May was born in Pittsburgh, Pennsylvania. He played trumpet professionally in big bands such as those of Charlie Barnet starting in 1939, but became best known as a talented arranger. His arrangement of the Ray Noble composition "Cherokee" became a major hit of the swing music era. During the Barnet days, May revealed a significant flair for satire on a composition titled "The Wrong Idea", composed with Charlie Barnet, that ridiculed the bland "Mickey Mouse" style of safe big band music with specific musical mockery of bandleader Sammy Kaye, known for his "swing and sway" trademark. May's caustic lyrics to the song called it "swing and sweat with Charlie Barnet".
May worked as an arranger for the bands of Glenn Miller and Les Brown before being hired as staff arranger first for the NBC radio network, then for Capitol Records.
At Capitol, May wrote arrangements for many top artists. These included Frank Sinatra on the albums Come Fly With Me, Come Dance with Me! and Come Swing With Me; Nat King Cole on the albums Just One Of Those Things and Let's Face the Music!, as well as numerous singles (all his work with Cole being packaged later on the 2CD set The Billy May Sessions); Stan Freberg, with whom he was a longtime collaborator, featuring on many of the artist's comedy recordings; Peggy Lee on the album Pretty Eyes; Sue Raney on her second album Songs for a Raney Day; Vic Damone on the albums The Lively Ones and Strange Enchantment; Jeri Southern on the album Jeri Southern Meets Cole Porter; Keely Smith on the album Politely and on a duet single, "Nothing In Common"/"How Are Ya Fixed For Love?", with Sinatra; Bobby Darin on the album Oh! Look At Me Now; Nancy Wilson on the albums Like In Love, Something Wonderful, Tender Loving Care, Nancy - Naturally! and various tracks from the albums Just For Now and Lush Life; Matt Monro on several tracks from the albums Invitation to the Movies, Invitation to Broadway, and These Years; Bing Crosby and Rosemary Clooney on the album That Travelin' Two-Beat; and Sir George Shearing on the albums Satin Affair and Burnished Brass, co-arranged with Shearing (May also conducted Shearing's album Concerto For My Love, on which Shearing had sole credit for the arrangements).
Additionally, May's orchestra was featured on many Capitol Records children's projects. He also worked closely with early 1950s satirist Stan Freberg, using his arranging skills to help Freberg create his spoofs of current hits by creating musical backing often stunningly close to the original hit single. On Freberg's Wunnerful! Wunnerful! a lacerating spoof of bandleader Lawrence Welk, May hired some of the best jazz musicians in Hollywood for his recording sessions, and they relished the idea of mocking the musically awful (if financially successful) Welk sound. The result was a note-perfect recreation of Welk's sound as Freberg and a group of vocalists created parodies of Welk's musical family. Freberg has recounted that Welk was less than amused by the results, which he could not have achieved without May.
May also composed and conducted the music for Freberg's short-lived comedy radio series on CBS, which ran for fifteen episodes in 1957.
In 1959, May won the Grammy Award for Best Performance by an Orchestra.
So Nice
Bill May Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You'd be so nice by the fire
While the breeze on high, sang a lullaby
You'd be all my heart could desire
Under stars chilled by the winter
Under an August moon shining above
You'd be so nice, you'd be paradise
Under stars chilled by the winter
Under an August moon burning above
You'd be so nice, you'd be paradise
To come home to and love
The song "You'd Be So Nice to Come Home To" was written by Cole Porter in 1942 for the musical comedy "Something to Shout About." Bill May's version of the song, released in 1957, is a classic example of the golden era of jazz music. The song is a tribute to a romantic relationship that's full of passion and excitement. The lyrics portray how wonderful it would be to come home to someone who loves and cares for you, and how their presence would make every moment a joyous one.
In the first verse, the lyrics suggest that coming home to someone would be the ultimate comfort. Their presence would make a homecoming so much more special, and their company would make sitting by the fire a much more desirable activity. The second verse highlights the desire for the person in question, regardless of the time of year. Whether it's under the starry winter sky or a hot August moon, their love would be paradise - something to come home to and cherish.
Overall, "You'd Be So Nice to Come Home To" is a classic love song that celebrates the joys of companionship and love. It's a testament to how much a person can mean to someone, and how important they are to the happiness of another.
Line by Line Meaning
You'd be so nice to come home to
Your presence and comfiness would make my homecoming better
You'd be so nice by the fire
Being with you by the fire would be extremely pleasant
While the breeze on high, sang a lullaby
The wind's soft humming would complement our peaceful time together
You'd be all my heart could desire
You alone would fulfill all of my heart's wishes and needs
Under stars chilled by the winter
On a cold, dark night, amidst the starry sky
Under an August moon shining above
On a warm summer evening, under a full moon
You'd be so nice, you'd be paradise
Being with you would be absolute bliss and paradise
To come home to and love
Being able to come home to you and love you would be everything
Lyrics © Warner/Chappell Music, Inc.
Written by: COLE PORTER
Lyrics Licensed & Provided by LyricFind
@TanWam
If anything needs a sequel it’s this, one of the best action comedies I’ve ever seen
@danhay8933
Both Gosling and Crowe want to do another.
Sadly it was a box office flop.
Studios take little to no risk these days
so I dont see a sequel anytime soon
@TanWam
@@danhay8933 it deserved to make 10x it’s budget, so messed up.
@danhay8933
@@TanWam considering it cost 50mil ,and only grossed 63mil at the box office, was a travesty
@domenicgalata1470
That would be awesome. Like a few years later in the beginning of the 80’s could be hilarious.
@streetrat48
Nah, Shane Black has a habit of catching lightning in a bottle and then blowing absolute shit in his next movie. The Nice Guys is one of his "lucky" movies. A follow up would be nothing short of disappointing. The whole reason that movie is good is because the slow-burn frenemies turned buddies.
@kevinmac4real
The Nice Guys is one of those movies that gets better with every watch. So underrated.
@Dude_man96
This move was so funny and so well written. Love the chemistry between the two leads 👌
@DPMusicStudio
Shane Black. That's the reason the movie is amazing. He's made (mostly) top tier movies. They did rope him into making a Marvel film, and that sucks - but sucks less than other Marvel films.
If you liked this.... PLEASE check out Kiss Kiss Bang Bang. Very similar vibe to this film. Sleazy, funny, unconventional.
@stephengrigg5988
@@DPMusicStudioI thought iron man 3 was solid. Has the trademark Shane Black fight scenes that are actually engaging to watch and have intelligence. I honestly don't know what the hell happened with the predator movie he made. That seemed like it should have been a slam dunk for him and I don't think the studio interference fully excuses how terrible it was.