Baxter studied piano at the Detroit Conservatory before moving to Los Angeles for further studies at Pepperdine College. Abandoning a concert career as a pianist, he turned to popular music as a singer. At the age of 23 he joined Mel Tormé's Mel-Tones, singing on Artie Shaw records such as "What Is This Thing Called Love?".
Baxter then turned to arranging and conducting for Capitol Records in 1950, and was credited with the early Nat King Cole hits, "Mona Lisa" and "Too Young", but both were actually orchestrated by Nelson Riddle.[1] (In later releases of the recordings the credit was corrected to Riddle.[citation needed]) Not a uncommon practice these days: Baxter himself had arranged Nat King Cole's "Nature Boy" in 1947 for a recording conducted by Frank De Vol. In 1953 he scored his first film, the sailing travelogue Tanga Tika. With his own orchestra, he released a number of hits including "Ruby" (1953), "Unchained Melody" (1955) and "The Poor People Of Paris" (1956). The latter recording sold over one million copies and was awarded a gold disc.[2]He also achieved success with concept albums of his own orchestral suites: Le Sacre Du Sauvage, Festival Of The Gnomes, Ports Of Pleasure, and Brazil Now, the first three for Capitol and the fourth on Gene Norman's Crescendo label. The list of musicians on these recordings includes Plas Johnson and Clare Fischer.
Baxter also wrote the "Whistle" theme from the TV show Lassie.
Baxter did not restrict his activities to recording. As he once told Soundtrack! magazine, "I never turn anything down".
In the 1960s, he formed the Balladeers, a besuited and conservative folk group that at one time featured a young David Crosby.[citation needed] He operated in radio as musical director of The Halls of Ivy and the Bob Hope and Abbott and Costello shows.
Like his counterparts Henry Mancini, Lalo Schifrin and James Horner, Baxter later worked for the film industries from 1960s to 70s. He worked on movie soundtracks for American International Pictures where he composed and conducted scores for Roger Corman's Edgar Allan Poe films and other horror stories and teenage musicals, including The Pit and the Pendulum, Panic in Year Zero!, Beach Party, The Comedy of Terrors,The Dunwich Horror, and Frogs. Howard W. Koch recalled that Baxter composed, orchestrated, and recorded the entire score of The Yellow Tomahawk (1954) in a total of three hours for $5,000.[3]
With less soundtrack work in the 1980s, he scored music for theme parks and SeaWorlds. In the 1990s, Baxter was widely celebrated, alongside Martin Denny and the Arthur Lyman Group, as one of the progenitors of what had become known as the "exotica" movement. In his 1996 appreciation for Wired magazine, writer David Toop remembered Baxter thus:
"Baxter offered package tours in sound, selling tickets to sedentary tourists who wanted to stroll around some taboo emotions before lunch, view a pagan ceremony, go wild in the sun or conjure a demon, all without leaving home hi-fi comforts in the white suburbs".
Baxter has a motion picture star on the Hollywood Walk of Fame at 6314 Hollywood Blvd.
I Want You I Need You I Love You
Les Baxter and His Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I've got you deep in the heart of me.
So deep in my heart that you're really a part of me.
I've got you under my skin.
I'd tried so not to give in.
I said to myself, this affair never will go so well.
But why should I try to resist when, baby, I know down well
I've got you under my skin?
I'd sacrifice anything come what might
For the sake of havin' you near
In spite of a warnin' voice that comes in the night
And repeats, repeats in my ear,
Don't you know, you fool, you never can win?
Use your mentality, wake up to reality.
But each time that I do just the thought of you
Makes me stop before I begin
Cause I've got you under my skin.
I would sacrifice anything come what might
For the sake of havin' you near
In spite of the warning voice that comes in the night
And repeats, how it yells in my ear,
Don't you know, you fool, ain't no chance to win
Why not use your mentality, get up, wake up to reality?
And each time I do just the thought of you
Makes me stop just before I begin
Cause I've got you under my skin.
And I like you under my skin.
The lyrics to Les Baxter & His Orchestra's "I've Got You Under My Skin" depict the singer's intense infatuation with someone. The first verse establishes how deeply this person has infiltrated their thoughts and emotions, becoming a part of them. The second verse reveals that despite attempts to resist, the singer is willing to give up anything to be near this person. However, there is a warning voice in their head telling them to wake up to reality and let go. Despite this voice, they cannot resist the hold that this person has on them, and they end the song expressing that they like having them under their skin.
Line by Line Meaning
I've got you under my skin.
You have become a part of me, deeply ingrained in my thoughts and emotions.
I've got you deep in the heart of me.
My feelings for you run deep and are a fundamental part of who I am.
So deep in my heart that you're really a part of me.
Your presence in my life has become integral to my being and identity.
I'd tried so not to give in.
I resisted my feelings for you at first, hoping to avoid the risks of a passionate affair.
I said to myself, this affair never will go so well.
I acknowledged the potential for heartache and turmoil that could arise from getting involved with you.
But why should I try to resist when, baby, I know down well
I've got you under my skin?
Despite the risks, I cannot resist the allure of being with you, as my feelings for you run too deep and have taken hold of me.
I'd sacrifice anything come what might
For the sake of havin' you near
I am willing to make sacrifices and take risks in order to be close to you.
In spite of a warnin' voice that comes in the night
And repeats, repeats in my ear,
I am plagued by doubts and fears about the potential consequences of my feelings for you.
Don't you know, you fool, you never can win?
Use your mentality, wake up to reality.
The voice of reason tells me that pursuing you is a losing battle and that I should use my head and see things for what they are.
But each time that I do just the thought of you
Makes me stop before I begin
Even when I try to heed the warnings, my deep feelings for you are enough to give me pause before I act on them.
Cause I've got you under my skin.
My feelings for you are so strong and deeply ingrained that they are impossible to shake.
And I like you under my skin.
Despite the risks and doubts, I relish the feeling of having you so deep within me and cannot deny my attraction to you.
Lyrics © Warner Chappell Music, Inc.
Written by: Cole Porter
Lyrics Licensed & Provided by LyricFind
Darleide Medeiros
💞 I Want You, I Need You, I Love You (Elvis Presley)
Hold me close, hold me tight
Make me thrill with delight
Let me know where I stand
From the start
I want you, I need you, I love you
With all my heart
Every time that you're near
All my cares dissapear
Darling you're all that I'm
Living for
I want you, I need you, I love you
More and more
I thought I could live
Without romance
Until you came
To me
But now I know
That I will go on
Loving you eternally
Won't you please be my one
Never leave me alone
'Cause I die every time
We're apart
I want you, I need you, I love you
With all my heart
I thought I could live
Without romance
Until you came
To me
But now I know
That I will go on
Loving you eteranally
Won't you please
Be my one
Never leave me alone
'Cause I die every time
We're apart
I want you, I need you, I love
With all my heart
💞 Eu Quero Você, Eu Preciso de Você, Eu Amo Você
Abrace-me bem perto, abrace-me forte
Faça-me estremecer de prazer
Deixe-me saber onde eu estou
Desde o começo
Eu quero você, eu preciso de você, eu amo você
Com todo meu coração
Toda hora que você está perto
Todas as minhas preocupações desaparecem
Querida você é tudo pelo que
eu vivo
Eu quero você, eu preciso de você, eu amo você
Mais e mais
Eu pensava que podia viver
Sem romance
Até você vir
Até mim
Mas, agora eu sei
Que eu continuarei
Amando você eternamente
Você não poderia por favor ser minha?
Nunca deixe-me sozinho
Porque eu morro todas as vezes
Que estamos separados
Eu quero você, eu preciso de você, eu amo você
Com todo meu coração
Eu pensava que podia viver
Sem romance
Até você vir
Até mim
Mas, agora eu sei
Que eu continuarei
Amando você eternamente
Você não poderia por favor
ser minha?
Nunca deixe-me sozinho
Porque eu morro todas as vezes
Que estamos separados
Eu quero você, eu preciso de você, eu amo você
Com todo meu coração
Composição: George Mysels / Lou Kosloff
jeddyhi
It wasn't just that Elvis was incredibly handsome. It was that he was that good looking and had that voice and vocal style. And the wardrobe style. And the moves. And the charisma and character. And through it all he was incredibility modest and humble. Think about it. This kid went from driving a truck to complete international stardom at age 21. He appealed to everyone. Young, old, rich and poor, blacks and whites. He was one them 'one in a million' you hear about. But in his case, one in a trillion.
brodemonz
@John Haladay if millions of people hated him I don't think they would have put him on TV. No doubt some people didn't like him but millions?
John Haladay
You're basing your comment on his appeal on Elvis' modern reputation. Back in '56, there were millions of people who hated his guts and actually thought he was the Devil incarnate.
Robert Pegler
Truly one of a kind.
fred dell
@Millenial k well said, heavy price to pay for all this.
Millenial k
Yes, it really is the whole package: the timing, the talent, the person, the story.. just all coming together to be fantastic and so enjoyable to watch.. with a life ending at just 42 years old
Angela Martin
Elvis had it all the looks, charisma, charm and kindness and generosity a true southern gentleman.
No one can sing the Gospel like Elvis ❤️Greatest singer of all time.
Joan A. King-Thomas
NO fake sound filters or mic tricks pure voice!
Barbara King
I've been in love with him and his music since I was a teenage, and I'm 68 now.
mrtruthforever
Elvis= vocal perfection