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."
I Love to Love
Peggy Lee Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But my baby just loves to dance
He wants to dance, He loves to dance, He's got to dance
Oh I love to love
But my baby just loves to dance
Oh I love to love
But there's no time for our romance
No no no oh
Oh I love to love
But my baby just loves to dance
The minute the band begins to swing it
He's on his feet to dig it
And dance the night away
Stop I'm spinning like a top
We'll dance until we drop
But if I had my way
Oh I love to love
But my baby just loves to dance
He wants to dance, He loves to dance, He's got to dance
Oh I love to love
But my baby just loves to dance
Oh I love to love
But he won't give our love a chance
No no no oh
Oh I love to love
But my baby just loves to dance
Stop I'm spinning like a top
We'll dance until we drop
But if I had my way
Sundown instead of going downtown
We'll stay at home and get down
To what I'm tryin' to say
Oh I love to love
But my baby just loves to dance yeah yeah
Yes he does...ooh...get down...oh...
The song "I Love to Love" by Peggy Lee depicts the feelings of a person who enjoys being in love and wants to have romantic moments with their partner. The singer talks about how much she likes to love but finds it difficult to enjoy it with her companion because he prefers dancing to spending quality time with her. Despite her desire to have moments of intimacy, she realizes that her partner's love for dancing is insatiable.
The lyrics carry a sense of frustration and longing; the singer recognizes the need to compromise but still feels a hint of sadness about the situation. The line "But he won't give our love a chance" is a clear indication of her partner's disinterest in being affectionate outside of dancing. Despite her attempts to persuade him, he remains solely focused on his love for dancing.
The song cleverly uses dancing as a metaphor for the singer's desire to have a deeper connection with her companion. It highlights the struggle of balancing individual interests with shared moments of love and emotional intimacy.
Line by Line Meaning
Oh I love to love
I enjoy being in love and expressing my feelings for my partner
But my baby just loves to dance
However, my partner's passion is dancing rather than romance
He wants to dance, He loves to dance, He's got to dance
Dancing is my partner's top priority and he cannot resist the urge to dance
But there's no time for our romance
Our love takes a backseat to my partner's love for dancing
The minute the band begins to swing it
As soon as the music starts to play and the tempo picks up
He's on his feet to dig it
My partner gets up to dance immediately and enthusiastically
And dance the night away
He could dance for hours without stopping
Stop I'm spinning like a top
I'm getting dizzy from all the dancing and need to take a break
We'll dance until we drop
We won't stop dancing until we're completely exhausted
But if I had my way
If I could make the decision
He won't give our love a chance
My partner is neglecting our romantic relationship because of his love for dancing
Sundown instead of going downtown
Instead of going out at night to dance and socialize
We'll stay at home and get down
We'll stay at home and be intimate
To what I'm tryin' to say
To the point I'm trying to make about prioritizing our love over dancing
But my baby just loves to dance yeah yeah Yes he does...ooh...get down...oh...
My partner's passion for dancing is undeniable and all-encompassing, despite my desire for more romance
Lyrics © Warner/Chappell Music, Inc.
Written by: GERD AMIR SARAF, LANE MCCRAY
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?