Maxine Sullivan (born Marietta Williams, May 13, 1911 – April 7, 1987) was … Read Full Bio ↴Maxine Sullivan (born Marietta Williams, May 13, 1911 – April 7, 1987) was an American jazz vocalist and performer.

As a vocalist, Maxine Sullivan was active for half a century, from the mid-1930s to just before her death in 1987. She is best known for her 1937 recording of a swing version of the Scottish folk song "Loch Lomond". Throughout her career, Sullivan also appeared as a performer on film as well as on stage. A precursor to better-known later vocalists such as Ella Fitzgerald, Billie Holiday, and Sarah Vaughan, Maxine Sullivan is considered one of the best jazz vocalists of the 1930s.

Maxine Sullivan was born in Homestead, Pennsylvania in 1911. Sullivan began her music career singing in her uncle's band, The Red Hot Peppers, in her native Pennsylvania, in which she occasionally played the flugelhorn and the valve trombone, in addition to singing. In the mid-1930s she was discovered by Gladys Mosier (then working in Ina Rae Hutton's big band). Mosier introduced her to Claude Thornhill, which led to her first recordings made in June of 1937. Shorty thereafter, Sullivan became a featured vocalist at the Onyx Club in New York. During this period, she began forming a professional and close personal relationship with bassist John Kirby, to whom she was married from 1938 to 1941.
Early sessions with Kirby in 1937 yielded a hit recording of a swing version of the Scottish folk song "Loch Lomond" featuring Sullivan on vocals. This early success "branded" Sullivan's style, leading her to sing similar swing arrangements of traditional folk tunes mostly arranged by pianist Claude Thornhill, such as "Darling Nellie Gray", "I Dream of Jeanie", "Drink to Me Only with Thine Eyes", and "If I Had a Ribbon Bow". Her early popularity also led to a brief appearance in the movie Going Places opposite Louis Armstrong. In 1940, Sullivan and Kirby were featured on the radio program Flow Gently Sweet Rhythm, making them the first black jazz stars to have their own weekly radio series. From 1940-1942, Sullivan often performed with her husband Kirby's sextet. During the 1940s Sullivan then performed with a wide range of bands, including those of Teddy Wilson, Benny Carter, and Jimmie Lunceford. Sullivan also performed at many of New York's hottest jazz spots such as the Ruban Bleu, the Village Vanguard, the Blue Angel, and the Penthouse.
In 1956, Sullivan shifted away from her earlier style and recorded the album A Tribute to Andy Razaf. Originally on the Period record label, A Tribute to Andy Razaf featured Sullivan's interpretations of a dozen tunes featuring the lyrics of the poet and lyricist Andy Razaf. The album also highlighted the music of Fats Waller, including versions of "Keepin' Out of Mischief Now", "How Can you Face Me?", "My Fate is in Your Hands", "Honeysuckle Rose", "Ain't Misbehavin'", and "Blue Turning Grey Over You". Sullivan was joined by a sextet that was reminiscent of John Kirby's group of 15 years prior, including trumpeter Charlie Shavers and clarinetist Buster Bailey. In 1953 Sullivan starred in the play, Take a Giant Step.
From 1958 to 1966, Sullivan began working as a nurse and raising her children, which largely consumed most of her time. Her music career did not reassert itself until 1966, when she began performing in jazz festivals alongside her new husband, Cliff Jackson, who can be heard on the 1966 live recording of Sullivan's performance at the Manassas Jazz Festival.
Sullivan continued to perform throughout the 1960s and 1970s, and produced an output of recordings during the 1980s despite being over 70 years old. She was nominated for the 1979 Tony Award for Featured Actress in a Musical for her role in My Old Friends. She participated in a documentary film portrait, Maxine Sullivan: Love to Be in Love, shortly before her death.
Maxine Sullivan died in 1987 in New York. She was inducted into the Big Band and Jazz Hall of Fame in 1998.

Until the Real Thing Comes Along
Maxine Sullivan Lyrics

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I'd work for you, I'd slave for you
I'd be a beggar or a knave for you
If that isn't love, it will have to do
Until the real thing comes along

I'd gladly move the earth for you
To prove my love, dear, and it's worth for you
If that isn't love, it will have to do

Until the real thing comes along

With all the words, dear, at my command
I just can't make you understand
I'll always love you, darling, come what may
My heart is yours, what more can I say?

I'd sigh for you, I'd cry for you
I'd tear the stars down from the sky for you
If that isn't love, well if that isn't love it will have to do

Until the real thing comes along
Until the real thing comes along

Overall Meaning

The lyrics of Maxine Sullivan's song "Until the Real Thing Comes Along" convey a deep sense of devotion and commitment to a loved one that might not be reciprocated. The first stanza expresses an almost desperate willingness to do anything for the beloved, even if the love is not fully returned. The singer is willing to work as a slave or a beggar, highlighting a willingness to compromise oneself for the sake of love. The second stanza follows a similar pattern, with a declaration that the singer would move the earth to prove their love, if necessary. The repeated refrain ("If that isn't love, it will have to do / Until the real thing comes along") is a poignant admission that the singer's love may not be enough, but they will continue to hold onto it until the "real thing" comes along.

The final stanza reinforces the pain and frustration of the situation. Despite having all the words at their command, the singer cannot make the beloved understand the depth of their emotions. They declare their love unconditionally, with a heart that belongs to the beloved entirely. The final lines of the song reiterate the singer's willingness to do anything for love, even tearing the stars from the sky, and ends with a sad acknowledgement that this love might have to "do" until something more substantial comes along.

Overall, the lyrics of "Until the Real Thing Comes Along" are a heartfelt plea for love and a recognition that even the deepest emotions may not be enough to sustain a relationship. The singer's willingness to compromise and sacrifice everything for love is a potent testament to the power of romantic attachment, but also highlights the potential devastation that can come from an unrequited love.

Line by Line Meaning

I'd work for you, I'd slave for you
I am willing to work hard and make sacrifices for you.

I'd be a beggar or a knave for you
I am willing to be poor or dishonest for you.

If that isn't love, it will have to do
Even though my love may not be enough, it is all that I can offer.

I'd gladly move the earth for you
I am willing to do the impossible to show you how much I love you.

To prove my love, dear, and it's worth for you
I want to demonstrate my love for you and its value.

With all the words, dear, at my command
Despite having a good vocabulary, I cannot find the words to help you understand.

I just can't make you understand
I have tried to explain my feelings to you but have not been successful.

I'll always love you, darling, come what may
No matter what happens, my love for you will remain the same.

My heart is yours, what more can I say?
I have given you my heart completely.

I'd sigh for you, I'd cry for you
I am willing to express emotions for you, no matter how painful.

I'd tear the stars down from the sky for you
I am willing to do the impossible and destroy the world's wonders for you.

If that isn't love, well if that isn't love it will have to do
Even if my love is not perfect, it is all I have to offer.

Until the real thing comes along
I will continue to love you until I find something better.

Lyrics © EMI Music Publishing, IMAGEM U.S. LLC , Warner/Chappell Music, Inc.
Written by: HAROLD ARLEN, TED KOEHLER

Lyrics Licensed & Provided by LyricFind

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