Born in Memphis, she left home while still in her early teens and settled in Chicago, Illinois. There, she peeled potatoes by day and hounded club owners by night, determined to land a singing job. Her persistence paid off, and Hunter began a climb through some of the city's lowest dives to a headlining job at its most prestigious venue for black entertainers, the Dreamland ballroom. She had a five-year association with the Dreamland, beginning in 1917, and her salary rose to $35 a week.
She first toured Europe in 1917, performing in Paris and London. The Europeans treated her as an artist, showing her respect and even reverence, which made a great impression on her.
Her career as singer and songwriter flourished in the 1920s and 1930s, and she appeared in clubs and on stage in musicals in both New York and London. The songs she wrote include the critically acclaimed "Downhearted Blues" (1922). She recorded several records with Perry Bradford from 1922 to 1927.
Hunter recorded prolifically during the 1920s, starting with sessions for Black Swan in 1921, Paramount in 1922–1924, Gennett in 1924, OKeh in 1925–1926, Victor in 1927 and Columbia in 1929.
Hunter wrote "Downhearted Blues" while recording for Ink Williams at Paramount Records, but she received only $368 in royalties. Williams secretly sold the recording rights to Columbia Records, in a deal giving the royalties to Williams. The song became a big hit for Columbia, with Bessie Smith as the vocalist. Hunter learned what Williams had done and stopped recording for him.
In 1928, Hunter played "Queenie" opposite Paul Robeson in the first London production of Show Boat at Drury Lane. She subsequently performed in nightclubs throughout Europe and appeared for the 1934 winter season with Jack Jackson's society orchestra at London's Dorchester Hotel. One of her recordings with Jackson is Miss Otis Regrets (she is unable to Lunch Today). While at the Dorchester, she made several HMV recordings with the orchestra and appeared in Radio Parade of 1935 (1934), the first British theatrical film to feature the short-lived Dufaycolor, but only Hunter's segment was in color. She spent the late 1930s fulfilling engagements on both sides of the Atlantic and the early 1940s performing at home. In 1944, she took a U.S.O. troupe to Casablanca and continued entertaining troops in both theatres of war for the duration of World War II and into the early postwar period. In the 1950s, she led U.S.O. troupes in Korea, but her mother's death in 1954 led her to her seek a radical career change. She prudently reduced her age, "invented" a high school diploma, and enrolled in nursing school, embarking on what was apparently a fulfilling career in healthcare.
Hunter was working at New York's Goldwater Memorial Hospital in 1961 when record producer Chris Albertson asked her to break an 11-year absence from the recording studio. The result was her participation (four songs) on a Prestige Bluesville Records album, entitled Songs We Taught Your Mother. The following month, Albertson recorded her again, this time for the Riverside Records label, reuniting her with Lil Armstrong and Lovie Austin, both of whom she had performed with in the 1920s. Hunter enjoyed these outings, but had no plans to return to singing. She was prepared to devote the rest of her life to nursing, but the hospital retired her in 1977, when they believed her to have reached retirement age (she was aged over 80).
Bored by inactivity, Hunter decided to resume her singing career, because she "never felt better." In 1978, at the suggestion of Charles Bourgeois, restaurateur Barney Josephson offered Hunter a limited engagement at his Greenwich Village club, The Cookery. She accepted and a two-week gig proved a smash when the comeback garnered generous media attention and people started flocking into The Cookery.
Impressed with the attention paid her by the press, John Hammond signed Hunter to Columbia Records. He had not previously shown interest in Hunter, but he had been a close associate of Barney Josephson decades earlier, when the latter ran the Café Society Uptown and Downtown clubs. Her Columbia albums, The Glory of Alberta Hunter, Amtrak Blues, (where she sang the jazz classic "The Darktown Strutters' Ball"), and Look For the Silver Lining, did not do as well as expected, but sales were nevertheless healthy. There were also numerous television appearances, including on To Tell The Truth (in which panelist Kitty Carlisle had to recuse herself, the two having known each other in Hunter's heyday). There was also a walk-on role in Remember My Name, a film produced by film director Robert Altman, for which he commissioned her to write and to perform the soundtrack music. As capacity audiences continued to fill The Cookery nightly, concert offers came from Brazil to Berlin, and there was an invitation for her to sing at the White House. At first, she turned it down, because, she explained, "they wanted me there on my day off," but the White House amended its schedule to suit the veteran artist. During that time, there was also a visit from former First Lady turned book editor Jackie Onassis, who wanted to sign her up for an autobiography but was unhappy with the co-author assigned to the project. The book was eventually done for another publisher, with the help of writer Frank Taylor.
The comeback lasted six years, and Hunter toured in Europe and South America, made more television appearances, and enjoyed her renewed recording career as well as the fact that record catalogs now once again contained her old recordings, going back to her 1921 debut on the Black Swan label.
Hunter's life was documented in Alberta Hunter: My Castle's Rockin' (1998), a documentary written by Chris Albertson and narrated by pianist Billy Taylor, and in Cookin' at the Cookery, a biographical musical by Marion J. Caffey that has toured the United States in recent years with Ernestine Jackson as Hunter.
Hunter came from a difficult background. Her father left when she was a child and to support the family Hunter’s mother worked as a servant to a whorehouse in Memphis. Although she married again in 1906, Hunter was not happy with her new family. Hunter left for Chicago around the age of eleven, in the hopes of becoming a paid singer; she had heard that it paid ten dollars an hour. Instead of finding a job as a singer she had to earn money by working at a boardinghouse that paid six dollars a week as well as room and board. Hunter's mother left Memphis and moved in with her soon afterwards.
Hunter was a lesbian, though she kept her sexuality relatively private. Her 1919 marriage to Willard Saxby Townsend was short-lived. In August of 1927, she sailed for France, accompanied by Lottie Tyler, a New York lady whom she had met in Chicago a few years earlier. Their relationship lasted until Ms. Tyler's death, many years later.
Hunter eventually moved to New York City. She performed with Bricktop and recorded with Louis Armstrong and Sidney Bechet. She continued to perform on both sides of the Atlantic, and as the head of the USO's first black show, until her mother's death, 1954. That year, she gave up show business and became a registered nurse. When Roosevelt Island's Goldwater Memorial Hospital retired her, believing her to have reached that age, Alberts (who was actually several years older) decided to return to singing. She had already made a brief return by appearing on two record albums, but now she too had a regular engagement at a Greenwich Village club, becoming a huge attraction there until her death in October 1984. She is buried in the Ferncliff Cemetery and Mausoleum, Hartsdale, Westchester County, New York (Elmwood section; plot 1411).
Hunter was inducted to the Blues Hall of Fame in 2011, while her album Amtrak Blues had been previously honored in 2009.
You Can't Tell the Difference After Dark
Alberta Hunter Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It seems there's no more fun, to me,
Why must all the boys act so shy?
I have guessed the reason why
I may be as brown as a berry,
But that's only secondary,
And you can't tell the difference after dark
I may not be so appealin',
But I've got that certain feelin',
And you can't tell the difference after dark
They say that gentlemen prefer the blonde haired ladies,
Tell me am I out of style just because I'm slightly shady
Wait until I've won you,
And my love drops down upon you,
You can't tell the difference after dark
Aah, go for yourself now
Beat it on out there boy
Look out Fats Waller
Mm, I may be as brown as a berry,
But that's only secondary,
You can't tell the difference after dark
I may not be so appealin',
Mm, but I've got that certain feelin',
And you can't tell the difference after dark
They say that gentlemen prefer the blonde haired ladies,
Tell me, tell me am I out of style just because I'm slightly shady
Wait until I've won you,
And my love drops down upon you,
You can't tell the difference after dark
Yeah, man
In You Can't Tell the Difference After Dark, Alberta Hunter sings about the frustration of not being noticed by men because of her skin color. She sings about how the sun has drained her fun and how boys always act shy around her. She explains that the reason for their behavior is their bias against her as a darker-skinned woman. She acknowledges her skin color and that it may not be appealing but argues that she has a certain feeling that is irresistible. Additionally, she challenges the idea that blonde-haired ladies are more appealing to gentlemen and questions whether she is out of style because of her slightly shady demeanor. In the final verse, Hunter confidently declares that once she wins the heart of a man, he won't be able to differentiate her from other women, regardless of skin color or appearance.
This song is a commentary on colorism, specifically in the romantic realm. Hunter uses wit, humor, and rhythm to convey a serious message about discrimination based on skin tone. She illustrates how colorism affects darker-skinned individuals and their chances of being noticed or desired by others. Hunter calls out the misguided preferences of society but also highlights the power of love to transcend these biases.
Line by Line Meaning
Look what the sun has done, to me,
The sun has made me sad and uninterested in having fun.
It seems there's no more fun, to me,
I don't feel like having fun anymore.
Why must all the boys act so shy?
I wonder why guys are so shy around me.
I have guessed the reason why
I think I know the reason, and it's because of my skin color.
I may be as brown as a berry,
I have dark skin.
But that's only secondary,
My skin color is not the most important thing about me.
And you can't tell the difference after dark
At night, you can't see my skin color, so it doesn't matter.
I may not be so appealin',
I might not be conventionally attractive.
But I've got that certain feelin',
But I am still confident and have a certain appeal.
They say that gentlemen prefer the blonde haired ladies,
It's a common belief that men like blonde women.
Tell me am I out of style just because I'm slightly shady
Am I not desirable because of my darker skin tone?
Wait until I've won you,
Just wait until I've won your heart.
And my love drops down upon you,
Once I have your love, you'll see how much I have to offer.
You can't tell the difference after dark
Once it's dark, my skin color won't matter and you'll see me in a different light.
Aah, go for yourself now
Go ahead and do what you want now.
Beat it on out there boy
Get out of here, boy.
Look out Fats Waller
Watch out, because I'm coming out with my own music.
Mm, I may be as brown as a berry,
Once again, my skin color is dark.
But that's only secondary,
But it's not the most important thing about me.
You can't tell the difference after dark
Again, once it's dark, my skin color won't matter.
I may not be so appealin',
Once again, I might not be conventionally attractive.
Mm, but I've got that certain feelin',
But I still have that unique and special something that makes me appealing.
They say that gentlemen prefer the blonde haired ladies,
Once again, it's believed that men like blonde women.
Tell me, tell me am I out of style just because I'm slightly shady
I'm asking again - does my skin color make me undesirable?
Wait until I've won you,
Once more, just wait until I've won your heart.
And my love drops down upon you,
When I have your love, it will be clear how I feel about you.
You can't tell the difference after dark
Once again, at night, my skin color won't matter and you'll see me for who I really am.
Yeah, man
A casual exclamation to end the song.
Contributed by Lillian O. Suggest a correction in the comments below.
Mr&Mrs D
YOU CAN'T TELL THE DIFFERENCE AFTER DARK
(Maceo Parker)
Alberta Hunter - 1935
Also recorded by:
Topsy Chapman; Sarah Spencer; Joyce Cobb; Nina Von Horn.
As recorded by ALBERTA HUNTER, New York, March 20th 1935:
Look what the Sun has done to me
It seems there's no more fun due me
Why must all the boys act so shy
I have guessed the reason why
I may be as brown as a berry
But that's only secondary
And you can't tell the difference after dark
Mmmm, I may not be so appealin'
But I've got that certain feelin'
And you can't tell the difference after dark
They say that gentlemen
Prefer the blonde-haired ladies
Tell me, am I out of style
Just because I'm slightly shady
Wait until I've won ya
And my love drops down upon ya
You can't tell the difference after dark
Aah, go for yourself now
(Guitar solo)
Beat it on out there, boys
(Piano solo)
Look out Fats Waller
Mmmm, I may be as brown as a berry
But that's only secondary
You can't tell the difference after dark
I may not be so appealin'
Mmmm, but I've got that certain feelin'
And you can't tell the difference after dark
They say that gentlemen
Prefer the blonde-haired ladies
Tell me, tell me, am I out of style
Just because I'm slightly shady
Wait until I've won ya
And my love drops down upon ya
You can't tell the difference after dark
Yeah man!
(Transcribed by Mel Priddle - May 2017)
Jeremiah Jangad
Look, what the pork has done to me!
It seems there’s no more fun for me;
Why must all the boys act so shy?
I have guessed the reason why:
I maybe as fat as a dairy;
But that’s only secondary
You can’t tell the difference after dark
Hmmm, I may not be so appealing
But I’ve got this certain feeling
You can’t tell the difference after dark!
They say that gentlemen prefer a bony lady.
Tell me, tell me, am I out of style?
Just because I’m slightly bulgy!
Wait until I’ve won ‘ya
And my love drops down upon ‘ya
You can’t tell the difference after dark!
Remember Our Music
You're kidding. Where have you been sister?
Alberta Hunter is okay. But these divas's are supreme:
Ethel Waters 1896
Nina Mae McKinney 1912
Marie Knight 1925
Valaida Snow 1904
Dakota Staton 1930
Betty Carter 1929
Maxine Sullivan 1911
Big Maybelle 1924
Ma Rainey 1886
Ella Fitzgerald 1918
Clara Ward 1924
Bessie Smith 1894
Carmen McCrae 1922
Billie Holiday 1915
Lizzie Miles 1895
or the foul-mouthed Lucille Bogan 1897
Unfortunately this song by Alberta Hunter is about having an inferiority complex and being ashamed of a dark skin color.Please check out my youtube channel "Remember our Music" an historical site which daily honors a great African-American musician like Erskine Hawkins, Billy Eckstine, Josephine Premice and Noble Sissle, all born in the month of July!
Mary Finn
She also had character that can never be replicated. A performer who went from glorifying God in church to the clubs of Chicago, to performing for troops overseas in World War II, she was forced out of music due to racism, lied took ten years off her age, became a nurse at Welfare Island (Roosevelt today) worked there until forced out for being too old (she was 10 years older yet) and then, had a comeback at 83. How do you like them apples?
Ilona Rapp
Wow! Thank you for sharing her history. She's making me feel young (and quite over-privileged... but mainly... I am in awe!!
Sean Cook
The strong will always push through any obstacles to do what they may.
The strong help the weak. Sometimes the weak attack the strong.
The strong spit on their wounds, rub some dirt on them, and go on.
Loving being strong, helping the weak. Hallelujah.
David Glowacki
You forgot she became a cabaret star in Europe in the 1930s..long stint in London and recorded with British dance bands
mjbandes
I used to live across the street from The Cookery where she used to perform regularly. I was lucky enough to see one of her shows. She was something else! She acted as if SHE considered it on honor to sing for US, even though we were all there to worship her.
Kae Cake
It's really beautiful, thank you for keeping old musicians heard 🙂
Keith Fort
I had the pleasure of stage managing Alberta Hunter's performance at the 1982 Chicago Kool Jazz Festival. She was very, very old, and very, very wonderful! A most memorable set.
Gary Gordon
One of my favorite videos of Alberta Hunter was done with Eubie Blake "Memories of You". Both Alberta and Eubie faced terrible racism during their lives. Yet both made remarkable contributions to the music world and society in general. Eubie played piano right up to the end of his life. Like Alberta, Eubie was warm, compassionate and self-effacing. Truly, two great people who gave so much and asked so little in return.
Tamlynn
How come I never knew about or heard about her?! I feel ashamed… her voice is wow 🤩
Waldo Bagel Topper
That certainly is nothing to be ashamed of Miss. You find something like this and fall down one of these YouTube rabbit holes, you always find these little worlds that exist beyond what we grew up with. This is nearly a hundred years before us haha!
Tell you what- do yourself a favor and look up "Till the Cows Come Home" by Lucille Bogan. You're welcome 🤭