Thomas Wright Waller was the youngest of four children, born in New York to Adeline Locket Waller and Reverend Edward Martin Waller. He started playing the piano when he was six and graduated to the organ of his father's church four years later. At the age of fourteen he was playing the organ at Harlem's Lincoln Theater and within twelve months he had composed his first rag. Waller's first piano solos ("Muscle Shoals Blues" and "Birmingham Blues") were recorded in October 1922 when he was 18 years old.
He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson. Fats Waller was the son of a preacher and learned to play the organ in church with his mother. Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters. In 1918 he won a talent contest playing Johnson's "Carolina Shout", a song he learned from watching a player piano play it.
Waller was one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. He was also a prolific songwriter and many songs he wrote or co-wrote are still popular, such as "Honeysuckle Rose", "Ain't Misbehavin'" and "Squeeze Me". Fellow pianist and composer Oscar Levant dubbed Waller "the black Horowitz". Waller composed many novelty tunes in the 1920s and 1930s and sold them for relatively small sums. When the compositions became hits, other songwriters claimed them as their own. Many standards are alternatively and sometimes controversially attributed to Waller. Waller's son Maurice wrote in his 1977 biography of his father, that once he was playing "I Can't Give You Anything but Love, Baby" when he heard his father complaining from upstairs and came down and admonished him never to play that song in his hearing, saying that he had to sell that song when he needed some money. He even made a recording of it in 1938 with Adelaide Hall who, coincidentally, had introduced the song to the world (at Les Ambassadeurs Club in New York in 1928), in which he played the tune but made fun of the lyrics. Likewise, Maurice noted his father's objections whenever he heard "On the Sunny Side of the Street" played on the radio.
The anonymous sleeve notes on the 1960 RCA (UK) album Handful of Keys state that Waller copyrighted over 400 new songs, many of which co-written with his closest collaborator Andy Razaf. Razaf described his partner as "the soul of melody... a man who made the piano sing... both big in body and in mind... known for his generosity... a bubbling bundle of joy".[citation needed] Gene Sedric, a clarinetist who played with Waller on some of his 1930s recordings, is quoted in these same sleeve notes recalling Waller's recording technique with considerable admiration: "Fats was the most relaxed man I ever saw in a studio, and so he made everybody else relaxed. After a balance had been taken, we'd just need one take to make a side, unless it was a kind of difficult number."
Waller played with many performers, from Nat Shilkret (on Victor 21298-A) and Gene Austin to Erskine Tate to Adelaide Hall, but his greatest success came with his own five- or six-piece combo, "Fats Waller and his Rhythm".
His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone. Waller was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the "surprise guest" at Capone's birthday party, and took comfort that the gangsters did not intend to kill him. According to rumor, Waller played for three days. When he left the Hawthorne Inn, he was very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.
In 1926, Waller began his recording association with Victor Records, his principal record company for the rest of his life, with the organ solos "St. Louis Blues" and his own composition, "Lenox Avenue Blues". Although he recorded with various groups, including Morris's Hot Babes (1927), Fats Waller's Buddies (1929) (one of the earliest interracial groups to record), and McKinney's Cotton Pickers (1929), his most important contribution to the Harlem stride piano tradition was a series of solo recordings of his own compositions: "Handful of Keys", "Smashing Thirds", "Numb Fumblin'", and "Valentine Stomp" (1929). After sessions with Ted Lewis (1931), Jack Teagarden (1931), and Billy Banks's Rhythmakers (1932), he began in May 1934 the voluminous series of recordings with a small band known as Fats Waller and his Rhythm. This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John "Bugs" Hamilton), Gene Sedric or Rudy Powell, and Al Casey.
Waller wrote "Squeeze Me" (1919), "Keepin' Out of Mischief Now", "Ain't Misbehavin'" (1929), "Blue Turning Grey Over You", "I've Got a Feeling I'm Falling" (1929), "Honeysuckle Rose" (1929), and "Jitterbug Waltz" (1942). He collaborated with the Tin Pan Alley lyricist Andy Razaf. He composed stride piano display pieces such as "Handful of Keys", "Valentine Stomp" and "Viper's Drag".[citation needed]
He enjoyed success touring the United Kingdom and Ireland in the 1930s. He appeared in one of the first BBC broadcasts. While in Britain, Waller also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John's Wood. He appeared in several feature films and short subject films, most notably "Stormy Weather" in 1943, which was released July 21, just months before his death. For the hit Broadway show, "Hot Chocolates", he and Razaf wrote "(What Did I Do to Be So) Black and Blue" (1929), which became a hit for Ethel Waters and Louis Armstrong.
Waller performed Bach organ pieces for small groups on occasion. Waller influenced many pre-bop jazz pianists; Count Basie and Erroll Garner have both reanimated his hit songs (notably, "Ain't Misbehavin'"). In addition to his playing, Waller was known for his many quips during his performances.
Between 1926 and the end of 1927, Waller recorded a series of pipe organ solo records. These represent the first time syncopated jazz compositions were performed on a full sized church organ.
Waller contracted pneumonia and died on a cross country train trip near Kansas City, Missouri on December 15, 1943, after making a final recording session with an interracial group in Detroit that included white trumpeter Don Hirleman. He was on his way back to Hollywood for more film work, after the smash success of "Stormy Weather". Coincidentally, as the train with the body of Waller stopped in Kansas City, so stopped a train with his dear friend Louis Armstrong on board.
Revival and awards
2008 Gennett Records Walk of Fame
2005 Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of Fame
1993 Grammy Lifetime Achievement Award
1989 Big Band and Jazz Hall of Fame
1970 Songwriters Hall of Fame
Recordings of Fats Waller were inducted into the Grammy Hall of Fame which is a special Grammy award established in 1973 to honour recordings that are at least 25 years old and that have "qualitative or historical significance".
Fats Waller: Grammy Hall of Fame Awards
1934 "Honeysuckle Rose" Jazz (Single) Victor in 1998
1929 "Ain't Misbehavin'" Jazz (Single) Victor in 1984 Listed in the National Recording Registry
by the Library of Congress in 2004.
Subject of the Irish poet Michael Longley's "Elegy for Fats Waller".
Waller's organ music is prominently featured in the David Lynch film Eraserhead.
He was caricatured in several Warner Brothers animated shorts, most notably Tin Pan Alley Cats.
In the 2008 film, Be Kind Rewind Fats Waller was a major theme and influence for the storyline.
Italian comics book artist Igort published a comic book about Waller entitled Fats Waller on Coconino Press in 2009.
Some of Waller's music ("Jitterbug Waltz") is used in the video game series BioShock.
Waller's version of "Louisiana Fairytale" was used for many years as the theme song to This Old House.
A Broadway musical revue showcasing Waller tunes entitled Ain't Misbehavin' was produced in 1978. (The show and a star of the show, Nell Carter, won Tony Awards.) The show opened at the Longacre Theatre and ran for over 1600 performances. It was revived on Broadway in 1988. Performed by five African American actors, it included such songs as "Honeysuckle Rose", "This Joint Is Jumpin'", and "Ain't Misbehavin'".
After You've Gone #2
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
How could you tell me that you're goin' away?
Don't say that we must part,
Don't break your baby's heart
You know I've loved you for these many years,
Loved you night and day,
Oh! honey baby, can't you see my tears?
After you've gone and left me cryin'
After you've gone there's no denyin'
You'll feel blue, you'll feel sad
You'll miss the dearest pal you've ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
Someday, when you grow lonely
Your heart will break like mine and you'll want me only
After you've gone, after you've gone away
After you've gone and left me cryin'
After you've gone there's no denyin'
You're gonna feel blue, and you're gonna feel sad
You're gonna feel bad
And you'll miss, and you'll miss,
And you'll miss the bestest pal you ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
But baby, think what you're doin'
I'm gonna haunt you so, I'm gonna taunt you so
It's gonna drive you to ruin
After you've gone, after you've gone away.
The lyrics to Fats Waller's "After You’ve Gone" is dripping with heartbreak and longing. The song centers around the singer pleading with their lover not to leave them, warning that they will regret their decision and feel their absence deeply. The singer emphasizes the depth of their love and devotion, and the pain that they will feel once their lover is gone. The lyrics express the singer's heartbreak as they anticipate the inevitable feeling of loneliness and the regret that their lover will feel once they have left.
The song's lyrics is a reminder of the fragility of love and the consequences of taking one's partner for granted. The singer's plea is an expression of the pain of loss, and the deep sorrow that comes with a broken heart. The song's message resonates with listeners who have experienced the heartbreak of lost love and the pain of regretting their actions.
Line by Line Meaning
Now won't you listen honey, while I say,
Please pay attention to me, dear, while I speak to you.
How could you tell me that you're goin' away?
Why did you inform me that you're leaving?
Don't say that we must part,
Please don't say that we have to separate.
Don't break your baby's heart
Please don't hurt my feelings.
You know I've loved you for these many years,
I have loved you for a long time.
Loved you night and day,
I have loved you every moment of every day.
Oh! honey baby, can't you see my tears?
Darling, do you not notice my tears?
Listen while I say
Please hear me out.
After you've gone and left me cryin',
Once you've left and I'm left crying,
After you've gone there's no denyin',
There's no denying that,
You'll feel blue, you'll feel sad
You'll feel unhappy and melancholic.
You'll miss the dearest pal you've ever had
You'll long for the company of your closest friend.
There'll come a time, now don't forget it
A time will come, remember this.
There'll come a time when you'll regret it
You'll eventually regret your decision.
Someday, when you grow lonely
One day, when you feel isolated and alone,
Your heart will break like mine and you'll want me only
You'll experience the same heartbreak as I, and you'll only want me back.
After you've gone, after you've gone away
Once you've left, once you've gone far away.
You're gonna feel blue, and you're gonna feel sad
You'll experience feelings of unhappiness and melancholy.
You're gonna feel bad
You'll feel remorseful.
And you'll miss, and you'll miss,
You'll long for,
And you'll miss the bestest pal you ever had
You'll grieve for the closest friend you've ever had.
But baby, think what you're doin'
But dear, consider what you're doing.
I'm gonna haunt you so, I'm gonna taunt you so
I'll bother you and tease you continuously.
It's gonna drive you to ruin
It will lead to your downfall.
Lyrics © Warner/Chappell Music, Inc.
Written by: DOROTHY HEYWARD, DU BOSE HEYWARD, GEORGE GERSHWIN, IRA GERSHWIN
Lyrics Licensed & Provided by LyricFind
@BeeHind
Now won't you listen honey while I say
How could you tell me that you're goin' away?
Don't say that we must part
Don't break your baby's heart
You know I've loved you for these many years
Loved you night and day
Oh, honey baby, can't you see my tears?
Listen while I say
After you've gone and left me cryin'
After you've gone there's no denyin'
You'll feel blue, you'll feel sad
You'll miss the dearest pal you've ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
Someday, when you grow lonely
Your heart will break like mine
And you'll want me only
After you've gone
After you've gone away
After you've gone and left me cryin'
After you've gone there's no denyin'
You're gonna feel blue
And you're gonna feel sad
You're gonna feel bad
And you'll miss and you'll miss
And you'll miss the bestest pal you ever had
There'll come a time, now don't forget it
There'll come a time when you'll regret it
But baby, think what you're doin'
I'm gonna haunt you so
I'm gonna taunt you so
It's gonna drive you to ruin
After you've gone
After you've gone away
@rnhealer6044
Sophie Tucker was a charismatic entertainer.She knew how to get audiences eating out of her hand as they say. And everywhere she went the crowds loved her. There is no one left alive today who can do that.
@bjbinmke
Bette Midler
@rnhealer6044
@bjbinmke I'm not all that familiar with Bette Midler's style, Is her style that similar? She is a wonderful singer and has personality plus. Can you recommend a video that would show the audience "eating out of her hand". Thanks a lot.
@docryan4695
Nothing like this anywhere nowadays. All computers now. God bless that golden age music! Fellowship
@dianekimball6812
I wish that there were entertainers like this around today.
@jillfoley6389
What a voice. And such a beauty. Now 2020 and no one to touch her. My late mother in law adored her.
@ConVivo
About sixty years ago I had a 78rpm record of her singing this, which had been recorded at a party. In the background you could hear party guests and clinking glasses. There was an absolutely wonderful piano break in the middle. Unfortunately it was broken and I can't find this version anywhere.
@imannonymous7707
what a great guitar solo , and considering the time period, its amazing . you dont hear many guitar solos at all until the late 30s , Django and Charlie Christian changed all that
@Oldpigsass
There's a 1950s videotape of Miss Tucker singing this song, I am pretty sure at the London Palladium, hidden away somewhere. I've seen it. Pure gold.
@Paula_thebestofthestory
This is a must see as you describe it here Oldpigsass!!Luv our Sophie Tucker …..Remembering her now...again...