In 1943, Torme made his movie debut in Frank Sinatra's first film, the musical "Higher and Higher." He went on to sing and act in a number of films and television episodes throughout his career, even hosting his own television show in 1951-52. His appearance in the 1947 film musical "Good News" made him a teen idol for a few years. In the last years of his career he toured and sang with the wonderful George Shearing Quartet, often sitting in at drums, for a number or two in a set. To hear two such accomplished jazz artists was an evening not to be forgotten.
In that year he also formed the vocal quintet "Mel Torme and His Mel-Tones," modeled after Frank Sinatra and the Pied Pipers. The Mel-Tones, which included Les Baxter and Ginny O'Connor, had several hits fronting Artie Shaw's band and on their own, including Cole Porter's "What is This Thing Called Love?" The Mel-Tones were among the first jazz-influenced vocal groups, blazing a path later followed by The Hi-Los, The Four Freshmen, and The Manhattan Transfer.
In 1947, Torme went solo. His singing at New York's Copacabana led a local DJ, Fred Robbins, to give him the nickname "The Velvet Fog", thinking to honor his high tenor and smooth vocal style, but Torme detested the nickname. As a solo singer, he recorded a number of romantic hits for Decca (1945), and with the Artie Shaw Orchestra on the Musicraft label (1946-48). In 1949, he moved to Capitol Records, where his first record, "Careless Hands," became his only number one hit. His versions of "Again" and "Blue Moon" became signature tunes. His composition "California Suite," prompted by the Gordon Jenkins's "Manhattan Tower," became Capitol's first 12 inch LP. Around this time, he helped pioneer cool jazz.
From 1955 to 1957, Torme recorded 7 jazz vocal albums with Red Clyde's Bethlehem Records, all with groups led by Marty Paich, most notably "Mel Torme with the Marty Paich Dektette." These recordings proved a creative peak for Torme and for Paich, a leading figure in the West coast jazz of the time.
When rock & roll music (which Torme called "three chord manure") came on the scene in the 1950s, commercial success became elusive. During the next two decades, Torme often recorded mediocre arrangements of the pop tunes of the day, never staying long with any particular label. He was sometimes forced to make his living by singing in obscure clubs. He had two minor hits, his 1956 recording of "Mountain Greenery," and his 1962 R&B song "Comin' Home, Baby," arranged by Claus Ogerman. The latter recording led the jazz and gospel singer Ethel Waters to say that "Torme is the only white man who sings with the soul of a black man." It was later covered instrumentally by Quincy Jones and Kai Winding.
In 1963–64, Torme wrote songs and musical arrangements for the The Judy Garland Show, and made two guest appearances on the show itself. A few years later, after Garland's death, his time with her show became the subject of his first book, "The Other Side of the Rainbow." Although the book was praised, it led to an unsuccessful lawsuit by Garland's family.
Torme continued to play jazz drums as an adult, and befriended drummer Buddy Rich, who became the subject of his book "Traps-The Drum Wonder-The Life of Buddy Rich." Torme also owned and played a drumset that renowned drummer Gene Krupa had used for many years.
Although a jazz and popular musician, Torme also respected classical music, especially that of Frederick Delius and Percy Grainger.
The resurgence of vocal jazz in the 1970s resulted in another artistically fertile period for Torme, whose live performances during the 1960s and 70s fueled a growing reputation as a jazz singer. He found himself performing as often as 200 times a year around the globe. In 1976, he won an Edison Award (the Dutch equivalent of the Grammy) for best male singer, and a Downbeat award for best male jazz singer. For a number of years around this time, his September appearances at Michael's Pub, on the Upper East Side would unofficially open New York's fall cabaret season.
Tormé viewed his 1977 Carnegie Hall concert with George Shearing and Gerry Mulligan as a turning point. Shearing later said:
"It is impossible to imagine a more compatible musical partner… I humbly put forth that Mel and I had the best musical marriage in many a year. We literally breathed together during our countless performances. As Mel put it, we were two bodies of one musical mind."
Starting in 1982, Torme recorded a number of albums with Concord Records, including:
* Five albums with pianist George Shearing;
* His big band work with Rob McConnell and his Boss Brass orchestra (see Mel Torme, Rob McConnell and the Boss Brass);
* A reunion with Marty Paich, resulting in a live recording in Tokyo (In Concert Tokyo) and a studio album (Reunion).
In the 1980s, he often performed with pianist John Colianni. In the last years of his career he toured and sang with the wonderful George Shearing Quartet, often sitting in at drums, for a number or two in a set. To hear two such accomplished jazz artists was an evening not to be forgotten.
Torme made 9 guest appearances as himself on the 1980s sitcom Night Court whose main character, Judge Harry Stone (played by Harry Anderson), was depicted as an unabashed Tormé fan. In the mid-90s, Torme gained a following among Generation Xers by appearing in a series of Mountain Dew commercials and on an episode of the sitcom Seinfeld, in which he dedicates a song to the character Kramer (played by Michael Richards). Torme also recorded a version of Nat King Cole's "Straighten up and Fly Right" with his son, alternative/adult contemporary/jazz singer Steve March Torme.
In February 1999, Tormé was awarded the Grammy Lifetime Achievement Award. On August 8, 1996, a stroke abruptly ended his 65-year singing career; another stroke in 1999 ended his life. In his eulogistic essay, John Andrews wrote about Tormé: "Tormé's style shared much with that of his idol, Ella Fitzgerald. Both were firmly rooted in the foundation of the swing era, but both seemed able to incorporate bebop innovations to keep their performances sounding fresh and contemporary. Like Sinatra, they sang with perfect diction and brought out the emotional content of the lyrics through subtle alterations of phrasing and harmony. Ballads were characterized by paraphrasing of the original melody which always seemed tasteful, appropriate and respectful to the vision of the songwriter. Unlike Sinatra, both Fitzgerald and Tormé were likely to cut loose during a swinging up-tempo number with several scat choruses, using their voices without words to improvise a solo like a brass or reed instrument."
Tormé wrote more than 250 songs, a number of which became jazz standards. He also often wrote the arrangements for the songs he sang. He often collaborated with Bob Wells, and the best known Tormé-Wells song is "The Christmas Song", often referred to by its opening line "Chestnuts roasting on an open fire." First recorded by Nat King Cole in 1946, it has been a holiday favorite ever since. Tormé said that he wrote the music to the song in only 40 minutes, and that it was not one of his personal favorites.
Do It Again
Mel Tormé Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You hadn't any right
I really shouldn't have let you
Kiss me.
And although it was wrong
I never was strong.
So as long as you've begun it
And you know you shouldn't have done it.
Oh.
Do it again.
I may say no. no. no. no. no.
But do it again.
My lips just ache
To have you take the kiss
That's waiting for you
You know if you do
You won't regret it
Come and get it.
Oh.
No one is near
I may cry oh. Oh. Oh. Oh. Oh.
But no one can hear.
Mamma may scold me
Coz' she told me
It was naughty but then
Please,
Do it again.
Yes do it again. And again and again and again and again and again
Turn out the light.
And hold me close
In your arms
All through the night.
I know tomorrow morning
You will say
Goodbye and Amen.
But until then
Please do it again.
The lyrics of Mel Tormé's song "Do It Again" convey a sense of forbidden desire and irresistible temptation. The singer acknowledges that what they are about to do is wrong, but they confess their lack of strength in resisting the kiss. Despite the inner conflict and knowing they shouldn't give in, there is an overwhelming longing for the kiss that awaits them. They express that if the person proceeds and kisses them, they won't regret it. The singer acknowledges that there is no one around to witness their actions, and though they may cry or be scolded for their behavior, the temptation is too strong to resist. They plea for the person to do it again, emphasizing that they want to experience the kiss repeatedly, disregarding the consequences that may come the next day.
These lyrics are filled with a mixture of guilt, longing, and surrender to desire. The singer battles with their conscience but ultimately chooses to give in to their temptation, even if only for a night. The repeated phrase "Do it again" reveals their desperation and the insatiability of their passion. The song's tone can be interpreted as a portrayal of the complexities of human desire and the struggle between reason and emotions.
Line by Line Meaning
You really shouldn't have done it
You truly made a mistake by engaging in that action
You hadn't any right
You had no permission or justification for what you did
I really shouldn't have let you
I also made an error by allowing you to do it
Kiss me.
Share a passionate embrace with me
And although it was wrong
Despite the fact that it was morally incorrect
I never was strong.
I lacked the willpower or determination to resist
So as long as you've begun it
Since you've initiated this course of action
And you know you shouldn't have done it.
And you're aware that it was an inappropriate decision
Oh.
Expressing surprise or realization
Do it again.
Repeat the same action
I may say no. no. no. no. no.
Even though I might verbally object multiple times
But do it again.
Please go ahead and repeat the action
My lips just ache
I feel an intense desire
To have you take the kiss
For you to accept the kiss
That's waiting for you
Which has been eagerly reserved for you
You know if you do
You understand that if you comply
You won't regret it
You will not feel remorseful about it
Come and get it.
Approach and claim it
Oh.
Expressing surprise or realization
No one is near
There is nobody in close proximity
I may cry oh. Oh. Oh. Oh. Oh.
I might shed tears of pleasure or emotional release
But no one can hear.
However, nobody can perceive it
Mamma may scold me
Mother may reprimand me
Coz' she told me
Because she advised me
It was naughty but then
It was mischievous but at the same time
Please,
Kindly
Do it again.
Repeat the action
Yes do it again. And again and again and again and again and again
Indeed, perform the action repeatedly, numerous times
Turn out the light.
Switch off the illumination
And hold me close
Embrace me tightly
In your arms
Within the boundaries of your embrace
All through the night.
For the entire duration of the night
I know tomorrow morning
I am aware that tomorrow morning
You will say
You will express
Goodbye and Amen.
Farewell and a final blessing
But until then
However, until that point in time
Please do it again.
Kindly repeat the action
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Royalty Network, Warner Chappell Music, Inc.
Written by: GRAHAM RUSSELL
Lyrics Licensed & Provided by LyricFind
salinas victor
Me encanta again