Sarah Vaughan's father, Asbury "Jake" Vaughan, was a carpenter and amateur guitarist. Her mother, Ada, was a laundress. Jake and Ada Vaughan migrated to Newark from Virginia during the First World War. Sarah was their only natural child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan. The Vaughans lived in a house on Newark's Brunswick street for Sarah's entire childhood. Jake Vaughan was deeply religious and the family was very active in the New Mount Zion Baptist Church on 186 Thomas Street. Sarah began piano lessons at the age of seven, sang in the church choir and occasionally played piano for rehearsals and service. Vaughan developed an early love for popular music on records and the radio. In the 1930s, Newark had a very active live music scene and Vaughan frequently saw local and touring bands that played in the city. Vaughan initially attended Newark's East Side High School, later transferring to Newark Arts High School, which had opened in 1931 as the United States' first arts "magnet" high school.[2] However, her nocturnal adventures as a performer began to overwhelm her academic pursuits and Vaughan dropped out of high school during her junior year to concentrate more fully on music. Around this time, Vaughan and her friends also began venturing across the Hudson River into New York City to hear big bands at Harlem's Ballroom and Apollo Theater. Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. Sometime in the Fall of 1942 (when Sarah was 18 years old), Vaughan suggested that Robinson enter the Apollo Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete herself as a singer. Vaughan sang "Body and Soul" and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalled later to Marian McPartland, was $10 and the promise of a week's engagement at the Apollo. After a considerable delay, Vaughan was contacted by the Apollo in the Spring of 1943 to open for Ella Fitzgerald.
Sometime during her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl Hines, although the exact details of that introduction are disputed. Singer Billy Eckstine, who was with Hines at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Vaughan spent the remainder of 1943 and part of 1944 touring the country with the Earl Hines big band. This Earl Hines band is best remembered today as an incubator of bebop, as it included trumpeter Dizzy Gillespie, saxophonist Charlie Parker (playing tenor saxophone rather than the alto saxophone that he would become famous with later) and trombonist Bennie Green. Eckstine left the Hines band in late 1943 and formed his own big band with Gillespie leaving Hines to become the new band's musical director. Parker came along too, and the Eckstine band over the next few years would host a startling cast of jazz talent: Miles Davis, Kenny Dorham, Art Blakey, Lucky Thompson, Gene Ammons, Dexter Gordon, among others. Vaughan accepted Eckstine's invitation to join his new band in 1944, giving her an opportunity to develop her musicianship with the seminal figures in this era of jazz. Vaughan officially left the Eckstine band in late 1944 to pursue a solo career, although she remained very close to Eckstine personally and recorded with him frequently throughout her life.
Vaughan began her solo career in 1945 by freelancing in clubs on New York's 52nd Street like the Three Deuces, the Famous Door, the Downbeat and the Onyx Club. Vaughan also hung around the Braddock Grill, next door to the Apollo Theatre in Harlem. On May 11, 1945, Vaughan recorded "Lover Man" for the Guild label with a quintet featuring Gillespie and Parker with Al Haig on piano, Curly Russell on double bass and Sid Catlett on drums. Later that month she went into the studio with a slightly different and larger Gillespie/Parker aggregation and recorded three more sides. After being invited by violinist Stuff Smith to record the song "Time and Again" in October, Vaughan was offered a contract to record for the Musicraft label by owner Albert Marx. Vaughan's recording success for Musicraft continued through 1947 and 1948.
In 1948, a musicians union ban pushed Musicraft to the brink of bankruptcy and Vaughan used the missed royalty payments as an opportunity to sign with the larger Columbia record label. Following the settling of the legal issues, her chart successes continued with the charting of "Black Coffee" in the Summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success. Vaughan also achieved substantial critical acclaim. She won Esquire magazine's New Star Award for 1947 as well as awards from Down Beat magazine continuously from 1947 through 1952, and from Metronome magazine from 1948 through 1953.
Recording and critical success led to numerous performing opportunities, packing clubs around the country almost continuously throughout the years of the late 1940s and early 1950s. Vaughan's relationship with Columbia Records also soured as she became dissatisfied with the commercial material she was required to record and lackluster financial success of her records. A set of small group sides recorded in 1950 with Miles Davis and Benny Green are among the best of her career, but they were atypical of her Columbia output. In 1953, her manager-husband, George Treadwell, negotiated a unique contract for Vaughan with Mercury Records. She would record commercial material for the Mercury label and more jazz-oriented material for its subsidiary EmArcy. Her debut Mercury recording session took place in February 1954 and she stayed with the label through 1959. After a stint at Roulette Records (1960 to 1963), Vaughan returned to Mercury from 1964 to 1967.
The latter half of the 1950s often found Vaughan in the company of a veritable who's who of jazz as she followed a schedule of almost non-stop touring. She was featured at the first Newport Jazz Festival in the Summer of 1954 and would star in subsequent editions of that festival at Newport and in New York City for the remainder of her life. In the Fall of 1954, she performed at Carnegie Hall with the Count Basie Orchestra on a bill that also included Billie Holiday, Charlie Parker, Lester Young and the Modern Jazz Quartet. That fall, she again toured Europe successfully before embarking on a "Big Show" U. S. tour, a grueling succession of start-studded one-nighters that included Count Basie, George Shearing, Erroll Garner and Jimmy Rushing. At the 1955 New York Jazz Festival on Randalls Island, Vaughan shared the bill with the Dave Brubeck quartet, Horace Silver, Jimmy Smith, and the Johnny Richards Orchestra.
Although the professional relationship between Vaughan and Treadwell was quite successful through the 1950s, their personal relationship finally reached a breaking point and she filed for a divorce in 1958. Vaughan had entirely delegated financial matters to Treadwell, and despite stunning income figures reported through the 1950s, at the settlement Treadwell said that only $16,000 remained. The couple evenly divided that amount and their personal assets, terminating their business relationship.
The exit of Treadwell from Sarah Vaughan's life was also precipitated by the entry of Clyde "C.B." Atkins, a man of uncertain background whom she had met in Chicago and married on September 4, 1959. Although Atkins had no experience in artist management or music, Vaughan wished to have a mixed professional/personal relationship like the one she had with Treadwell. She made Atkins her personal manager, although, she was still feeling the sting of the problems she had with Treadwell and initially kept a slightly closer eye on Atkins. Vaughan and Atkins moved into a house in Englewood Cliffs, New Jersey.
When Vaughan's contract with Mercury Records ended in late 1959, she immediately signed on with Roulette Records. Vaughan began recording for Roulette in April 1960, making a string of strong large ensemble albums.
Vaughan was incapable of having biological children, so, in 1961, she and Atkins adopted a daughter, Debra Lois. However, the relationship with Atkins proved difficult and violent so, following a series of strange incidents, she filed for divorce in November 1963. She turned to two friends to help sort out the financial wreckage of the marriage: club owner John "Preacher" Wells, a childhood acquaintance, and Clyde "Pumpkin" Golden, Jr. Wells and Golden found that Atkins' gambling and profligate spending had put Vaughan around $150,000 in debt. The Englewood Cliffs house was ultimately seized by the IRS for nonpayment of taxes. Vaughan retained custody of the adopted child and Golden essentially took Atkins place as Vaughan's manager and lover for the remainder of the decade.
Around the time of her second divorce, she also became disenchanted with Roulette Records. Roulette' finances were even more deceptive and opaque than usual in the record business and its recording artists often had little to show for their efforts other than some excellent records. When her contract with Roulette ended in 1963, Vaughan returned to the more familiar confines of Mercury Records. In the Summer of 1963, Vaughan went to Denmark with producer Quincy Jones to record four days of live performances with her trio, Sassy Swings the Tivoli, an excellent example of her live show from this period. The following year, she made her first appearance at the White House, for President Johnson. Unfortunately, the Tivoli recording would be the brightest moment of her second stint with Mercury. Changing demographics and tastes in the 1960s left jazz artists with shrinking audiences and inappropriate material. In 1969 Vaughan relocated to the West Coast, settling first into a house near Benedict Canyon in Los Angeles and then into what would end up being her final home in Hidden Hills. Vaughan met Marshall Fisher after a 1970 performance at a casino in Las Vegas and Fisher soon fell into the familiar dual role as Vaughan's lover and manager. Fisher was another man of uncertain background with no musical or entertainment business experience, but - unlike some of her earlier associates - he was a genuine fan devoted to furthering her career.
The seventies also heralded a rebirth in Vaughan's recording activity. In 1971, Bob Shad, who had worked with her as producer at Mercury Records, asked her to record for his new record label, Mainstream Records. Basie veteran Ernie Wilkins arranged and conducted her first Mainstream album, A Time In My Life in November 1971. In April 1972, Vaughan recorded a collection of ballads written, arranged and conducted by Michel Legrand. Arrangers Legrand, Peter Matz, Jack Elliott and Allyn Ferguson teamed up for Vaughan's third Mainstream album, Feelin' Good. Vaughan also recorded Live in Japan, a live album in Tokyo with her trio in September 1973. During her sessions with Legrand, Bob Shad presented "Send In The Clowns", a Stephen Sondheim song from the Broadway musical A Little Night Music, to Vaughan for consideration. The song would become her signature, replacing the chestnut "Tenderly" that had been with her from the beginning of her solo career. In December 1974, Vaughan played a private concert for the United States President Gerald Ford and French president Giscard d'Estaing during their summit on Martinique. Also in 1974, conductor Michael Tilson Thomas asked Vaughan to participate in an all-Gershwin show he was planning for a guest appearance with the Los Angeles Philharmonic at the Hollywood Bowl. The arrangements were by Marty Paich and the orchestra would be augmented by established jazz artists Dave Grusin on piano, Ray Brown on double bass, drummer Shelly Manne and saxophonists Bill Perkins and Pete Christlieb. The concert was a success and Thomas and Vaughan repeated the performance with Thomas' home orchestra in Buffalo, New York, followed by appearances in 1975 and 1976 with symphony orchestras around the country. These performances fulfilled a long-held interest by Vaughan in working with symphonies and she made orchestra performances without Thomas for the remainder of the decade. In 1977, Vaughan terminated her personal and professional relationship with Marshall Fisher. Although Fisher is occasionally referenced as Vaughan's third husband, they were never legally married. Vaughan began a relationship with Waymond Reed, a trumpet player 16 years her junior who was playing with the Count Basie band. Reed joined her working trio as a musical director and trumpet player and became her third husband in 1978. Also, in 1977 Norman Granz, who was also Ella Fitzgerald's manager, signed Vaughan to his Pablo Records label. Meanwhile, Vaughan and Waymond Reed divorced in 1981.
Vaughan remained quite active as a performer during the 1980s and began receiving awards recognizing her contribution to American music and status as an important elder stateswoman of Jazz. A performance of her symphonic Gershwin program with the New Jersey Symphony in 1980 was broadcast on PBS and won her an Emmy Award in 1981. In 1985 Vaughan received a star on the Hollywood Walk of Fame. In 1988 Vaughan was inducted into American Jazz Hall of Fame. After the conclusion of her Pablo contract in 1982, Vaughan did only a limited amount studio recording. In 1984 Vaughan participated in one of the more unusual projects of her career, The Planet is Alive, Let It Live a symphonic piece composed by Tito Fontana and Sante Palumbo on Italian translations of Polish poems by Karol Wojtyla, the future Pope John Paul II.
Vaughan's final complete album was Brazilian Romance, produced and composed by Sergio Mendes and recorded primarily in the early part of 1987 in New York and Detroit. In 1988, Vaughan contributed vocals to an album of Christmas carols recorded by the Mormon Tabernacle Choir with the Utah Symphony Orchestra and sold in Hallmark Cards stores. In 1989, Quincy Jones' album Back on the Block featured Vaughan in a brief scatting duet with Ella Fitzgerald. This was Vaughan's final studio recording and, fittingly, it was Vaughan's only formal studio recording with Fitzgerald in a career that had begun 46 years earlier opening for Fitzgerald at the Apollo.
Vaughan is featured in a number of video recordings from the 1980s. Sarah Vaughan Live from Monterrey was taped in 1983 or 1984 and featured her working trio with guest soloists. Sass and Brass was taped in 1986 in New Orleans and also features her working trio with guest soloists, including Dizzy Gillespie and Maynard Ferguson. Sarah Vaughan: The Divine One was featured in the American Masters series on PBS.
In 1989, Vaughan's health began to decline, although she rarely betrayed any hints in her performances. Vaughan canceled a series of engagements in Europe in 1989 citing the need to seek treatment for arthritis in the hand, although she was able to complete a later series of performances in Japan. During a run at New York's Blue Note jazz club in 1989, Vaughan received a diagnosis of lung cancer and was too ill to finish the final day of what would turn out to be her final series of public performances.
Vaughan returned to her home in California to begin chemotherapy and spent her final months alternating stays in the hospital and at home. Toward the end, Vaughan tired of the struggle and demanded to be taken home, where she passed away on the evening of April 3, 1990 while watching a television movie featuring her daughter.
Vaughan's funeral was held at the First Mount Zion Baptist Church in Newark, which was the same congregation she grew up in, although relocated to a new building. Following the ceremony, a horse-drawn carriage transported her body to its final resting place in Glendale Cemetery in Bloomfield, New Jersey.
Sarah Vaughan was a three-time Grammy Award winner. The National Endowment for the Arts honored Sarah Vaughan with its highest honor in jazz, the NEA Jazz Masters Award in 1989.
Frasier
Sarah Vaughan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Living in a cage of iron
In a circus out of Tijuana
Frasier was their big attraction
And he gave them satisfaction
Doing it with talent and with honor
Growling for his daily dinner
Frasier kept on getting thinner
Times were lean but he was leaner
So one night in Pasadena
Through the bars he split for South Laguna
"Oh cruel is fate but its never too late", said Frasier
"I'm 91 and I haven't a son", thought Frasier
The blue-eyed truth is I'm ready for euthanasia
The [?] Lion Country [?] a local safari who rescued poor old Frasier
First they combed his tangled tresses
Housed him with the lionesses
Thinking him a harmless old grandpapa
Fed him niacin and fluoride 3, 1, 2, 6, 12 and chloride
Clams, cod, liver, oil
Cobalt and copper
Younger studs brought in for breeding
Wound up beaten, bruised and bleeding
Every dawn the same thing kept occurring
Stretched out in an old sarape
There lay Frasier tired but happy
All his ladies on the nest and purrin'
"Oh cruel is fate but its never too late", said Frasier
"Announce the feast! I'm the King of the Beast", yawned Frasier
"But king or not I am certainly hot", said Frasier
And when you are hot and hittin' the spot
The action will amaze ya'
Children by his wild livin'
Added up to fifty seven
Such [?] shockternal [?] bliss he must have tasted
For no matter what the night time
Any night time seemed the right time
Day time found him fast asleep just wastin'
When the circus owner found him
Brought a lawsuit to impound him
Claiming, "You cats have to go where we go!"
Frasier roared, "Hasta la vista!
You see all these girls my sistah'?
I'm in business for myself, amigo!"
"Oh cruel is fate, but its never too late", groaned Frasier
"I thank my stars, I'm not behind bars.", thought Frasier
The pay to see
What comes naturally in Asia
No African cat ever had it like that
And kept it up like Frasier
He's [?] Frasier
Raising cubs oh Frasier
Bliss his heart dear Frasier
Happy Frasier
Groovy Groovy Frasier
Dear Frasier yeah
The song "Frasier" by Sarah Vaughan tells the story of a once mighty lion who spent most of his life in a circus cage in Tijuana, Mexico. Frasier was the star attraction of the circus, who performed with "talent and with honor," but was fed sparingly and grew thinner as time went on. Despite his age—91—Frasier managed to break free from his cage in Pasadena and escape to South Laguna. He was eventually rescued and taken to Lion Country Safari, where he was housed with lionesses and given proper nutrition to help him regain his strength. He ended up raising a remarkable fifty-seven offspring and became known as the "king of the beasts" in Asia.
The lyrics of the song are a tribute to Frasier, who managed to overcome the cruelty and neglect he had faced for years by breaking free and finding a new home where he could live out his days in peace. Despite his advanced age, Frasier remained spry and active, capable of raising cubs and competing with the younger male lions in the pride. The song portrays Frasier as a symbol of resilience and perseverance, someone who managed to triumph over adversity through sheer force of will.
Line by Line Meaning
Frasier was an agin' lion
Frasier was an aging lion
Living in a cage of iron
He lived caged in an enclosure made of iron
In a circus out of Tijuana
He was part of a circus in Tijuana
Frasier was their big attraction
He was a major draw for the circus
And he gave them satisfaction
People were satisfied by seeing him perform
Doing it with talent and with honor
Frasier's performances were executed with great skill and respectability
Growling for his daily dinner
He growled while being fed
Frasier kept on getting thinner
Frasier continued to lose weight
With each measly can of spam or tuna
He was given low-quality food to eat like canned spam or tuna
Times were lean but he was leaner
Even though there was hardship, things were much worse for him
So one night in Pasadena
On one night in Pasadena
Through the bars he split for South Laguna
He escaped the circus by breaking through the bars and fled to South Laguna
"Oh cruel is fate but its never too late", said Frasier
Frasier lamented the harshness of fate, but claimed it is never too late for change
"I'm 91 and I haven't a son", thought Frasier
Frasier introspected and realized he was 91 with no descendants
The blue-eyed truth is I'm ready for euthanasia
Frasier admitted that he is ready for euthanasia
The [?] Lion Country [?] a local safari who rescued poor old Frasier
A local safari called Lion Country rescued Frasier
First they combed his tangled tresses
At the safari, Frasier's tangled hair was groomed
Housed him with the lionesses
He was placed in a home with the female lions
Thinking him a harmless old grandpapa
He was perceived as a harmless old grandpa
Fed him niacin and fluoride 3, 1, 2, 6, 12 and chloride
He was given a diet that included niacin, fluoride, chloride and 3, 1, 2, 6, 12
Clams, cod, liver, oil
He was fed clams, cod, liver and oil
Cobalt and copper
He was also given cobalt and copper
Younger studs brought in for breeding
Young lions were brought in for breeding purposes
Wound up beaten, bruised and bleeding
The young lions ended up injured and hurt
Every dawn the same thing kept occurring
The same events unfolded every single morning
Stretched out in an old sarape
Frasier laid there in a worn out sarape or blanket
There lay Frasier tired but happy
He was exhausted but content with his new home
All his ladies on the nest and purrin'
All his female counterparts were content, happy and taking care of their young
"Announce the feast! I'm the King of the Beast", yawned Frasier
Frasier requested to be announced as the King of the Beasts and seemed unimpressed
"But king or not I am certainly hot", said Frasier
Regardless of his title, Frasier still considered himself relevant
And when you are hot and hittin' the spot
The action will amaze ya'
If one is doing well, success and other benefits will come along
Children by his wild livin'
He had fathered 57 offspring from his wild lifestyle
Added up to fifty seven
There were 57 offspring / children
Such [?] shockternal [?] bliss he must have tasted
He must have experienced profound and long-lasting happiness
For no matter what the night time
Regardless of the night, without fail,
Any night time seemed the right time
Seemed like the right time for anything to happen
Day time found him fast asleep just wastin'
During the day, he slept away his time
When the circus owner found him
The circus owner eventually caught up to him
Brought a lawsuit to impound him
He tried to initiate legal action against Frasier to reclaim him
Claiming, "You cats have to go where we go!"
He asserted that the lions are supposed to travel with the circus
Frasier roared, "Hasta la vista!
Frasier defiantly roared and resisted
You see all these girls my sistah'?
Do you see all these female lions with me?
"I'm in business for myself, amigo!"
I operate on my own without help
"I thank my stars, I'm not behind bars.", thought Frasier
Frasier was grateful that he's not imprisoned nor figuratively 'behind bars'
The pay to see
What comes naturally in Asia
People pay to see what comes naturally to lions in Asia
No African cat ever had it like that
And kept it up like Frasier
Frasier had a quality of life that no other African cat could compare with and he maintained that high quality of life
He's [?] Frasier
Raising cubs oh Frasier
Bliss his heart dear Frasier
Happy Frasier
Groovy Groovy Frasier
Dear Frasier yeah
Various lyrics that celebrate and praise Frasier
Writer(s): MERCER, ROWLES
Contributed by Alyssa B. Suggest a correction in the comments below.
@taylorann9081
I listened to this over and over again trying to transcribe the lyrics. It's a bit tricky to do with jazz songs saying as improvisation and making up words is a big thing with jazz singers (I sing and that's actually part of why I LOVE jazz) As well as not really enunciating all that well. But here is what I have transcribed. Let me know if you heard some of the lyrics different than I did and I'll edit if I can. (The safari that rescued the real Frasier was called "Lion Country" so thats what I used but I'm not sure that that is what she said.)
Frasier was an agin' lion
Living in a cage of iron
In a circus out of Tijuana
Frasier was their big attraction
And he gave them satisfaction
Doing it with talent and with honor
Growling for his daily dinner
Frasier kept on getting thinner
With each measly can of spam or tuna
Times were lean but he was leaner
So one night in Pasadena
Through the bars he split for South Laguna
"Oh cruel is fate but its never too late", said Frasier
"I'm 91 and I haven't a son", thought Frasier
The blue-eyed truth is I'm ready for euthanasia
The [?] Lion Country [?] a local safari who rescued poor old Frasier
First they combed his tangled tresses
Housed him with the lionesses
Thinking him a harmless old grandpapa
Fed him niacin and fluoride 3, 1, 2, 6, 12 and chloride
Clams, cod, liver, oil
Cobalt and cooper
Younger studs brought in for breeding
Wound up beaten, bruised and bleeding
Every dawn the same thing kept occurring
Stretched out in an old sarape
There lay Frasier tired but happy
All the ladies on the nest and purrin'
"Oh cruel is fate but its never too late", said Frasier
"Announce the feast! I'm the King of the Beast", yawned Frasier
"But king or not I am certainly hot", said Frasier
And when you are hot and hittin' the spot
The action will amaze ya'
Children by his wildly livin'
Added up to fifty seven
Such [?] shockternal [?] bliss he must have tasted
For no matter what the night time
Any night time seemed the right time
Day time found him fast asleep just wastin'
When the circus owner found him
Brought a lawsuit to impound him
Claiming, "You cats have to go where we go!"
Frasier roared, "Hasta la vista!
You see all these girls my sistah'?
I'm in business for myself, amigo!"
"Oh cruel is fate, but its never too late", groaned Frasier
"I thank my stars, I'm not behind bars.", though Frasier
The pay to see
What comes naturally in Asia
No African cat ever had it like that
And kept it up like Frasier
He's [?] Frasier
Raising cubs oh Frasier
Bliss his heart dear Frasier
Happy Happy Frasier
Groovy Groovy Frasier
Dear Frasier yeah
@jamesmiller9515
On tonight's episode of "The Leftovers" this jazzy vocal ran over the end credits...a great idea and a great version of this classic by Miss Vaughan...James, Columbus, OH 5/14/17
@direfranchement
James Miller
I just saw...its a novelty song. Sarah is what is classic. Her distinctive style can make even throwaway music like this sound special. She was superb.
@spiegeltn
of course this song is about satan, everyone knows that right? "the devil walks to and fro the earth like a roaring lion, seeking whom he may devour". which means the spirit of Cain, which is a wandering spirit... like a Gypsy, which is a pagan fortune telling witch. Gypsy means Egyptian origins but they scattered all over. Now they are modern day secret society members. Cain vs. Abel, master vs. slave, secret society member vs John Q. Public. Spiritual vampires sucking the life out of everyone else for their own sensual desires. like a murderer, a destroyer... like Cain. The story is more real today than it ever has been. yet only few see what's going on in the world.... sad. ok well folks, there's ur history lesson. spread the word and love ur neighbor... don't cheat him for God sakes. Psalm 49
@pascal590
Aaron Michael Europeans thought the gypsies were from Egypt bc of their brown skin hence GYPsie but they're actually from india and theyre properly called the Romani.
@DarkRider69
Aaron Michael No, it’s about a horny lion.
@mikebeavers5838
@@spiegeltn You're a moron. It's about exactly what the lyrics say it's about...a real life lion that fathered a bunch of cubs at Lion Country Safari in California. Jeez..some people.
@DjLou82
we need a netflix frasier documentary now
@missbreezyable
Brings back memories of my dad
@maryburrell3948
Heard this on the Leftovers Sarah Vaughn had a voice like velvet
@harrietjohnson1930
WOW! I'm delighted to find this Sarah Vaughn cut on YouTube!! I haven't heard it in over 20 years and it's a fav. I have it on a cassette tape, but I remember my cassette version being more vibrant, and I don't believe it's a live recording. Props to you Bigresonance for posting a number of cuts from this album.