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.
Why Do Fools Fall in Love
Les Baxter and His Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Why don't you fall in love with me,
You're drivin' me crazy, baby, try to be gay
Will you tell me no, or will you tell me yea,
You gotta go overboard for someone someday
Believe it or not, it's bound to be
As long as you're not in love with anyone else,
In the lyrics of Les Baxter and His Orchestra's song "Why Do Fools Fall in Love," the singer is expressing their feelings to someone they are interested in. The opening line "As long as you're not in love with anyone else," suggests that the singer is hoping that the person they are addressing is available emotionally and not attached to someone else. This sets the stage for the singer to express their desire for the person to consider falling in love with them instead.
The lines "Why don't you fall in love with me, You're drivin' me crazy, baby, try to be gay" demonstrate the singer's frustration and longing for reciprocation from the person they are interested in. The use of the word "crazy" reflects the intense emotions and turmoil that the singer is experiencing as they navigate their feelings for this person. The plea for the person to "try to be gay" can be interpreted as a request for them to consider a joyful and fulfilling romantic connection with the singer.
The following lines "Will you tell me no, or will you tell me yea, You gotta go overboard for someone someday" convey the uncertainty and vulnerability that come with confessing feelings to someone. The singer is eagerly awaiting a response from the person, wondering if they will reject them ("tell me no") or reciprocate their feelings ("tell me yea"). The mention of going "overboard for someone someday" suggests that the singer is willing to go to great lengths and take risks in the pursuit of love.
The final lines of the lyrics "Believe it or not, it's bound to be, As long as you're not in love with anyone else, Why don't you fall in love with me" circle back to the initial hope expressed by the singer. They firmly believe that there is a possibility for love between them and the person they desire, emphasizing the importance of both parties being emotionally available. The repetition of the question "Why don't you fall in love with me" underscores the singer's yearning for a positive response and a chance at a romantic relationship with the object of their affection.
Line by Line Meaning
As long as you're not in love with anyone else,
As long as you are single and available,
Why don't you fall in love with me,
Why don't you consider being in a romantic relationship with me,
You're drivin' me crazy, baby, try to be gay
You are causing me to feel overwhelmed with emotions, please be happy and positive,
Will you tell me no, or will you tell me yea,
Will you reject me or accept me as your romantic partner,
You gotta go overboard for someone someday
You have to go all out for love at some point in your life,
Believe it or not, it's bound to be
Whether you believe it or not, love is inevitable,
As long as you're not in love with anyone else,
As long as you are single and available,
Why don't you fall in love with me,
Why don't you consider being in a romantic relationship with me,
Lyrics © BMG Rights Management
Written by: AL LEWIS, MABEL WAYNE
Lyrics Licensed & Provided by LyricFind
Steve Coan
I think she's wonderful here!
John Meegan
She has a beautiful voice
Peter Lydon
She had the nerve!
장순국
조회수 1,372회... 잘 들었습니다.
James Carson
Recorded in England by Alma Cogan
Nicolás Apolo
they were always ripping of black songs