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!.
Gee Baby Ain't I Good For You
Anita O'Day Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Gee, Baby ain't I good to you
There's nothing in the world
Too good for a girl that's good and true
Gee, Baby ain't I good to you
Bought you a fur coat for Christmas
A diamond ring
A big Cadillac car
It's love that makes me treat you the way I do
Gee, Baby ain't I good to you
What makes me treat you the way I do
Gee, Baby ain't I good to you
There's nothing in the world
Too good for a guy that's good and true
Gee, Baby ain't I good to you
Fur coat for Christmas
A diamond ring
A big Cadillac car
And everything
There's nothing in the world that I wouldn't do
Gee, Baby ain't I good to you
What makes me treat you the way I do
Gee, Baby ain't I good to you
There's nothing in the world
Too good for a girl that's good and true
Gee, Baby ain't I good to you
Fur coat for Christmas
A diamond ring
Big Cadillac car
and everything
It's love that makes me treat you the way that I do
Gee, Baby ain't I good to you
Gee, Baby ain't I good to you
At first glance, the lyrics of "Gee Baby Ain't I Good For You" seem like a boastful statement about the singer's generosity towards their significant other. However, upon closer examination, the song reveals a deeper sentiment. The repetition of the question, "What makes me treat you the way I do?" suggests a sense of bewilderment or self-doubt. The exclamation, "Gee, baby ain't I good to you" seems like a plea for reassurance or validation from the other person. It's as if the singer is trying to prove their worthiness of love and affection through material possessions, but also recognizes that true love should be given freely and with pure intentions.
The line, "There's nothing in the world too good for a girl/guy that's good and true" emphasizes the importance of loyalty and faithfulness in a relationship, and suggests that the singer values these qualities in their partner. The chorus, which repeats the title of the song, highlights the uncertainty and vulnerability that the singer feels, and asks for affirmation from their loved one.
Line by Line Meaning
What makes me treat you the way I do
Expressing curiosity about my own behavior towards you
Gee, Baby ain't I good to you
Asking for appreciation and recognition for my actions
There's nothing in the world
Emphasizing the extent of my commitment to you
Too good for a girl that's good and true
Asserting that you deserve nothing but the best
Gee, Baby ain't I good to you
Asking for acknowledgement of my efforts and love
Bought you a fur coat for Christmas
Listing things I've done to show my affection
A diamond ring
Mentioning a significant gift I've given you
A big Cadillac car
Listing a luxurious present I've given you
And everything
Implying that there are many other things I've done for you
It's love that makes me treat you the way I do
Explaining the motivation behind my actions towards you
Gee, Baby ain't I good to you
Asking for confirmation of my goodness to you
Lyrics © BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Andy Razaf, Don Redman
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)