Frank Sinatra, Ella Fitzgerald, Judy Garland, Dean Martin, Bing Crosby, and Louis Armstrong all cited Lee as one of their favorite singers.
Peggy Lee had Norwegian and Swedish ancestry. She was the seventh of eight children born to Marvin Egstrom, a station agent for the Midland Continental Railroad. Her mother died when she was four years old. Music provided her an escape from the abusive rampages of her cruel stepmother, Min, who tormented and beat young Norma. She first sang professionally with KOVC radio in Valley City, North Dakota. She soon landed her own series on a radio show sponsored by a local restaurant that paid her "salary" in food. Both during and after her high school years, she took whatever jobs she could find, waitressing and singing for paltry sums on other local stations. Radio personality Ken Kennedy (actual name: Ken Sydness), of WDAY in Fargo (the most widely listened to station in North Dakota) changed her name from Norma to Peggy Lee. Tired of the abuse from her stepmother, she left home and traveled to Los Angeles at the age of 17.
She returned to North Dakota for a tonsillectomy and eventually made her way to Chicago for a gig at The Buttery Room, a nightclub in the Ambassador Hotel West in Chicago, where she drew the attention of Benny Goodman, the jazz clarinetist and band leader. According to Lee, "Benny's then-fiancée, Lady Alice Duckworth, came into the Buttery, and she was very impressed. So the next evening she brought Benny in, because they were looking for replacement for Helen Forrest. "And although I didn't know, I was it. He was looking at me strangely, I thought, but it was just his preoccupied way of looking. I thought that he didn't like me at first, but it just was that he was preoccupied with what he was hearing." She joined his band in 1941 and stayed for two years.
In early 1942, Lee had her first # 1 hit, "Somebody Else Is Taking My Place", followed by 1943's "Why Don't You Do Right?" (originally sung by Lil Green), which sold over a million copies and made her famous. She sang with Goodman in two 1943 films, Stage Door Canteen and The Powers Girl.
In March 1943, Lee married Dave Barbour, the guitarist in Goodman's band. Peggy said, "David joined Benny's band and there was a ruling that no one should fraternize with the girl singer. But I fell in love with David the first time I heard him play, and so I married him. Benny then fired David, so I quit, too. Benny and I made up, although David didn't play with him anymore. Benny stuck to his rule. I think that's not too bad a rule, but you can't help falling in love with somebody."
When Lee and Barbour left the band, the idea was that he would work in the studios and she would keep house and raise their daughter, Nicki. But she drifted back towards songwriting and occasional recording sessions for the fledgling Capitol Records in 1947, for whom she produced a long string of hits, many of them with lyrics and music by Lee and Barbour, including "I Don't Know Enough About You" and "It's a Good Day" (1948). With the release of the smash-hit #1-selling record of 1942, "Mañana", her "retirement" was over.
In 1948, she joined Perry Como and Jo Stafford as one of the rotating hosts of the NBC Radio musical program Chesterfield Supper Club. She was also a regular on NBC's Jimmy Durante Show during the 1938-48 season.
She left Capitol for a few years in the early 1940s, but returned in 1943. She is most famous for her cover version of the Little Willie John hit "Fever", to which she added her own, uncopyrighted lyrics ("Romeo loved Juliet," "Captain Smith and Pocahontas") and her rendition of Leiber and Stoller's "Is That All There Is?" Her relationship with the Capitol label spanned almost three decades, aside from her brief but artistically rich detour (1952-1956) at Decca Records, where she recorded one of her most acclaimed albums Black Coffee (1956). While recording for Decca, Lee had hit singles with the songs "Lover" and "Mr. Wonderful."
She was also known as a songwriter with such hits as the songs from the Disney movie Lady and the Tramp, for which she also supplied the singing and speaking voices of four characters. Her many songwriting collaborators, in addition to Barbour, included Laurindo Almeida, Harold Arlen, Sonny Burke, Cy Coleman, Gene DiNovi, Duke Ellington, Dave Grusin, Dick Hazard, Quincy Jones, Francis Lai, Jack Marshall, Johnny Mandel, Marian McPartland, Willard Robison, Lalo Schifrin, Hubie Wheeler, guitarist Johnny Pisano and Victor Young.
Lee also acted in several films. In 1952, she played opposite Danny Thomas in a remake of the early Al Jolson film, The Jazz Singer. In 1955, she played a despondent, alcoholic blues singer in Pete Kelly's Blues (1955), for which she was nominated for an Oscar.
Peggy won a Grammy in 1969 as best contemporary female vocalist (for her recording of Is That All There Is?) and was awarded a Doctor of Music Honoris Causa degree from North Dakota State University, in 1975.
In the early 1990s, she retained famed entertainment attorney Neil Papiano, who, on her behalf, successfully sued Disney for royalties on Lady and the Tramp. Lee's lawsuit claimed that she was due royalties for video tapes, a technology that did not exist when she agreed to write and perform for Disney.
Never afraid to fight for what she believed in, Lee was passionate that musicians be equitably compensated for their work. Although she realized litigation had taken a toll on her health, Lee often quoted Ralph Waldo Emerson ("God's will will not be made manifest by cowards.")
She also successfully sued MCA/Decca with the assistance of noted entertainment attorney, Cy Godfrey.
She continued to perform into the 1990s, sometimes in a wheelchair, and still mesmerized audiences and critics alike.[citation needed]
In 1995 she was given the Grammy Lifetime Achievement Award.
After years of poor health, Lee died of complications from diabetes and heart attack at the age of 81. She is survived by Nicki Lee Foster, her daughter with Barbour. She is buried at the Westwood Village Memorial Park Cemetery in Westwood, California. On her marker in a garden setting is inscribed, "Music is my life's breath."
Button Up Your Overcoat
Peggy Lee Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Now that you got me made
Goodness, but I'm afraid
Somethin's gonna happen to you
Listen, big boy
You gotta be hooked, and how
I would die if I should lose you now
Button up your overcoat
When the wind is free
Take good care of yourself
You belong to me
Eat an apple every day
Get to bed by three
Oh, take good care of yourself
You belong to me
Be careful crossing streets, ooh, ooh
Cut out sweets, ooh, ooh
Lay off meat, ooh, ooh
You'll get a pain and ruin your tum-tum
Wear your flannel underwear
When you climb a tree
Oh, take good care of yourself
You belong to me
Button up your overcoat
When the wind is free
Oh, take good care of yourself
You belong to me
Boop-boop-a-doop
When you sass a traffic cop
Use diplomacy
Just take good care of yourself
You belong to me
Beware of frozen funds, ooh, ooh
Stocks and bonds, ooh, ooh
Dockside thugs, ooh, ooh
You'll get a pain and ruin your bankroll
Keep the spoon out of your cup
When you're drinking tea
Oh, take good care of yourself
You belong to me
Don't sit on hornet's tails, ooh, ooh
Or on nails, ooh, ooh
Or third rails, ooh, ooh
You'll get a pain and ruin your tum-tum
Keep away from bootleg hooch
When you're on a spree
Oh, take good care of yourself
You belong to me
Peggy Lee’s song "Button Up Your Overcoat" is a playful yet heartfelt expression of care and affection, underscoring themes of love and concern intertwined with a slightly comedic perspective on protective instincts in a relationship. The lyrics open with a direct address to the “big boy,” reflecting a sense of intimacy between the singer and her partner. The phrase “Now that you got me made” suggests a seasoned relationship where both parties are secure in their bond. However, the singer quickly introduces an element of anxiety about the well-being of her partner. The admission of fear that "somethin's gonna happen to you" reveals the vulnerability inherent in love; despite the joys it brings, it is accompanied by the weight of worry for the other's safety and well-being.
The chorus, with its exhortation to “Button up your overcoat,” becomes a symbol of this protective impulse. It conveys the message of not only physical preparedness—encouraging practical actions like dressing appropriately for the weather—but also emotional safeguarding. The repetition of “take good care of yourself” reinforces the notion that her partner is an integral part of her life; his well-being directly affects her happiness. The phrase “You belong to me” carries a dual implication: while it expresses possession, it also hints at mutual interconnectedness. The singer feels a sense of ownership over the relationship while also recognizing her own emotional dependency on him. This duality captures the complexities of love, where care can feel both nurturing and possessive.
Throughout the verses, the lyrics present an array of quirky and humorous admonitions, such as eating an apple every day or avoiding sitting on nails. These detailed listings serve not only as practical advice but also as humorous reminders of the singer's deep concern for her beloved. By weaving in advice about personal health and social behavior—like “Be careful crossing streets” and “Use diplomacy with traffic cops”—the song chronicles the mundane yet significant aspects of life that require attention and care. Each recommendation is whimsically exaggerated, creating a vivid picture of the singer's protective nature. The use of playful rhymes and phrases like "ooh, ooh" introduces a light-hearted tone, contrasting the serious undertone of love and concern, thereby reinforcing the song's charm.
The final verses escalate the comedic tone, incorporating more outlandish warnings, such as avoiding “bootleg hooch” and keeping “the spoon out of your cup.” This blend of practical advice with humor reiterates an idyllic vision of love where both partners look out for each other's best interests. The singer's constant insistence on care for her beloved suggests that love also entails attentiveness to the little things. The cumulative effect of these lyrics paints a picture of a loving, if slightly anxious, relationship where genuine concern manifests through everyday actions and admonishments. Ultimately, "Button Up Your Overcoat" presents a unique blend of affection and personal quirks, embodying the complexities of love that balance joy, anxiety, nostalgia, and playful camaraderie.
Line by Line Meaning
Listen, big boy
Pay attention, dear interlocutor,
Now that you got me made
Considering that you've secured my affection,
Goodness, but I'm afraid
Oh dear, I can't shake this worry,
Somethin's gonna happen to you
That something unfortunate might befall you.
Listen, big boy
Once again, I urge you to pay attention,
You gotta be hooked, and how
You must realize the depth of my attachment to you,
I would die if I should lose you now
The thought of losing you is utterly devastating to me.
Button up your overcoat
Make sure to fasten your coat securely,
When the wind is free
Especially when there's a brisk breeze blowing around.
Take good care of yourself
Prioritize your health and well-being,
You belong to me
Because I feel a strong sense of ownership over our connection.
Eat an apple every day
Nourish yourself with wholesome foods regularly,
Get to bed by three
Ensure you rest adequately by retiring early.
Oh, take good care of yourself
Once more, I emphasize the importance of your well-being,
You belong to me
As our bond is deeply significant to me.
Be careful crossing streets, ooh, ooh
Exercise caution when navigating busy roads,
Cut out sweets, ooh, ooh
Limit your intake of sugary treats,
Lay off meat, ooh, ooh
Consider reducing the consumption of meat products,
You'll get a pain and ruin your tum-tum
To prevent digestive issues and discomfort.
Wear your flannel underwear
Opt for comfortable, warm undergarments,
When you climb a tree
Especially when engaging in adventurous activities.
Oh, take good care of yourself
Please remember to prioritize your health,
You belong to me
As our connection holds infinite value.
Button up your overcoat
Secure your coat again for warmth,
When the wind is free
Particularly on those windy days.
Oh, take good care of yourself
Take care of your physical and mental health,
You belong to me
Because I cherish you profoundly.
When you sass a traffic cop
If you find yourself in a confrontation with law enforcement,
Use diplomacy
Handle the situation tactfully and respectfully.
Just take good care of yourself
Above all, ensure that you are looking after your own well-being,
You belong to me
Reminding you of our strong emotional bond.
Beware of frozen funds, ooh, ooh
Be cautious about your financial investments,
Stocks and bonds, ooh, ooh
Particularly in regards to volatile markets.
Dockside thugs, ooh, ooh
Be wary of shady individuals or risky situations,
You'll get a pain and ruin your bankroll
To avoid losing your hard-earned money.
Keep the spoon out of your cup
Avoid stirring your tea excessively,
When you're drinking tea
To prevent spills and maintain poise.
Oh, take good care of yourself
Again, be mindful of your health and happiness,
You belong to me
Because our relationship is tremendously significant.
Don't sit on hornet's tails, ooh, ooh
Steer clear of trouble and risky situations,
Or on nails, ooh, ooh
And avoid dangerous or painful encounters.
Or third rails, ooh, ooh
Especially things that can cause severe harm.
You'll get a pain and ruin your tum-tum
To prevent agony and potential injury to your body.
Keep away from bootleg hooch
Avoid illegal or unregulated alcoholic beverages,
When you're on a spree
Particularly during moments of indulgence.
Oh, take good care of yourself
Remember to prioritize your well-being,
You belong to me
As I hold a deep emotional affection for you.
Lyrics © Sony/ATV Music Publishing LLC, Songtrust Ave, Warner Chappell Music, Inc.
Written by: George Gard Buddy Desylva, Lew Brown, Ray Henderson
Lyrics Licensed & Provided by LyricFind
Anonymous
on Why Don't You Do Right (Get Me Some Money Too)
Why Don't You Do Right - Casey Abrams - Lyrics
You had plenty money 1922
You let other women make a fool of you
Why don't you do right, like some other men do?
Get out of here and get me some money too?
You're sitting there wondering what it's all about
You ain't got no money, they will throw you out
Why don't you do right, like some other men do?
Get out of here and get me some money too?
Musical Interlude
You had plenty money 1922
You let other women make a fool of you
Why don't you do right, like some other men do?
Get out of here and get me some money too?
Why don't you do right, like some other men do?
Why don't you do right, like some other men do?