Calloway was a master of energetic scat singing and led one of the United States' most popular big bands, Cab Calloway and his Orchestra, from the start of the 1930s through to the late 1940s. Calloway's band featured performers including trumpeters Dizzy Gillespie and Doc Cheatham, saxophonists Ben Webster and Chu Berry, New Orleans guitar ace Danny Barker and bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86.
Calloway was born to a middle-class family in Rochester, New York, and lived there until 1918. He later lived in Baltimore, Maryland. His father, Cabell Calloway II, was a lawyer, and his mother, Martha Eulalia Reed, was a teacher and church organist. His parents recognised their son's musical talent, and he began private voice lessons in 1922. He continued to study music and voice throughout his formal schooling. Despite his parents' and vocal teachers' disapproval of jazz, Calloway began frequenting and eventually performing in many of Baltimore's jazz clubs, where he was mentored by drummer Chick Webb and pianist Johnny Jones.
After graduating from high school, Calloway joined his older sister, Blanche, in a touring production of the popular black musical revue Plantation Days (Blanche Calloway herself went on to become an accomplished bandleader before her brother did, and he often credited his inspiration to enter show business to her). Calloway attended Lincoln University, Pennsylvania , and left in 1930 without graduating.
When the tour ended in Chicago in the autumn, Cab decided to remain in Chicago with his sister, who had an established career as a jazz singer in that city. His parents had hopes of their son becoming a lawyer like his father, so Calloway enrolled in Crane College. His main interest, however, was in singing and entertaining, and he spent most of his nights at the Dreamland Cafe, the Sunset Cafe, and the Club Berlin, performing as a drummer, singer, and emcee. At the Sunset Cafe he met and performed with Louis Armstrong who taught him to sing in the scat style.
The Cotton Club was the premier jazz venue in the country, and Cab Calloway and his Orchestra (he had taken over a brilliant but failing band called "The Missourians" in 1930) were hired as a replacement for the Duke Ellington Orchestra while they were touring. Calloway quickly proved so popular that his band became the co-house band with Ellington's, and he and his group began touring nationwide when not playing at the Cotton Club. Their popularity was greatly enhanced by the twice-weekly live national radio broadcasts on NBC at the Cotton Club. Calloway also appeared on Walter Winchell's radio program and with Bing Crosby in his show at the Paramount Theatre. As a result of these appearances, Calloway, together with Ellington, broke the major broadcast network colour barrier.
Unlike many other bands of comparable commercial success, Calloway's gave ample soloing space to its lead members, and, through the varied arrangements of Walter 'Foots' Thomas, provided much more in the way of musical interest.
In 1931, he recorded his most famous song, "Minnie the Moocher". That song, together with "St James Infirmary Blues" and "The Old Man of the Mountain", were performed for the Betty Boop animated shorts Minnie the Moocher, Snow White, and The Old Man of the Mountain respectively. Through rotoscoping, Cab not only gave his voice to these cartoons but his dance steps as well. Cab took advantage of this and timed his concerts in some communities with the release of the films in order to make the most of the attention. As a result of the success of "Minnie the Moocher" he became identified with its chorus, gaining the nickname "The Hi De Ho Man". He also performed in a series of short films for Paramount in the 1930s (Calloway and Ellington were featured on film more than any other Jazz Orchestra of the era). In 1943 he appeared in the high-profile 20th Century Fox musical film, Stormy Weather.
In his later career, Calloway became a popular personality, appearing in a number of films and stage productions that utilised both his acting and singing talents. In 1952, he played the prominent role of Sportin' Life in a production of the Gershwin opera Porgy and Bess. Another notable role was Yeller in The Cincinnati Kid (1965). In 1967 Calloway co-starred as Horace Vandergelder in an all-black revival of Hello, Dolly! (even though the original production was still running) starring Pearl Bailey. This was a major success, and led to a cast recording released by RCA. In 1973-1974 he was featured in an unsuccessful Broadway revival of The Pajama Game.
Calloway attracted renewed interest in 1980 when he appeared as a supporting character in the film The Blues Brothers, performing "Minnie the Moocher", and again when he sang "The Jumpin' Jive" with the Two-Headed Monster on Sesame Street. This was also the year in which the cult film Forbidden Zone was released, which included rearrangements and parodies of Cab Calloway songs written by Danny Elfman, a Calloway fan.
On 18th November 1994 Calloway died, having suffered a major stroke six months earlier. In 1998, The Cab Calloway Orchestra (directed by Cab's grandson C. "CB" Calloway Brooks) was formed to honour Cab Calloway's legacy nationally and internationally.
I Don't Stand A Ghost Of A Chance
Cab Calloway Lyrics
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But I don't stand a ghost of a chance with you!
I thought at last I'd found you, but other lovers surround you
And "I don't stand a ghost of a chance with you!"
If you'd surrender just for a tender kiss or two
You might discover, that I'm the lover meant for you
And I'd be true, but what's the good of scheming
I know I must be dreaming
The lyrics to Cab Calloway's "Ghost of a Chance" express the singer's deep love for someone, but also their understanding that their love is unrequited. The singer states their love and desire for the other person, but acknowledges the presence of other potential suitors, indicating that they may not have a chance. The lyrics also suggest a longing for intimacy, as the singer suggests that if the person were to give in to a "tender kiss or two," they may realize that the singer is the right match for them.
Despite their feelings, the singer acknowledges the reality of the situation and seems to resign themselves to the fact that their love may never be returned. The final line, "I know I must be dreaming," suggests a sense of hopelessness and despair, as the singer acknowledges that their desires may never come to fruition.
Overall, the lyrics to "Ghost of a Chance" express a complex mix of deep love, frustration, and resignation. The singer expresses their longing for love and intimacy, but also their understanding that it may never happen. It is a bittersweet and poignant tribute to the pain of unreciprocated love.
Line by Line Meaning
I need your love so badly, I love you, oh, so madly
I have a strong desire for your love and care deeply about you
But I don't stand a ghost of a chance with you!
However, I have no chance of being with you because you are involved with someone else
I thought at last I'd found you, but other lovers surround you
I had believed that I had found you, but it appears that there are other individuals in your life
And "I don't stand a ghost of a chance with you!"
Therefore, I will not be able to form a relationship with you
If you'd surrender just for a tender kiss or two
However, if you were willing to briefly give up your current relationship to be with me for a moment
You might discover, that I'm the lover meant for you
You would realize that I am the one meant to be with you
And I'd be true, but what's the good of scheming
I would be loyal to you, but it is pointless to plot or plan anything
I know I must be dreaming
Consequently, it seems that I am simply hallucinating the possibility of a future with you
Lyrics © Sony/ATV Music Publishing LLC, O/B/O CAPASSO, RESERVOIR MEDIA MANAGEMENT INC
Written by: Bing Crosby, Ned Washington, Victor Popular Young
Lyrics Licensed & Provided by LyricFind
MrJimmienoone
Calloway played a little saxophone himself. Chu Berry heard him and was not impressed. When he tried to hire Berry for his big band, Chu said: "Okay, I'll join your band. But only under the condition that you never ever play that sax in my presence again."
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