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.
Frosty the Snowman
Johnny Mathis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Happy, happy snowman
Ha, ha, ha, ha, ha, ha, ha, ha
Frosty the snowman
Was a jolly happy soul
With a corncob pipe and a button nose
And two eyes made out of coal
Frosty the snowman
Is a fairy tale they say
He was made of snow but the children know
How he came to life one day
There must have been some magic
In that old silk hat they found
For when they placed it on his head
He began to dance around
Oh Frosty, the snowman
Was alive as he could be
And the children say he could laugh and play
Just the same as you and me
Frosty the snowman
Knew the sun was hot that day
So he said, "Let's run and we'll have
Some fun down before I melt away"
Down to the village
With a broomstick in his hand
Running here and there all around the square
Saying, "Catch me if you can"
He led them down the streets
Of town right to the traffic cop
And he only paused a moment
When he heard him holler, "Stop"
Frosty the snowman
Had to hurry on his way
But he waved goodbye sayin' don't you cry
I'll be back again some day
Thumpaty, thumpaty, thumpaty, thumpaty
Thumpaty, thumpaty, thumpaty, thum
Just little kid, Frosty, go
Thumpaty, thumpaty, thumpaty, thumpaty
Thumpaty, thumpaty, thumpaty, thum
Over the hills of snow
Over the hills of snow
Over the hills of snow
Over the hills of snow
"Frosty the Snowman" is a beloved Christmas song that tells the story of a snowman coming to life thanks to an old silk hat. The lyrics describe Frosty as a "jolly happy soul" with a corncob pipe and a button nose, and two eyes made out of coal. The singer explains that Frosty is a fairy tale, made of snow, but the children know how he came to life one day, when they put the old silk hat on his head.
The song describes Frosty running around the square with a broomstick in his hand, and the children chasing him, trying to catch him. They follow him down the streets of the town, even right up to the traffic cop, who tries to stop him. But Frosty hurries on his way, saying goodbye to the children, and promising he'll be back again someday.
The lyrics to "Frosty the Snowman" paint a vivid picture of a fun-loving snowman, turning the cold winter weather into a source of joy and laughter for everyone. It's a classic, catchy tune that has delighted generations, reminding us of the wonder and magic of childhood.
Line by Line Meaning
Frosty the snowman
Introducing the primary subject of the song, simply named Frosty the snowman.
Happy, happy snowman
Emphasizing how happy the snowman is by repeating the word 'happy'.
Ha, ha, ha, ha, ha, ha, ha, ha
Representing Frosty's constant laughter by repeatedly using the sound 'ha'.
Was a jolly happy soul
Describing Frosty as being jolly and happy, indicating his personality.
With a corncob pipe and a button nose
Listing Frosty's physical features, including his pipe and button nose.
And two eyes made out of coal
Mentioning that Frosty's eyes are made of coal, adding more detail to his appearance.
Is a fairy tale they say
Acknowledging that Frosty is a mythical character, indicating he only exists in stories.
He was made of snow but the children know
Explaining that Frosty is made of snow but children believe in his existence nonetheless.
How he came to life one day
Referring to the magical moment when Frosty came to life, piquing the listener's curiosity.
There must have been some magic
Suggesting that magic was responsible for Frosty coming to life, indicating that his existence is beyond conventional reasoning.
In that old silk hat they found
Identifying the source of the magic responsible for Frosty's life, pointing to the silk hat as a pivotal prop.
For when they placed it on his head
Explaining that the silk hat was placed on Frosty's head, implying that it was the catalyst for his animation.
He began to dance around
Describing Frosty's reaction to being given life, adding energy to the song.
Oh Frosty, the snowman
Repeating the introductory line of the song, cementing Frosty as the focal point.
Was alive as he could be
Noting how lively Frosty is, closing the gap between fantastical and tangible.
And the children say he could laugh and play
Including children's belief that Frosty was capable of laughing and playing, making the character more relatable to younger audiences.
Just the same as you and me
Comparing Frosty's abilities with those of humans, bringing the listener closer to the character.
Knew the sun was hot that day
Communicating Frosty's awareness of the danger posed by the hot sun, emphasizing his impermanence.
So he said, "Let's run and we'll have
Narrating Frosty's decision to run as a solution to the problem of the sun, indicating his resourcefulness.
Some fun down before I melt away"
Explaining that Frosty plans to have fun before he melts away, highlighting his acceptance of his unfortunate fate.
Down to the village
Describing Frosty's destination, attracting the listener's attention.
With a broomstick in his hand
Detailing Frosty's use of a broomstick, underscoring his creativity and resourcefulness.
Running here and there all around the square
Describing Frosty's movement pattern around his destination, adding movement to the song.
Saying, "Catch me if you can"
Including Frosty's challenge to the children, bringing them into his adventure while maintaining his mischievous personality.
He led them down the streets
Mentioning Frosty's influence on the children, showing the power he holds over them.
Of town right to the traffic cop
Identifying Frosty's progress through the city, building momentum for the remainder of the song.
And he only paused a moment
Describing Frosty's brief moment of hesitation, adding drama to the story.
When he heard him holler, "Stop"
Recounting the moment when the traffic cop tried to stop Frosty, adding an obstacle to the plot.
Had to hurry on his way
Implying that Frosty's situation was urgent, creating suspense.
But he waved goodbye sayin' don't you cry
Describing Frosty's farewell to the children, including a message of hope and optimism.
I'll be back again some day
Assuring the children that Frosty will return, giving them a sense of closure and hope for the future.
Thumpaty, thumpaty, thumpaty, thumpaty
Onomatopoeia used to imitate the sound of Frosty walking.
Thumpaty, thumpaty, thumpaty, thum
Continuing the onomatopoeic sounds of Frosty's footsteps.
Just little kid, Frosty, go
Describing Frosty as a child who's walking, emphasizing his childlike innocence.
Over the hills of snow
Depicting Frosty's journey into the mountains, signifying a new adventure and new beginnings.
Over the hills of snow
Repeating the previous line as a refrain, underscoring its importance and creating a sense of finality.
Over the hills of snow
Repeating the previous line as a refrain, underscoring its importance and creating a sense of finality.
Over the hills of snow
Repeating the previous line as a refrain, underscoring its importance and creating a sense of finality.
Lyrics © Warner Chappell Music, Inc.
Written by: Jack Rollins, Steve Nelson
Lyrics Licensed & Provided by LyricFind