In his youth, Prima played trumpet with Irving Fazola, his brother's band, and the pit band of the Saenger Theater. In 1933 he began his busy recording career, as part of the David Rose orchestra at station WGN, Chicago; he was also part of the small recording group The Hotcha Trio, with Rose on piano and Norman Gast on violin. In 1934 Prima moved to New York, working regularly on 52nd Street with old New Orleans friends like Eddie Miller (tenor sax and clarinet) and George Brunies (trombone), and also new acquaintances like Pee Wee Russell (clarinet). Prima's informal jazz group was known as Louis Prima and His New Orleans Gang, and this band recorded prolifically for Brunswick through 1936, and then for Vocalion and Decca.
Prima's 1936 composition, "Sing Sing Sing", which he had released with the New Orleans Gang in March, 1936 as a Brunswick 78, Brunswick 7628, with "It's Been So Long" as the B side, became one of his biggest hits and one of the most covered standards of the swing era; Benny Goodman's performance of the song at Carnegie Hall with a featured performance by Gene Krupa on drums has become iconic.
Louis Prima and His Band
Prima moved to Los Angeles to headline at the Famous Door nightclub. He appeared in several Hollywood movies, including a featured performance with Bing Crosby in the 1936 film Rhythm on the Range. Prima and his Dixieland Gang continued to play club dates across the nation, including a 1939 stint at New York's Hickory House.
Big bands were big business then, and Prima apparently bowed to pressure from booking agents and formed a conventional big band in 1940. He exploited a distinctive, shuffling beat (which he called "Gleeby Rhythm"); this trademark Prima shuffle remained part of his repertoire for two decades. Prima sang most of the band vocals, with Lily Ann Carol as the "girl singer." Prima's high-powered drummer at this time was Jimmy Vincent, an energetic teenager who remained with the Prima band for many years.
In 1947 he added singer Cathy Ricciardi, who recorded under the name Cathy Allen. She was succeeded in 1949 by Keely Smith (who was to become his fourth wife), and the band concentrated on novelty songs like "Civilization (Bongo Bongo Bongo)" and "All Right, Louis, Drop the Gun." Prima's big band continued into the early 1950s, with a series of novelty recordings supervised (sometimes heavy-handedly) by record producer Mitch Miller.
Vegas years
The popularity of the big-band sound started to wane, and Prima began losing money, just as he needed it to support the pregnant Smith. Prima found work with Smith in small venues all over the East Coast. Eventually he called up his friend Bill Miller, who was then entertainment director of The Sahara nightclub and casino in Las Vegas, and asked for a job. His friend Cab Calloway warned him against the cramped Sahara lounge, but the financial pressure was too great. Prima telephoned saxophonist Sam Butera and instructed him to pick up a few musicians and go to Las Vegas in time for Prima's debut.
Prima acknowledged his new musicians for the opening-night crowd, and spontaneously asked Butera what the name of the band was. Butera ad-libbed, "The Witnesses!" From then on, Sam Butera and the Witnesses backed Prima and Smith on stage and records.
Prima and Smith worked hard throughout the 1950s, performing multiple shows a night and finishing at 6 a.m. Their efforts were rewarded with a resurgence in their popularity, and they were at least partly responsible for making the lounge at The Sahara a hotspot. On stage, Prima insisted on Smith adopting a humorless, poker-faced character that would play straight to Prima's zany ad libs. Smith actually had a fine sense of comedy that is often audible on the team's recordings; no matter how much the incorrigible Prima tried to disrupt her vocals, Smith would often come back with a funny remark of her own.
Louis Prima and Keely Smith were very much the model for Sonny & Cher: the exuberant Italian musician and the serious, exotic female singer, Smith and Cher both being of Cherokee descent (although Cher's heritage is primarily Armenian). Similarly, echoes of the stage banter between Prima and Butera would be heard years later in the early performances of the E Street Band and the interplay between Bruce Springsteen and Clarence Clemons.
In 1959, Prima and Smith won the Grammy Award for Best Performance by a Vocal Group or Chorus for "That Old Black Magic."
In 1956 the Prima ensemble performed at the Sahara Hotel and Casino to record tracks for the album The Wildest!. It was an attempt by Capitol Records to capture the essence of the Vegas act. Over the next nine years, Prima and Smith raised two children, while he made scores of records, owned racehorses, appeared on television, and even opened a golf course. They outgrew the lounge and were promoted to the big room. They appeared in a few quickie musical films, including Senior Prom and Hey Boy! Hey Girl! Prima co-produced the feature Twist All Night, in which his band also appeared.
During this whirlwind of activity, according to Smith, the couple drifted farther and farther apart. One night, he refused to conduct for one of Smith's performances, delegating to Butera instead. A few days later they were in court, petitioning for divorce.
Later years
Following the divorce, he began dating Gia Maione. Maione was a long-time fan of Prima's, was already familiar with all the arrangements to his songs, and even kept a signed photo of him in her purse. She eventually became Prima's fifth and final wife, and was with the band right up until 1975. By this point, the band was putting out a markedly different and more contemporary sound, with electric organs and synthesizers, even dabbling in progressive rock.
In 1967 Prima's distinctive voice and jazzy delivery landed him a role in Walt Disney's animated feature The Jungle Book, as the raucous orangutan King Louie. He performed the hit song "I Wanna Be Like You" on the soundtrack, leading to the recording of two albums with Phil Harris: The Jungle Book and More Jungle Book, on Disneyland Records. He can also be heard on the soundtrack of another cartoon feature, The Man Called Flintstone.
He suffered a mild heart attack in 1973. In 1975, following headaches and episodes of memory loss, Louis Prima sought medical attention, and found out he had a stem brain tumor. He suffered a cerebral hemorrhage and went into a coma following surgery to remove the tumor. He never recovered, and died three years later, having been moved back to New Orleans. He was buried in Metairie Cemetery in New Orleans; his gray marble crypt is topped by a figure of Gabriel, the trumpeter-angel. The inscription on the crypt's door quote the lyrics from one of his hits: "When the end comes, I know, they'll all say 'just a gigolo' as life goes on without me. Lovingly, your little family..."
Don't Take Your Love from Me
Louis Prima Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tear a petal from the rose and the rose weeps too
Take your heart away from mine and mine will surely break
My life is yours to take, so please keep the spark awake
Would you take the wings from birds so that they can't fly?
Would you take the ocean's roar and leave just a sigh?
All this, your heart won't let you do
Don't take your love from me
All this, your heart won't let you do
This is what I beg of you
Don't take your love from me
Don't take your love from me
These lyrics from Louis Prima and Keely Smith's song "Don't Take Your Love From Me" are a plea from the singer to their loved one, asking them not to break their heart by leaving them. The lyrics use poetic imagery to convey the depth of the singer's emotions, comparing the pain of losing love to tearing a star from the sky, taking the wings from birds, or silencing the roar of the ocean. The singer acknowledges that their life is in their lover's hands and begs them to keep the "spark" alive in their relationship.
The opening lines of the song - "Tear a star from out the sky and the sky feels blue/Tear a petal from the rose and the rose weeps too" - convey a sense of interconnectedness and the delicate balance of nature. The singer suggests that their own heart is just as fragile and interconnected with their lover's, and that any loss or separation between them would cause great pain. The lyrics go on to ask if their lover would take away the natural beauty and wonder of the world, highlighting how important their love is to the singer.
The final refrain of the song - "All this, your heart won't let you do/This is what I beg of you/Don't take your love from me/Don't take your love from me" - emphasizes the desperation and urgency of the singer's plea. The repetition of the line "Don't take your love from me" underscores the importance of communication and commitment in relationships; ultimately, the singer is asking not just for their lover's love, but for their trust and loyalty as well.
Line by Line Meaning
Tear a star from out the sky and the sky feels blue
If you remove something from its place of prominence, its absence is felt and leaves behind a sense of melancholy.
Tear a petal from the rose and the rose weeps too
Taking away parts of something beautiful affects the entire entity and leaves it damaged.
Take your heart away from mine and mine will surely break
If you sever the connection between two hearts that love each other, it can be detrimental to one of them.
My life is yours to take, so please keep the spark awake
My existence and happiness depend on your love; please don't let it fade away.
Would you take the wings from birds so that they can't fly?
Removing a vital aspect from something that exemplifies its very nature is cruel and harmful.
Would you take the ocean's roar and leave just a sigh?
The fragility of existence would be evident if you took away the essence of something with such an impactful signature.
All this, your heart won't let you do
Despite the temptations or difficulties faced, your heart knows what is right and won't allow you to do something harmful.
This is what I beg of you
I beseech you to recognize the value of our connection and prioritize its preservation.
Don't take your love from me
My love for you is significant, and I implore you to keep it nurtured, lest the damage be irrevocable.
Lyrics © INDANO MUSIC COMPANY, BMG Rights Management, Warner Chappell Music, Inc.
Written by: Henry Nemo
Lyrics Licensed & Provided by LyricFind
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