As a piano player, he formed a jazz trio in 1938 that played Los Angeles nightclubs, one of the first jazz trios featuring guitar and piano. Prior to this he had played music since he was a child and had worked with bands since he was sixteen. He was raised in Chicago and exposed to the abundant jazz scene there. He was heavily influenced by pianist Earl "Fatha" Hines.
Later he became more popularly known as a singer and crooner and his work became more orchestrated.
His first mainstream vocal hit was in 1944 with Straighten Up and Fly Right, based on a black folk tale that his father had used as a theme for a sermon. Although hardly a rocker, the song's success proved that an audience for folk-based material existed. It is considered a predecessor to the first rock and roll records. Indeed, Bo Diddley, who performed similar transformations of folk material, counted Cole as an influence.
Beginning in the late 1940s, Cole began recording and performing more pop-oriented material for mainstream audiences, often accompanied by a string orchestra. His stature as a popular icon was cemented during this period with such hits as The Christmas Song (1946), Nature Boy (1948), Mona Lisa (1950), and his signature tune Unforgettable (1951). While this shift to pop music led some jazz critics and fans to accuse Cole of selling out, he never totally abandoned his musical roots; as late as 1956, for instance, he recorded an all-jazz album, After Midnight. In 1991, Mosaic Records released the Complete Nat King Cole Trio Recordings on Capitol, which contained 349 songs on twenty-seven LPs or eighteen CDs.
Throughout the 1950s Cole continued to rack up hit after hit, including Smile, Pretend, A Blossom Fell, and If I May. Most of his pop hits were collaborations with famed arranger/conductor Nelson Riddle. It was with Riddle that Cole released his first ten-inch long-play album in 1953 entitled Sings for Two in Love. Several more albums followed, including the Gordon Jenkins arranged Love Is the Thing, which reached number one on the album charts in April 1957.
Inspired by a trip to Havana, Cuba in 1958, Nat went back there that same year and recorded Cole Espanol, an album sung entirely in Spanish and Portuguese. The album was a hit not only in the U.S., but in Latin America as well. The album was so popular, that two others followed: A mis amigos in 1959, and More Cole Espanol in 1962.
Musical tastes were changing in the late 1950s, and despite a successful stab at rock n' roll with Send for Me, Cole's ballad singing had grown old to younger listeners. Like contemporaries Dean Martin, Frank Sinatra and Tony Bennett, Nat found that the pop singles chart had been almost entirely taken over by youth oriented acts. In 1960, Nat's longtime collaborator Nelson Riddle, left Capitol Records for Frank Sinatra's newly formed Reprise Records label. The two parted ways with one final hit album Wild Is Love, based on lyrics by Ray Rasch and Dotty Wayne. Nat would later re-tool the concept album into an off-Broadway production called I'm With You.
As the 1960s progressed, Nat once again found success on the American singles chart, starting with the country/pop flavored hit Ramblin' Rose in August of 1962. Three more hit singles followed: Dear Lonely Hearts, Those Lazy, Hazy, Crazy Days of Summer, and That Sunday, That Summer. Nat's final album was entitled L.O.V.E, and was recorded in late 1964. It was released just prior to his death and reached number four on the Billboard Albums chart in the spring of 1965. A "Best Of" album went gold in 1968. His 1957 song When I Fall in Love was a chart topping hit for the U.K. in 1987.
Cole was the first African-American to have his own radio program. He repeated that success in the late-1950s with the first truly national television show starring an African-American. In both cases, the programs were ultimately canceled because sponsors shied away from a black artist. Cole fought racism all his life, refusing to perform in segregated venues. In 1956, he was attacked on stage in Birmingham, Alabama by members of the White Citizens' Council who apparently were attempting to kidnap him. Despite injuries, Cole completed the show but vowed never to perform in the South again.
On 23rd August 1956, Cole spoke at the Republican National Convention in the Cow Palace, San Francisco, California. He was also present at the Democratic National Convention in 1960, to throw his support behind President John F. Kennedy. Cole was also among the dozens of entertainers recruited by Frank Sinatra to perform at the Kennedy Inaugural gala in 1961. Nat King Cole frequently consulted with President Kennedy (and later President Johnson) on the issue of civil rights. Yet he was dogged by critics, who felt he shied away from controversy when it came to the civil rights issue. Among the most notable was Supreme Court Justice Thurgood Marshall, who was upset that Cole didn't take stronger action after the 1956 on-stage attack.
In 1948, Cole purchased a house in the all-white Hancock Park neighborhood in Los Angeles, California. The property owners association told Cole they didn't want any undesirables moving in, to which Cole retorted "Neither do I. And if I see anybody undesirable coming in here, I'll be the first to complain."
He and his second wife, Maria Ellington, were married in Harlem's Abyssinian Baptist Church by Adam Clayton Powell, Jr. They had five children, including twin girls. Daughter Carol Cole, and son Kelly Cole were adopted. Kelly Cole died in 1995. Nat's daughter, Natalie Cole, and his younger brother, Freddie Cole are also singers.
Natalie and her father had an unexpected hit in the summer of 1991. The younger Cole mixed a 1961 recording of her father's rendition of Unforgettable with her own voice, creating an electronic duet. Both the song and the album of the same name won several Grammy awards the following year.
Cole performed in many short films, and played W. C. Handy in the film Saint Louis Blues. He also appeared in The Nat King Cole Story, China Gate, and The Blue Gardenia.
Nat King Cole was a heavy smoker of Kool menthol cigarettes, believing that smoking up to three packs a day gave his voice the rich sound it had (Cole would smoke several cigarettes in rapid succession before a recording for this very purpose). Cole died of lung cancer at St. John's Hospital in Santa Monica, California, on 15th February 1965. His funeral was held at St. Victor's Catholic Church in West Hollywood, and he was buried in Forest Lawn Memorial Park in Glendale, California. Cat Ballou, his final film, was released several months later.
Just Another Blues
Nat King Cole Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A super extraordinary flaperoo!
For years I was a dusty on the well-known shelf,
And really feeling awful sorry for myself!
Poor me, I'm just another blues.
Then someone got the notion that I could revive,
He took away my sadnes and he gave me jive;
He made my blues a blues that anyone could do;
To me, I'm just another blues.
I'd like to thank you for the boogie ride,
Thank you for the A to the bar.
Now I'm on the solid side,
Biggest attraction by far!
I'm just another blues of nineteen forty four,
When they start to play me they all ask for more.
Who'd ever guess that this success could all take place
Because somebody put some boogie in my base;
But still, I'm just another blues.
I'd like to thank you for the boogie ride,
Thank you for the A to the bar.
Now I'm on the solid side,
Biggest attraction by far!
I'm just another blues of nineteen forty four,
When they start to play me they all ask for more.
Who'd ever guess that this success could all take place
Because somebody put some boogie in my base;
But still, I'm just another blues.
The Nat King Cole Trio's song Just Another Blues speaks about the transformation of a blues song from a forgotten and dusty tune to a lively and danced rendition. The lyrics narrate the rise of the blues to fame, thanks to the "boogie woogie" rhythm which revives the sadness and adds a new energetic feeling to the melody. The song is composed of two stanzas that work as a before and after in the life of the blues song.
In the first stanza, the blues song is portrayed as a "dusty" old tune that was forgotten on the shelf, expressing its feeling of insignificance with the line "poor me." However, someone (whose identity is not revealed) takes the song out of its misery, transforms it with "boogie woogie," and injects new life into it. The line "He took away my sadness and gave me jive" reflects the impact that the boogie-woogie rhythm has on the blues, turning it into a lively and vibrant song that anyone can dance to.
The second stanza is a continuation of the first part, stating that the same song is now sought after by many, requesting more renditions of it. The line "Who'd ever guess that this success could all take place because somebody put some boogie in my base" acknowledges the contrast between the initial dusty, old song versus the new, joyful, and energetic version that the boogie rhythm has created. It is a tribute from the song to the power of music in altering its destiny, from being forgotten to embraced, from feeling sorry for itself to becoming the biggest attraction.
Line by Line Meaning
I'm just another blues from nineteen twenty two,
I am a typical blues song that was written in 1922.
A super extraordinary flaperoo!
My style is fantastic and unique.
For years I was a dusty on the well-known shelf,
For a long time, I was overlooked and forgotten.
And really feeling awful sorry for myself!
I was sad and pitiful because of my lack of popularity.
Poor me, I'm just another blues.
I am a song that is perceived to be of low value and not significant enough.
Then someone got the notion that I could revive,
Suddenly, someone realized that I had potential to become more popular.
He took away my sadness and he gave me jive;
This person added a fun and lively beat to my original version.
He added boogie woogie, and when he got through,
They included a popular style, known as boogie woogie, to my music.
He made my blues a blues that anyone could do;
As a result, my music became accessible and popular to a larger audience.
To me, I'm just another blues.
I still see myself as just another song in the world of blues, despite my newfound popularity.
I'd like to thank you for the boogie ride,
I want to express my gratitude for the inclusion of boogie woogie in my music.
Thank you for the A to the bar.
I am thankful for the simple and catchy rhythm my music now has.
Now I'm on the solid side,
My popularity is now secure and stable.
Biggest attraction by far!
I am now the most popular and in-demand blues song around.
I'm just another blues of nineteen forty four,
I am still a typical blues song, but with some modifications made in 1944.
When they start to play me they all ask for more.
People now love and request for more of my music.
Who'd ever guess that this success could all take place
It was surprising that I could become this successful, thanks to the inclusion of boogie woogie.
Because somebody put some boogie in my base;
The reason for my newfound popularity is because of the addition of boogie woogie to my music.
But still, I'm just another blues.
Despite my newfound fame and success, I still see myself as a typical blues song.
Lyrics © Universal Music Publishing Group
Written by: DICK CHARLES, JAMES P. DE MAIO, LARRY MARKES
Lyrics Licensed & Provided by LyricFind
john
on A Blossom Fell
i want the song" I'll never settle for less" lyrics,would somebody be so kind to give it to me?