Johnny was 13 years old when Clem took him to see Connie Cox, a Bay Area voice teacher, who agreed to take on the youngster in exchange for his doing odd jobs around her house. Johnny studied with Connie for six years learning vocal scales and exercises, voice production, classical and operatic skills.
At George Washington High School, Johnny was known not only for his singing ability but his athleticism as well. He became a star athlete on the track and field team as a high jumper and hurdler and played on the basketball team.
In 1954, Johnny enrolled at San Francisco State College with the intention of being an English and Physical Education teacher. While there, Johnny set a high jump record of 6’-5 1/2”. This is still on the College’s Top 15 list and was only two inches short of the Olympic record of the time. Just as when he was in high school, Johnny’s name was frequently mentioned in the sports sections of the Northern California newspapers. He was often referred to as “the best all-around athlete to come out of the San Francisco Bay Area”.
A fellow student whose sextet was working at the Black Hawk nightclub brought Johnny in for a Sunday afternoon jam session. It was at the Black Hawk that Helen Noga, co-owner of the club, first heard him sing. She decided that she wanted to manage his career.
In early September of 1955, Johnny landed a job singing weekends at Ann Dee’s 440 Club. After repeated attempts, Helen convinced George Avakian, then head of Jazz A&R at Columbia, to see him. Avakian came to the club, heard Johnny sing and sent the now famous telegram to his record company: “Have found phenomenal 19 year old boy who could go all the way. Send blank contracts.”
Avakian left for New York after telling Johnny that he would eventually send for him. Johnny continued his studies at San Francisco State and gained additional fame as a high jumper. In early 1956, Johnny was asked to attend the trials for the 1956 Olympic teams that would travel to Melbourne, Australia that summer. At the same time, Columbia Records requested that Johnny come to New York to start arrangements for his first recording session. Clem helped his son decide that his future and best interests were with the recording company. So, Johnny gave up his chance to become a member of the USA Olympic Team. He went to New York to record his first album in March of 1956.
The first album was a collection of jazz oriented renditions of popular standards entitled: Johnny Mathis: A New Sound In Popular Song. It included jazz musicians Gil Evans, John Lewis and Teo Macero and songs like “Angel Eyes”, “Easy to Love” and “Babalu”. The album enjoyed only moderate success because jazz vocal albums were not good sellers. Nevertheless, Johnny remained in New York and landed bookings at some of the leading nightclubs such as the Village Vanguard, The Blue Angel and Basin Street East.
Soon, Columbia placed Johnny under the supervision of producer Mitch Miller. Mitch favored using Johnny’s voice to sing soft, romantic ballads. At his second recording session, in the fall of 1956, Johnny recorded two singles. These songs were to become among his most popular all-time greatest hits: “Wonderful, Wonderful” and “It’s Not For Me To Say.” Subsequently, MGM Studios signed Johnny to sing “It’s Not For Me To Say” in the film Lizzie . He played a tavern piano bar singer. In 1958, Johnny made another motion picture appearance. This time it was for 20th Century Fox in A Certain Smile. In this movie, he sang the title song playing himself in an elegant nightclub scene. Since then, Johnny’s voice has been used in countless Hollywood movies for theme songs, background music and to enhance a particular setting or segment.
“Wonderful, Wonderful” and “It’s Not For Me To Say” reached their peaks on the BILLBOARD pop chart in July of 1957. These successes were followed by the monumental single “Chances Are” which became Johnny’s first #1 hit.
In June of 1957, Johnny appeared on the Ed Sullivan Show where he was introduced to the record buying public and became a national celebrity and household name. Columbia Records continued to release albums of Johnny singing beautiful and romantic ballads, classic standards and the best songs from Broadway musicals. These albums, like the singles, became immediate successes with sales in the millions. It was not uncommon for Johnny to have as many as four albums on the BILLBOARD Top Albums chart at the same time. In late 1959, Johnny recorded another song that became synonymous with the name of Johnny Mathis, the Erroll Garner composition, “Misty”.
Johnny’s accomplishments are numerous and varied. He holds many records and has set many precedents in the music industry. In 1958, two years after being signed by Columbia Records, Johnny’s Greatest Hits was released. It began a “Greatest Hits” tradition copied by every record company since then. Johnny’s Greatest Hits went on to become one of the most popular albums of all time and spent an unprecedented 490 continuous weeks (almost ten years) on the BILLBOARD Top Albums Chart. This record has been noted in the GUINNESS BOOK OF WORLD RECORDS.
According to record historian Joel Whitburn, Johnny is one of only five recording artists to have Top 40 Hits spanning each of the four decades since 1955. Amazingly, his second #1 Hit Single, “Too Much, Too Little, Too Late” (recorded with Deniece Williams), came almost 21 years after his very first #1 Hit Single, “Chances Are”.
Johnny has been honored to make several appearances before various heads of state. Starting in June of 1973, he sang at a State Dinner held in honor of the President of Liberia. In 1978, Johnny sang for the British Royal Family at A Command Performance held at The London Palladium. He performed for President and Mrs. Reagan at the State Dinner held in honor of the Prime Minister of Japan in April of 1987. Four years later in April of 1991, he sang for President and Mrs. Bush in honor of the President of Nicaragua. Most recently, in May of 1994, Johnny sang for President and Mrs. Clinton (along with the other five living First Ladies) at a very special First Ladies Tribute.
Johnny has also been honored by entertainment heads of state. In June of 1972, he was awarded his own star on the famous Hollywood Walk of Fame. He has participated in the Academy Awards presentation many times to sing the song nominated in the “Best Song” category. He has received two Grammy nominations. The first was for “Misty” in 1960 in the category of Best Vocal Performance Single Record or Track Male. The second came in 1992 for In a Sentimental Mood/Mathis Sings Ellington in the category of Best Traditional Pop Performance.
1996 marked Johnny’s 40th Anniversary as a recording artist. He celebrated by releasing All About Love. He then released The Global Masters (songs from his three year contract at Mercury Records) in 1997, and 1998 saw the release of The Ultimate Hits and Because You Loved Me.
In his free time, Johnny loves to golf. He plays golf almost every day when he’s not traveling and has sung at many golf banquets such as the Ryder Cup. In 1985 and 1986, Johnny hosted his own golf tournament, The Johnny Mathis Seniors PGA Classic which was held in Los Angeles, California.
Johnny’s other favorite avocation is cooking. He is a gourmet cook who cooks for himself and often others when he’s home or traveling. His mother taught him at an early age how to cook up a storm and do it well. He’s enjoyed doing so all his life.
Can't Get Out of This Mood
Johnny Mathis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
They shouldn't, they mustn't, but they do, they do
And I can't get out of this mood, can't get over this feeling
Can't get out of this mood, last night your lips were too appealing
The thrill should have been all gone by today in the usual way
But it's only your arms I'm out of
Can't get out of this dream, what a fool I was to dream of you
But I'm sayin' it, I'm playin' it dumb
Can't get out of this mood, heartbreak, here I come
The thrill should have been all gone by today in the usual way
But it's only your arms I'm out of
Can't get out of this dream, what a fool I was to dream of you
'Twasn't part of my scheme to sigh and tell you that I love you
But I'm sayin' it, yes, I'm playin' it dumb
Can't get out of this mood, heartbreak, here I come
This mood, can't get out of this mood, can't get out of this mood
The lyrics of Johnny Mathis's song "Can't Get Out of This Mood" describe the aftermath of a romantic encounter that has left the singer with intense feelings and an inability to forget the person involved. The first lines of the song emphasize the pervasiveness of thoughts of this person, even when they are unwanted, with "visions" of the other person's face and presence filling the singer's mind throughout the day. The singer acknowledges that these thoughts "shouldn't" be happening and that they are out of his control; however, he also admits that he is unable to shake them and move on from the encounter.
The rest of the song focuses on the singer's inner struggle to reconcile his feelings for the other person, in contrast to what he deems to be his "scheme" or plan for detachment. He acknowledges that the passion and allure of the other person's "lips" were strong and tempting, even if they were not part of his original plan. The singer playfully refers to himself as "dumb" for telling the other person that he loves them and acknowledging his intense attachment, despite the fact that he knows it could lead to heartbreak. The song ends on a bittersweet note, with the singer admitting that he cannot overcome his mood and that heartbreak may be imminent.
Overall, "Can't Get Out of This Mood" is a poignant exploration of the complexities of romantic attachment, acknowledging the power of attraction and the difficulty of controlling one's own feelings. The lyrics are relatable to anyone who has experienced an intense attraction or attachment to someone else, even if it may not be practical or rational.
Line by Line Meaning
All day long before my eyes come little visions of you
Throughout the day, my mind keeps conjuring images of you
They shouldn't, they mustn't, but they do, they do
I know I shouldn't be thinking about you, but I can't seem to help it
And I can't get out of this mood, can't get over this feeling
I'm unable to shake off this mood and overcome my emotions
Can't get out of this mood, last night your lips were too appealing
Your enticing lips from last night keep me trapped in this mood
The thrill should have been all gone by today in the usual way
I expected the thrill to fade by now as it usually does
But it's only your arms I'm out of
However, the only thing that is missing is being held by you
Can't get out of this dream, what a fool I was to dream of you
I can't escape this dream no matter how foolish it seems
'Twasn't part of my scheme to sigh and tell you that I love you
It wasn't my intention to reveal my love for you through sighs and words
But I'm sayin' it, I'm playin' it dumb
However, I find myself expressing my feelings despite trying to appear naive
Can't get out of this mood, heartbreak, here I come
I'm trapped in this mood and I fear that heartbreak is inevitable
This mood, can't get out of this mood, can't get out of this mood
I'm constantly stuck in this mood and unable to break free
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: FRANK LOESSER, JIMMY MCHUGH
Lyrics Licensed & Provided by LyricFind