Shirley Luster was born in Springfield, Illinois, and moved with her family to Decatur, Illinois, when she was three years old. She began to sing with the Decatur-based Bill Oetzel Orchestra at thirteen. While attending Decatur High School she appeared with Oetzel and his society band, the Ben Bradley Band, and Bill Madden's Band. After high school she moved to Chicago, changed her name to Sharon Leslie, and sang with a group led by Boyd Raeburn. Later she joined Benny Strong's band. In 1944, Strong's band moved to New York at the same time Christy was quarantined in Chicago with scarlet fever.
In 1945, after hearing that Anita O'Day had left Stan Kenton's Orchestra, she auditioned and was chosen for the role as a vocalist. During this time, she changed her name once again, becoming June Christy.
Her voice produced successful hits such as "Shoo Fly Pie and Apple Pan Dowdy," the million-selling "Tampico" in 1945, and "How High the Moon". "Tampico" was Kenton's biggest-selling record. When the Kenton Band temporarily disbanded in 1948, she sang in nightclubs for a short time, and reunited with the band two years later in 1950.
Beginning Sept. 28, 1959, Christy began a five-week road tour of 38 performances called "Road Show". The all-star billing: Stan Kenton and his orchestra, June Christy, The Four Freshmen. Capitol recorded highlights on October 10 at Purdue University in Lafayette, Indiana, for a two-disc LP, reissued in 1991 on CD.
From 1947, she started to work on her own records, primarily with arranger and bandleader Pete Rugolo. In 1954, she released a 10" LP entitled Something Cool, recorded with Rugolo and his orchestra, a gathering of notable Los Angeles jazz musicians that included her husband, multi-instrumentalist Bob Cooper and alto saxophonist Bud Shank. Something Cool was re-released as a 12" LP in 1955 with additional selections, and then entirely rerecorded in stereo in 1960 with a somewhat different personnel. Christy would later say that the album was "the only thing I've recorded that I'm not unhappy with." Something Cool was also important in launching the vocal cool movement of the 1950s, and it hit the Top 20 Charts, as did her third album, The Misty Miss Christy.
In the 1950s and 1960s, Christy appeared on a number of television programs, including the short-lived CBS show Adventures in Jazz (1949), Eddie Condon's Floor Show (1949), The Jackie Gleason Show (1953), The Tonight Show (1955), The Nat King Cole Show (1957), Stars of Jazz (1958), The Steve Allen Show (1959), The Lively Ones (1963). and The Joey Bishop Show (1967). She also appeared on the first sponsored jazz concert on television, The Timex All-Star Jazz Show I (December 30, 1957), which also featured Louis Armstrong, Carmen McRae, Duke Ellington and Gene Krupa.
Christy embarked on dozens of concert tours, playing in Europe, South Africa, Australia and Japan. She toured to such an extent that eventually it began taking a toll on her marriage. She began to pull back from touring in the early 1960s.
R.M. Cook and Brian Morton, writers of The Penguin Guide to Jazz Recordings, appreciated the singer's body of work: "Christy's wholesome but particularly sensuous voice is less an improviser's vehicle than an instrument for long, controlled lines and the shading of a fine vibrato. Her greatest moments—the heartbreaking 'Something Cool' itself, 'Midnight Sun,' 'I Should Care'—are as close to creating definitive interpretations as any singer can come."
Christy semi-retired from the music business in 1969, in part due to her battle with alcoholism.
In 1972, she sang at the Newport Jazz Festival in New York City, where she was reunited with the Kenton Orchestra. She also performed at a handful of jazz festivals during the late 1970s and 1980s, playing with a band of all-star West Coast jazz musicians led by Shorty Rogers, as well as taking part in a number of world tours.
Christy returned to the recording studio in 1977 to record her final solo LP, Impromptu. She recorded an interview for a Paul Cacia produced an album in 1987 called "The Alumni Tribute to Stan Kenton" on the Happy Hour label. A number of other Kenton the alumni-Shorty Rogers, Lee Konitz, Jack Sheldon, among them, plus Mort Sahl - interspersed their tunes with reminiscences of the man and the years on the road.
Christy toured one final time in 1988, again with Shorty Rogers. Her final performance was sharing the stage with Chet Baker.
Christy died at her home in Sherman Oaks, California of kidney failure on June 21, 1990, at the age of 64. Her remains were cremated and scattered off the coast of Marina Del Rey.
Beware My Heart
June Christy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You're getting in too deep.
Take care, my heart
This is a bit too steep.
Don't listen to the lilt
Of her lovely laughter.
For you will cry for it,
Beware, my heart
Of violins in the night.
When she is near,
They're loaded with dynamite.
And you can never
Finish a dream,
You weren't meant to start.
Beware, take care my heart.
Beware, my heart
Beware, my heart
Of violins in the night.
When she is near,
They're loaded with dynamite.
And you can never
Finish a dream,
You weren't meant to start.
Beware, take care my heart,
Take care, beware, my heart
In this song, June Christy warns her heart of the dangers of falling deeply in love. She pleads with her heart to be cautious because the love she is feeling is too intense, and she is not sure if it is worth it. She urges her heart to resist the temptation of her beloved's beautiful laughter because it will only lead to a lifetime of tears. The line "when she is near, they're loaded with dynamite," implies that the presence of her beloved is a dangerous thing for her heart, and it could explode in a destructive manner. In the end, June Christy implores her heart to take care, and to beware of getting hurt by a love that may never come to fruition.
The lyrics of this song are deeply emotional and revolve around the themes of love, heartbreak, and regret. The song is, in a way, a cautionary tale, warning people not to delve too deep into love, as it can be a painful experience. Through the use of metaphors and beautiful imagery, the song evokes a sense of vulnerability and melancholy, making it a hauntingly beautiful piece.
Line by Line Meaning
Beware, my heart
Be careful, my heart
You're getting in too deep.
You are getting too involved.
Take care, my heart
Be cautious, my heart.
This is a bit too steep.
This is a difficult path to follow.
Don't listen to the lilt
Don't be seduced by the tone.
Of her lovely laughter.
It's easy to be charmed by her beautiful laughter.
For you will cry for it,
You'll regret losing it.
Forever after.
For an eternal time.
Beware, my heart
Be careful, my heart
Of violins in the night.
Be cautious of romantic situations.
When she is near,
When she is present,
They're loaded with dynamite.
They're explosive and dangerous.
And you can never
You are unable to
Finish a dream,
Accomplish a goal,
You weren't meant to start.
You never should've started in the first place.
Beware, take care my heart.
Be cautious and careful, heart.
Take care, beware, my heart.
Be cautious, be careful, heart.
Lyrics © O/B/O APRA/AMCOS
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