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.
Make Love to Me
Les Baxter and His Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ba-boom-boom-boom-boom
Ba-boom)
(Ba-boom-boom-boom-boom)
Take me in your arms and never let me go
(Ba-boom-boom-boom-boom)
Whisper to me softly while the moon is low
Hold me close and tell me what I want to know
(Ba-boom-boom-boom-boom)
Say it to me gently, let the sweet talk flow
Come a little closer, make love to me
(Ba-boom-boom-boom-boom)
Kiss me once again before we say good night
(Ba-boom-boom-boom-boom)
Take me in your lovin' arms and squeeze me tight
(Ba-boom-boom-boom-boom)
Put me in a mood so I can dream all night
(Ba-boom-boom-boom-boom)
Everybody's sleepin' so it's quite all right
Come a little closer, make love to me
When you're near, so help me, dear
Chills run up my spine
Don't you know I love you so?
I won't be happy 'til you're mine
(Ba-boom-boom-boom-boom)
When I'm in your arms you give my heart a treat
(Ba-boom-boom-boom-boom)
Everything about you is so doggone sweet
(Ba-boom-boom-boom-boom)
Every time we kiss you make my life complete
(Ba-boom-boom-boom-boom)
Baby doll, ya know ya swept me off my feet
Now's the time to tell you, "Make love to me"
I won't be happy 'til your mine
(Ba-boom-boom-boom-boom)
When I'm in your arms you give my heart a treat
(Ba-boom-boom-boom-boom)
Everything about you is so doggone sweet
(Ba-boom-boom-boom-boom)
Every time we kiss you make my life complete
(Ba-boom-boom-boom-boom)
Baby doll, ya know ya swept me off my feet
Now's the time to tell you, "Hey, baby, make love to me"
The lyrics to "Make Love to Me" by Les Baxter and His Orchestra convey a sense of longing and desire between two lovers. The repetitive ba-boom-boom throughout the song sets a rhythmic and sensual tone, almost mimicking the heartbeat of someone in love. The singer asks to be held close and whispered sweet nothings under the moonlight, creating an intimate and romantic atmosphere. The lyrics suggest a yearning for emotional connection and validation through tender gestures and affectionate words.
The chorus emphasizes the physical and emotional closeness between the lovers, as they share kisses and intimate moments before parting for the night. The singer craves to be enveloped in their partner's arms and to feel cherished and desired. The peaceful setting of a sleeping world adds a sense of privacy and intimacy, creating a safe space for the lovers to express their feelings and desires without inhibition.
The bridge of the song delves deeper into the singer's emotions, expressing how being near their beloved sends chills up their spine and how their love is all-consuming. The lyrics reveal a sense of vulnerability and a deep emotional connection, highlighting the intensity of their feelings for their partner. The repetition of the phrase "I won't be happy 'til you're mine" reinforces the singer's longing for a committed relationship and a complete union with their lover.
The final verses of the song further emphasize the intoxicating effect of the lover's presence, describing how every kiss makes their life feel whole and complete. The singer is overwhelmed by the sweetness and perfection of their partner, feeling swept off their feet and completely enamored. The repeated plea to "make love to me" is a passionate and direct request for physical and emotional connection, signaling a desire for unity and closeness with their beloved. Overall, the lyrics of "Make Love to Me" evoke a sense of romance, desire, and intimacy, capturing the essence of being in love and longing for a deep connection with a partner.
Line by Line Meaning
Take me in your arms and never let me go
Embrace me tightly and never release me
Whisper to me softly while the moon is low
Speak gently to me in the quiet of the night
Hold me close and tell me what I want to know
Keep me near and share everything with me
Say it to me gently, let the sweet talk flow
Express your feelings softly and sincerely
Kiss me once again before we say good night
Give me one more loving kiss before bedtime
Take me in your lovin' arms and squeeze me tight
Hug me affectionately and hold me firmly
Put me in a mood so I can dream all night
Make me feel happy and dreamy all through the night
Everybody's sleepin' so it's quite all right
Since everyone else is asleep, we can be together
When you're near, so help me, dear. Chills run up my spine
Your presence sends shivers down my spine
Don't you know I love you so? I won't be happy 'til you're mine
I am deeply in love with you and won't be satisfied until you are mine
When I'm in your arms you give my heart a treat
Being held by you is a special delight for my heart
Everything about you is so doggone sweet
I find everything about you incredibly sweet
Every time we kiss you make my life complete
Each kiss from you makes my life whole
Baby doll, ya know ya swept me off my feet
My dear, you have completely won me over
Now's the time to tell you, 'Make love to me'
It is the perfect moment to express my desire for intimacy
Lyrics © Warner Chappell Music, Inc.
Written by: Allan Copeland, Benny Pollack, Bill Norvas, George Brunies, Leon Roppolo, Mel Stitzel, Paul Mares, Walter Melrose
Lyrics Licensed & Provided by LyricFind