk Hazel, and a few other recordings on the local Southland Records label.
Hirt's virtuoso dexterity and fine tone on his instrument soon attracted the attention of major record labels and he signed with RCA Victor. Hirt posted twenty-two albums on the Billboard charts in the 1950s and 1960s. The albums Honey in the Horn and Cotton Candy were both in the Top 10 best sellers for 1964, the same year Hirt scored a hit single with his cover of Allen Toussaint's tune "Java" (Billboard No. 4), and later won a Grammy Award for the same recording. Both Honey in the Horn and "Java" sold over one million copies, and were awarded gold discs.
Hirt's Top 40 charted hit "Sugar Lips" in 1964 would be later used as the theme song for the NBC daytime game show Eye Guess, hosted by Bill Cullen and originally airing from January 1966 to September 1969.
Hirt was chosen to record the frenetic theme for the 1960s TV show The Green Hornet, by famed arranger and composer Billy May. Thematically reminiscent of Nikolai Rimsky-Korsakov's Flight of the Bumblebee, it showcased Hirt's technical prowess. The recording again gained public attention in 2003 when it was used in the film Kill Bill.
From the mid-1950s to early 1960s, Hirt and his band played nightly at Dan's Pier 600 at the corner of St. Louis and Bourbon Street. The club was owned by his business manager, Dan Levy, Sr.
Al Hirt club on the corner of Bourbon Street and St Louis in the French Quarter, 1977
In 1962 Hirt opened his own club on Bourbon Street in the French Quarter, which he ran until 1983. He also became a minority owner in the NFL expansion New Orleans Saints in 1967.
In 1962, in an effort to showcase him in a different musical setting, Hirt was teamed with arranger and composer Billy May and producer Steve Sholes to record an album titled Horn A Plenty that was a departure from the Dixieland material that he was generally associated with. Covering an eclectic variety of popular, standard and show tunes, it featured a big-band supplemented by timpani, French horns and harp. He also appeared opposite Troy Donahue and Suzanne Phlesette in the 1962 motion picture, "Rome Adventure."
In 1965, he hosted the hour-long television variety series Fanfare, which aired on CBS as a summer replacement for Jackie Gleason and the American Scene Magazine.
Hirt starred along with the University of Arizona marching band at the first Super Bowl halftime show in 1967.
On February 8, 1970, while performing in a Mardi Gras parade in New Orleans, Hirt was injured while riding on a float. It is popularly believed that he was struck in the mouth by a thrown piece of concrete or brick. Factual documentation of the details of the incident is sparse, consisting primarily of claims made by Hirt after the incident. Whatever the actual cause of his injuries, Hirt underwent surgery and made a return to the club scene. This incident was parodied in a Saturday Night Live skit from their second season Mardi Gras special, the "Let's Hit Al Hirt in the Mouth with a Brick Contest".
In 1987, Hirt played a solo rendition of "Ave Maria" for Pope John Paul II's visit to New Orleans. He is referred to in the 1987 film Good Morning, Vietnam, in a broadcast made by Lieutenant Hauk (Bruno Kirby).
Hirt died of liver failure at the age of 76, after having spent the previous year in a wheelchair due to edema in his leg. He was survived by his wife, Beverly Essel Hirt, and six children from a previous marriage.
Everbody Loves My Baby
Al Hirt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But my baby don't love nobody but me,
Nobody but me.
Yes, everybody wants my baby,
But my baby don't want nobody but me,
That'plain to see!
I am his sweet tootie
Knows how to do his duty,
Loves me like no other can!
Everybody loves my baby,
But my baby don't love nobody but me,
Nobody but me.
Oh, everybody loves my baby,
But my baby don't love nobody but me,
Nobody but me.
Yes, everybody wants my baby,
But my baby don't want nobody but me,
That'plain to see!
Now when my baby kisses me
Upon my rosy cheeks,
I just let those kisses be,
Don't wash my face for weeks!
Everybody loves my baby,
But my baby don't love nobody but me,
Nobody but me.
The song Everybody Loves My Baby by Al Hirt is a cheerful and upbeat tune that expresses the singer's joy at being the only one loved by their partner. The lyrics convey the idea that while everyone may desire the love of the singer's baby, their affections only belong to the singer. The refrain emphasizes this point, with the repeated phrase "but my baby don't love nobody but me". The singer is confident in the love they share with their partner, describing themselves as his "sweet tootie" and him as their "lovin' man" who never disappoints in his duties.
The lyrics also contain a playful and humorous tone, which is evident in lines such as "Don't wash my face for weeks!" after being kissed by the baby. This adds to the overall jovial atmosphere of the song. The instrumental backing of the song is lively, with a catchy melody that matches the lyrics' upbeat mood.
In conclusion, Everybody Loves My Baby is a joyful song that expresses the singer's happiness in being the only one loved by their partner. The playful tone and lively instrumental backing add to the song's overall cheerful vibe.
Line by Line Meaning
Everybody loves my baby,
My baby is popular and well-liked among many people.
But my baby don't love nobody but me,
Despite being adored by many, my baby only has romantic feelings for me and no one else.
Nobody but me.
I am the one true love of my baby, and no one else can compete for their affection.
Yes, everybody wants my baby,
Because my baby is so charming and attractive, many people desire to be close with them.
But my baby don't want nobody but me,
Despite other people's interest, my baby is only interested in me and no one else.
That'plain to see!
It is obvious and unmistakable that my baby only loves me and no one else.
I am his sweet tootie
I am my baby's beloved partner and romantic interest.
And he is my lovin' man;
My baby is a caring and affectionate partner to me.
Knows how to do his duty,
My baby is responsible and knows how to fulfill his role in our relationship.
Loves me like no other can!
My baby's love and affection for me is unique and cannot be replicated by anyone else.
Now when my baby kisses me
When my baby gives me kisses as a display of affection,
Upon my rosy cheeks,
Especially on the flushed, pink areas of my face,
I just let those kisses be,
I am happy to accept my baby's kisses and don't want them to wash away.
Don't wash my face for weeks!
I don't want to lose the feeling of my baby's loving kisses, so I avoid washing my face for an extended period of time.
Lyrics © BMG Rights Management, Universal Music Publishing Group
Written by: Jack Palmer, Spencer Williams
Lyrics Licensed & Provided by LyricFind