Gibbs was the youngest of four children of Russian Jewish immigrant parents.Her father died when she was six months old, and she spent her first seven years in an orphanage in Worcester, separated from her other siblings.
She revealed a natural talent for singing at a very young age, and was given the lead in the orphanage's yearly variety show. She was reunited with her mother (who had visited her once every other month) when the latter found employment as a midwife. However, her job often forced her to leave her daughter alone for weeks at a time with only a Philco radio for company.
Gibbs began her professional career at the age of thirteen, and was singing in Boston's Raymor Ballroom the following year. She cut her first record with the Hudson-DeLange Orchestra in 1936 (aged 16 or 17). "You don't really know loneliness unless you do a year or two with a one-night band, Gibbs said of her life on the big band circuit. sing until about 2 a.m. Get in a bus and drive 400 miles. Stop in the night for the greasy hamburger. Arrive in a town. Try to sleep. Get up and eat." (Worcester Telegram & Gazette, May 12, 1994.)
She soon found steady work on popular radio shows including Your Hit Parade, Melody Puzzles and The Tim And Irene Show. Gibbs freelanced in the late 1930s and 1940s singing with the bands of Frankie Trumbauer, Hal Kemp, Tommy Dorsey and Artie Shaw. It was with Shaw's band (then billed as Fredda Gibson) that she scored her first hit, Absent Minded Moon (1942).
In 1943, she changed her name to Georgia Gibbs and began appearing on the popular Camel Caravan radio program, hosted by Jimmy Durante and Garry Moore (it was Moore who bestowed the famous nickname "Her Nibs, Miss Georgia Gibbs" upon her). The nickname is a playful reference to her diminutive stature of barely over 5 feet. She was a regular performer on this show until 1947.
Gibbs signed with Majestic Records in 1946, and while she recorded many great records she would have to wait until 1950 for her first hit single, If I Knew You Were Coming, I'd Have Baked A Cake (on the Coral label). During this period she also was the featured singer on tours with comedians Danny Kaye and Sid Caesar. Miss Gibbs had a natural talent for comedy as well, and worked well in support of the immensely popular Kaye. But success as a singer continued to elude her. As noted in a 1952 Time article:
"Georgia," they kept telling her, "you gotta get a sound." Musical soothsayers were trying to get Songstress Georgia Gibbs into line with the latest fashion. Perhaps, they thought, she should sing mechanized duets with herself (like Patti Page), or she might try an echo chamber background (like Peggy Lee). But gimmicks were not Georgia Gibbs's cup of tea. She had a big, old-fashioned voice, a good ear, a vivacious personality, and she knew how to sing from the shoulder. She would stick with plain Georgia Gibbs.
And she eventually had success "sticking with plain Georgia Gibbs". Possessed of a versatile voice, she cut a long list of great records in every category from torch songs to rock-and-roll, to jazz, swing, old fashioned ballads and cha-chas. Her most successful record was Kiss Of Fire which reached the #1 position on the pop music charts in 1952. Kiss of Fire was adapted from the Argentinian tango El Choclo and the lyrics, arrangement and delivery communicate passion on a Wagnerian scale. It immediately became one of the defining songs of the era.
Sultry and throbbing, with a touch of vibrato, Georgia Gibbs' voice is best showcased on romantic ballads and torch songs like Melancholy Baby, I'll Be Seeing You, Autumn Leaves and You Keep Coming Back Like A Song. Yet she could be equally thrilling belting out a red hot jazz numbers like Red Hot Mama and A-Razz-A-Ma-Tazz, or jiving with tunes like Ol Man Mose and Shoo Shoo Baby. Her Swingin' With Her Nibbs album (1956) demonstrated her natural affinity for improvisation as well.
Gibbs continued to be a frequent visitor to the charts throughout the first half of the decade (with over 40 charted songs), and was briefly successful doing rock 'n' roll songs as well. She appeared on many television shows throughout the decade, including the legendary Ed Sullivan show, and hosted one of her own, Georgia Gibbs And Her Million Record Show. She cut her final album, Call Me (1966) and rarely performed after that.
She spent many years being best known for her cover versions of Etta James' The Wallflower (recorded by Gibbs with modified lyrics under the title Dance With Me Henry) and of LaVern Baker's Tweedle Dee (which created some ado due to Ms. Baker's vociferous complaints) and for her novelty number The Hula Hoop Song, which was her last hit, in 1958.
Georgia Gibbs died of leukemia on December 9, 2006, aged 87, at New York's Memorial Sloan-Kettering Cancer Center.
Lonesome Road
Georgia Gibbs Lyrics
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Before you travel on.
Look down, look down that lonesome road
Before you travel on.
Look up, look up and greet your maker,
For Gabriel blows his horn.
Travelin' down that lonesome road,
Look down, look down that lonesome road
Before you travel on.
Weary totin', it's such a load,
Whike I'm travelin' down, travelin' down that lonesome old road,
Look down, look down that lonesome road
Before you travel on.
The lyrics to Georgia Gibbs's song Lonesome Road convey an ominous warning to the listener to take a moment and reflect on their journey before continuing down the path. The repetition of the refrain emphasizes the importance of looking down the road or ahead to one's destination. The song advises the listener to also look up and greet their maker, as Gabriel's horn blowing is a signal of the end of the journey, whether it be the end of life or the completion of a journey.
The lyrics of the verses reinforce the idea of weariness and the burden of carrying a load or traveling alone down a lonesome road. The lyrics suggest that taking a moment to reflect on the journey can give the traveler the strength to continue on.
Overall, the song's lyrics provide a contemplative message that connects with the human experience of navigating difficult paths in life. The song encourages listeners to take a moment to reflect on the journey and prepare for what lies ahead, whether it be the end of the journey or just another bend in the path.
Line by Line Meaning
Look down, look down that lonesome road
Before you travel on.
Take a close look, look down at that lonely path before you decide to take it.
Look up, look up and greet your maker,
For Gabriel blows his horn.
Take a moment to appreciate and acknowledge the divine presence in your life, as the angel Gabriel sounds his trumpet.
Weary, totin' such a load,
Travelin' down that lonesome road,
Look down, look down that lonesome road
Before you travel on.
Feeling exhausted from carrying the burden and struggling while moving forward, it is important to examine closely at the difficult path on which you continue to walk, before proceeding.
Lyrics © NATHANIEL SHILKRET MUSIC CO. , Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Warner/Chappell Music, Inc.
Written by: JIMMY CARROLL
Lyrics Licensed & Provided by LyricFind