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."
Crazy She Calls Me
Peggy Lee Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I'll move the mountains
If he wants them out of the way
Crazy he calls me
Sure, I'm crazy
Crazy in love, I say
I say I'll go through fire
As he wants it, so it will be
Crazy he calls me
Sure, I'm crazy
Crazy in love, you see
Like the wind that shakes the bough
He moves me with a smile
The difficult I'll do right now
The impossible will take a little while
I say I'll care forever
And I mean forever
If I have to hold up the sky
Crazy he calls me
Sure, I'm crazy
Crazy in love am I
In Gail Lee's song "Crazy She Calls Me," the lyrics express a profound declaration of love characterized by both devotion and a touch of madness. The opening lines introduce an unwavering commitment to the beloved, as the singer asserts their willingness to “move mountains” at their partner's behest. This vivid metaphor emphasizes the lengths to which one would go to make their partner happy and to remove any obstacles from their path. The repetition of the phrase highlights the intensity of the singer’s feelings, suggesting that despite being labeled "crazy," there’s a sense of pride in that madness. The juxtaposition of devotion and perceived insanity captures the essence of love that can often seem irrational or excessive to outside observers, yet feels perfectly sane and justified to the one experiencing it.
As the song progresses into the second verse, the metaphor of going "through fire," further serves to illustrate the singer's readiness to endure anything for the sake of their love. Here, fire represents trials, suffering, or emotional upheaval that one might encounter in a relationship. The singer hints that their partner’s desires dictate their choices, reinforcing the theme of romantic sacrifice and the desire to please the one they love. The repeated refrain of being called "crazy" affirms not only the depth of their ardor but also suggests a willing acceptance of societal judgment regarding such intense feelings. The duality of love—its beauty and challenges—is highlighted here; while the singer may be labeled “crazy,” the passion and dedication are celebrated as essential elements of their experience.
In the third verse, the imagery shifts to nature, where the singer likens their emotions to "the wind that shakes the bough." This connection to the natural world evokes a sense of gentle unpredictability that love can bring. A smile from their beloved holds the power to influence the singer profoundly, indicating that emotional responses can often be spontaneous and overwhelming. The phrase "the difficult I'll do right now; the impossible will take a little while" serves as an acknowledgment that while there may be hurdles in their relationship, the singer is resolute in overcoming them. This line encapsulates a blend of confidence and determination, suggesting that love motivates the singer to tackle what may seem unfeasible while maintaining an optimistic outlook.
Finally, the closing lines bring forth a lifelong commitment—a promise to "care forever." The hyperbole of being willing to "hold up the sky" illustrates the boundlessness of their devotion, suggesting that love knows no limits and is willing to take on monumental challenges. Despite the title's implication of 'craziness,' this declaration of commitment emphasizes that the singer’s love is not merely whimsical but rather serious and grounded. By embracing the notion of being called "crazy," the singer demonstrates an understanding that love's intensity—its joys and tribulations—can lead one to act in ways that defy conventional logic. Ultimately, the song captures the enchanting yet tumultuous nature of love, confirming that in the realm of romance, sometimes what feels like insanity is merely a reflection of unwavering passion.
Line by Line Meaning
I say I'll move the mountains
I profess my willingness to overcome any challenges or obstacles that stand in the way of my love.
And I'll move the mountains
My determination is unwavering; I promise to take on any burden for the sake of our relationship.
If he wants them out of the way
My commitment to removing these obstacles is contingent on his desires because his happiness is my priority.
Crazy he calls me
He labels my intense devotion as irrational, unable to grasp the depth of my feelings.
Sure, I'm crazy
I acknowledge and embrace this perception, fully aware of how my emotions may seem to others.
Crazy in love, I say
I proudly proclaim that my affection for him is profound and all-consuming, showcasing my heartfelt truth.
I say I'll go through fire
I express my readiness to experience extreme challenges and hardships for the sake of our love.
And I'll go through fire
My resolve is steadfast; I am willing to endure pain or trials to prove my love.
As he wants it, so it will be
My devotion is matched by my commitment to fulfilling his desires, prioritizing his wishes above all.
Crazy he calls me
He continues to perceive my willingness to suffer for love as a sign of insanity.
Sure, I'm crazy
I accept this designation, recognizing that my love may defy conventional understanding.
Crazy in love, you see
It is evident that my feelings transcend ordinary love; I am fully captivated by him.
Like the wind that shakes the bough
His influence over me is both subtle and powerful, stirring deep emotions with just a gesture.
He moves me with a smile
His smile has the power to affect my heart profoundly, causing a shift in my emotions.
The difficult I'll do right now
I am ready and eager to tackle challenging tasks without delay to demonstrate my dedication.
The impossible will take a little while
Though some aspirations may seem unachievable, I remain optimistic and committed to pursuing them over time.
I say I'll care forever
I vow to uphold unwavering love and support for him for all eternity, promising steadfast devotion.
And I mean forever
My intentions are serious and sincere; this is not a fleeting promise but a lifelong commitment.
If I have to hold up the sky
I am willing to make extraordinary sacrifices, even carrying immense burdens, for his sake.
Crazy he calls me
He still perceives my relentless dedication as madness, unable to comprehend the depths of genuine love.
Sure, I'm crazy
I wholeheartedly accept this label, affirming my extraordinary emotional journey.
Crazy in love am I
I wholeheartedly admit that my feelings are intense and passionate; I am undeniably consumed by love.
Lyrics © MUSIC SALES CORPORATION, BMG Rights Management
Written by: Bob Russell, Carl Sigman
Lyrics Licensed & Provided by LyricFind
@williamswindler105
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 down, wondering what it's all about
You ain't got no money, they will put you out
Why don't you do right, like some other men do?
Get out of here and get me some money too?
If you had prepared 20 years ago
You wouldn't be a-wanderin' out from door to door
Why don't you do right, like some other men do?
Get out of here and get me some money too
I fell for your jivin' and I took you in
Now all you got to offer me's a drink of gin
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?
Like some other men do
@jeongeric6793
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 sittin' down and wonderin' what it's all about
You ain't got no money, they will put you out
Why don't you do right, like some other men do?
Get out of here and get me some money too
If you had prepared twenty years ago
You wouldn't be a-wanderin' now from door to door
Why don't you do right, like some other men do?
Get out of here and get me some money too
I fell for your jivin' and I took you in
Now all you got to offer me's a drink of gin
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
Like some other men do
@KrazyX777
"You had plenty money in 1922"
The Great Depression hit him hard I guess.
@eugenehomeier597
Sorry. The Great Depression wasn't until 1929......
@shirleyroseyflynn7433
😂😂😂
@cleverhardy5230
@@eugenehomeier597 "If you had prepared 20 years ago..."
That line implied he spent too much, and now he can't get it back unless he gets a job. He might have been reliant on stocks or something...
@bilguunsuvargakhairkhan5533
@@eugenehomeier597 That's the point...
@LuzMaria95
😂😂😂😂😂
@IllustriousCrocoduck
We must appreciate the guitars here. That man is straight shredding in 1950.
@ragestacker
THATS FACTS
@ragestacker
@AutomaticWriting hes vibing
@IllustriousCrocoduck
@AutomaticWriting just appreciate it for what it is, yeesh. There were no Dimebag Darrells back then.