Few female jazz singers matched the hard-swinging and equally hard-living Anita O'Day for sheer exuberance and talent in all areas of jazz vocals. Her improvising, wide dynamic tone, and innate sense of rhythm made her more than just another big-band canary. At a time when most female vocals tended to emphasize the sweet timbres of their voice, she chose to emphasize a path blazed by the one major jazz singer who emphasized message over medium - Billie Holiday. Like Holiday, O'Day combined the soaring freedom of jazz instrumentalist with the storytelling lyricism of a poet.
After making her solo debut in the mid-'40s she incorporated bop modernism into her vocals and recorded over a dozen of the best vocal LPs of the era.
During the late Forties, she recorded two dozen sides, mostly for small labels. The quality of these singles varies: O'Day was trying to achieve popular success without sacrificing her identity as a jazz singer. Among the more notable recordings from this period are "Hi Ho Trailus Boot Whip", "Key Largo", "How High the Moon", and "Malaguena". O'Day's drug problems began to surface late in 1947, when she and husband Carl Hoff were arrested for possession of marijuana and sentenced to 90 days in jail. Her career was back on the upswing in September of 1948, when she sang with Count Basie at the Royal Roost in New York City, resulting in five airchecks. What secured O'Day's place in the jazz pantheon, however, are the seventeen albums she recorded for Verve between 1956 and 1962.
Her first album, Anita O'Day Sings Jazz (reissued as The Lady Is a Tramp), was recorded in 1956 for the newly established Verve Records (it was also the label's first LP). The album was a critical success and further boosted her popularity. In October of 1952 O'Day was again arrested for possession of marijuana, but found not guilty. The following March, she was arrested for possession of heroin. The case dragged on for most of 1953; O'Day was finally sentenced to six months in jail. Not long after her release from jail on February 25, 1954, she began work on her second album, Songs by Anita O'Day (reissued as An Evening with Anita O'Day). She recorded steadily throughout the Fifties, accompanied by small combos and big bands. In person, O'Day was generally backed by a trio which included the drummer with whom she would work for the next 40 years, John Poole.
As a live performer O'Day also began performing in festivals and concerts with such musicians as Louis Armstrong, Oscar Peterson, Dinah Washington, George Shearing, Cal Tjader, and Thelonious Monk. She appeared in the documentary Jazz on a Summer's Day, filmed at the 1958 Newport Jazz Festival which increased her popularity. The following year O'Day made a cameo appearance in The Gene Krupa Story , singing "Memories of You". Late in 1959 she toured Europe with Benny Goodman; according to her autobiography, when Goodman's attempts to upstage her failed to diminish the audience's enthusiasm, he cut all but two of her numbers from the show.
After the Goodman fiasco, O'Day went back to touring as a solo artist. She recorded infrequently after the expiration of her Verve contract in 1962 and her career seemed over when she nearly died of a heroin overdose in 1968. After kicking the habit, she made a comeback at the 1970 Berlin Jazz Festival. She also appeared in the films Zig Zag (1970) and The Outfit (1974). She resumed making live and studio albums, many recorded in Japan, and several were released on her own label, Emily Records.
O'Day spoke candidly about her drug addiction in her 1981 memoir, High Times, Hard Times.
Her version of the standard, "Sing, Sing, Sing" was remixed by RSL and was included in the compilation album Verve Remixed 3 in 2005.
2006 saw her first album release in 13 years, entitled Indestructible!.
Emily
Anita O'Day Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Has the murmuring sound of may
All silver bells, coral shells, carousels
And the laughter of children at play
Say Emily, Emily, Emily
And we fade to a marvelous view
Two lovers alone and out of sight
As my eyes visualize a family
They see Emily, Emily
(and we fade to a marvelous view)
Two lovers alone and out of sight
Seeing images in the firelight
As my eyes visualize a family
They see Emily, Emily
Too
The lyrics to Anita O'Day's song "Emily" paint a beautiful and romantic picture of a person named Emily. The song describes Emily as having a gentle and soothing presence, comparing her to the murmuring sound of the month of May. The mention of silver bells, coral shells, and carousels creates an atmosphere of joy and whimsy, while the laughter of children at play adds an element of innocence and happiness.
The repetition of Emily's name throughout the song suggests a deep admiration and affection for her. As the song progresses, it shifts to a more intimate scene, where two lovers find themselves alone and hidden from view. They are captivated by the images dancing in the firelight, and in that moment, the singer's eyes envision a future family. The lyrics highlight the sentimental and dream-like quality of these thoughts, emphasizing the significance of Emily in the singer's imagination.
Line by Line Meaning
Emily, Emily, Emily
The repetition of Emily's name represents a sense of fondness and familiarity.
Has the murmuring sound of may
The sound of Emily's name evokes the gentle and pleasant atmosphere of spring.
All silver bells, coral shells, carousels
These whimsical and enchanting objects symbolize the joy and excitement that Emily brings.
And the laughter of children at play
Emily's presence is associated with the carefree and infectious laughter of children.
Say Emily, Emily, Emily
The artist insists on repeating Emily's name to emphasize her significance and capture attention.
And we fade to a marvelous view
The mention of fading suggests a transition to a beautiful and captivating scene.
Two lovers alone and out of sight
In this hidden moment, there are only two people deeply connected and lost in each other's presence.
Seeing images in the firelight
The couples' imaginations are sparked by the dancing flames, creating vivid pictures and fantasies.
As my eyes visualize a family
The artist envisions a future together, picturing a loving and complete family with Emily.
They see Emily, Emily
The artist's loved ones also recognize Emily's importance and envision her as a part of their lives.
Too
The inclusion of this short word indicates that the love and longing for Emily is overwhelming and cannot be adequately expressed.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Ricky Ross, Scott Fraser, Pete Webb
Lyrics Licensed & Provided by LyricFind
Aceiseverywhere
on Who Cares?
Let it rain and thunder
Let a million firms go under
I am not concerned with, stocks and bombs that I've been burned with
I love you and you love me
And that's how it will always be
And nothing else can ever mean a thing
Who cares what the public chatters?
Love's the only thing that matters
Who cares if the sky, cares to fall
in the sea
Who cares how history rates me?
As long as your kiss intoxicates me
Oh why should I care?
Life is one long jubilee
As long as I care for you
And you care for me!
Who cares if the sky, cares to fall
in the sea
Who cares what banks fail in Yonkers?
As long as you've got a kiss that conquers!
Oh why should I care?
Life is one long jubilee
So long as I care for you
and you care for me!
(These lyrics might be wrong, sorry)