Goodman was regarded by some as a demanding taskmaster, by others an arrogant and eccentric martinet. Many musicians spoke of The Ray, Goodman's trademark glare that he bestowed on a musician who failed to perform to his demanding standards. Anita O'Day and Helen Forrest spoke bitterly of their experiences singing with Goodman. "The twenty or so months I spent with Benny felt like twenty years," said Forrest. "When I look back, they seem like a life sentence." He could also be incredibly self-absorbed; it is reported that when eating an egg onto which a ketchup bottle cap had fallen, Goodman simply ate around it. At the same time, there are reports that he privately funded several college educations and was sometimes very generous, though always secretly. When a friend asked him why one time, he reportedly said, "Well, if they knew about it, everyone would come to me with their hand out."
Some suggest that Elvis Presley had the same success with rock and roll that Goodman achieved with jazz and swing. Without Goodman there would not have been a swing era. It is true that many of Goodman's arrangements had been played for years before by Fletcher Henderson's orchestra. While Goodman publicly acknowledged his debt to Henderson, many young white swing fans had never heard Henderson's band. While most consider Goodman a jazz innovator, others maintain his main strength was his perfectionism and drive. Goodman was a non - pariel virtuoso clarinetist and -along with only Artie Shaw, amongst the most technically proficient jazz clarinetists of all time.
Goodman is also responsible for a significant step in racial integration in America. In the early 1930s, black and white jazz musicians could not play together in most clubs or concerts. In the Southern states, racial segregation was enforced by the Jim Crow laws. Benny Goodman broke with tradition by hiring Teddy Wilson to play with him ] in the Autumn of 1936. He then added Lionel Hampton on vibes in December, 1936, and in the early Summer of 1939 he augmented the famous "quartette" with pioneering jazz guitarist Charlie Christian to his band and small ensembles, who played with him until his untimely death from tuberculosis less than three years later. To give an understanding of American history at this time, Goodman's integration of popular music happened ten years before Jackie Robinson entered Major League Baseball. "[Goodman's] popularity was such that he could remain financially viable without touring the South, where he would have been subject to arrest for violating Jim Crow laws." By the mid- Summer of 1941, Benny had hired the incomparably rhythmic and show-man drummer, legendary "Big Sid" Catlett, the (later) famous John Simmons on bass, and still possessed the incomparable Charlie Christian on electric guitar -plus Cootie Williams was in the middle of his one-year contract... This amounted to virtually one-quarter of the orchestra of black heritage, but of course -following Jimmy Munday and Fletcher Henderson (who also joined the band as pianist for 6 months in July, 1939) it was really an orchestrated white extension of black big band jazz -only, curiously -better.
You Can't Pull the Wool Over My Eyes
Benny Goodman Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You can't get away with telling those lies.
You're not the way you used to be.
I've got eyes and I can see.
You've been stepping out on me. What a suprise; I'm wise.
No you can't alibi, try as you may.
That look in your eyes gives you away.
You're going to lose your honey lamb
'Cause you can't pull the wool over my eyes.
Benny Goodman's song You Can't Pull the Wool Over My Eyes is a classic swing tune that tells the story of a man who has wised up to his partner's infidelity. The opening line "Oh, you can't pull the wool over my eyes" is a statement of his newfound sense of clarity, in which he is no longer blinded by love and can see through his partner's lies. The line "You're not the way you used to be" reinforces the idea that the singer is disappointed in his partner's deviant behavior and can see the contrast between her previous demeanor and her current actions. The refrain "What a surprise; I'm wise" indicates that the singer is not entirely shocked by the situation and may have had suspicions before confronting his partner.
The second verse of the song continues the theme of the singer's shrewdness, asserting that his partner's attempts at alibis will not sway him from the truth. The line "That look in your eyes gives you away" suggests that the singer can see the guilt in his partner's expression and is not easily fooled. The final line of the verse "You're going to lose your honey lamb" implies that the singer is prepared to leave his partner due to her infidelity.
Overall, the lyrics of You Can't Pull the Wool Over My Eyes convey a sense of disillusionment and disillusionment with love, but also a sense of empowerment that comes from seeing through deception.
Line by Line Meaning
Oh, you can't pull the wool over my eyes.
You cannot deceive or trick me.
You can't get away with telling those lies.
Your lies won't go unnoticed or unexposed by me.
You're not the way you used to be.
Your behavior has changed, and I've noticed it.
I've got eyes and I can see.
I am aware of what you're doing, and I won't be fooled.
You've been stepping out on me. What a suprise; I'm wise.
You've been cheating on me, but I'm not surprised, and I'm aware of your actions.
No you can't alibi, try as you may.
You cannot give excuses or explanations for your actions, no matter how hard you try.
That look in your eyes gives you away.
Your facial expression reveals that you're lying or hiding something.
Oh, you got yourself in a jam.
You have put yourself in a difficult or troublesome situation.
You're going to lose your honey lamb
You will lose your lover or partner due to your actions.
'Cause you can't pull the wool over my eyes.
Because I won't be fooled by your lies or actions.
Lyrics © MUSIC SALES CORPORATION, Warner Chappell Music, Inc.
Written by: Charles Newman, Milton Ager, Murray Mencher
Lyrics Licensed & Provided by LyricFind
@Trombonology
This one includes one of my favorite Helen Ward vocals. Her swinging phrasing was a perfect fit for this hot band. We can appreciate two things simultaneously though: Helen's vocal and Jess Stacy's immaculate accompaniment. The leader and Krupa, too, appear to good advantage on this compact gem.
@Christian_Crusader
I have this record at my house and had listened to it in the past. Then I forgot about it, then started humming this song in my head.
@TheEpiccow400
beutiful record, i would love to have it in person
@francisfiglear4256
That solid sound of the Benny Goodman band and the swinging voice of Helen Ward is a classic.
@Jesus_is_savior
An absolute bop.
@22LAF
My favorite era of Benny's great music.
@scotnick59
His best era.
@albertpatterson3675
It seems Benny and Helen had two songs simultaneously in the top ten in 1936: this one and "All My Life".
@arcsta_rr4800
This thing is that swing!
@androc75
A song that declares the triumph of a woman who's aware that her guy is the lying, conniving sort.