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."
That's Alright Honey
Peggy Lee Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You did me wrong but that's alright honey, honey
You did me wrong I realize but you turned right around and apologized
You did me wrong but that′s alright honey, honey
You left me for a long, long time honey, honey
You left me for a long, long time honey, honey
You left me for a long, long time but you came running back to these arms of mine
I was mad at you before but I ain't mad at you no more
I ain′t gonna ask you how you′ve been
I'm just so glad that you′re home again
You did me wrong but that's alright honey, honey
You did me wrong but that′s alright honey, honey
You did me wrong but that's alright
Your love′s too strong for my heart to fight
You did me wrong but that's alright honey, honey
You did me wrong but that's alright honey, honey
You did me wrong but that′s alright honey, honey
You did me wrong but that′s alright
Your love's too strong for my heart to fight
You did me wrong but that′s alright
Cause I love you with all my might
You did me wrong but that's alright my honey
Peggy Lee's "That's Alright Honey" captivates with its blend of poignant emotion and acceptance, as it navigates the complexities of love and betrayal. The opening lines introduce a recurring theme of wrongdoing and forgiveness. Here, the singer acknowledges the hurt caused by their partner, yet juxtaposes it with a sense of understanding and acceptance. The repetition of the phrase "that's alright honey, honey" signifies not only a resignation to the hurt but also an expression of enduring affection. This duality reflects the human experience within relationships, where emotional pain can coexist with genuine love. The significance of the partner’s apology highlights the transformative power of remorse in mending rifts, suggesting that love can surpass moments of emotional distress.
The second verse expands on the idea of separation and reunion, embodying both longing and relief. The act of leaving for a "long, long time" suggests a deep emotional chasm that could have been insurmountable, yet the returning partner changes the narrative. The phrase "came running back to these arms of mine" evokes a vivid image of reconciliation, emphasizing a yearning fulfillment that underscores the joy of rediscovery. This sense of relief contrasts sharply with previous hurt, suggesting that the depth of their connection makes the singer willing to forgive and forget past grievances. It raises the notion that love can thrive despite moments of doubt, hinting at the resilience of emotional bonds, even when tested by adversity.
In the following lines, the singer provides a testament to personal growth and emotional acceptance. The acknowledgment of past anger followed by a determination to leave that feeling behind suggests a maturation within the relationship dynamic. The phrase "I ain't gonna ask you how you've been" signifies a conscious decision to move beyond hurtful feelings, emphasizing a commitment to focusing on the present rather than dwelling on the past. The simplicity and directness of this declaration reflect a newfound clarity, enabling the singer to embrace their partner without conditions. With the juxtaposition of the pain of betrayal against the joy of reunion, the lyrics explore themes of resilience and the importance of moving forward in love.
Ultimately, the lyrical structure culminates in an affirmation of love that transcends the pain of past wounds, suggesting that despite the partner's wrongdoings, the connection remains unshaken. The lines articulate a profound truth about love's power: that it can overcome adversity and flourish despite imperfections. The repetition of “your love’s too strong for my heart to fight” encapsulates this notion, illustrating the struggle between vulnerability and devotion. The song's repeated refrains evoke a sense of cyclical reflection, where hurt and healing coexist in an ongoing dance of emotion. Ultimately, "That's Alright Honey" embodies the bittersweet complexities of love, marking it as a celebration of forgiveness, resilience, and the enduring power of heartfelt connections.
Line by Line Meaning
You did me wrong but that′s alright honey, honey
Although you've hurt me, I've chosen to forgive you, my dear.
You did me wrong but that's alright honey, honey
I acknowledge your mistake, but I won't let it diminish my affection for you.
You did me wrong I realize but you turned right around and apologized
I understand your error, and I appreciate your sincerity in seeking forgiveness.
You did me wrong but that′s alright honey, honey
Even though you've caused me pain, my love for you remains unwavering.
You left me for a long, long time honey, honey
You abandoned me for what felt like an eternity, my love.
You left me for a long, long time honey, honey
Your absence felt prolonged, and it weighed heavily on my heart.
You left me for a long, long time but you came running back to these arms of mine
Despite the painful separation, you've returned to me, seeking comfort and love.
You did me wrong but that's alright honey, honey
I acknowledge your past wrongdoings, but I've chosen to embrace you once more.
I was mad at you before but I ain't mad at you no more
I held resentment towards you previously, yet I've moved past that anger.
I ain′t gonna ask you how you′ve been
I won't pry into your past or where you've been during our time apart.
I'm just so glad that you′re home again
The joy of your return overshadows any past grievances.
You did me wrong but that's alright honey, honey
Despite your mistakes, my heart remains open to you, my dear.
You did me wrong but that′s alright honey, honey
Your missteps can't diminish the depth of my feelings for you.
You did me wrong but that's alright
Your past errors have been noted, yet I choose to focus on our love.
Your love's too strong for my heart to fight
The power of your love is too potent for me to resist or harbor resentment.
You did me wrong but that's alright honey, honey
Though you've caused me pain, my affection for you ultimately prevails.
You did me wrong but that's alright honey, honey
Even in the face of your mistakes, my heart remains forgiving and tender.
You did me wrong but that's alright
Your wrongdoings are acknowledged, but I have chosen acceptance instead.
Your love's too strong for my heart to fight
The love we share is stronger than any grievances I might hold.
You did me wrong but that's alright
Your past actions are recognized, yet I find solace in our bond.
Cause I love you with all my might
My love for you is unwavering and fierce, imbued with my whole being.
You did me wrong but that's alright my honey
Although there have been hardships, my affection for you remains intact, my dear.
Writer(s): Charles Singleton, Rose Marie Mccoy
Contributed by Scarlett H. Suggest a correction in the comments below.
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?