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'".
Fat and Greasy
Fats Waller Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The biggest who...
He is too darn lazy to reach down and tie his shoe
He weighs a third of a ton, this big fat son of a gun
Talk about your Laissez faire, he's too inert to even care
Watch Him while he's Sitting There
Chunks Of Fat Hanging Over His Chair
Fat And Greasy as a Bear
Man that fool is fat and greasy
Hot or cool he's fat And greasy
Here to here he's fat and greasy
Oh a big fat greasy fool
(They Say That) Sweet perfumes are made from fat
But not the kind that comes from this greasy cat
There's fragrance In his clothes
Seems like nothing you ever smelled in a rose
This cat is fat and greasy, very greasy and fatty watty
Greasy weesy weesy weesy, Hitty hilly. fat and greasy yeah!
Man that fool is fat and greasy
Hot or cool he's fat And greasy
Here to here he's fat and greasy
Oh A big fat greasy fool
He's got big fat Liver lips
Shakes like Jelly 'round his hips
He's a waddlin' wiggling shame
And his big fat whats it's name
Ha Ha ! Look at that guy up there in the spotlight
Look who's calling names
When she got through dancing with this fool
Man she didn't smell the same
When he squeezes through the door
Wood Stocks creak in the floor
But he calls a gentle snore sounds more like a Lion's roar
Cause the fat is there and it is greasy
Greasy? did you say greasy?
Hoho my good ness... Big fat greasy fool yeah...
The song "Fat and Greasy" by Fats Waller is a humorous take on obesity and laziness. The song describes a man who is so overweight that he's lazy to tie his own shoelaces. He's described as a big fat son of a gun, with chunks of fat hanging over his chair and oil oozing from his hair. The lyrics suggest that he's too lazy to care about his hygiene, with a pungent odor emanating from his clothes. The song goes on to describe his physical appearance, with liver lips, shaking hips, and a big fat "what's it's name."
The song satirizes the idea that sweet perfumes are made from fat, but not the kind that comes from this "greasy cat." Despite his poor hygiene and laziness, the singer seems to be having fun singing about him. The lyrics are humorous and light-hearted, making the listener chuckle.
Overall, "Fat and Greasy" is a lighthearted take on the theme of obesity and its consequences. It's a witty commentary on the idea that sometimes, we can't help but find humor in things that might otherwise be serious.
Line by Line Meaning
There is a fellow who I'm telling you
I am talking about a particular individual
The biggest who...
He is very large
He is too darn lazy to reach down and tie his shoe
He is incredibly lazy
He weighs a third of a ton, this big fat son of a gun
He weighs an enormous amount
Talk about your Laissez faire, he's too inert to even care
He is so lazy that he does not even care about being lazy
Watch Him while he's Sitting There
Observe him while he is seated
Chunks Of Fat Hanging Over His Chair
He has a large amount of fat hanging from his body and over his chair
Oil Just Oozing From his Hair
There is oil coming out of his hair
Fat And Greasy as a Bear
He is as fat and greasy as a bear
Man that fool is fat and greasy
He is very fat and greasy
Hot or cool he's fat And greasy
He is always fat and greasy
Here to here he's fat and greasy
Everywhere on his body he is fat and greasy
Oh a big fat greasy fool
He is a foolish person who is very big, fat, and greasy
(They Say That) Sweet perfumes are made from fat
There is a saying that sweet perfumes are made from fat
But not the kind that comes from this greasy cat
The fat that this individual has is not the kind that is used in perfume
There's fragrance In his clothes
There is a smell coming from his clothes
Seems like nothing you ever smelled in a rose
The smell coming from his clothes is not pleasant like the scent of a rose
This cat is fat and greasy, very greasy and fatty watty
This person is incredibly fat and greasy
Greasy weesy weesy weesy, Hitty hilly.
He is very greasy
fat and greasy yeah!
He is very fat and greasy
He's got big fat Liver lips
He has large, fat lips
Shakes like Jelly 'round his hips
His hips move like jelly
He's a waddlin' wiggling shame
He moves in a way that is shameful
And his big fat whats it's name
He has a large and unnamed body part
Ha Ha ! Look at that guy up there in the spotlight
People are laughing at him while he is in the spotlight
Look who's calling names
The person previously laughing is now being mocked
When she got through dancing with this fool
A woman danced with him for a while
Man she didn't smell the same
After dancing with him, the woman had an unpleasant smell
When he squeezes through the door
He is so large that he has trouble fitting through doors
Wood Stocks creak in the floor
The wooden floor makes a noise under his weight
But he calls a gentle snore sounds more like a Lion's roar
He snores loudly despite being called a gentle snore
Cause the fat is there and it is greasy
The reason for his snoring is that he is fat and greasy
Greasy? did you say greasy?
He is very greasy
Hoho my good ness... Big fat greasy fool yeah...
He is a very foolish person who is also very big, fat, and greasy
Contributed by Camden V. Suggest a correction in the comments below.
Meredith Foster
I simply love Wallers slick and humorous delivery all conveyed to great foot tapping swing.
Bruce G
his singing is perfect - timing, in tune, everything
elvis presley
Nice stuff. How can this stuff sound so good considering it was recorded in the '30's?
Firstname Lastname
Many people who listen to my 78s are amazed at the fidelity you can achieve.
I recommend checking out Youtube user "Prozoot", and listen to some of the cuts on his channel. It will change your mind about what a 78 can sound like.
elvis presley
Firstname Lastname thanks
scienz
Popular artists like Fats have the benefit of having their recordings cared for & preserved or remastered.
John
The best recordings in the 1930s were vertical-cut transcriptions for radio stations and this is one of those. The technology to capture the sound was there. Ordinary 78s people had at home, called lateral cuts, were inferior even when new and unplayed.
Duke De Fesi
A silly and funny song and the action supports it beautifully. Just alot of fun!
DrCrabfingers
Hahahaha! Yes Sir!!! I love this...
Waterlove
Too cool dude