The Peggy Lee Bio-Discography And Videography:
The Capitol Years, Part 4
by Iván Santiago Mercado

Generated on Dec 6, 2010

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Peggy Lee's Recording Career, 1957-1959

In 1957, Peggy Lee returned to the label that she considered her alma mater. The vocalist had previously spent eight years at Capitol Records (i.e., from 1944 to 1952), and she would go on to spend fifteen more (1957-1972). This discographical page covers the first three years after her comeback. A note at the end of the page offers an overview of Lee's recording activity during the period. The same note supplies a tabulation of this page's 101 masters and alternate takes, plus trivia such as Lee's placement in Downbeat polls from 1957 to 1959. As for Lee's Grammy nominations within the years under discussion, specifics can be found under the relevant sessions, begining with the date in which she recorded the song "Fever" (May 19, 1958) and ending with one of the dates dedicated to the album Latin Ala Lee! (August 14, 1959).


Date: April 2, 1957 (8:30 p.m. - 12:00 m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session CSD #E25

Peggy Lee (ldr), Voyle Gilmore (pdr), Frank Sinatra (con), Buddy Collette, Harry Klee (as), Warren "Champ" Webb, James Williamson (ts), Tommy Pederson aka Pullman Pederson (tb), James "Jim" Decker, Sinclair Lott (frh), Juan Tizol (vtb), George Roberts (bt), Nick Bonney (g), Max K. Bennett (b), Lou Levy (p), Stella Castellucci (hrp), Lou Singer (d), Victor Arno, Victor Bay, Alex Beller, Harold Dicterow, David Frisina, Henry Hill, Alex Murray, Erno Neufeld, Eudice Shapiro, Marshall Sosson (vn), Alvin Dinkin, Maxine Johnson, Barbara Simons (vl), Ennio Bolognini, Victor Gottlieb, Edgar Lustgarten, Kurt Reher (vc), Peggy Lee (v)

a.E 16791-6   MasterHe's My Guy - 4:11  (Gene DePaul, Don Raye) / arr: Nelson Riddle
     CAPITOL EP: Eap 2 2864 — The Man I Love, Pt. 2    (1957)
     CAPITOL EP: (France) 4 864 — That's All   (1957)
     CAPITOL©EMI CS/LP: (England) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
     CAPITOL©EMI CD: (England) 7243 4 97143 2 8 — C'est Magnifique   (1998)
b.E 16792-4   MasterSomething Wonderful - 3:16  (Oscar Hammerstein II, Richard Rodgers) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 864 — The Man I Love, Pt. 1   (1957)
c.E 16793-6   MasterPlease, Be Kind - 4:14  (Sammy Cahn, Saul Chaplin) / arr: Nelson Riddle
     CAPITOL EP: Eap 2 2864 — The Man I Love, Pt. 2    (1957)
     CAPITOL EP: (France) 4 864 — That's All   (1957)
     zzz~ Alto Take: 2 CD: (England) Aln 1907 — Fever! Very Best Of Peggy Lee    (2008)
     CAPITOL's Creative Products LP: Sl 5501 — Zenith Presents Peggy Lee And Ella Fitzgerald   
d.E 16794-4   MasterThe Man I Love - 3:44  (George Gershwin, Ira Gershwin) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 864 — The Man I Love, Pt. 1   (1957)
     CAPITOL©EMI Bovema LP: (The Netherlands) 4C 064 82274 — Rendez-Vous With Peggy Lee   (1975)
CAPITOL©EMI CS/LP: (England) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
All titles on:      CAPITOL LP: T 864 — The Man I Love   (1957)
     www~ World Record Club reel/LP: (England) Tt/St 925 [reprocessed stereo] — The Man I Love   (1970)
CAPITOL 8-track/CS/LP: Df 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill ["False stereo" reissue of The Man I Love - 2 songs]   (1970)

The Man I Love Album Sessions (Cross-references)

Dates: April 2, 4 and 8, 1957.


Personnel

1. Frank Sinatra
For her comeback to Capitol Records, Peggy Lee joined forces with long-time friend Frank Sinatra, who was then at the height of his popularity as a recording act. In these April 1957 sessions, Sinatra unofficially took on the role of producer. Officially, he was the conductor of all twelve performances.

Peggy Lee frequently discussed the scope of Sinatra's involvement in the production of the sessions and in the resulting album, which was aptly entitled The Man I Love. The following comments have been pieced together from various sources, including Lee's autobiography: "He was my neighbor then, and came over and said, let's do an album ... That was Frank's idea, the whole thing. It was his entire production. He came over with a list of about 40 songs, and they were all excellent songs -- gems, you know -- and said, Just choose from this ... Bill Miller came over and set all the keys with me. Then Frank hired Nelson Riddle to write those lovely arrangements .... And then he had a beautiful orchestra. I thought that album probably would never pay for itself. But I always thought at the time, it doesn't make any difference; this is just so much fun .... And Frank did conduct ... he was following the score and he knew every note in there ... Frank thought of everything to the last detail, including putting menthol in my eyes so I'd have a misty look in the cover photograph ..."

The Man I Love was Sinatra's third experience as an album conductor. His first try had been Frank Sinatra Conducts The Music Of Alec Wilder, a set of instrumentals which Columbia Records released in 1946. His second try happened ten years later (1956), when he conducted the very first sessions held at the Capitol Tower. Capitol Records released the fruits of those sessions in the LP Frank Sinatra Conducts Tone Poems Of Color, also a set of instrumentals. One year later, Sinatra chose Peggy Lee as the very first vocalist for whom he conducted an album.

Following the Man I Love album sessions, Sinatra would eventually embark in four more conducting projects. The next of them took place in 1959, when he conducted the Sleep Warm album sessions for Dean Martin, another friend.


Record Labels

1. Essex And Capitol
In her autobiography, Peggy Lee writes that the album The Man I Love was "first released on Frank's Essex label, which was a subsidiary of Capitol Records, and later the album was released on Capitol." The various album copies that I have inspected do bear the Capitol logo on the cover and, on the vinyl itself, the legend "manufactured for Essex Productions, Inc." Other than that legend, the albums do not identify themselves as Essex releases, however.

Essex Productions had been formed by Sinatra in 1956. Beginning with one of his sessions from January 1956, Sinatra's own masters for Capitol bear the E prefix, which stands for Essex Productions. This E also occurs in all masters from Peggy Lee's sessions for The Man I Love. Moreover, each of the Lee album sessions are labeled "CSD," a Capitol code for custom-made recordings.

In his book Sinatra! The Song Is You, Will Friedwald quotes a statement from former Capitol president Alan Livingston, to the effect that Essex was "purely a paper deal for tax purposes." More pointedly, Livingston adds that "[w]e still owned every Sinatra record made at Capitol, and in perpetuity." Sinatra probably had a different perspective on the matter, as suggested by comments that he made to the trade press over the years. Mr. Chairman of the Board maintained that Essex was a "full-fledged independent record company" and that Capitol's involvement was just as a distributor, rather than as an owner. Peggy Lee's above-quoted comment was probably based on information that Sinatra had given her.


Arrangers And Arrangements

1. "Something Wonderful"
2. Peter Matz
3. Eddie Karam
In addition to Nelson's Riddle's arrangement of this session's performance of "Something Wonderful," Peggy Lee kept in her library of music scores two other arrangements of this song, one by Peter Matz and the other by Eddie Karam.


Date: April 4, 1957 (8:30 p.m. - 11:30 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session CSD #E26

Peggy Lee (ldr), Voyle Gilmore (pdr), Frank Sinatra (con), Buddy Collette, Harry Klee (as), Warren "Champ" Webb (ts), Joe Koch (bar), Harry "Sweets" Edison, Emmanuel "Manny" Klein (t), Tommy Pederson aka Pullman Pederson (tb), James "Jim" Decker, Vincent DeRosa (frh), Juan Tizol (vtb), George Roberts (bt), Nick Bonney (g), Max K. Bennett (b), Lou Levy (p), Stella Castellucci (hrp), Lou Singer (d), Victor Arno, Victor Bay, Alex Beller, Henry Hill, Alex Murray, Paul Nero, Erno Neufeld, Eudice Shapiro, Felix Slatkin, Marshall Sosson (vn), Alvin Dinkin, Maxine Johnson, Barbara Simons (vl), Cy Bernard, Ennio Bolognini, Edgar Lustgarten, Eleanor Slatkin (vc), Peggy Lee (v)

a.E 16799-13   MasterThere Is No Greater Love - 3:40  (Isham Jones, Marty Symes) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 864 — The Man I Love, Pt. 1   (1957)
     CAPITOL©Toshiba-EMI CD: (Japan) Tocp 7459/60 — Peggy Lee ("Twin Best Now" Series)   (1992)
www~ Beautiful Music CS/LP/CD: Bmcs/Bmclp/Bmc S12 56958 — Beautiful Music Company Presents Peggy Lee   (1993)
b.E 16800-5   MasterThat's All - 2:55  (Alan E. Brandt, Bob Haymes) / arr: Nelson Riddle
     CAPITOL EP: Eap 3 864 — The Man I Love, Pt. 3   (1957)
     CAPITOL EP: (France) 4 864 — That's All   (1957)
     www~ Disky CD: (The Netherlands) Hr 883492 — Fever   (1997)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
c.E 16801-4   MasterHappiness Is A Thing Called Joe - 4:05  (Harold Arlen, Erwin 'Yip' Harburg) / arr: Nelson Riddle
     CAPITOL EP: Eap 3 864 — The Man I Love, Pt. 3   (1957)
     CAPITOL©EMI CS/LP: (England) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
d.E 16802-6   MasterThe Folks Who Live On The Hill - 3:39  (Oscar Hammerstein II, Jerome Kern) / arr: Nelson Riddle
     CAPITOL EP: Eap 3 864 — The Man I Love, Pt. 3   (1957)
     CAPITOL 45: (England) Cl 15214 — {The Folks Who Live On The Hill [[not released on USA singles]] / Mañana}   (1961)
CAPITOL©EMI 8-track/CS/LP: (England) 8x/Tc/(S)t 21141 — The Best Of Peggy Lee [=The Hits Of Peggy Lee + 5 bonus tracks]   (1968)
All titles on:      CAPITOL LP: T 864 — The Man I Love   (1957)
     www~ World Record Club reel/LP: (England) Tt/St 925 [reprocessed stereo] — The Man I Love   (1970)
CAPITOL 8-track/CS/LP: Df 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill ["False stereo" reissue of The Man I Love - 2 songs]   (1970)

The Man I Love Album Sessions (Cross-references)

Dates: April 2, 4 and 8, 1957.


Issues

1. The Man I Love In Stereo? [LP, CD]
On vinyl, the album The Man I Love was originally issued in mono. Reissues in re-processed, electronically channeled stereo did appear during the LP era, but no vinyl in true stereo was ever issued. Among the labels which resorted to "fake stereo" were EMI itself (see 1970 album listed above) and the World Record Club, a British/Australian mail label with ties to EMI.

On CD, the album has appeared only in mono. Although various Japanese CD editions have been advertised as being in stereo, such EMI Toshiba ads are wrong. (Internal data about the electronically processed stereo LPs might have confused the makers of the CDs, leading them to make the incorrect statement. So improved and brightened is the sound quality of EMI Toshiba CDs that also listeners might easily deceive themselves into believing that they are hearing a stereophonic The Man I Love, when in truth they are still listening to a monophonic one.)

Should we then conclude that The Man I Love was taped in mono only, or could it have been recorded in (hitherto unissued) stereo as well? At the present time, there is no definitive answer to this question. Granted that all issued versions are in either mono or fake stereo, a couple of insiders with access to the Capitol vaults have claimed seeing tapes that were labeled as stereo. Their sightings happened decades ago, however, and recent vault searches have not succeeded in locating any stereo items. The tapes could have been mislabeled, of course, and currently lost as a result. By the same token, the insiders could have been mistaken.

It is worth adding that, chronologically, there is no objection to the possible existence of stereo Man I Love tapes. Capitol's earliest-known pop stereo date took place four months before these April 1957 sessions. (It was a Nat King Cole session, dated December 19, 1956.) In the ensuing months, the company followed an experimental, inconsistent approach on this matter: some sessions were recorded in mono only, some in both mono and stereo, irrespective of the artist involved. (For instance, some of Sinatra's and some of Cole's subsequent sessions were exclusively in mono, some also in stereo.)

2. The Folks Who Live On The Hill [LP]
Electronically processed stereo is heard in this 1970 Capitol album, which is an abridged reissue of The Man I Love. Two songs from the original LP were deleted, and the original artwork was also changed.

The Folks Who Live On The Hill can be found both as a stand-alone and as part of a double LP set. The catalogue number of the stand-alone is Df 518. The prefix's letter D refers to the so-called Duophonic process, which was Capitol's name for its own brand of mimicked stereo.

The catalogue number of the 2LP set is Sttb 517. This so-called set consists of just the two albums and the small adhesive sticker that precariously holds them together. Approximately 3" by 1", the sticker is placed around the albums' spines. It may be viewable here.

(As for the other LP in this 2LP set, Broadway Ala Lee is an abridged reissue of Latin Ala Lee!, another Peggy Lee original album. See notes under session dated August 13, 1959.)


Date: April 8, 1957 (6:30 p.m. - 9:30 m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session CSD #17882/E27

Peggy Lee (ldr), Voyle Gilmore (pdr), Frank Sinatra (con), Alex Gershunoff, Jules Jacob[s], Harry Klee, Wilbur "Willie" Schwartz (r, sax), Ed Kusby aka Edward Kuczborski, Ray Sims (tb), James "Jim" Decker, Vincent DeRosa (frh), George Roberts (bt), Nick Bonney (g), Max K. Bennett (b), Lou Levy (p), Stella Castellucci (hrp), Lou Singer (d), Victor Arno, Victor Bay, Alex Beller, Henry Hill, Paul Nero, Erno Neufeld, Eudice Shapiro, Paul Shure, Felix Slatkin, Marshall Sosson (vn), Alvin Dinkin, Maxine Johnson, Barbara Simons (vl), Cy Bernard, Ennio Bolognini, Edgar Lustgarten, Eleanor Slatkin (vc), Peggy Lee (v)

a.E 16815-12   MasterIf I Should Lose You - 2:24  (Ralph Rainger, Leo Robin) / arr: Nelson Riddle
     CAPITOL EP: Eap 2 2864 — The Man I Love, Pt. 2    (1957)
     CAPITOL 8-track/CS/LP: Df 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill ["False stereo" reissue of The Man I Love - 2 songs]   (1970)
     www~ Beautiful Music CS/LP/CD: Bmcs/Bmclp/Bmc S12 56958 — Beautiful Music Company Presents Peggy Lee   (1993)
     CAPITOL CS/CD: 7243 8 28533 4 3 — Spotlight On... Peggy Lee ("Ladies And Gentleman Of Song" Series)   (1995)
b.E 16816-9   MasterThen I'll Be Tired Of You - 2:31  (Erwin 'Yip' Harburg, Arthur Schwartz) / arr: Nelson Riddle
     CAPITOL EP: Eap 2 2864 — The Man I Love, Pt. 2    (1957)
     CAPITOL EP: (France) 4 864 — That's All   (1957)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
c.E 16817-2   MasterJust One Way To Say I Love You - 2:53  (Irving Berlin) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 864 — The Man I Love, Pt. 1   (1957)
d.E 16818-4   MasterMy Heart Stood Still - 2:47  (Lorenz Hart, Richard Rodgers) / arr: Nelson Riddle
     CAPITOL EP: Eap 3 864 — The Man I Love, Pt. 3   (1957)
     CAPITOL 8-track/CS/LP: Df 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill ["False stereo" reissue of The Man I Love - 2 songs]   (1970)
www~ Beautiful Music CS/LP/CD: Bmcs/Bmclp/Bmc S12 56958 — Beautiful Music Company Presents Peggy Lee   (1993)
All titles on:      CAPITOL LP: T 864 — The Man I Love   (1957)
     www~ World Record Club reel/LP: (England) Tt/St 925 [reprocessed stereo] — The Man I Love   (1970)
CAPITOL©EMI's Pathé Marconi CS/LP: (England) TcCaps/Caps 26 0005 4/1 — The Man I Love ("Nostalgia" Reissue Series)   (1984)

The Man I Love Album Sessions (Cross-references)

Dates: April 2, 4 and 8, 1957.


Issues

1. The Album The Man I Love [LP] In The Music Charts
This long play entered Billboard's Best-Selling Pop LPs chart during the week of September 23, 1957. It peaked at #20. (For Peggy Lee's previous album chart entries, see sessions dated April 10, 1954 and May 6, 1955. For her next album entry, see session dated January 3, 1958.)


The 1957 Singles Sessions With Nelson Riddle

I. General Details

During 1957, Peggy Lee did nine studio dates for Capitol. Besides Lee herself, the other chief creative force behind those nine sessions was Nelson Riddle. He arranged each and every one of the songs that were recorded.

The three earliest dates were dedicated to the making of an album (The Man I Love). Similarly, Lee and Riddle reserved the last three dates for the creation of another album (Jump For Joy).

The middle sessions were spent, on the other hand, in the making of singles for the contemporaneous radio market. Those singles show a slant toward doo-wop and rock 'n' roll, which were both popular styles at the time. They were presumably made at the instigation of Capitol executives.

Besides arranging, Riddle also conducted over half of the sessions and attended all but one of the dates. The date which Riddle did not attend (April 22) was actually dedicated to remaking all the numbers from the previous session (April 13). The official paperwork gives nominal leadership of the April 22 session to guitarist Jack Marshall, who had played guitar in the previous date.

The reason(s) for Riddle's absence from the remake session remain(s) unknown. His presence might have been deemed unnecessary, and/or he might have had engagements that prevented him from attending. I am left to wonder, however, if Riddle's non-attendance hints at a stylistic disagreement between Lee, Riddle and/or other concerned parties. My suspicions are arisen by the difference in the stylistic approaches of the two sessions. Rather than the full orchestra of the original April 13 session, the April 22 date features a small and more congenial combo doing scaled-down versions of Riddle's original arrangements. In those remakes, the leaning toward rock 'n' roll and doo-wop is less pronounced.

Of the three 1957 singles sessions, the first two happened just a week and a half apart from one another, whereas the last one took place about six months later. Riddle and the full orchestra returned for the date.

II. "Official Errors" In The Nelson Riddle Sessions?

The following is an itemization of the songs that were recorded (and re-recorded) during Peggy Lee's 1957 singles sessions:

April 13
-- Uninvited Dream
-- Baby, Baby, Wait For Me
-- Every Night (issued on 45)

April 22
-- Uninvited Dream (2nd try)
-- Baby, Baby, Wait For Me (2nd try; issued on 45)
-- Every Night (2nd try; yet the files identify the 1st try as the one issued on 45)

August 30
-- Uninvited Dream (3rd try; issued on 45)
-- Listen To The Rocking Bird (issued on 45)
-- It Keeps You Young (not issued on 45, but picked up four years later for a Capitol LP that compiled recent singles, plus odds and ends)
-- You Don't Know (left unissued, but recorded anew the next year, and then issued on 45)

Notice that "Uninvited Dream," already attempted at the two earlier sessions, was given yet a third try on the August 30 date.


The Case Of The "Uninvited Dream": Masters #16841 And #16861 (Also #17426)

I strongly suspect that Capitol's files misidentify which version of "Uninvited Dream" was originally released as a single. As previously noted, this song was recorded in all three sessions. Based on my listening of the two versions released so far, and based also on the personnel listed for each date, it seems far likelier that the version of "Uninvited Dream" originally on 45 is the second one (dated April 22), instead of the version identified in Capitol's files (August 30).

To elaborate on this matter: stylistically, the musical backing of the two issued versions is vastly different. Whereas the original 45 contains a ballad treatment of "Uninvited Dream," the master found in The Singles Collection is in doo-wop style. The backing for the ballad consists of a small combo, such as the one listed in the April 22 'non-Riddle' session. Conversely, the backing of the doo-wop treatment sounds like a larger ensemble, such as those listed in the personnel for the April 13 and August 30 sessions with Riddle. Yet Capitol's documentation shows that the ballad comes from one of the sessions with large ensemble, and that the doo-wop treatment is from the date with a small combo.

In short, I believe that the dating and personnel of masters #16841 and #16861 should be switched. (Notice also how similar those two master numbers are. Such a similarity raises additional suspicions about the accuracy of the data entered in the Capitol paperwork.)

I should stress that the switch that I have just proposed has no factual support, but is instead based entirely on personal suspicion. The official paperwork at my reach gives no clear-cut clue that a switch might have been wrongly made, and neither does the information printed in the original 45 release. (Actually, the 45, F 3811, should not be part of this discussion, because it identifies its version of "Every Night" as the third one -- master #17426, recorded on August 30, and not discussed above.)

Given the lack of evidence for this conjecture of mine, I have circumscribed most comments about it to these explanatory paragraphs. In the sessions, found immediately below, I have entered the information as given in the official paperwork from Capitol.

But the discographical difficulties posed by these 1957 singles sessions are manifold. Though arguably less significant that in the case of "Every Night," discrepancies also surround the other two songs that were remade during the April 22 date. To wit:

The Case Of "Baby, Baby, Wait For Me": Masters #16842 and #16862

The version of "Baby, Baby, Wait For Me" on Capitol 45 F 3722 is identified in the official paperwork and in the 45 itself as master #16682, recorded during the April 22 remake session, which featured neither Riddle nor an orchestra. Yet Nelson Riddle's Orchestra is the credited accompaniment in the 45. (Notice also how similar the two master numbers are; the similarity raises additional suspicions about the accuracy of the data entered in the official paperwork.)

The Case Of "Every Night": Masters #16840 And #16860

The very existence of master #16860, a hitherto unreleased version of "Every Night," is in doubt. Peggy Lee session files do not list it. It is listed instead in a tape inventory file. (I have not consulted the file itself, but have been reliably informed about its contents.) Inclusion in such a file makes this master's existence highly likely. Nevertheless, so far a vault search has come up empty. Notice also how similar the two "Every Night" master numbers are; such a similarity raises additional suspicions about the accuracy of the data entered in the official paperwork. (As previously indicated, this similarity in numbers is also found in the two other titles under discussion. As the present time, I do not have enough information to ascertain whether it is a coincidence or a pattern indicative of database errors.)

For additional details, see notes under each of the sessions under discussion.


Date: April 13, 1957 (1:00-4:30 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #4960

Peggy Lee (ldr), David Klein (om), Nelson Riddle (con), John "Plas" Johnson (sax), Robert "Bob" Bain, Jack Marshall (g), George "Red" Callender (b), Ray Sherman (p), Roy Harte, Raymond Martinez (d), Peggy Lee (v), Unknown (bkv)

a.16840-14   MasterEvery Night - 2:32  (Scott J. Johnson, Jr., Ronie Rae, Ed Townsend) / arr: Nelson Riddle
     CAPITOL 45: F 3722 — {Every Night / Baby, Baby, Wait For Me}   (1957)
     www~ World Record Club reel/LP: (England) Ttp/Tp 352 — The Fabulous Miss Lee [=Capitol Presents Peggy Lee -1/+ 5 tracks]   (1963)
zzzz~ Marginal CD: (Belgium) Mar 068 — Extra Special!   (1997)
b.16841-rejected   MasterUninvited Dream  (Sammy Gallop, Burt Bacharach) / arr: Nelson Riddle
     unissued
c.16842-rejected   MasterBaby, Baby, Wait For Me - 1:57  (Marilyn K. Hooven, Joseph Davis Hooven) / arr: Nelson Riddle
     DRG CD: 97484 — JUMP FOR JOY   (2009)

Issues

1. "Every Night" / "Baby, Baby Wait For Me" [45]
Capitol single #3722 was sent to radio stations with a label that read "promotional debut record." Since this 45 was by no means Peggy Lee's debut record for Capitol, the label is somewhat deceptive. Lee was misleadingly treated as a debut Capitol artist because this was the first single that the artist did after returning to the label that she had left five years earlier.


Masters And Cross-references

1. "Every Night"
For another master of "Every Night" (not listed in Capitol's Peggy Lee session file, and discovered in 2008), see session dated April 22, 1957.

2. "Uninvited Dream"
Capitol session files labels this date's master of "Uninvited Dream" as rejected. Capitol and Lee proceeded to remake it on April 22. There was yet another try on August 30, 1957.

3. "Baby, Baby, Wait For Me"
This date's version of "Baby, Baby, Wait For Me" is also branded as 'rejected' in Capitol's session files. That branding notwithstanding, no defects or errors are audible in the master. Hence it was mixed to stereo in 2008, and has been finally released in 2009.

For details about the "Baby, Baby, Wait For Me" master that was originally released on 45 in 1957, see next session (April 22, 1957). There are various obvious differences between those two masters. The April 22 remake is somewhat faster in tempo, and slightly shorter in timing. This session's version gives a more prevalent role to the background vocal chorus, especially during the intro.

4. Possible Master/Issue Errors In The Official Paperwork
For the possibility that one of this session's masters ("Uninvited Dream") has been wrongly assigned to issues with a different version of the same song, see preceding note-only entry, titled The 1957 Singles Sessions With Nelson Riddle.


Personnel

1. Male Chorus
Though not identified or credited in any of my sources, a male chorus is heard in this session's masters. Generally, in most cases where an unidentified male chorus is part of a session, the likeliest and most logical suspects are the musicians themselves. But in this particular case I believe that we are listening to a professional vocal ensemble, even if no such ensemble is listed in the official AFM report.


Songwriters

1. Ron(n)ie Rae
2. "Every Night"
Capitol 45 single #3722 ("Every Night" / "Baby, Baby, Wait For Me") lists only Scott Johnson and Ed Townsend as the songwriters of "Every Night." My sources for the additional credit to Ronnie Rae are BMI and The Library of Congress.

At the L.O.C., Rae's first name is spelled as 'Ronnie.' At BMI, the spelling is 'Ronie.'


Date: April 22, 1957 (9:00-12:00)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #4980

Peggy Lee (ldr), John "Plas" Johnson (sax), Al Hendrickson, Jack Marshall (g), Max K. Bennett (b), Lou Levy (p), Roy Harte (d), Peggy Lee (v), Unknown (bkv)

a.16860   MasterEvery Night  (Scott J. Johnson, Jr., Ronie Rae, Ed Townsend)
     unissued
b.16861   MasterUninvited Dream - 2:30  (Sammy Gallop, Burt Bacharach)
     CAPITOL©EMI CD: 7243 5 39756 2 3 — THE SINGLES COLLECTION   (2002)
c.16862-10   MasterBaby, Baby, Wait For Me - 1:56  (Marilyn K. Hooven, Joseph Davis Hooven)
     CAPITOL 45: F 3722 — {Every Night / Baby, Baby, Wait For Me}   (1957)
     CAPITOL EP: Eap 1 1052 — Fever   (1958)
     www~ Collectors' Choice CD: Ccm 921 2 — ALL AGLOW AGAIN!   (2008)
     zzz~ Future Noise's Fantastic Voyage CD: Fvtd 043 — Ridin' High: The Complete Record Releases, 1957-1959   (2010)
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 5365 — [AFRS] Basic Music Library [4 Peggy Lee vocals]   

Recording Session (Cross-references)

Session #4980 was dedicated to re-recording numbers that had been initially tried during session #4960. Nelson Riddle had conducted the earlier session. He did not attend this remake date, however.

In addition to Riddle's absence, there were other significant differences. Most notably, members of Peggy Lee's own rhythm section -- specifically, her bassist and her pianist -- joined the returning musicians.

These April 13 and 22 sessions have a third companion, dated August 30, 1957. In that third session, Nelson Riddle came back and, with him, a large orchestra. More singles were recorded, including "Uninvited Dream," yet again.


Masters, Issues And Cross-references

1. "Baby, Baby, Wait For Me"
For an earlier master of "Baby, Baby Wait For Me," see session dated April 13, 1957.

2. "Every Night"
For the only master of "Every Night" that has ever been released, see session dated April 13, 1957.

Mysteriously, this session's "Every Night" (master #16860) is not listed in the Capitol session files at my reach. I am told that it is listed, however, in the company's inventory files. (I have also found this master listed in a belatedly consulted source, the Capitol Label Discography compiled by Michel Ruppli, Bill Daniels, and Ed Novitsky, with assistance from Michael Cuscuna.)

3. "Uninvited Dream"
For other versions of "Uninvited Dream," see sessions dated April 22 and August 30, 1957. Of those three versions, master #17426 (recorded August 30, 1957) is the one that Capitol's files list as released on single #3811. This session's master is listed as unissued, the earlier one as rejected.

4. The Singles Collection [CD Set]
Two of Lee's three versions of "Uninvited Dream" are described in Capitol's session files as either rejected (April 13, 1957) or unissued (April 22, 1957). In 2002, one of those two hitherto unissued versions was unintentionally released as part of The Singles Collection. The makers of that collection wrongly thought that they were including the version heard in the 45. (Such production error in turn resulted in inaccurate data found in the discography that I prepared for the booklet of The Singles Collection. Under the mistaken assumption that the version to be included was the one originally on 45, I supplied information about that single.)

5. Possible Master/Issue Errors In The Official Paperwork
For the possibility that at least one of these masters ("Uninvited Dream") has been wrongly assigned to some issues, see previous note-only session, titled The 1957 Singles Sessions With Nelson Riddle.


The Mysterious Master #16596: "I'm Following You"

Reportedly listed in Capitol's inventory of Peggy Lee masters is an item titled "I'm Following You," numbered 16596 and recorded on June 14, 1957.

A look at the Capitol Label Discography by Michel Ruppli et al reveals that master #16596 is, however, from a session (#6082) credited to The Four Dolls. (This act is unknown to me. I have come across only one brief description of them as "a teenage girl group.")

The other two songs from the session ("Three On A Date" and "So Proud Of You") are listed as issued on Capitol single #3766. Online, I have seen a copy of this 45. The label of the 45 bears the legend "promotional debut record." Credited with conducting the two numbers is the man who at this time had just begun working with Peggy Lee on a regular basis: Jack Marshall.

It thus appears that an unissued number from a session by The Four Dolls has been erroneously listed among Peggy Lee's masters. Nonetheless, actual listening of this master is necessary before a definitive conclusion can be offered. We should not ignore the possibility -- however unlikely -- that a Lee master has been wrongly misplaced inside a session by The Four Dolls, or even that Peggy Lee could have accompanied The Four Dolls as a guest performer.


Date: August 30, 1957 (8:00-11:30/12:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6163

Peggy Lee (ldr), David Klein (om), Nelson Riddle (con), The Nelson Riddle Orchestra (acc), Buddy Collette, Joe Cook, Skeets Herfurt aka Arthur Herfurt, Wilbur "Willie" Schwartz, William "Buck" Skalak (sax), Walter "Pete" Candoli, Harry "Sweets" Edison, Conrad Gozzo, Vito "Mickey" Mangano (t), Richard "Dick" Noel, Tommy Pederson aka Pullman Pederson, George Roberts, Juan Tizol (tb), Barney Kessel (g), Max K. Bennett (b), Lou Levy (p), Mel Lewis (d), Peggy Lee (v)

a.17424-6   MasterListen To The Rocking Bird - 2:13  (Alice Hawthorne aka Septimus Winner, Hal Levy, Richard "Whistling Dick" Milburn) / arr: Nelson Riddle
     CAPITOL 45: F 3811 — {Listen To The Rockin' Bird / Uninvited Dream}   (1957)
     CAPITOL EP: Eap 1 1052 — Fever   (1958)
CAPITOL CS/LP: (Argentina) 106083 — Peggy Lee ("Elegidos/Personalidades" Series)   (1979)
b.17425-7   MasterIt Keeps You Young - 2:30  (Larry Coleman, Charles Singleton) / arr: Nelson Riddle
     CAPITOL's Starline reel/LP: T 1366 — All Aglow Again!    (1960)
     CAPITOL©EMI's Pathé Marconi CS/LP: (France Pm 156 554 4/1) & (England Eg 26 0605 4/1) — All Aglow Again! ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
     www~ Collectors' Choice CD: Ccm 921 2 — ALL AGLOW AGAIN!   (2008)
     DRG CD: 97483 — THE MAN I LOVE   (2009)
     www~ World Record Club reel/LP: (England) Tt/T 606 — All Aglow Again!   
c.17426-9   MasterUninvited Dream - 2:02  (Sammy Gallop, Burt Bacharach) / arr: Nelson Riddle
     CAPITOL 45: F 3811 — {Listen To The Rockin' Bird / Uninvited Dream}   (1957)
     www~ World Record Club reel/LP: (England) Ttp/Tp 352 — The Fabulous Miss Lee [=Capitol Presents Peggy Lee -1/+ 5 tracks]   (1963)
     www~ Collectors' Choice CD: Ccm 921 2 — ALL AGLOW AGAIN!   (2008)
     DRG CD: 97483 — THE MAN I LOVE   (2009)
     zzz~ Future Noise's Fantastic Voyage CD: Fvtd 043 — Ridin' High: The Complete Record Releases, 1957-1959   (2010)
d.17427-LOST   MasterYou Don't Know  (Walter Spriggs) / arr: Nelson Riddle
     unissued

Masters

1. "You Don't Know"
This session's "You Don't Know" (master #1742) is currently deemed lost. For the version(s) of "You Don't Know" that has been issued, see session dated May 25, 1958.

2. "Uninvited Dream"
For other versions of "Uninvited Dream," one issued and the other unissued, see sessions dated April 13 and 22, 1957. The two issued versions are easy to distinguish because the musical backings are markedly different from one another.

3. Possible Master/Issue Errors In The Official Paperwork
For the possibility that at least one of these masters ("Uninvited Dream") has been wrongly assigned to some issues, see a note-only entry titled The 1957 Singles Sessions With Nelson Riddle, found earlier in this page.


Issues

1. "Uninvited Dream": Discographical Error In The Singles Collection [CD]
See notes under April 22, 1957 session.

2. "You Don't Know": Discographical Error In Peggy Lee ("The Best Of The Capitol Years" Series) [CD]
The version of "You Don't Know" that was issued in Capitol CD #724382120421 is the one recorded on May 25, 1958. The CD's annotator wrongly identifies it as this session's version.


Date: December 5, 1957 (8:00 p.m. - 11:30 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6441

Peggy Lee (ldr), David Klein (om), Lee Gillette (pdr), Nelson Riddle (con), The Nelson Riddle Orchestra (acc), Morris Bercov, Gene Cipriano, Joe Cook, William Ernest Green, Harry Klee (sax), Harry "Sweets" Edison, Vito "Mickey" Mangano, Clarence "Shorty" Sherock, Joe Triscari (t), Murray McEachern, Richard "Dick" Noel, George Roberts, Juan Tizol (tb), Al Hendrickson (g), Joe Comfort (b), James "Jimmy" Rowles (p), Kathryn Julye (hrp), Frank Flynn, Mel Lewis (d), Victor Arno, Victor Bay, Alex Beller, Ben Gill, Paul Nero, Mischa Russell, Paul Shure, Marshall Sosson, Gerald Vinci (vn), Stan Harris, Dave Sterkin (vl), Ralph "Ray" Kramer, Edgar Lustgarten (vc), Peggy Lee (v)

a.18041-7   MasterJust In Time - 2:50  (Betty Comden, Adolph Green, Jule Styne) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 979 — Jump For Joy   (1958)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
b.18042-10   MasterMusic! Music! Music! - 2:30  (Bernie Baum, Stephen Weiss) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 979 — Jump For Joy   (1958)
     www~ Disky CD: (The Netherlands) Hr 883492 — Fever   (1997)
c.18043-17   MasterBack In Your Own Back Yard - 2:26  (Dave Dreyer, Al Jolson, Billy Rose) / arr: Nelson Riddle
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
d.18044-15   MasterWhen My Sugar Walks Down The Street - 1:58  (Gene Austin, Jimmy McHugh, Irving Mills) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 979 — Jump For Joy   (1958)
     www~ Pickwick 8-track/LP: P8 139/(S)Pc 3090 — Once More With Feeling   (1968)
     www~ Pickwick LP: Ptp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
All titles on:      CAPITOL LP: (S)t 979 — Jump For Joy   (1958)
     www~ World Record Club reel/LP: (England) Tt/T 524 — Jump For Joy   (1966)
CAPITOL©EMI's Music For Pleasure LP: (England) Mfp 1358 — The Song Is You [Reissue of Jump For Joy]   (1970)

The Jump For Joy Album Sessions (Cross-references)

Dates: December 5 and December 20, 1957. January 3, 1958.


Arrangements

1. "Just In Time"
In addition to this session's arrangement by Nelson Riddle, Peggy Lee kept in her sheet music library another "Just In Time" arrangement by Benny Golson.


Date: December 20, 1957 (3:00 p.m. - 6:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6457

Peggy Lee (ldr), David Klein (om), Lee Gillette (pdr), Nelson Riddle (con), The Nelson Riddle Orchestra (acc), Joe Cook, William Ernest Green, Skeets Herfurt aka Arthur Herfurt, Harry Klee, Warren "Champ" Webb (sax), Harry "Sweets" Edison, Vito "Mickey" Mangano, Uan Rasey, Clarence "Shorty" Sherock (t), Russell Brown, Joe Howard aka Francis Howard, Murray McEachern, Juan Tizol (tb), Bobby Gibbons (g), Joe Comfort (b), James "Jimmy" Rowles (p), Stella Castellucci (hrp), Mel Lewis (d), Frank Flynn (per), Victor Bay, Alex Beller, Harold Dicterow, David Frisina, Lou Raderman, Eudice Shapiro, Paul Shure, Felix Slatkin, Marshall Sosson (vn), Stan Harris, Paul Robyn (vl), Ralph "Ray" Kramer, Joseph Saxon (vc), Peggy Lee (v)

a.18084-9   MasterI Hear Music - 2:07  (Burton Lane, Frank Loesser) / arr: Nelson Riddle
     www~ Pickwick 8-track/LP: P8 139/(S)Pc 3090 — Once More With Feeling   (1968)
     www~ Pickwick LP: Ptp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
www~ Harmony Collection CS/CD: (England) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
b.18085-3   MasterOld Devil Moon - 2:58  (Erwin 'Yip' Harburg, Burton Lane) / arr: Nelson Riddle
     www~ Harmony Collection CS/CD: (England) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
     CAPITOL©EMI CD: (England) 7243 5 32580 2 3 — Peggy Lee Sings The Standards   (2001)
c.18086   MasterWhat A Little Moonlight Can Do - 2:41  (Harry Woods) / arr: Nelson Riddle
     CAPITOL©EMI LP/CD: (Australia) Sca 082/Cdmid 166224 — Peggy Lee ("20 Golden Greats" Series) [CD released at an unknown date]   (1982)
All titles on:      CAPITOL LP: (S)t 979 — Jump For Joy   (1958)
     www~ World Record Club reel/LP: (England) Tt/T 524 — Jump For Joy   (1966)
CAPITOL©EMI's Music For Pleasure LP: (England) Mfp 1358 — The Song Is You [Reissue of Jump For Joy]   (1970)

The Jump For Joy Album Sessions (Cross-references)

Dates: December 5 and December 20, 1957. January 3, 1958.


Masters

1. Unissued Or Unused Master?
This session consists of three masters (#18084 - #18086). I am wondering if a fourth master was planned -- or even attempted and ultimately erased. The main reason why I am considering this possibility is that, according to the Capitol Label Discography by Ruppli et, "no information about master #18087" can be found in the files.

There is no reason to presume that the master would have belonged to the next date (session #6458, by Gordon MacRae, and consisting of four masters).

Notice that Lee's next session generated 5 masters instead of the usual 4, and that the last of that session's masters received a number much higher than the others.


Date: January 3, 1958 (8:30 p.m. -1:30 a.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6468

Peggy Lee (ldr), David Klein (om), Lee Gillette (pdr), Nelson Riddle (con), The Nelson Riddle Orchestra (acc), William Ernest Green, Harry Klee, Joe Koch, Wilbur "Willie" Schwartz, Warren "Champ" Webb (sax), Walter "Pete" Candoli, Conrad Gozzo, Vito "Mickey" Mangano, Clarence "Shorty" Sherock (t), Tommy Pederson aka Pullman Pederson, Jim Priddy, George Roberts, Juan Tizol (tb), Al Hendrickson (g), Joe Comfort (b), Paul Smith (p), Frank Flynn, Mel Lewis (d), Victor Arno, Victor Bay, Alex Beller, Ben Gill, Dan Lube, Paul Nero, Mischa Russell, Eudice Shapiro, Marshall Sosson (vn), Stan Harris, Paul Robyn, Dave Sterkin (vl), Armond Kaproff, Edgar Lustgarten (vc), Peggy Lee (v)

a.18128-7   MasterAin't We Got Fun - 2:10  (Raymond Egan, Gus Kahn, Richard Whiting) / arr: Nelson Riddle
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
b.18129-9   MasterThe Glory Of Love - 2:37  (Billy Hill) / arr: Nelson Riddle
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
c.18130-19   MasterJump For Joy - 2:07  (Duke Ellington, Paul Francis Webster, Sid Kuller) / arr: Nelson Riddle
     CAPITOL EP: Eap 1 979 — Jump For Joy   (1958)
     CAPITOL©EMI Publishing House CD: Mp Aw 11/05 — The EMI Songs Collection ("Great Singers Sing Great Songs," Volume 4: Peggy Lee)   (2005)
     CAPITOL©Toshiba-EMI LP: (Japan) Cp 8215 — This Is Peggy Lee ("Jazz Vocal Best" Series)   
d.18131-17   MasterCheek To Cheek - 2:37  (Irving Berlin) / arr: Nelson Riddle
     www~ Harmony Collection CS/CD: (England) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
     CAPITOL©Toshiba-EMI CD: (Japan) Tocp 7459/60 — Peggy Lee ("Twin Best Now" Series)   (1992)
CAPITOL©EMI CD: (England) 7243 8 56805 2 6 [also Mfp 6342] — The Very Best Of Peggy Lee [tracks same as EMI Presents The Magic, diff. artwork]   (1997)
e.18132-9   MasterFour Or Five Times - 2:33  (Byron Gay, Marco H. Hellman) / arr: Nelson Riddle
All titles on:      CAPITOL LP: (S)t 979 — Jump For Joy   (1958)
     www~ World Record Club reel/LP: (England) Tt/T 524 — Jump For Joy   (1966)
CAPITOL©EMI's Music For Pleasure LP: (England) Mfp 1358 — The Song Is You [Reissue of Jump For Joy]   (1970)

The Jump For Joy Album Sessions (Cross-references)

Dates: December 5 and December 20, 1957. January 3, 1958.


Issues

1. The Album Jump For Joy In The Music Charts
This long play entered Billboard's Best-Selling Pop LPs chart during the week of July 14, 1958, and peaked at #15. It spent five weeks in the chart.

Curiously, some of the sources at my reach give a very late date to Jump For Joy: March 16, 1959. Curiously, some of the sources at my reach give a very late date to Jump For Joy: March 16, 1959. However, proof that the album was released during the previous year comes from a July 1958 magazine issue, in which the album was reviewed. Hence the allegation that Jump For Joy was released in 1959 is wrong. (A similar set of circumstances applies to the release date of Things Are Swingin', the follow-up to Jump For Joy.)

Alternatively, the 1959 date could be correct if the stereo version of the LP was, perchance, released later. I do not know if such was the case. Granted that it would be a long stretch between the release of the mono and stereo versions (close to a year), it is worth taking into account that during the late 1950s Capitol was still in the experimental stages of its reproduction of stereophonic sound. Such a state of affairs could account for any decisions to belatedly issue this or other albums in the new format. In fact, I do know of a contemporaneous Capitol LP whose mono and stereo versions were released years apart (Frank Sinatra's Where Are You?; mono release: September 1957; stereo release: February 1959).


Date: May 19, 1958
Location: Studio B, Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6844

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall's Music (acc), Justin Gordon, George Smith (r), Don Fagerquist, Conrad Gozzo, Emmanuel "Manny" Klein (t), Milt Bernhart (tb), Bob Enevoldsen (vtb), Howard Roberts (g), Joe Mondragon (b), Joe Harnell (p), Shelly Manne (d), Peggy Lee (v)

a.19142-6   MasterThings Are Swingin' - 2:10  (Peggy Lee, Jack Marshall) / arr: Jack Marshall
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL EP: Eap 1 1049 — Things Are Swingin', Part 1 [aka It's A Wonderful World]   (1958)
CAPITOL 45: (England) Cl 15103 — {Things Are Swingin' [not released on USA singles]/ You Deserve}    (1959)
b.19143-11   MasterLullaby In Rhythm - 2:14  (Benny Goodman, Walter Hirsch, Clarence Profit, Edgar Sampson)
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP: (France Pm 156 619 4/1) & (England Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
c.19144-4   MasterYou're Getting To Be A Habit With Me - 2:39  (Al Dubin, Harry Warren)
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI LP/CD: (Australia) Sca 082/Cdmid 166224 — Peggy Lee ("20 Golden Greats" Series) [CD released at an unknown date]   (1982)
d.19145-5-stereo   MasterFever - 3:22  (Otis Blackwell aka John Davenport, Eddie Cooley, Peggy Lee) / arr: Peggy Lee
     CAPITOL LP: Sw 1162 (Reissue 6184) — [Various Artists] More Stars In Stereo   (1959)
     CAPITOL EP: Sep 1 1232 — Fever   (1959)
www~ Time Life CS/LP: 4 Lgd/Slgd 07 — Peggy Lee ("Legendary Singers" Series)   (1985)
e.19145-5-mono   MasterFever - 3:22  (Otis Blackwell aka John Davenport, Eddie Cooley, Peggy Lee) / arr: Peggy Lee
     CAPITOL 45: 3998 / F 3998 — {Fever / You Don't Know [1958 master]}   (1958)
     CAPITOL 78: (Canada) 3998 — {Fever / You Don't Know [1958 master]}   (1958)
CAPITOL EP: Eap 1 1052 — Fever   (1958)
f.remix-of-19145   CompositeFever {Gabin Remix} - 3:22  (Otis Blackwell aka John Davenport, Eddie Cooley, Peggy Lee)
     CAPITOL CD single: 70876 17990 2 6 — Fever Single Remix   (2003)
     CAPITOL©EMI CD: 7243 82680 2 7 — The Best Of The Singles Collection    (2003)
     CAPITOL©EMI Electrola CD: (Germany) 94635 9779 2 9 — Essential Peggy Lee   (2006)
g.remix-of-19145   CompositeFever {Alex Callier Remix} - 3:25  (Otis Blackwell aka John Davenport, Eddie Cooley, Peggy Lee)
     CAPITOL©EMI's Blue Note CD: (Belgium) ___ — [Various Artists] Mad About Blue ("Sidetracks" Series, Volume 6; Compiled And Remixed By Alex Callier)    (2006)
h.remix-of-19145   CompositePassenger Fever {Mark Vidler's Mashup; Featuring Iggy Pop} - 3:07  (Otis Blackwell aka John Davenport, Eddie Cooley, Peggy Lee)
     CAPITOL©EMI CD: 387629; Virgin 858 — [Various Artists] Mashed   (2007)

The Things Are Swingin' Album Sessions (Cross-references)

Dates: May 19, 25, 27 and 30, 1958.


Songs

1. Peggy Lee's Initial Encounter With "Fever"
The song "Fever" was first brought to Peggy Lee's attention by Max Bennett, who played bass for her during the mid-1950s. As Bennett himself tells the story in the DVD Fever: The Music Of Peggy Lee, he knew that Lee was looking for a torch number to add to her nightclub act. She wanted something with a suggestive bass line. On a night when Bennett was playing a gig with Nino Tempo, an audience member requested a song that neither Bennett nor Tempo knew. After the audience member taught it to them, the bassist immediately thought that the bass line of "Fever" was strong enough to suit Lee's intentions.

Added Lee, during an interview conducted in the late 1950s, "my bass player, who is a marvelous, marvelous musician, knows that I like bass patterns and knows that I like a downhome feeling, without being rock 'n' roll. ["Fever" is] actually kind of an old blues bass pattern and he said, I think you ought to listen to that record." Lee then looked for a recorded version of "Fever," so that she could listen to the number, and she found one by Ray Peterson, on a 45 which RCA had released in either late 1957 or early 1958.

Lee agreed with Bennett that the song they were hearing on the 45 had potential. It could indeed become the torch number that she wanted for her nightclub act. Nonetheless, neither the music nor the lyrics struck her as fully congenial with her taste. "I thought, well, I think I'd like to use it with just the bass and drums," Lee explained to the aforementioned interviewer. Ignoring the r&b and rock 'n' roll leanings of Peterson's 45 version, the artist and her musicians stripped the melody to its bass line and then proceeded to rebuild "Fever" into a number notorious for its otherwise spare accompaniment. Lee also skipped one or two choruses from the original lyrics, substituting them with newly written choruses. As planned, she included the number in her nightclub act -- but probably had no intentions to record it at that time. However, the reaction from her audiences was so enthusiastic that Capitol not only requested an immediate recording of it but also rushed out the single into the market.

2. Early Versions Of "Fever" (Little Willie John, Earl Grant, Ray Peterson, Peggy Lee, Others)
The first artist to record "Fever," predating Ray Peterson by a year, was Little Willie John. Curiously, Little Willie had not found the number to his liking, and initially resisted singing it. He was particularly displeased with the number's use of fingersnaps (and/or hand claps?). Fortunately, the young r&b star (18 years old at recording time) was eventually talked into recording "Fever." He did so for King Records on March 1, 1956. According to Joel Whitburn's Billboard Book Of Top 40 R&B And Hip Hop Hits, Little Willie's version reached the top of various specialized Billboard charts (Jockey, Best Seller, and Juke Box) about two months later. (Oddly, the Best Seller peak position is given as #24, not #1, in another Whitburn book, The Billboard Book Of Top 40 Hits. Perhaps the peaks shown in his The Billboard Book Of Top 40 R&B And Hip Hop Hits are based on data exclusively culled from stations ans stores catering to r&b audiences, whereas the other book shows more comprehensive, all-encompassing tabulations? Be it as it may, it should also be noted that the artist's single was actually a double-sided chart hit. The flip side, "Letter From My Darling," peaked at #10 in the Jockey chart.)

Little Willie's version of "Fever" was less successful in the magazine's main chart. After its debut at #50 on July 7 of 1956, it peaked at #24 and stayed in the Hot 100 for 9 weeks. (This Whitburn tabulation seems to be based on the number's peak in the Best Seller chart.)

In 1956, "Fever" was also covered by rhythm & blues singer Sandra Meade, for Champion Records. The arrangement for her version sounds very similar to the one for the Little Willie John recording, and so does the singer's vocal -- almost to the point of imitation.

Three additional versions were recorded during the following year (1957). One was by baseball-player-turned-vocalist Arthur Lee Maye, who did it for Johnny Otis' Dig Records. (Left unissued at the time, Maye's version does not seem to have come out until the CD era. Like Sandra Meade's earlier cover, it sounds dangerously close to the Little Willie John hit -- even more so.) One of the other two other versions from 1957 was sung by organist-vocalist Earl Grant. Decca issued his "Fever" on both LP (The Versatile Earl Grant) and 45 (backed with "Malagüeña"). Commendably, the organist's version is heavy not only on organ but also on saxophone. And, unlike the attempts by Maye and Meade, Grant's phrasing betrays no imitation -- other than an obvious but not overwhelming influence from Nat King Cole. The third 1957 recording was the aforementioned one by Ray Peterson. Neither these 1957 versions nor Sandra Meade's 1956 recording made a dent on the charts. Worthwhile as both Earl Grant's and Ray Peterson's "Fever" singles were, they had not been blessed with widespread success.

3. "Fever" Assessed: Relevance And Comparison Of The Two Main Versions
By 1958 (when Peggy Lee tackled this song), "Fever" was no longer current in the charts, as the hit version by Little Willie John had run its course two years earlier. Thanks to her reconceptualization of what was originally a r&b ditty, Peggy Lee gave "Fever" not only a second run in the music charts, but also a permanent placement in the world of pop and jazz standards. She also made a point of publicly and rightfully crediting LIttle Willie John as the first one to make "Fever" a chart success. (Initially, Lee actually gave public praise to Peterson' version, presumably because she was not yet aware of Little Willie John's. Most probably, Lee's first listening of Willie John's version happened months or even years after she had recorded her own. For some time, Lee erroneously credited Little Willie as the song's writer, too. She was misinformed, which is not surprising when one learns about the various parties that tried to claim ownership of the song -- see below, under Songwriters.)

The basic differences and similarities between the approaches that Little Willie John and Peggy Lee took to "Fever" are aptly described in an online article by Klaus Kettner and Tom Wilkinson: "Little Willie John ... infused it with a thinly veiled eroticism that appealed to the young black female audience who bought the disc in large quantities ... The song received its definitive form from Peggy Lee, when she reworked [it as a] bass, drums and finger snapping version. In the hands of Miss Lee, the basic earthiness contained in Little Willie John's interpretation was replaced by a sophisticated eroticism." Almost needless to say, both versions are excellent, but individuals' pick might very well depend on whether they musically prefer earthiness or sophistication, obviousness or subtlety, sexuality or sensuality, rhythm & blues or jazz and blues-oriented pop.

4. Peggy Lee's "Fever" In The Music Charts, At The Grammys, And In The Annals Of Popularity
Peggy Lee's recording of "Fever" debuted in Billboard's Hot 100 during the week of July 21, 1958. It peaked at #8 and stayed in the chart for 13 weeks. At Cashbox, it did even better, peaking at #6 and spending 14 weeks in the Best Selling Singles chart. The song also reached the top ten of two specialized Billboard charts: #9 in the Best Seller list, #10 in the Jockey list. Still further, Whitburn's The Billboard Book Of Top 40 R&B And Hip Hop Hits shows Lee's number as reaching #12 in the Best Seller and #5 in Jockey charts. (Presumably, Whitburn used branches of the mainstream Best Seller and Jockey charts for his tabulations in The Billboard Book Of Top 40 R&B And Hip Hop Hits.)

Furthermore, Lee's version of "Fever" was a multiple-Grammy nominee at the very first annual award proceedings. "Fever" was nominated for Record Of The Year. (The winner was "Volare," sung by Domenico Modugno.) "Fever" also garnered a Best Arrangement nomination, which was questionably bestowed on Jack Marshall, rather than on Peggy Lee. (The winner was Henry Mancini, for its arrangement of "The Music From Peter Gunn." See also comments about Arrangements, below.) A third nomination at the ceremony was strictly for Lee, in the category of Best Vocal Performance, Female. Nominations in that category were incongruously given for both songs (interpreted by Doris Day, Peggy Lee and Keely Smith) and albums (recorded by Ella Fitzgerald and Eydie Gormé). The album Ella Fitzgerald Sings The Irving Berlin Songbook earned the award. Lee herself was one of the presenters during the ceremony, held on May 4, 1959.

In England, the American singer's smash hit fared very well, too. "Fever" not only peaked at #5 when it was released there (1958), but it also managed to re-enter the British chart in 1992, reaching #75. (This re-entry was presumably the result of a TV commercial that featured the song, and which elicited the release of various above-listed 1990s European singles.)

Peggy Lee's version of "Fever" was inducted in the Grammy Hall of Fame in 1998. (For another Lee performance that also received this honor, see session dated January 24, 1969.)

5. Later Versions Of "Fever"
Due to the perennial success and currency of the Peggy Lee version, the song has moreover been tackled by a wide and diverse number of acts. From Elvis Presley and Ruth Brown to the aforementioned Madonna and, more recently, Beyoncé, "Fever" has remained in vogue. (Elvis Presley was directly inspired by Peggy Lee's version; he follows not only her phrasing but also the finger snaps as they were heard in her arrangement, and he includes the new lyrics that she wrote. Ruth Brown sang the song during a 1990s tribute to Peggy Lee that was held by the Society of Singers, with Peggy Lee present in the audience. Although the arrangement of Beyoncé's version is ostensibly inspired by the Little Willie John r&b piece -- or by versions from artists who closely followed his approach -- she too sings Peggy Lee's lyrics. As for Madonna, see below.)

6. Other Charting Versions Of "Fever"
Proving its malleability, the song "Fever" went on to enjoy two more runs in Billboard's charts.

In 1966, the rock group The McCoys took their version to #7 (#9 in Cashbox), and stayed in the Hot 100 for 8 weeks.

In 1993, Madonna took her techno version to #1 in Billboard's Hot Dance/Disco chart. (The previous year, Madonna had seen Peggy Lee perform the song in concert and, apparently thinking of "Fever" as Lee's signature number, had rather politely asked Lee for "permission" to record it herself.)

Cashbox also lists a 1962 version by Pete Bennett & Embers that stalled at #98.

7. Gabin's Remix Of Peggy Lee's "Fever"
8. Alex Callier's Remix Of Peggy Lee's "Fever"
9. Mark Vidler's "Passenger Fever" Mashup
Peggy Lee had no direct involvement in the making of the above-listed mashup and remixes. They were made, however, with Capitol's consent. (The record company usually keeps tapes or computerized files of such remixes in its vaults, as part of the Peggy Lee tape archive.)

Since I have found two catalogue numbers for the disc, EMI Music probably released Go Home Productions' Mark Vidler's CD Mashed in conjunction with Virgin Music. The entire disc consists of mashups, including the above-listed, oft-praised combination of "Fever" with Iggy Popp's "The Passenger" (co-written with Rick Gardiner).

For more issues containing these mixes, see also this discography's Various-artists compilations page.


Songwriters

1. Correct Credits For "Fever": Otis Blackwell, Eddie Cooley, Peggy Lee
2. False Credits For "Fever": Little Willie John, Titus Turner, Joe Tex

The original melody and lyrics of "Fever" were written by Otis Blackwell and Eddie Cooley. The previously mentioned article by Kettner and Wilkinson quotes Blackwell's comments about the song's origin: "Eddie Cooley was a friend of mine from New York and he called me and said, man, I got an idea for a song called Fever but I can't finish it. I had to write it under another name because, at that time, I was still under contract to Joe Davis."

Little Willie John had no involvement whatsoever in the writing or composition of the song, yet has been wrongly given credit in some sources. (Kettner and Wilkinson speculate that, when Lee's version made the song a hit all over again, Little Willie John might have tried to take credit for its writing.) Titus Turner and Joe Tex have also been incorrectly credited with writing the song; in Turner's case, he himself is said to have tried to pass it as his own. In more recent times, I have come across a claim on the net, to the effect that "Fever" actually goes all the way back to 1937, when supposedly it was recorded by a blues singer named Martha Bell. I have found no corroboration for such an odd claim. (Any leads in that direction would be appreciated.)

About half of the lyrics heard in Peggy Lee's hit recording are new, and were not written by Blackwell or Cooley. All the so-called "history lessons" about Romeo and Juliet, Captain Smith and Pocahontas were first heard on Lee's 1958 hit, not in the earlier versions. Ditto for the chorus that ends with "Chicks were born to give you fever/ Be it Fahrenheit or centigrade." In later decades, Peggy Lee lamented never copyrighting those new lyrics, which are now sung in most versions yet wrongly credited to Davenport and Cooley. This discography takes a step toward rectifying such an oversight: along with the correct songwriters of the earlier lyrics, I have herein credited Lee as well.

In 1989, Lee wrote additional, brand new lyrics for a new version that she recorded on the MusicMasters label. See studio sessions dated November 1-3, 1989, in this page.


Arrangements

1. "Fever"
Over the years, the authorship of the arrangement of Peggy Lee's version of "Fever" became a sore topic for the singer. Although she was the actual arranger (see next paragraph), all official paperwork credits Jack Marshall because he was the conductor and arranger of the other songs that were recorded during this session. The upshot of this bureaucratic situation was that, when "Fever" was nominated at the Grammys for Best Arrangement, the nomination went not to Lee, but to Marshall.

In a Peggy Lee biography, bassist Max Bennett is quoted on this matter. Bennett's take is that the song was "obviously rearranged by Peggy and the musicians." For his part, the author of the biography adds that "[i]t was Peggy's idea to cut out the guitar and use just a string bass, Jack Mondragon; a drummer, Shelly Manne; and a finger-snap, furnished by Howard Roberts, the guitarist whose guitar had been shelved. It was likely Manne's idea to use his fingers on the snare and tom-tom to accompany his perfect bass drum." This is a sensible perspective, although it should be noted that the source(s) for the biographer's statements are not given. Also, Bennett himself was unfortunately absent during the actual session. Therefore, we have no direct testimonials of what happened in the session.

In her autobiography, Peggy Lee's take on this subject is as follows: "Incidentally, I also did the arrangement of Fever. I well remember the day I demonstrated it to famous lyricist Sammy Cahn and told him I wanted to use bass, drums and finger snapping. (Jack Marshall, my conductor on the recording date [was Grammy nominated] for that arrangement.) Somehow it all worked."

"Peggy Lee With Jack Marshall's Music" is the credit given in the original 45 release of "Fever." Yet Marshall had no active participation in the recording of "Fever." To date, Capitol keeps on adding the legend "arranged and conducted by Jack Marshall" to all issues of the original recording, despite the fact that there couldn't have been much conducting in a number such as this one.

2. The Finger Snaps ("Fever")
Finger snaps are a feature which has become closely identified with the song "Fever." Ironically, this feature almost did not happen in either Little Willie John's or Peggy Lee's versions. As already mentioned, the snapping was one of the reasons why Little Willie disliked the number, and why he did not want to record it at first. But his producers prevailed. In the case of Peggy Lee, originally the finger snaps were not even part of her version. At concerts that predate this session, she would stress key parts of the song -- such as the titular word -- by banging or stomping with one of her feet, without any finger snapping added to the equation. Bear in mind that at the time of this session, Lee was acquainted only with the Ray Peterson recording, in which there are no snaps. (In the Peterson recording, a vocal chorus and various musical instruments take over the function that the finger snaps play in the original.) Of course, Lee eventually shifted to finger snapping, which was not only less strenuous than foot stomping but also more suitable to her cool-oriented version. (Max Bennett might have been the one who originally told Lee about the finger snapping, which was probably used by the audience member who taught the song to him, at his gig with Nino Tempo. After hearing both Bennett's suggestions and the Peterson recording, Lee apparently experimented with foot stomping at first, but by the time when this date took place she had wisely settled on the tried-and-true finger snaps.)


Personnel

1. "Fever"
This master features only vocal (Peggy Lee), string bass (Joe Mondragon), snare drums (by Shelly Manne, who actually turned off the snares, using his fingers instead of drum sticks), and finger snapping (credited to different people in different reports, none confirmed).

Online, Peggy Lee's recording of "Fever" has been credited to different, wrong personnel in a few blogs and in some unreliable sources. Instead of Shelly Manne, Stan Levey has been mentioned. Instead of Joe Mondragon, Monty Budwig or Red Mitchell. There is no factual support behind those other proposed names. Those sources are misinformed. The personnel listed in this session is the official one. Confirmation comes from:

a) first and foremost, the official (musician) contract sheets for the session, kept by the American Federation of Musicians (AFM).

b) bassist Max Bennett. (Although Bennett did not play in the session, he was the person who brought the song to Lee, and he was her regular bassist for much of the late 1950s. Lee's decision to take a temporary rest from live performing earlier in 1958 had led Bennett to find work with Ella Fitzgerald. He was thus unavailable for the "Fever" recording session, although he would return to work with Lee later, after having spent about a year with Fitzgerald. For Bennett's own playing of "Fever," see Lee's Basin Street East sessions, dated February and March, 1961.)

c) the book Shelly Manne, Sounds Of A Different Drummer, by Brand & Korst. (The authors' discography of Manna lists both him and Mondragon as members of this May 19, 1958 session. The authors also refer to a 1960 Shelly Manne recording of "Fever," which should not to be confused with Peggy Lee's various versions of the song. That 1960 recording is actually an instrumental, recorded by Manne with Roy Brown and others.)

The finger snapper heard throughout "Fever" is the only participant whose identity is still in contention, because this role goes uncredited in the AFM sheets. At concert performances, Peggy Lee herself would invariably be the chief finger snapper, joined by the pianist and by any other musicians who were not occupied in the act of playing. But, during the 1958 studio session, someone else other than Lee is likelier to have taken over this function. Those proposed include both guitarist Howard Roberts, who was present at the date, and percussionist Mike Pacheco ... who was not! In an interview from the late 1970s, Peggy Lee identified someone else: producer Dave Cavanaugh. (Bear in mind that, even if Cavanaugh -- or somebody else -- is officially proven to have snapped fingers at the date, it would not be absolutely certain that he is the finger snapper heard in the actual recording. For a stronger or louder effect, new finger snaps might have been overdubbed during the final mixing of the track.)


Masters

1. "Fever": Stereo Versus Mono
The stereo and mono issues of "Fever" come from the very same take. In other words, both feature the exact same vocal from Lee and the exact same playing from the musicians. The difference is only in the channeling itself, to either mono or stereo.

To casual listeners, divergences between the mono and stereo issues should be barely noticeable, if at all. Since there was no orchestra and no plethora of instruments to be separated in one or the other channel, both mono and stereo issues are likely to please casual listeners.

Audiophiles are likelier to pick the mono issue as the superior version. This perceived superiority is largely the result of how the microphones were set up for each version. The mono master appears to have been closely miked: the bass probably had its own mike right nearby, and ditto for drum and vocal. The finger snaps might have had their own microphone as well. As a result, intent listeners are bound to experience a more visceral, heightened impact coming from the drums, vocal and, especially, the bass, in the mono version.

On the other hand, the method followed for stereo channeling did not involve pairing different microphones with different members of the personnel. Instead, the microphones were probably positioned with a view to picking up ensemble, unison playing: up in the air, to the right, left, and front of the performing group.

The above-described difference in miking setup generally applies to Capitol's recordings of the mid to late 1950s, when stereo was still in its experimental stages. At that time, Capitol was using close miking specifically for mono, not for stereo recordings. The matter is further explained in the following note, from the booklet of the Capitol CD Things Are Swingin': "Fever and You Don't Know are presented [in this CD] in their original mono versions because they sound the best in this form. Recorded in the sessions for this album, they were first released in May of 1958 as A and B sides on a 45 single. The stereo microphone pickup on these two tracks was unsatisfactory. Capitol engineer Jay Ranellucci was at the sessions for this album and commented that stereo was in its experimental stages at the time and the engineers were instructed to give the highest priority to the mono recording. There were to be no stops or interruptions if problems arose with the stereo tapings. The engineers were allowed to make "fixes" during the sessions only if there was a problem with the mono sound coming through. Duplicate sets of microphones and tape machines were used - one for the mono tapes and separate mikes, boards and tape machines for the stereo tapes. Within a year or so this duplication was eliminated and virtually everything recorded at the Capitol Tower was made onto 3 track stereo tape and later mixed down from those tapes into mono and two track stereo." (Duly noted. It should be added, however, that the stereo master of "Fever" sounds quite fine in its newly mixed incarnation for the 2008 CD All Aglow Again).


Issues And Dating

1. Things Are Swingin' [LP]
Many sources wrongly list this LP as coming out in 1959 -- specifically, May 1959. Judging from its catalogue number, the LP must have been released around September 1958. There is also a magazine review published in February 1959 -- that is, three months before the alleged release date. The 1959 claim may be an error that originated in one source and was then copied to other sources. Alternatively, it could be that the stereo version of the LP was released much later than the mono version; see related discussion about Jump For Joy, the Peggy Lee album which was released right before this one, under session dated January 3, 1958.

2. Things Are Swingin' [CD, Blue Note]
In addition to the 2004 American release of this compact disc under the Capitol Jazz branch, also the Blue Note branch seems to have issued it, perhaps in Europe only. The Blue Note version uses entirely different artwork: a small b&w photo of Lee from the mid-1950's, against white and blue stripes. It may be viewable here.

3. Capitol #3398 [78]
Peggy Lee's Capitol session files identify Capitol #3998 ("Fever"/"You Don't Know") as a single released on 45. No 78 counterpart is listed. However, a 78 version of Capitol #3998 definitely exists. From time to time, copies of such a 78 show up for auction in the web. Since one of those auctioneers identified his copy as a Canadian issue, it may be that the 78 was released outside of the United states only. (If an American 78 pressing exists, I would appreciate receiving corroboration.) "Fever" / "You Don't Know" was definitely issued on 78 in England, but overseas it bore a different catalogue number (CL 14903).

4. Capitol #6014 [45]
5. Capitol # A 6014 [45]
Part of Capitol's Starline series, a 45 numbered 6014 has actually been issued in two versions. Both versions contain the same two songs ("Fever"/ "Alright, Ok, You Win") but differ in the inclusion or omission of a prefix letter (A), and in the color used for their respective labels (light brown in the case of #6014, light blue in the case of # A 6014).

6. "Fever": A History Of Its (Mono, Stereo, Duophonic) Issues
Originally, "Fever" was released as a mono single only (1958). That mono version is the one that charted, and the one that has become famous. Within the next two years, Capitol proceeded to release the stereo alternative in the Peggy Lee EP Fever (1959) and in the pointedly titled various-artists compilation LP More Stars In Stereo (1960).

During the rest of the LP era, "Fever" was issued primarily in its mono hit version, although there were a couple of "fake stereo" releases as well. When the decision was made to include "Fever" in the LPs The Hits Of Peggy Lee and Peggy Lee's Greatest!, Capitol resorted to duophonic, which was Capitol's own name for one of the subpar, so-called stereo alternatives that competing record companies developed around this time. Both LPs were issued in the second half of the 1960s.

Earlier in the 1960s, the song had also been released in Bewitching-Lee!. Capitol issued this 1962 hits compilation in both mono and duophonic formats. (I have only listened to the mono version of the album. I presume that the duophonic counterpart uses duophonic for all or at least most of its tracks, including "Fever.") As for the two CD issues of Bewitching-Lee!, the one on S&P definitely used the mono version. I'm less certain about the more-pallid-sounding DCC version; it is likely to be the mono version as well.)

In later decades, some of the duophonic versions have been touted as true stereo versions by listeners who have not known any better.

After the aforementioned appearances in 1959 and 1960, the true stereo version of "Fever" does not seem to have been reissued until the mid-1980s. Among the earliest of those stereo issues was the budget compilation Fever And Other Hits, which record guides list as initially released on cassette by Capitol's branch of Special Markets Products in 1984. (The CD counterpart has a 1990 date.) In 1985, there was another appearance of the stereo version, on a Time-Life issue (cassette and LP) that was part of the label's well-produced "Legendary" album series. During the 1990s, the stereo version also showed up in a handful of various-artists CDs. (See this discography's separate page for various-artists compilations.)

Around 1995, new mixes of the stereo version began to make appearances in Peggy Lee CDs. There was her CD from Capitol's "Spotlight On ... Ladies And Gentleman Of Song" series, in which liner annotator Joseph Laredo states that the song "appears here in a stereo mix from the original three-track recording of a rendition that had previously been available only on an old EP...." Next, the stereo version was included in Capitol's 4CD "pink" box from 1998 (Miss Peggy Lee) and in the one-disc offshoot from that box (The Best Of Miss Peggy Lee). Those were followed by a 2000 British, above-average EMI CD compilation (The Very Best Of Peggy Lee). More recently (2008), a brand new remix from the original three-track tapes was made, and released in the Collectors' Choice CD All Aglow Again.


Date: May 25, 1958
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6874

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall's Music (acc), Justin Gordon, George Smith (r), Don Fagerquist, Conrad Gozzo, Emmanuel "Manny" Klein (t), Milt Bernhart (tb), Bob Enevoldsen (vtb), Howard Roberts (g), Joe Mondragon (b), Joe Harnell (p), Shelly Manne (d), Peggy Lee (v)

a.19200-6-stereo   AlternateYou Don't Know - 2:22  (Walter Spriggs)
     www~ Collectors' Choice CD: Ccm 921 2 — ALL AGLOW AGAIN!   (2008)
b.19200-7-mono   MasterYou Don't Know - 2:31  (Walter Spriggs)
     CAPITOL 45: 3998 / F 3998 — {Fever / You Don't Know [1958 master]}   (1958)
     CAPITOL 78: (Canada) 3998 — {Fever / You Don't Know [1958 master]}   (1958)
CAPITOL EP: Eap 1 1052 — Fever   (1958)
c.19201-4   MasterRidin' High - 2:07  (Cole Porter)
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
www~ Pickwick 8-track/LP: P8 139/(S)Pc 3090 — Once More With Feeling   (1968)
d.19202-5   MasterAlright, Okay, You Win - 2:52  (Mayme Watts, Sidney Wyche) / arr: Bill Holman
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL 45: F 4115 — {Alright, Ok, You Win / My Man}   (1959)
CAPITOL EP: Eap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
e.19203-10   MasterIt's Been A Long, Long Time - 2:18  (Sammy Cahn, Jule Styne)
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL EP: Eap 1 1049 — Things Are Swingin', Part 1 [aka It's A Wonderful World]   (1958)
CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)

The Things Are Swingin' Album Sessions (Cross-references)

Dates: May 19, 25, 27 and 30, 1958.


Songs

1. "Alright, Okay, You Win" At The Grammys
"Alright, Okay, You Win" earned Peggy Lee her second Best Performance, Female Grammy nomination. The nomination in itself was of course an honor, but Lee had a secondary reason to feel even prouder of this achievement: she was one of the two female singers who had been nominated on the two years of the Grammy's existence. The other repeat nominee for Best Performance, Female was Ella Fitzgerald. As in the previous year, the category mixed nominations for albums (this time by Lena Horne, Pat Suzuki and Caterina Valente) with nominations for singles (by Peggy Lee and Ella Fitzgerald). At the ceremony, held on November 29, 1959, the winner was Fitzgerald, for her version of the song "But Not For Me."

2. "Alright, Okay, You Win" In The Music Charts
The Peggy Lee singles that followed on the heels of Lee's successful Capitol single #3998 ("Fever" / "You Don't Know," the latter from this session; see also notes under preceding session) were "Sweetheart" / "Light Of Love" (#4071) and "Alright, Okay, You Win" / "My Man" (#4115). Both were double-charting singles not only in the United States but also in Canada. Capitol #4115 peaked at #28 in CHUM's Weekly Hit Parade, a top fifty airplay chart tabulated by Toronto's radio station CHUM.

In the United States, "Alright, Okay, You Win" and "My Man" charted separately. "Alright, Okay, You Win" entered Billboard's Hot 100 during the week of January 26, 1959 and stayed for six weeks, peaking at #68. It became Lee's 51st entry in Billboard's singles charts -- and her fourth hit after returning to Capitol. It had a slightly better showing in Cashbox's Best Selling Singles chart, where it spent seven weeks and peaked at #62.

For chart details about "My Man," see session dated October 17, 1965. For details about the other double-charting single (#4071), see notes under session dated September 14, 1958.


Masters And Alternate Takes

1. "You Don't Know"
Two takes of "You Don't Know" have been issued. Thanks to Peggy Lee's different phrasing and approach from one to the other, they are easy to tell apart. The musical intros also differ. There is also an earlier (and unissued) master of "You Don't Know;" see session dated April 30, 1957, including notes.


Issues

1. Discographical Error In Peggy Lee ("The Best of The Capitol Years" Series) [CD]
2. "You Don't Know"
See notes under session dated August 30, 1957.

2. Bewitching-Lee! [CDs from S&P and DCC]
Potential buyers interested in compact disc versions of the hits album Bewitching-Lee! have two options, one on S&P and the other on DCC Records. Whereas fans of the original Capitol LP may prefer the DCC disc, dedicated audiophiles will probably favor the S&P CD. Casual listeners probably won't mind either version.

The sound of the S&P CD is arguably clearer. S&P worked with a master tape of the LP which had neither artificial echo nor the other procedures that engineers applied to the final LP mix. The resulting reissue has a feel of immediacy to it. Listeners may get the impression that the date is happening right in front of them. The lack of in-depth processing has thus resulted in greater clarity. On the flip side of the coin, there is some unavoidable hiss and distortion, particularly in the songs that come from the 1940s. Such instances of distortion are minor and do not work to the tracks' detriment. Even on top of the occasional hiss, vocal and instruments are still heard in clear and fine fidelity. As an added bonus, this S&P CD is configured for high definition (HDCD) -- or so I have been told; I do not own HDCD equipment.

As for the DCC version, it possesses a more "faraway," echo-laden quality which actually benefits the darker songs in the album, such as "Don't Smoke In Bed." This CD preserves the echo or reverb effect that is heard in the original LP. Since I detect no significant hiss or tape distortion, the CD's engineers must have applied additional processing, such as a modern no-noise program.


Date: May 27, 1958
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6876

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall's Music (acc), Justin Gordon, George Smith (r), Don Fagerquist, Conrad Gozzo, Emmanuel "Manny" Klein (t), Milt Bernhart (tb), Bob Enevoldsen (vtb), Howard Roberts (g), Joe Mondragon (b), Joe Harnell (p), Shelly Manne (d), Peggy Lee (v)

a.19209-5   MasterIt's A Good, Good Night - 1:54  (Peggy Lee)
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP: (France Pm 156 619 4/1) & (England Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
b.19210-10-mono   MasterYou're Mine, You - 1:46  (Johnny Green, Edward Heyman)
     CAPITOL LP: T 1049 — Things Are Swingin'   (1958)
     www~ Pickwick 8-track/LP: P8 139/(S)Pc 3090 — Once More With Feeling   (1968)
www~ Pickwick LP: Ptp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
c.19210-stereo   AlternateYou're Mine, You - 1:47  (Johnny Green, Edward Heyman)
     CAPITOL LP: St 1049 — Things Are Swingin'   (1958)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
     CAPITOL©EMI's Pathé Marconi CS/LP: (France Pm 156 619 4/1) & (England Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
     CAPITOL Jazz CD: 7243 5 97071 2 9 — THINGS ARE SWINGIN'   (2004)
     zzz~ Play CD: (England) Play 24 7 — Things Are Swingin' & The Man I Love ("Original Masters Collection" Series)   (2010)
d.19211-8-mono   MasterLife Is For Livin' - 3:11  (Sammy Cahn, Jimmy Van Heusen) / arr: Sammy Cahn
     CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL EP: Eap 1 1049 — Things Are Swingin', Part 1 [aka It's A Wonderful World]   (1958)
CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
e.19211   AlternateLife Is For Livin' - 3:08  (Sammy Cahn, Jimmy Van Heusen) / arr: Sammy Cahn
     CAPITOL Jazz CD: 7243 5 97071 2 9 — THINGS ARE SWINGIN'   (2004)
     zzz~ Play CD: (England) Play 24 7 — Things Are Swingin' & The Man I Love ("Original Masters Collection" Series)   (2010)

The Things Are Swingin' Album Sessions (Cross-references)

Dates: May 19, 25, 27 and 30, 1958.


Arrangements

1. "Life Is For Livin' "
2. Sammy Cahn
In an oral, unpublished interview, Peggy Lee referred to Sammy Cahn as the arranger of this song, which he co-wrote, and which was composed for Lee. However, none of the three arrangements of "Life's Is For Livin' " extant in Peggy Lee's sheet music library give credit to Cahn. Credited instead are Bill Holman, Mundell Lowe, and Shorty Rogers. A conciliatory scenario: perhaps Cahn visited Lee to sketch the arrangement, and later Lee commissioned a more formal arrangement from one of the other three men. Alternatively, Lee's recollection could be somewhat off the mark. In any case, my crediting of Cahn as the arranger of this performance should be deemed very tentative.


Masters, Alternate Takes And Issues

1. "You're Mine, You"
The differences between the two released takes of "You're Mine, You" are most evident in Peggy Lee's phrasing of the opening line. My thanks to Steve Dodd and to Gary Trinder for their comments about this topic in the Bulletin Board at peggylee.com .

2. "Life Is For Livin' "
The differences between the two released takes of "Life Is For Livin' " are not readily evident to the ear, because most of them consist of the smallest variations in emphasis and intonation. I hear them most clearly in Peggy Lee's singing of words such as "silly" and "pigeons" ("... Before this silly old willy nilly world goes poof. It's worth repeating, my pigeons ..."). In both cases, Lee's pronunciation is more emphatic (and preferable) in the mono take. But there is actually one very clear difference. It is in one of the final lines:

Life is for livin'
And love's to give
[Yes,] Life is for livin'
So live, live, live.

Live it up!
Yes, live!

Life is for livin'
So, live, live, live.

Live it up!


In the third of the quoted lines, Lee utters the word "yes" in one take, but not in the other. The only issue that I know to contain the "yesless" take is the 2004 Things Are Swingin' CD from Capitol Jazz. The "yes" take is in all other issues that I have checked (e.g., the mono LP, the Pathé Marconi reissue, the Japanese LP Ecj 60044).

I do not have a copy of the original stereo LP, but a fellow fan has told me that it too features the "yes" take. I'd be grateful for input from owners of the original reel-to-reel of Things Are Swingin': is the "yes" take also heard in that issue (as I have tentatively assumed while entering that reel in this discography)?

My thanks to Don and to Yvan Tarbouriech, from the Bulletin Board at peggylee.com, for their kind assistance with this matter.


Date: May 30, 1958
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #6883

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall's Music (acc), Justin Gordon, George Smith (r), Walter "Pete" Candoli, Emmanuel "Manny" Klein, Uan Rasey (t), Milt Bernhart (tb), Bob Enevoldsen (vtb), Barney Kessel (g), Joe Mondragon (b), Joe Harnell (p), Shelly Manne (d), Peggy Lee (v)

a.19233-10   MasterAlone Together - 2:05  (Harold Dietz, Arthur Schwartz)
b.19234-8   MasterIt's A Wonderful World - 2:13  (Harold Adamson, Jan Savitt, Johnny Watson)
     CAPITOL EP: Eap 1 1049 — Things Are Swingin', Part 1 [aka It's A Wonderful World]   (1958)
     CAPITOL©EMI CS/CD: (England) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
     www~ Disky CD: (The Netherlands) Hr 883492 — Fever   (1997)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
     CAPITOL©EMI CD: (England) 7243 4 97143 2 8 — C'est Magnifique   (1998)
c.19235-10   MasterI'm Beginning To See The Light - 1:45  (Duke Ellington, Don George, Johnny Hodges, Harry James)
     www~ K-tel CS/LP: (Netherlands) Tn 1722/1721 — Lovers' Rendezvous   (1988)
     CAPITOL CS/CD: 7243 8 28533 4 3 — Spotlight On... Peggy Lee ("Ladies And Gentleman Of Song" Series)   (1995)
     EMI Special Markets CD: 95937 — The Best Of Peggy Lee   (1995)
     www~ Disky CD: (The Netherlands) Hr 883492 — Fever   (1997)
     www~ Reader's Digest CD: (England) unknown — The Ultimate Collection [aka The Very Best Of Peggy Lee]   (2007)
All titles on:      CAPITOL LP: (S)T 1049 — Things Are Swingin'   (1958)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP: (France Pm 156 619 4/1) & (England Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)

The Things Are Swingin' Album Sessions (Cross-references)

Dates: May 19, 25, 27 and 30, 1958.


Issues

1. Things Are Swingin' [LP] In The Music Charts
This long play entered Billboard's Best-Selling Pop LPs chart during the week of December 9, 1958 and ended up peaking at #16. (For Lee's next album entry, see session dated May 28-30, 1959.)

2. Things Are Swingin' [CD]: Mono Versus Stereo
The EMI CD Things Are Swingin' / Jump For Joy contains not stereo but mono versions of both albums. There is no definitively known reason for EMI's choice of mono despite the availability of stereo, but two unofficial explanations have circulated among fans of Peggy Lee.

According to one explanation, EMI in England faced a dilemma when they belatedly realized that Capitol's tape library (located in the United States) had shut down for nine months, as part of an ongoing process of tape relocation. This situation posed a dilemma for the British label. EMI had already publicized the twofer, going as far as to announce its release date. Moreover, the project had gone into production, with features such as the cover artwork in the process of being completed. The option of waiting for nine months was thus deemed out of the question. In this version of events, EMI decides to just use its own library's tapes, which are non first-generation. More to the point, this explanation portrays EMI as able to locate only mono copies in its library.

The other explanation holds that EMI misunderstood a directive given by Ray Purslow, owner of the music store Record Centre, in Birmingham, England. (Mr. Purslow used to supply EMI with advice on which albums to release in the two-fer-one series, and he would also lend cover artwork to the company when necessary.) According to this account, Purslow had made some comments to EMI about the imperative of rejecting duophonic or "fake stereo" when it was the only available stereo, instead choosing mono in such cases. EMI is said to have misinterpreted those comments as meaning that issuing mono was preferable to issuing stereo.

Both of these explanations center on the notion of miscommunication among the parties involved. Underlying them is the fact that EMI's twofer series was just starting when this Peggy Lee disc was prepared. Hence errors of coordination were much likelier to happen then than in later times. Subsequent Peggy Lee titles in the series invariably used the stereo versions of the albums (with the exception of The Man I Love, which was digitally issued in mono because there has never been a stereo release).


Date: September 14, 1958 (3:00 p.m. - 7:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7252

Peggy Lee (ldr), David Klein (om), Dave Cavanaugh (pdr), Jack Marshall (con), William "Bill" Pitman, Hilmer "Tiny" Timbrell (g), Max K. Bennett (b), John Williams (p), Verlye Mills Brilhart (hrp), Larry Bunker, Shelly Manne (d), Peggy Lee (v), The Evelyn Freeman Singers (bkv)

a.30107-14   MasterLight Of Love - 1:29  (Charles Singleton) / arr: Jack Marshall
     CAPITOL 45: F 4071 — {Sweetheart / Light Of Love}   (1958)
     CAPITOL EP: Eap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
CAPITOL EP: (France) Feap 106 — Sweetheart   (1959)
b.30108-21-mono   MasterSweetheart - 2:21  (Winfield Scott) / arr: Jack Marshall
     CAPITOL 45: F 4071 — {Sweetheart / Light Of Love}   (1958)
     CAPITOL EP: Eap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
CAPITOL EP: (France) Feap 106 — Sweetheart   (1959)
c.30108-stereo   AlternateSweetheart - 2:19  (Winfield Scott) / arr: Jack Marshall
     www~ Collectors' Choice CD: Ccm 921 2 — ALL AGLOW AGAIN!   (2008)

Songs (And Music Charts)

1. Billboard's Post-1955 Hit Land: Uncommon Sights Of Pre-1950s Artists
Entries by 1930s and 1940s acts are rare in Billboard's weekly singles charts from the mid-1950s onwards. And when one such entry shows up, seldom does it crack the top 40. (A very notable exception to this generalization is Frank Sinatra, whose singles reached top ten positions many times in the 1950s and 1960s. Aside from Sinatra, a handful others managed one major top 40 hit -- most notably, Louis Armstrong with "Hello Dolly." There were also one or two pop artists who found success by catering to a country or countrypolitan audience, but not so much when they tried to record in the pop-jazz vein which had characterized their work of previous decades.)

This lack of older, established acts in Billboard's Hot 100 chart was not necessarily a sign of disinterest from all listening demographics. Proof that there was still a market for singles by vintage artists came in 1965, when Billboard finally started tabulating airplay on radio stations that had stayed away from the rock, rock 'n' roll, or country. Acts such as Peggy Lee readily appeared in such tabulations. (For some specifics, see notes under session dated December 9, 1964.)

But Lee was also among the precious few who did crack the Hot 100 during those lean years. She actually scored two high-charting numbers ("Fever" and "Is That All There Is"), recorded ten years apart. Lee also managed to land a fair share of numbers in the second half of the chart (i.e., the slots from #50 to #100) -- a feat that unfortunately evaded many of her equally worthy peers.

2. "Light Of Love" In The Music Charts
3. "Sweetheart" In The Music Charts
The follow-up to Lee's smash single "Fever" (released on Capitol #3998) was a double-charting hit single, though a minor one. Capitol #4071 consists of "Light Of Love" and "Sweetheart", both lighthearted pop pieces which Lee may have recorded on the suggestion of Capitol's brass.

The gospel-tinged "Light Of Love" did best, peaking at #63. After its debut during the week of November 3, 1958, it spent six weeks in Billboard's Hot 100.

As for flip side "Sweetheart," in November 1958 it stalled at #98 for two weeks, and then fell off Billboard's chart. Even though it barely cracked the Hot 100, "Sweetheart" still achieved the noteworthy feat of increasing Peggy Lee's Billboard output to 50 chart entries. It actually fared a little better in Cashbox's Top 100 Singles, earning a #92 peak.

(A percussion-driven piece, "Sweetheart" is clearly modeled after "Fever." Lee's interpretation is not in a "Fever" mold, however; she suitably treats the song as a jump blues. The number is musically catchy and there is plenty of appeal in Lee's interpretation, but the lyrics are lacking in substance, thereby limiting the song overall catchiness and appeal.

In Canada, Capitol #4071 had a warmer reception. Tabulated as an unity, "Light Of Love" and "Sweetheart" reached #30 in CHUM's Weekly Hit Parade, a top 50 airplay chart tabulated by Toronto's radio station CHUM. (Each weekly chart has been printed and included in Albert Hall's The CHUM Chart Book -- starting with the very first one in 1957 and concluding with some from the year in which the book was published, 1983.)


Masters And Alternate Takes

1. "Sweetheart"
Two takes of "Sweetheart" have been issued, one in mono and the other in stereo. The most noticeable difference between them pertains to the divergent ways in which Lee tackles the word "sea" when she first comes to the lines "I'll drown myself in the deep blue sea / Yes, I'll drown myself in the deep blue sea."


Date: October 17, 1958 (8:00 p.m. - 12:30 a.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7340

Peggy Lee (ldr), Emmanuel "Manny" Klein (om, t), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall and His Orchestra (acc), Mahlon Clark (cl), Benny Carter (as), Milt Bernhart (tb), Barney Kessel (g), Meyer Rubin (b), James "Jimmy" Rowles (p), Shelly Manne (d), Peggy Lee (v)

a.30428-7   MasterCharley, My Boy - 1:35  (Gus Kahn, Ted Fiorito)
     CAPITOL LP: S(T) 1131 — I Like Men!   (1959)
     CAPITOL EP: Eap 1 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
b.30429-10   MasterOh Johnny, Oh Johnny Oh! - 1:47  (Abe Olman, Ed Rose)
     CAPITOL LP: S(T) 1131 — I Like Men!   (1959)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
www~ World Record Club reel/LP: (England) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
c.30430-8   MasterMy Man - 2:13  (Jacques Charles, Channing Pollock, Albert Willemetz, Maurice Yvain) / arr: Jack Marshall
     CAPITOL 45: F 4115 — {Alright, Ok, You Win / My Man}   (1959)
     CAPITOL LP: S(T) 1131 — I Like Men!   (1959)
CAPITOL EP: Sep 1 1232 — Fever   (1959)
d.30430-9   AlternateMy Man - 2:10  (Jacques Charles, Channing Pollock, Albert Willemetz, Maurice Yvain) / arr: Jack Marshall
     CAPITOL EP: Eap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
     CAPITOL EP: (France) Feap 106 — Sweetheart   (1959)
     www~ Disky CD: (The Netherlands) Tc 862652 — Peggy Lee ("A Touch Of Class" Series)   (1997)
e.30431-8-mono   MasterI'm Just Wild About Harry - 2:09  (Eubie Blake, Noble Sissle)
     CAPITOL LP: T 1131 — I Like Men!   (1959)
     CAPITOL EP: Eap 1 1131 — I Like Men!   (1959)
     www~ World Record Club reel/LP: (England) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
     www~ Pure Pleasure audiophile-LP: Lpurepl T1131 — I LIKE MEN!   (2009)
     zzz~ Future Noise's Fantastic Voyage CD: Fvtd 043 — Ridin' High: The Complete Record Releases, 1957-1959   (2010)
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 6901-6902 — [AFRS] Basic Music Library [LP I Like Men + singles]   
f.30431-stereo   AlternateI'm Just Wild About Harry - 2:09  (Eubie Blake, Noble Sissle)
     CAPITOL LP: St 1131 — I Like Men!   (1959)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI CS/LP: (England) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)

The I Like Men! Album Sessions (Cross-references)

Dates: October 17, 19, and 22, 1958.


Songs

1. "My Man" In The Music Charts
Peggy Lee's reworking of this standard from the 1920s became her fifth Billboard hit after her return to Capitol. It was also the 52nd Billboard entry of her career. "My Man" entered the Hot 100 during the week of January 26, 1959 and spent six weeks in the chart, peaking at #81. The recording had a slightly better showing in Cashbox's Top 100 Singles chart, where it spent a total of seven weeks and peaked at #76.

Notice that Capitol #4115 (consisting of "My Man" and "Alright, Ok, You Win") was a double-charting single. (For chart details about the flip side, see session dated May 25, 1958.)

Capitol #4115 also fared well when it traveled north of the border. The single peaked at #28 in CHUM's Weekly Hit Parade, a top 50 airplay chart tabulated by Toronto's radio station CHUM.


Personnel

1. "I'm Just Wild About Harry"
2. Milt Bernhart And Other Session Members
In the previous edition of this discography, this session's personnel was deemed tentative. In this edition, the personnel that I am listing has been officially confirmed. Excluded are three of the musicians that were previously listed (Pete Candoli, Frank Rosolino, Jack Sheldon). Although all three might have participated in later sessions for the album I Like Men!, the AFM report shows that none of them played during this particular date.

Peggy Lee's version of "I'm Just Wild About Harry" contains two choruses that I have not heard in any other interpretations. One of those choruses opens the song, and thus functions as a verse of sorts: "Samuel is great, Irving is a joy, ?Merv is wonderful, and Robert, oh boy. Jay is terrific, Phil is supreme, Dan is the most, and Frank is a dream. But I'm just wild about Harry." The other chorus occurs around 1:15, before Lee sings the refrain: "There's Barney and Jim, Shelley and Mike, Benny and Pete and others I like, like Mannie and Milt, and David and Jack, Mahlon and Tony and Curly and Mack."

Those two choruses were apparently created specifically for Lee's recording. The late Milt Bernhart, who was one of the session's musicians, referred to them on more than one occasion. According to Stan Kenton researcher (and friend of mine) Ed Chaplin: "I asked [Bernhart] a few years ago when he was in the UK telling lots of us about his life in music, and he told me he thought that the new words in I'm Just Wild About Harry were constructed to name all the sidemen on the date(s)." Indeed, heard in the second of the two choruses are the names Barney, Jim, Shelley, Mike, Benny, Mannie, Milt, Jack, and Mahlon, who cover the session's entire personnel (i.e., Kessel, Rowles, Manne, Rubin, Carter, Klein, Bernhart, Marshall, Clark). Less clear is the identity of the other men mentioned in the second chorus: Pete, David, Tony, Curly and Mack. Perhaps some names, such as "Curly," were thrown in just for rhyming or comical effect. Other names could belong to the engineers and additional personnel; "David" was probably producer Dave Cavanaugh. As for the first chorus (which I quoted early in this paragraph), I have no evidence to suggest that it may also included musician's names.


Arrangers And Arrangements

1. Jack Marshall
2. "My Man"
The album I Like Men! credits Jack Marshall with all of its arrangements. Because collective credits of this type sometimes prove to be highly inaccurate, I have tried to exercise caution in my handling of them. Hence I have given arranging credit to Marshall only for those numbers which have scores credited to him in Peggy Lee's sheet music library: "My Man" and a couple of songs from subsequent I Like Men! dates.

Masters, Alternate Takes And Issues

1. "I'm Just Wild About Harry"
Two takes of "I'm Just Wild About Harry" have been released. They sound almost identical. Almost. To hear one of the differences, pay attention -- around 47 seconds into the number -- to the way in which Lee sings the word "cannot" ("'And he's just wild about / Cannot do without") . In the stereo take, she holds on to the first syllable of "cannot." She does not do so in the mono take.

2. "My Man"
This session's two takes of "My Man" have clearly audible differences. One of those differences can be found in Peggy Lee's phrasing of the line "the world is bright," heard around 1:24. In the alternate take (#9), the singer stretches the word "bright" much more than in the better-known take (#8).

Notice that this is not a mono versus stereo difference. I have listened to the mono and stereo versions of the original LP, and can attest to the fact that both include the exact same take.

I have also inspected the following issues, and can thus vouch for their correct take assignation:

a) the EP Alright, Okay, You Win [aka Peggy Lee] (Eap 1 1213).
b) most of the LPs listed, including I Like Men!, All Aglow Again!, Bewitching-Lee!, and The Very Best Of Peggy Lee.
c) most of the CDs listed, including those on Capitol, its subsidiaries and licensees.

I have yet to listen, on the other hand, to the following issues:

a) the original 45 (F 4115).
b) the EP Fever (Sep 1232).
c) the French EP Sweetheart (Feap 106).

Since I have not listened to them, my assignation of one or the other take of "My Man" to those three issues is based on educated guessing. Confirmation or corrections would be appreciated.


Date: October 19, 1958
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7342

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall and His Orchestra (acc), Other Individuals Unknown (unk), Peggy Lee (v)

a.30436-3   MasterI Love To Love - 2:51  (Herbert Baker) / arr: Benny Golson
b.30437-14   MasterIt's So Nice To Have A Man Around The House - 2:22  (John M. "Jack" Elliot, Harold Spina)
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 6901-6902 — [AFRS] Basic Music Library [LP I Like Men + singles]   
c.30438-14   MasterSo In Love - 2:33  (Cole Porter)
     www~ Pickwick 8-track/LP: P8 139/(S)Pc 3090 — Once More With Feeling   (1968)
     www~ Pickwick LP: Ptp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
     www~ Pair CS/CD: Pcdk/Pcd 2 1194 — Seductive   (1989)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 6901-6902 — [AFRS] Basic Music Library [LP I Like Men + singles]   
d.30439-5   MasterI Like Men! - 2:06  (Peggy Lee, Jack Marshall) / arr: Jack Marshall
     CAPITOL EP: Eap 1 1131 — I Like Men!   (1959)
     CAPITOL EP: Sep 1 1232 — Fever   (1959)
     BMG MUSIC PUBLISHING CD: [promo] Pub 016 — PEGGY LEE: SONGWRITER   (2001)
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 6901-6902 — [AFRS] Basic Music Library [LP I Like Men + singles]   
All titles on:      CAPITOL LP: S(T) 1131 — I Like Men!   (1959)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
www~ World Record Club reel/LP: (England) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)

The I Like Men! Album Sessions (Cross-references)

Dates: October 17, 19, and 22, 1958.


Arrangements

1. Jack Marshall
2. "I Like Men"
The album I Like Men! credits Jack Marshall with all of its arrangements. Because collective credits of this type are sometimes highly overstated, I have tried to handle them with caution. (For evidence that may contradict the album's overall credit to Marshall, see entries immediately below.) Since Peggy Lee's sheet music library contains a Jack Marshall score for the song "I Like Men" but not for any of the other three, I have given him credit for that arrangement only.

3. Benny Golson
4. "I Love To Love"
Lee's library also contains a Benny Golson arrangement of the song "I Love To Love." Since I have no absolute certainty that his arrangement is the same one used for this session's performance, the Golson credit should be deemed tentative.

3. Yutaka Yokokura
4. "So In Love"
Furthermore, a Yutaka Yokokura arrangement of the song "So In Love" is also found in Lee's library. However, that score is was not for this date's master. Yokokura probably wrote it 20 years after this session took place.


Personnel

This date's musicians are unknown. They are presumed to be mostly the same ones who participated in the first of the I Like Men! sessions, dated October 17, 1958. Additional musicians that could have participated in this session are Pete Candoli, Frank Rosolino, and Jack Sheldon.


Issues

1. Fever [EP]
On April 13, 1959, Capitol proudly released its first batch of stereo EPs. (As for LPs, back in October 1958, Capitol has released its first batch back of 13 titles, all of them instrumentals.) The four artists whose EPs Capitol chose for this treatment were Frank Sinatra, Nat King Cole, Ray Anthony, and the only female in the bunch, Peggy Lee. Her stereo EP contained four songs that she had recorded the previous year. Three of them were hits ("Fever," "Alright, Ok, You Win," "My Man"). "My Man" was actually a cut from the LP I Like Men!; so was the fourth song in the EP: Lee's self-penned "I Like Men!".

2. Not In The Music Charts: I Like Men! [LP]
Curiously, the LP I Like Men!, released in February 1959, does not seem to have make the charts. And yet, as shown by a Billboard magazine ad, I Like Men! did get some promotion from Capitol. But maybe the method of promotion was too "by-the-numbers" to be effective: the ad reads "Brand new music! (Capitol brand, by Nat 'King' Cole, Judy Garland, Jonah Jones & Others)." Nine albums, all of them naturally brand new, were being promoted; the first three shown are the ones by Cole, Garland, and Jones. The so-called others, in order of appearance, are The George Shearing Quintet, Peggy Lee, Les Baxter, Freddy Martin, The Frank Moore Four, and Guy Lombardo.

The album might have also gotten lost in the shuffle and the fanfare that permeated Capitol during the first half of the year. To wit: the aforementioned stereo EPs were released in April, then there was the much publicized Miami disc jockey convention in May, and subsequently the release of the Lee-Shearing album from that convention.


Date: October 22, 1958
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7353

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall and His Orchestra (acc), Other Individuals Unknown (unk), Peggy Lee (v)

a.30470-9-mono   MasterJim - 2:59  (Caesar Petrillo, Milton Samuels, Nelson A. Shawn)
     CAPITOL LP: T 1131 — I Like Men!   (1959)
     www~ World Record Club reel/LP: (England) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
     www~ Pure Pleasure audiophile-LP: Lpurepl T1131 — I LIKE MEN!   (2009)
     zzz~ Future Noise's Fantastic Voyage CD: Fvtd 043 — Ridin' High: The Complete Record Releases, 1957-1959   (2010)
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 6901-6902 — [AFRS] Basic Music Library [LP I Like Men + singles]   
b.30470-stereo   AlternateJim - 2:59  (Caesar Petrillo, Milton Samuels, Nelson A. Shawn)
     CAPITOL LP: St 1131 — I Like Men!   (1959)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
     CAPITOL©EMI's Pathé Marconi CS/LP: (England) Tcems/Ems 1287 — I Like Men! ("Nostalgia" Reissue Series)   (1988)
     CAPITOL©EMI CD: (England) 7243 4 96729 2 5 — I Like Men! / Sugar 'N' Spice   (1998)
c.30471-25-mono   MasterBill - 2:46  (Oscar Hammerstein II, Jerome Kern, P. G. Wodehouse)
     CAPITOL LP: T 1131 — I Like Men!   (1959)
     www~ World Record Club reel/LP: (England) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
     www~ Pure Pleasure audiophile-LP: Lpurepl T1131 — I LIKE MEN!   (2009)
     zzz~ Future Noise's Fantastic Voyage CD: Fvtd 043 — Ridin' High: The Complete Record Releases, 1957-1959   (2010)
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 6901-6902 — [AFRS] Basic Music Library [LP I Like Men + singles]   
d.30471-stereo   AlternateBill - 2:46  (Oscar Hammerstein II, Jerome Kern, P. G. Wodehouse)
     CAPITOL LP: St 1131 — I Like Men!   (1959)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
     CAPITOL©EMI CS/LP: (England) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
     CAPITOL©EMI's Pathé Marconi CS/LP: (England) Tcems/Ems 1287 — I Like Men! ("Nostalgia" Reissue Series)   (1988)
     CAPITOL©EMI CD: (England) 7243 4 96729 2 5 — I Like Men! / Sugar 'N' Spice   (1998)
e.30472-4   MasterWhen A Woman Loves A Man - 2:46  (Bernie D. Hanighen, Gordon Jenkins, Johnny Mercer) / arr: Jack Marshall
     CAPITOL LP: S(T) 1131 — I Like Men!   (1959)
     CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)
www~ World Record Club reel/LP: (England) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
f.30473-15   MasterGood-For-Nothin' Joe - 2:32  (Rube Bloom, Ted Koehler)
     CAPITOL LP: S(T) 1131 — I Like Men!   (1959)
     CAPITOL EP: Eap 1 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tape: Y2t 2234 — I Like Men! / Things Are Swingin'   (1965)

The I Like Men! Album Sessions (Cross-references)

Dates: October 17, 19, and 22, 1958.


Masters And Alternate Takes

1. "Bill" And "Jim"
The differences between Lee's master and alternate takes of "Bill" and "Jim" may seem minor but stylistically they are significant. The two mono takes feature Lee in a slightly tremulous voice and in an overtly emotional mode. The two stereo takes evince a more subtle, less permeating display of emotion, and a tone that is a few shades huskier.

In the case of "Jim," compare how Lee sings the chorus that starts with the line "sometimes when I get feeling low." Also pay attention to the differences in the piano playing.

As for "Bill," listen to Lee's singing of the words "are not." (Those words are heard in the lines "his form and face, his manly grace are not the kind that you would find in a statue"). For the mono version, Lee holds the note in the word not, and makes a quick pause afterwards. For the stereo version, she holds the note on the word "are" and her pause precedes the word "not."

Mono or stereo, master or alternate, "Bill" and "Jim" show that as a balladeer Peggy Lee cultivated various levels of emotional intensity. Although the mono takes strike me as the better choices, I consider all four takes excellent.


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in the first of the I Like Men! sessions, dated October 17, 1958. Additional musicians that could have been participated in this session are Pete Candoli, Frank Rosolino, and Jack Sheldon.


Arrangers And Arrangements

1. Jack Marshall
2. "When A Woman Loves A Man"
The album I Like Men! credits Jack Marshall with all of its arrangements. Since collective credits of this type are sometimes found out to be overstatements, I have tried to be cautious when entering them. For this date, I have given Marshall credit for the "When A Woman Loves A Man" arrangement, of which there is a copy under his name in Peggy Lee's sheet music library. Lee also kept two other arrangements of this song in the library, one by Albert Harris and the other by Mickey Ingalls.


Date: March 28, 1959 (5:30 p.m. - 9:30 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7680

Peggy Lee (ldr), Emmanuel "Manny" Klein (om, t), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall and His Orchestra (acc), Don Fagerquist, Uan Rasey (t), Ed Kusby aka Edward Kuczborski, Stuart "Stu" Williamson (tb), John Cave, Herman Lebow, Richard Perrisi (hrn), Al Hendrickson, William "Bill" Pitman, Allan Reuss, Howard Roberts (g), Max K. Bennett (b), James "Jimmy" Rowles (p), Larry Bunker, Shelly Manne, Lou Singer (d), Peggy Lee (v)

a.31444-11   MasterHallelujah, I Love Him So - 2:35  (Ray Charles) / arr: Jack Marshall
     CAPITOL 45: F 4189 [blue label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [mono]   (1959)
     CAPITOL 45: S 4189 [red label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [stereo]   (1959)
CAPITOL EP: (England/France) Eap 4 1366 — All Aglow Again!   (1960)
b.31445-10   MasterYou Deserve - 2:26  (Rhoda Roberts, Kenny Jacobson) / arr: Jack Marshall
     CAPITOL 45: F 4298 — {You Deserve / Where Do I Go From Here?}   (1959)
     CAPITOL 45: (England) Cl 15103 — {Things Are Swingin' [not released on USA singles]/ You Deserve}    (1959)
     CAPITOL EP: (England/France) Eap 4 1366 — All Aglow Again!   (1960)
     CAPITOL©EMI CS/CD: (England) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
     zzzz~ Marginal CD: (Belgium) Mar 068 — Extra Special!   (1997)
     CAPITOL©EMI Electrola CD: (Germany) 94635 9779 2 9 — Essential Peggy Lee   (2006)
c.31446-16   MasterI'm Looking Out The Window - 2:49  (Traditional) / arr: Jack Marshall
     CAPITOL 45: F 4189 [blue label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [mono]   (1959)
     CAPITOL 45: S 4189 [red label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [stereo]   (1959)
     CAPITOL©EMI CD: 7243 82680 2 7 — The Best Of The Singles Collection    (2003)
     CAPITOL©EMI CD: (Korea) 8806344820326 — The Very Best Of Peggy Lee; The Capitol Years   (2006)
     www~ Hear Music (Starbucks) CD: 509996 — Come Rain Or Come Shine ("Opus Collection" Series)   (2010)
All titles on:      CAPITOL's Starline reel/LP: T 1366 — All Aglow Again!    (1960)
     CAPITOL©EMI's Pathé Marconi CS/LP: (France Pm 156 554 4/1) & (England Eg 26 0605 4/1) — All Aglow Again! ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
CAPITOL©EMI CD: 7243 5 39756 2 3 — THE SINGLES COLLECTION   (2002)

The All Aglow Again! Pick-up Album Sessions (Cross-references)

The album All Aglow Again! combined hit singles with then-previously unissued numbers, many of them about seven years older than the hits. Half of the twelve songs were actually from just this session and from that seven-year-old date ( February 18, 1952) which had been Lee's last before leaving Capitol for Decca. The other songs in the album originated in sessions dated 1959 (October 10), 1958 (May 19, May 25, October 17), 1957 (August 30), and 1947 (November 25).


Issues

1. All Aglow Again [LP]: Mono Or Stereo?
Notwithstanding erroneous information found in some record guides, Capitol LP #366 was released in mono only. There is no stereo version of this LP.

2. "Hallelujah, I Love Him So" / "I'm Looking Out The Window" [45]: Mono And Stereo
Capitol 45 #4189 was released in both mono and stereo. Visually, the two can be differentiated by the color of the label (red or violet) and by the prefix letter in the catalogue number (F or S).

3. All Aglow Again [CD]: Stereo
Collectors' Choice CD Ccm 921 2 contains stereo versions of "Where Do I Go From Here," "Sweetheart," "You Don't Know" and "You Deserve." Before the appearance of this noteworthy compact disc, all four songs had been available only in mono.

4. The 1962 Album Bewitching-Lee! In The Music Charts
From "I Don't Know Enough About You" (recorded on December 26, 1945) to this date's "Hallelujah, I Love Him So", the twelve songs in the hits compilation Bewitching-Lee! spanned more than two decades. Released in July 1962, the album entered Billboard's album chart during the week of August 5, 1962, spent six weeks in that chart, and peaked at #85. Chronologically, it became the singer's 10th album entry (following the 1961 LP Basin Street East Proudly Presents Miss Peggy Lee).


Songs

1. "Hallelujah, I Love Him So" In The Music Charts
Peggy Lee's treatment of this Ray Charles original peaked at #77. Her 53rd Billboard entry, it debuted during the week of August 18, 1959, and stayed in the chart for two weeks. At Cashbox, the recording made its debut much earlier (May 16, 1959) and managed to stay for one more week, yet it had a far lower peak (#93).


Songwriters

1. Don Raye
2. "I'm Looking Out The Window"
Don Raye is credited with this date's adaptation of "I'm Looking Out The Window," a folk song from the Appalachian region.

3. Kenny Jacobson (Jackson)
4. "You Deserve"
In Capitol single #4298, "You Deserve"is credited to Rhoda Roberts and Kenny Jackson. Elsewhere, including the Capitol album All Aglow Again!, the name of the male songwriter is given as Kenny Jacobson -- not Jackson.


Masters

1. Session patter: "Thank you very much"
2. "I'm Looking Out The Window"
3. The Singles Collection [CD set]
One of the bonus tracks in the Capitol/EMI set The Singles Collection consists of patter in which Peggy Lee is heard saying "thank you very much" (track #29 of the collection's fourth disc). The set's producers isolated this spoken phrase from the master tape that contains Lee's rendition of "I'm Looking Out The Window." She utters the words right before she begins the song. This humorously intoned phrase seems to have been trademark Lee; she is also heard saying it, with the same special intonation, before the start of some rehearsal recordings.


Peggy Lee's Beauty And the Beat Sessions, Late May, 1959

Concert And Venue

In the late 1950s, Peggy Lee and George Shearing were both Capitol artists whose records were produced by Dave Cavanaugh. The three of them joined forces to perform and record a concert during the Second National Disc Jockey Convention at the Americana Hotel, in Miami. ("It was Dave's idea to put us together," Lee told music writer Will Friedwald in 1992.) The event, sponsored by the Storz radio chain, was more formally known as the Second International Radio Programing Seminar And Pop Music Disk Jockey Convention.

The official dates of the convention were Friday, May 29 to Sunday, May 31, 1959. (Although not usually mentioned as part of the official dates, a welcoming cocktail party had been scheduled for the evening of Thursday the 28th, too.) On opening night, the two Capitol artists were the entertainment. Roulette's Count Basie And His Band was the musical entertainment scheduled on closing night, during which a barbecue party was programmed to last well into the wee small hours. Saturday night was dedicated to the central event known as The Big Show, produced by Dick Linke and Paul Brown. A large number of acts were booked for the Saturday extravaganza: Count Basie (though he might have not been able to arrive until Sunday), Pat Boone, Cathy Carr, Chris Connor, Vic Damone, Alan Dean, The Diamonds, Connie Francis, Johnny Horton, Kirby Stone Four, Peggy Lee, Patti Page, Lou Norman's Panama Records Orchestra, The Playmates, Jimmy Rodgers, Connie Russell, Jack Scott, George Shearing, Dodie Stevens, Gary Stites, Jesse Lee Turner, and Andy Williams.

Besides the scheduled performances by those artists, various lectures were held over the weekend, on topics such as radio ratings, news programs, and commercials. Adding legitimate cache to the convention was a taped film address from the nation's president and the secretary of defense, plus a live address from the executive director of Eisenhower's "Council on Youth Fitness" program. Attendance was estimated at 2,500 -- and the heat outside was said to be hitting the upper 80s.

Despite the presidential seal of approval, the high-class entertainment, and the academic atmosphere suggested by the lectures, this convention was plagued by low-brow scandal. In a whistle-blowing article titled "Booze, Broads And Babies," The Miami Herald made payola allegations and contended that some of the record companies were treating the disc-jockeys to a lavish and promiscuous way of living. Time published another article, in which various companies were specifically named in connection with practices that the press deemed dubious: RCA Victor (said to have handled disc-jockeys "$1,000,000 in play money" for gambling and drinks, and to have held contest prizes for the deejays' benefit), ABC-Paramount (said to have "paid for all taxi rides") and Columbia (alleged to have "made tapes of D.J.s interviewing celebrities and [to have given] them to the jocks to play on the air at home"). Coincidentally or otherwise, one of the convention's hosts was Morris Levy, the allegedly-mafia connected owner of Roulette Records and The Birdland Club.

On opening night, serious problems with the audio system at the hotel's ballroom produced unsatisfactory results. From the scant reports at hand, the picture that emerges suggests that the hasty accommodations and late-minute technical adjustments made by those in charge of the convention left plenty to be desired. By Sunday, when the Count Basie Band arrived from New York and proceeded to play, the recording problems had apparently been fixed. (Either that or, less likely, the Roulette Jazz CD Breakfast Dance And Barbecue contains a Count Basie studio or a different performance posing as this live concert.)

It is indeed mentioned in the liner notes of the Capitol LP Beauty And The Beat! that "[a] troublesome P.A. system caused the audience some difficulty in hearing parts of the session." Additional commentary was included in a souvenir version of this LP which was sent to disc jockeys who had attended and signed to receive a copy. In one of two typewritten letters that are part of the souvenir album's package, Lee and Shearing give "a special thanks to each of you who stuck through the inaudible opening portion of the session that Friday night long enough to hear the entire session." (The letter ends with the handwritten words "we love you, Peggy & George," in Lee's signature.)

A more detailed explanation is found in the other typewritten letter that is included in this souvenir album. Unsigned, it was presumably written by Cavanaugh: "Starting at 4:00 PM on Friday from absolute zero, we had to build rooms, a stage, install and check out recording equipment, install lights and arrange the hundreds of other details required to serve 3,000 people. Not having had any previous access to the Grand Ballroom prior to 4:00 PM, we were working against odds that would make Vegas child's play by comparison. When the last electrical outlet was installed and the switches were ready to throw for the first test - the room had 2,000 people in it - we had a distinct disadvantage. The events that followed were pretty much history. We went ahead with the stereo session - despite the feedback from the P.A. system." The writer of this letter goes on to estimate that about half of the audience left, unable to hear either Shearing or Lee: "We are sorry that so many of you could not hear note one in the rear of the room. Surprisingly enough, slightly more than 1,000 people were crowded down front close enough to the stage so that they could hear Peggy and George without benefit of a P.A System."

According to what CD producer Michael Cuscuna was told by Cy Godfrey (Peggy Lee's attorney in the 1990s), "a live recording was attempted one night at the convention before an invited audience. Shearing did two numbers and everything came to a halt due to equipment problems. When they resumed, Peggy Lee sang three songs, but the technical problems proved insurmountable and the event was prematurely ended with nothing to show for the effort. The next night, they did a full show for the entire convention, but it wasn't recorded."

Plans to release an album were apparently set in stone, because Cavanagh had Lee and Shearing record or re-record the numbers at an unknown location and without an audience. Capitol and Cavanaugh were just proceeding in the same manner that other labels and producers had done before and would keep on doing thereafter: they altered a studio date to make it sound like a live-in-concert performance. (In both the jazz and pop fields, a large number of alleged live albums are partially or completely studio reconstructions.)

The anonymous liner annotator of the original LP would have us believe that, "[f]ortunately," and despite the acknowledged problems with the audio system, "great sounds were being fed continuously to Capitol's engineers manning the recording equipment backstage, so that the recorded results escaped unscathed." Not true. (On the contrary, I have been told that
the only part of the actual live concert whose sound quality is fair enough to allow for its release is the one number that I have entered in the next session, "Always True To You In My Fashion.")

To summarize, the extant reports suggest that Lee and Shearing did

1. rehearsals in Miami, and presumably a sound check before the show.

2. a May 29 mini-show, consisting of a couple of Shearing instrumentals and three Peggy Lee vocals, before the poor quality of the p.a. system led to cancellation for the night. (The titles of the vocals are unknown. For what is worth, I am left to wonder if Lee perhaps tried an all-Porter mini-program, singing not only "Always True To You In My Fashion" but also "Do I Love You?" and "Get Out Of Town." Those last two songs are included in the studio session and in the LP Beauty And The Beat!, one as the opener, the other as the closer.)

3. a show on May 30 which was not taped, and in which Lee and Shearing were but two of a large number of acts.

4. studio sessions that presumably recreate the contents of the May 30 show. (There is a chance that these studio sessions are one and the same with the rehearsals mentioned in #1, or at least partially the same. For further commentary about the studio sessions, see notes under session dated May 28-30, 1959.)


Date: May 29, 1959
Location: DJ Convention, The Americana Hotel, Miami
Label: CAPITOL
Session Number, If Any, Unknown / Taped In Concert

Peggy Lee, George Shearing (ldr), Dave Cavanaugh (pdr), The George Shearing Quintet (acc), Toots Thielemans (g), Carl Pruitt (b), George Shearing (p), Ray Alexander (vib), Ray Mosca (d), Armando Peraza (bo, cng), Peggy Lee (v)

a.   Live MasterAlways True To You In My Fashion - 2:53  (Cole Porter) / arr: {Head Arrangement}
     CAPITOL©EMI CD: (England) 7243 596515 2 1 — The Best Of The Singles Collection [British Edition; 3 Bonus Tracks]   (2003)

The Concert

In his autobiography, George Shearing writes an extensive commentary about this concert. The pianist states that "the whole industry was there, all the main record companies. So this gave us a built-in audience response, in fact it was an incredible audience and the whole atmosphere [...] was charged because of that." In the liner notes of the 1992 Capitol Jazz CD Beauty And The Beat!, Peggy Lee adds: "I was so exhausted [after flying in, working out keys, and doing continuous rehearsal with little sleep], I don't remember the performance too well, I just remember standing there." Lee's vague reminiscence notwithstanding, this session's performance shows that she and Shearing were in excellent form and that the audience was indeed very appreciative.


Performance

This delightful rescue from the vaults starts with a playful exchange between Peggy Lee and her audience. She catches herself as she sings "there's an oil...," realizing that those words are not from the next chorus ("I've been asked to have a meal ..."), but from one that comes later in the song ("there's an oil man known as Tex ..."). She charmingly tells the audience that she "goofed." Joking words are quickly exchanged with audience members, before she and The Shearing Quintet start over. At the end, during the applause, Lee is heard asking, in a humorous voice, "you think that one might have a chance maybes? ... I hope so!" Presumably, she was wondering if the audio pickup had been good enough to allow for the inclusion of the performance in the prospective Capitol album.


Personnel

The identities of this session's bassist, drummer and vibraphonist have been the subject of contention. Herein I have listed the names given in Capitol's session file, which is my primary source for this discographical page: Carl Pruitt (b), Ray Alexander (vib), and Ray Mosca (d). All three musicians were members of Shearing' quintet during the late 1950s. In the album itself, George Shearing is heard saying "at this time, we introduce our bass player, Carl Pruitt."

However, the 1992 Capitol Jazz CD Beauty And The Beat! lists a different set of musicians:

James Bond (bass)
Roy Haines (drums)
Warren Chaisson (vibes)

Fortunately, at present time the Bond/Haines/Chaisson personnel has proven to be erroneous. Vibraphonist Ray Alexander is credited with being the first to notice that the personnel given in the 1992 CD was not correct. He contacted Capitol about it, and as a result corrections were made. Alexander showed gratitude for the correction in a 1993 interview for Jazz Journal International: "I was fortunate enough to record the album Beauty And The Beat!, with Peggy Lee. It's proved to be a classic over the years ... The only thing that bugged me was that none of the musicians were credited on the album. I'm happy to say that it's been re-released on a CD and all the musicians were listed ... The record is considered a classic, and it's great that they took the time to give credit to the proper musicians for the session." Michael Cuscuna is to be thanked for this diligent correction, which was made in later pressings of the 1992 CD, as well as in the updated version of the CD that came out in 2003.

A chance remains, however, that both of these sets of musicians are correct. That is to say, the musicians who played live in concert and the musicians who came to the studio could have been different men. But so far I have found no evidence leading in that direction.

There are additional sources that list yet other musicians. Percy Bryce on bass and Emil Richards on vibes. Or Ray Ellington on vibes. Those sources are incorrect.

Some of the confusion may have arisen from the personnel changes undergone, over the years, by the Shearing Quintet.


Date: May 28-30, 1959
Location: possibly Miami
Label: CAPITOL
Capitol Session #7774

Peggy Lee, George Shearing (ldr), Dave Cavanaugh (pdr), The George Shearing Quintet (acc), Toots Thielemans (g), Carl Pruitt (b), George Shearing (p), Ray Alexander (vib), Ray Mosca (d), Armando Peraza (bo, cng), Peggy Lee (v)

a.31800   MasterDon't Ever Leave Me - 2:58  (Oscar Hammerstein II, Jerome Kern) / arr: {Head Arrangement}
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
     CAPITOL©EMI CD: (Korea) 8806344820326 — The Very Best Of Peggy Lee; The Capitol Years   (2006)
b.31803-1 / 31893-edit   MasterYou Came A Long Way From St. Louis - 3:16  (John Benson Brooks, Bob Russell) / arr: {Head Arrangement}
     CAPITOL 45: F 4243 — {You Came A Long Way From St. Louis / I Lost My Sugar In Salt Lake City}   (1959)
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
c.31804   MasterThere'll Be Another Spring - 2:27  (Peggy Lee, Hubie Wheeler) / arr: {Head Arrangement}
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
     CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP: (England) Eap 8 1219 — Beauty And The Beat!, Part 2: I Lost My Sugar In Salt Lake City {Peggy Lee, George Shearing}   (1959)
d.31805   MasterNobody's Heart - 2:29  (Lorenz Hart, Richard Rodgers) / arr: {Head Arrangement}
e.31806-5   MasterBlue Prelude - 2:24  (Joe Bishop, Gordon Jenkins) / arr: {Head Arrangement}
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
     CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP: (England) Eap 8 1219 — Beauty And The Beat!, Part 2: I Lost My Sugar In Salt Lake City {Peggy Lee, George Shearing}   (1959)
f.31807   MasterDo I Love You? - 3:51  (Cole Porter) / arr: {Head Arrangement}
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
     CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP: (England) Eap 7 1219 — Beauty And The Beat!, Part 1: Do I Love You {Peggy Lee, George Shearing}   (1959)
g.31808   MasterAll Too Soon - 3:16  (Carl Sigman, Duke Ellington) / arr: {Head Arrangement}
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
     CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP: (England) Eap 9 1219 — Beauty And The Beat!, Part 3: Mambo In Miami {Peggy Lee, George Shearing}   (1959)
h.31809   MasterIf Dreams Come True - 2:49  (Benny Goodman, Irving Mills, Edgar Sampson) / arr: {Head Arrangement}
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
     CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP: (England) Eap 9 1219 — Beauty And The Beat!, Part 3: Mambo In Miami {Peggy Lee, George Shearing}   (1959)
i.31810 / 31894-edit   MasterI Lost My Sugar In Salt Lake City - 2:47  (Johhny Lange, Leon Rene) / arr: {Head Arrangement}
     CAPITOL 45: F 4243 — {You Came A Long Way From St. Louis / I Lost My Sugar In Salt Lake City}   (1959)
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
j.31811   MasterGet Out Of Town - 2:30  (Cole Porter) / arr: {Head Arrangement}
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
     CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP: (England) Eap 7 1219 — Beauty And The Beat!, Part 1: Do I Love You {Peggy Lee, George Shearing}   (1959)
k.31812   MasterAlways True To You In My Fashion - 2:17  (Cole Porter) / arr: {Head Arrangement}
     CAPITOL LP: St 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [=Beauty And The Beat!]   (1959)
     CAPITOL LP: (S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP: (England) Eap 7 1219 — Beauty And The Beat!, Part 1: Do I Love You {Peggy Lee, George Shearing}   (1959)
All titles on:      CAPITOL Jazz CD: Cdp 7 98454 2 — Beauty And The Beat! ["original album" version] {Peggy Lee, George Shearing}   (1992)
     CAPITOL Jazz CD: 7243 5 42308 2 0 — BEAUTY AND THE BEAT! ["original session tapes" version] {Peggy Lee, George Shearing}   (2003)

The Recording Sessions

This session contains a studio recreation of a special concert that Peggy Lee and the George Shearing Quintet had given on a joint bill. For details about the actual concert and the P.A. system that made impossible to release the live proceedings, see previous session. The songs in this studio recreation are presumed to have been the same ones performed (or scheduled to be performed) at the concert.


Dating And Venue

May 28-30 is the date given in Capitol's master file. A different date, April 28, 1959, appears in Capitol's Peggy Lee session file. That April 28 date can also be found in various Capitol CDs, such as the boxed set Miss Peggy Lee and the 1992 CD version of Beauty And The Beat!.

According to CD producer Michael Cuscuna, other Capitol files list even a third date, April 30. "Most likely, the New York office entered the information into Capitol's files incorrectly and the 14 tunes were recorded in two or three sessions between May 28 and 30," theorizes the producer in his notes for the 2003 CD version of Beauty And The Beat!.

Cuscuna thinks that the album's contents were "probably recorded in Miami, either at a local studio or more likely at a ballroom in the hotel with the remote equipment that Capitol's engineers brought down from New York." (Cuscuna wrote those comments for the 2003 CD version of Beauty And The Beat!. In 1992, when fewer details about the Beauty And The Beat! date were known, his discovery of two bonus tracks led him to speculate that they could have been "cut at a rehearsal or the sound check in the hall that housed the concert.")

Fans' stories portray Peggy Lee recording these numbers at her Americana Hotel dressing room, immediately after the concert had taken place. If such stories were to be believed, she would have just put on a set of earphones and would have proceeded to sing and re-record all the vocals over the (unsatisfactory) tapes from the original concert. A far likelier scenario is that Lee, Shearing and other musicians recreated the session elsewhere.

In his liner notes for the 1992 Capitol Jazz CD, Will Friedwald asserts that, "[w]ithin days of the convention, the threesome were at work transforming the event into an album." His timeline is probably predicated on beliefs held at the time of his writing, and now known to be incorrect -- i.e., that the album contained the live event. Continues Friedwald: "At the original concert, Lee and Shearing had generally seguewayed from one tune to another without saying anything, and some of the announcements that were there had been off-mike. However, to make it sound even more live, Cavanaugh decided that each tune should have a spoken intro."

If we are to base our assessment on Lee's Miami timeline (or what is known about it), these studio date(s) could have been recorded either before or after the concert. However, I can think of no logical reason to assume that they were recorded before the concert -- unless the album contents actually come from taped rehearsals.

"We rendezvoused in Florida," Lee writes in her autobiography, referring to Shearing and herself, "to set the keys and figure out the arrangements. We were up seventy-two hours straight." Lee was also interviewed for the 1992 CD release, in which she is quoted as saying that "[w]e were all pretty much wrecked ... They had a talk-back set up for Dave [Cavanaugh], and he would speak to us from the control room. His feet were so swollen for having been on them for so many hours ..."

Lee made another pertinent comment during an interview with radio broadcaster Fred Hall: "How we lived through it and stayed alive, I don't know, because it was 72 hours that we were up ...[...]... We recorded the whole thing in front of the disc jockeys convention, and then we did some extra sides and polished some things that the acoustics were not quite right, or something. I always think about Dave Cavanaugh, whose feet had begun to swell up because he was so tired, and every time he touched the button for the talkback it would give him a shock, and he would say, We'll do that--OUCH!" This comment, like the one in the previous paragraph, suggests that the studio recording (the extra sides and "polishing") happened very soon after the live concert.


Personnel

See personnel comments under previous session. I am operating under the assumption that the same members of The George Shearing Quintet played during both live and studio dates.


Arrangements

All titles are believed to have head arrangements. As previously mentioned, Peggy Lee writes in her autobiography (published in 1989) that she and George Shearing "rendezvoused in Florida to set the keys and figure out the arrangements." In the liner notes of the Capitol Jazz CD Beauty And The Beat! (1992), more recent comments by both Lee and Shearing are included. Lee remembers that "[w]e started from scratch with all new arrangements ... We used head arrangements, because George is blind and doesn't use written music. We kept working these songs out and rehearsing as we went, until George had all the harmonies and everything going." Shearing says that "[w]e just discussed the tunes between us, the same as I do with every singer that I've worked with. We had various ideas, some of which we dismissed, some of which we adopted." In her interview with Fred Hall, Lee similarly tells that "because George is unsighted, everything had to be head arrangements. So the whole thing was planned. We came down a little early, and worked out the whole album. He is so brilliant, that George. So, it was like doing the arrangements and everything all in one time there."


Masters

1. "Lonely Town" [Master #31805]
In his Sixty Years Of Recorded Jazz discography, Walter Bruyninckx identifies Capitol master #31805 as "Lonely Town" and claims that it was released on the Capitol LP Beauty And The Beat!. This information is partially -- if not completely -- erroneous. No song with such a title is to be found in the LP.

In Peggy Lee's Capitol session files, master #31805 is identified instead as "Nobody's Heart." Lee's performance of "Nobody's Heart" was first released, as a bonus track, in the 1992 CD version of Beauty And The Beat!.

I am left to wonder if this bit of misinformation in Bruyninckx's text originated in some Capitol documents that I have not consulted, or even in an older, superseded version of the documentation that I did consult. Could it be that Lee and Shearing actually recorded some song titled "Lonely Town" (perhaps the well-known number authored by Leonard Bernstein, Betty Comden and Adolph Green), yet ultimately the master was rejected? As far as possibilities go, it could well be.

But there's a different explanation that makes more sense. After "Lonely Town" (master #31805), the next master (#31806) listed in the Capitol files is "Blue Prelude," whose first chorus reads as follows: "Let me sigh / Let me cry when I'm blue / Let me go 'way from this lonely town." Bruyninckx's source must have misidentified the first chorus of "Blue Prelude," treating as if it were a separate song, assigning it 31805 as its master number and assuming its title to be "Lonely Town."

2. Edits
According to the Capitol Label Discography by Michel Ruppli et al, masters #31803 and #31810 also exist as edited versions with different master numbers (#31893 and #31894). Those edits are the ones listed in Capitol's files as issued on Capitol single F 4243.

3. Non-Lee Masters
Released as part of the Beauty And The Beat! sessions are three instrumentals interpreted by The George Shearing Quintet, with no involvement from Lee other than her announcement of one of them:

31801 Isn't It Romantic?
31802 Satin Doll
31813 Mambo in Miami (Armando Peraza feature)


Issues And Collectors' Corner

1. The Album Beauty And The Beat! In The Music Charts
This long play entered Billboard's Best-Selling Pop LPs chart on the week of September 12, 1959, and peaked at #19. Lee's seventh album entry, Beauty And The Beat! spent 18 weeks in the chart.

2. Two Different Versions Of Beauty And The Beat! [CD]
Capitol has issued two versions of Beauty And The Beat!. The version heard in the original LP is the same one that was transferred to a Capitol CD which was released in 1992. That version comes from second-generation tapes. It contains dubbed-in applause and spoken introductions, spliced into the tape.

The more recent CD version comes from the first-generation master tapes. It has no applause and no spoken introductions. In the United States, it came out on Capitol Jazz in 2003, but it had already been released in Japan, as Toshiba EMI CD 32-5309. Because the first-generation master tapes have been preserved in excellent condition, this 2003 version reveals a fair amount of vocal nuance that is not as readily apparent in the 1992 version. (Many fans of vocals are thus particularly awestruck by the 2003 release. However, the earlier version also has many fans, for whom there is pleasure to be had from listening to the charm of a live-in-concert atmosphere, however recreated it might be.)

3. Souvenir Of The 1959 DJ Convention, Miami, Florida [LP]
Limited to a 2,500 pressing, this item was sent to disc jockeys who pre-signed for a copy while at the Miami convention. It is actually a gatefold LP box, all-black (front, back). The front cover is completely blank, except for the album's title, in white letters. When opened, the inner sides of the box reveal themselves to be the front and back covers of the regular, commercially released Capitol LP. Also found inside, along with the vinyl, are two photos and two typewritten letters. One photo is of Peggy Lee, who has signed it with the comment "let's cut another one soon," followed by the words "Love, Peggy." The other is a photo of George Shearing, with another inscription by Peggy Lee herself ("couldn't have done it without you, George"). One of the handwritten letters is from Capitol Records, individual unknown; the other is signed by Lee on behalf of both her and Shearing. The two letters apologize to the convention's attendants for the sonic problems that preventing many of them from hearing the concert.


Date: August 12, 1959
Location: Studio B, Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7889

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Jack Marshall's Music (acc), Other Individuals Unknown (unk), Peggy Lee (v)

a.32216-6   MasterHey There - 2:10  (Richard Adler, Jerry Ross) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2   (1960)
     CAPITOL EP: (France) Eap 4 1290 — Latin Ala Lee!   (1960)
CAPITOL jukebox 45: Xe2 1290 — {Hey There / I Am In Love}   (1960)
b.32217-9   MasterC'est Magnifique - 2:06  (Cole Porter) / arr: Marty Paich
     CAPITOL 45: F 4349 — {Heart / C'est Magnifique}   (1960)
     CAPITOL EP: (England) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1   (1960)
     CAPITOL EP: (France) Eap 4 1290 — Latin Ala Lee!   (1960)
     CAPITOL©EMI's Discos Capitol De Mexico LP: (Mexico) Tm 20726 — The Best Of Peggy Lee   (1965)
     CAPITOL©Toshiba-EMI CD: (Japan) Cp 32 5297 (reissued as Tocp 9068 in 1990) — Peggy Lee ("Best Now"/"Best 20" Series)   (1988)
     CAPITOL©EMI CD: (England) 7243 4 97143 2 8 — C'est Magnifique   (1998)
c.32218-5   MasterTill There Was You - 2:31  (Meredith Willson) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3   (1960)
     CAPITOL jukebox 45: Xe3 1290 — {I Could Have Danced All Night / Till There Was You}   (1960)
CAPITOL 45: (England) Cl 15184 — {Till There Was You [[not released on USA singles]] / A Bucket Of Tears}   (1961)
d.32219-5   MasterDance Only With Me - 2:29  (Betty Comden, Adolph Green, Jule Styne)
     CAPITOL EP: (England) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3   (1960)
     CAPITOL jukebox 45: Xe4 1290 — {I Enjoy Being A Girl / Dance Only With Me}   (1960)
     CAPITOL 8-track/CS/LP: Sf 519 (Twofer: 8xff/4xff/Stbb 517) — Broadway Ala Lee ["False stereo" reissue of Latin Ala Lee - 2 songs]   (1970)
     zzzz~ Marginal CD: (Belgium) Mar 068 — Extra Special!   (1997)
All titles on:      CAPITOL reel/LP: Zt/(S)T 1290 (Reissued as Sm 1290, Srs 5080) — Latin Ala Lee!   (1960)
     CAPITOL©EMI's Pathé Marconi CS/LP: (England) Tcems/Ems 1304 — Latin Ala Lee! ("Nostalgia" Reissue Series)   (1988)
     CAPITOL©Toshiba-EMI CD: (Japan) Tocj 5418 — Latin Ala Lee! / Olé Ala Lee   (1991)
     CAPITOL©EMI CD: (England) 7243 8 56056 2 8 — Latin Ala Lee! / Olé Ala Lee   (1997)
     www~ Dcc CD: Dzs 181/7243 5 23808 2 4 — Latin Ala Lee! [3 bonus tracks, 2 diff. from S&P]   (2000)
     www~ S&P audiophile LP/CD: Sp 504/ Spr 712 [EMI 7243 5 84238 2 2] — LATIN ALA LEE! [3 bonus tracks, 2 diff. from DCC; 180 gram vinyl]   (2003)

The Latin Ala Lee! Album Sessions (Cross-references)

Dates: August 12, 13, and 14, 1959.


Issues

1. Latin Ala Lee! [British LP]
2. "Till There Was You"
In England, the LP Latin Ala Lee! was originally released without "Till There Was You," a number which had originated in the then-current show The Music Man. The reason for the exclusion was contractual: before the release of the cast album and/or the show's run in British land, EMI was not allowed to release any song versions.

Latin Ala Lee! was later re-released by EMI in England, as part of the label's Starline reissue series. That 1971 version does include "Till There Was You." Ditto for a 1988 re-pressing of the original album.


Songs

1. "Till There Was You" In The British Music Charts
Faced with the prohibition to include "Till There Was You" in the British edition of the LP Latin Ala Lee!, EMI decided to instead issue it on a single about a year later, when restrictions no longer applied.

"Till There Was You" made its debut on England's music chart during the week of March 25, 1961 and stayed for just a week, placing at #40. But shortly afterwards (during the week of April 8), it re-entered the chart, staying for three more weeks. That second time around, it peaked at #30.

This belated release of "Till There Was You" had a felicitous side effect. Paul McCartney heard the single and loved Lee's rendition. The song was recorded by The Beatles soon thereafter. An admiring McCartney eventually wrote and produced a track for a Lee album, too. (See early June, 1974 session.)


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in the second Latin Ala Lee! session, dated August 13, 1959.


Arrangers And Arrangements

1. Jack Marshall
2. Marty Paich
3. Dick Hazard
Capitol issues of the album Latin Ala Lee! credit Jack Marshall with all of the album's arrangements. This credit is a generalization, and thus potentially misguiding. Peggy Lee's sheet music library indeed contains Marshall arrangements of this session's "Hey There" and "Till There Was You," but the library's one arrangement of "C'est Magnifique" is credited to Marty Paich instead. As for the remaining song from this session, Lee's library has no arrangement of "Dance Only With Me." (Also in Lee's library is a second arrangement of "Hey There," credited to Richard Hazard.) Capitol's own collection of scores does not contain any of these arrangements.


Date: August 13, 1959 (1:00 p.m. - 4:30 p.m.)
Location: Studio B, Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7893

Peggy Lee (ldr), Emmanuel "Manny" Klein (om), Dave Cavanaugh (pdr), John Kraus (eng), Jack Marshall's Music (acc), Justin Gordon (r), Rubén León (f), Rudolph Loera, Henry Miranda, Alfonso "Al" Rojo, Ray Vázquez (t), Tony Reyes (b), Eduardo "Eddie" Cano (p), Eduardo Aparicio, Manuel E. López, Carlos Mejía, Ray Rivera (d), Luis Kant (cng), Peggy Lee (v)

a.32228-5   MasterHeart - 1:59  (Richard Adler, Jerry Ross, John M. "Jack" Elliot) / arr: Jack Marshall
     CAPITOL 45: F 4349 — {Heart / C'est Magnifique}   (1960)
     CAPITOL EP: (England) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1   (1960)
CAPITOL EP: (France) Eap 4 1290 — Latin Ala Lee!   (1960)
b.32229-6   MasterThe Surrey With The Fringe On The Top - 1:59  (Oscar Hammerstein II, Richard Rodgers) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2   (1960)
     CAPITOL jukebox 45: Xe1 1290 — {The Surrey With The Fringe On The Top / The Party's Over}   (1960)
     CAPITOL©Toshiba-EMI CD: (Japan) Cp 32 5297 (reissued as Tocp 9068 in 1990) — Peggy Lee ("Best Now"/"Best 20" Series)   (1988)
     CAPITOL©Toshiba-EMI CD: (Japan) Tocp 7459/60 — Peggy Lee ("Twin Best Now" Series)   (1992)
     www~ Curb CS/CD: 0071518 77629 23 — Classics   (1993)
c.32230-6   MasterWish You Were Here - 2:47  (Harold Rome) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2   (1960)
     CAPITOL jukebox 45: Xe5 1290 — {On The Street Where You Live / Wish You Were Here}   (1960)
     CAPITOL CD: 0777 7 97826 2 8 (97827-97830) — MISS PEGGY LEE    (1998)
d.32231-4   MasterI Am In Love - 2:10  (Cole Porter) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3   (1960)
     CAPITOL jukebox 45: Xe2 1290 — {Hey There / I Am In Love}   (1960)
     CAPITOL©EMI CD: (England) 7243 8 56805 2 6 [also Mfp 6342] — The Very Best Of Peggy Lee [tracks same as EMI Presents The Magic, diff. artwork]   (1997)
     CAPITOL©EMI CD: (England) 7243 8 57013 2 0 [also Mfp 6371] — EMI Presents The Magic Of Peggy Lee [tracks same as The Very Best Of, diff. artwork]   (1997)
     www~ HMV CD: (England) Hmv 7243 5 22253 2 3 — The Peggy Lee Collection ("HMV Easy" Series)   (1999)
     zzz~ Membran CD: (Germany) 205 — Fever ("Versions Originales Studio" Series)   (2009)
All titles on:      CAPITOL reel/LP: Zt/(S)T 1290 (Reissued as Sm 1290, Srs 5080) — Latin Ala Lee!   (1960)
     CAPITOL 8-track/CS/LP: Sf 519 (Twofer: 8xff/4xff/Stbb 517) — Broadway Ala Lee ["False stereo" reissue of Latin Ala Lee - 2 songs]   (1970)
CAPITOL©EMI's Pathé Marconi CS/LP: (England) Tcems/Ems 1304 — Latin Ala Lee! ("Nostalgia" Reissue Series)   (1988)

The Latin Ala Lee! Album Sessions (Cross-references)

Dates: August 12, 13, and 14, 1959.


Songs

1. "Heart" At The Grammys And In The Music Charts
At the 3rd Grammy Award ceremony ever held, the category of Best Performance By A Pop Single Artist had an eye-popping list of nominees: Ray Charles, Ella Fitzgerald, Peggy Lee, Elvis Presley and Frank Sinatra. Both Charles and Lee had been nominated for cleverly re-imagined numbers. "Heart" had been thoroughly transformed from a Broadway tune into a hot Latin number. "Georgia On My Mind" had been gently removed from its original big band setting into a bluesier realm. During the event, held on April 12, 1961, "Georgia On My Mind" earned a Grammy for Charles.

Peggy Lee had received 3 Grammy nominations, including the above-described one. For the other two nominations (and for a fourth nomination that did not go to Lee, but involved a release of hers), see notes under session dated August 14, 1959.

"Heart" does not seem to have entered Billboard's Hot 100, but it did manage to sneak into Cashbox's Top 100 Singles for a week, placing at #97.


Issues And Masters

1. Broadway Ala Lee [LP]
This 1970 Capitol LP is a reissue of the 1960 album Latin Ala Lee!. Two songs from the original album were deleted. The original artwork was changed, too. Broadway Ala Lee was sold both as a stand-alone (catalogue number Sf 519) and as a twofer (catalogue number Sttb 517). The other album in the twofer is also a reissue, entitled The Folks Who Live On The Hill and presented in "duophonic" or electronically processed stereo (catalogue number Df 518). See session dated April 4, 1957.

Incidentally, the prefix of Broadway Ala Lee truly is Sf, not Df as some sources erroneously claim. As for Stbb, that prefix identifies all Capitol reissues in this twofer LP series.

2. S&P Latin Ala Lee! [CD]
3. S&P Latin Ala Lee! [LP] {180 Gram Virgin Audiophile Vinyl}
4. "I Am In Love"
5. DCC Latin Ala Lee! [CD]
6. EMI Latin Ala Lee! [CD]
Remixed in the same studio where the original sessions were recorded, the S&P issue of Latin Ala Lee! boasts vibrant sound quality. The original master tapes were used.

This remix of "I Am In Love" features a curious minor detail. Toward the end of the track, Lee is heard singing the phrase "so in need of a stampede of love" five times. In all other issues, that closing phrase is heard only four times.

As for the two other CD versions of the original LP:

-- the DCC version was also remastered from the original three-track tapes, though not mixed anew.

-- the EMI twofer version is likely to have used the two-track mix heard in the original LP, not the three-track tapes.


Personnel And Instruments

The names in this session's personnel are confirmed, but the assignation of instruments is, on the other hand, tentative. In the paperwork that I consulted, there is no identification of the instrument that each musician plays. Some amount of research, along with a few educated guesses, have proved necessary. Readers must therefore bear in mind that there could be errors in my attempts at instrument assignation, particularly in cases where a player is known for his dexterity in more than one instrument.


Arrangers

1. Jack Marshall
Credit to Jack Marshall for all the arrangements from this session relies on the existence of his sketches for them in Capitol's library of scores.


Date: August 14, 1959
Location: Studio B, Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7895

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Jack Marshall (con), Jack Marshall's Music (acc), Other Individuals Unknown (unk), Peggy Lee (v)

a.32234-7   MasterI Could Have Danced All Night - 2:09  (Alan Lerner, Frederick Loewe) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1   (1960)
     CAPITOL EP: (France) Eap 4 1290 — Latin Ala Lee!   (1960)
CAPITOL jukebox 45: Xe3 1290 — {I Could Have Danced All Night / Till There Was You}   (1960)
b.32235-11   MasterOn The Street Where You Live - 2:13  (Alan Lerner, Frederick Loewe) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2   (1960)
     CAPITOL jukebox 45: Xe5 1290 — {On The Street Where You Live / Wish You Were Here}   (1960)
CAPITOL 8-track/CS/LP: Sf 519 (Twofer: 8xff/4xff/Stbb 517) — Broadway Ala Lee ["False stereo" reissue of Latin Ala Lee - 2 songs]   (1970)
c.32236-5   MasterI Enjoy Being A Girl - 2:14  (Richard Rodgers, Oscar Hammerstein II) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1   (1960)
     CAPITOL jukebox 45: Xe4 1290 — {I Enjoy Being A Girl / Dance Only With Me}   (1960)
CAPITOL 8-track/CS/LP: Sf 519 (Twofer: 8xff/4xff/Stbb 517) — Broadway Ala Lee ["False stereo" reissue of Latin Ala Lee - 2 songs]   (1970)
d.32237-8   MasterThe Party's Over - 3:18  (Betty Comden, Adolph Green, Jule Styne) / arr: Jack Marshall
     CAPITOL EP: (England) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3   (1960)
     CAPITOL jukebox 45: Xe1 1290 — {The Surrey With The Fringe On The Top / The Party's Over}   (1960)
www~ Harmony Collection CS/CD: (England) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
All titles on:      CAPITOL reel/LP: Zt/(S)T 1290 (Reissued as Sm 1290, Srs 5080) — Latin Ala Lee!   (1960)
     CAPITOL©EMI's Pathé Marconi CS/LP: (England) Tcems/Ems 1304 — Latin Ala Lee! ("Nostalgia" Reissue Series)   (1988)
     CAPITOL©Toshiba-EMI CD: (Japan) Tocj 5418 — Latin Ala Lee! / Olé Ala Lee   (1991)
     CAPITOL©EMI CD: (England) 7243 8 56056 2 8 — Latin Ala Lee! / Olé Ala Lee   (1997)
     www~ Dcc CD: Dzs 181/7243 5 23808 2 4 — Latin Ala Lee! [3 bonus tracks, 2 diff. from S&P]   (2000)
     www~ S&P audiophile LP/CD: Sp 504/ Spr 712 [EMI 7243 5 84238 2 2] — LATIN ALA LEE! [3 bonus tracks, 2 diff. from DCC; 180 gram vinyl]   (2003)

The Latin Ala Lee! Album Sessions (Cross-references)

Dates: August 12, 13, and 14, 1959.


Issues

1. The Album Latin Ala Lee! In The Music Charts And At The Grammys
This long play peaked at #11 in Billboard's Best-Selling Pop LPs chart. After making its debut duirng the week of April 11, 1960, it went on to become Lee's longest-lasting album in that chart: 59 weeks.

A year later, on April 12, 1961, the third Grammy award ceremony was held. This time, separate categories were established for albums and singles by female singers. Peggy Lee received nominations in both categories.

In the category of Best Vocal Performance, Album, Female, Ella Fitzgerald and Peggy Lee were repeat nominees for the third straight year. Also nominated were Rosemary Clooney, Miriam Makeba and Della Reese. Fitzgerald won thanks to her live album Mack The Knife. (For details about the singles category, in which Lee was also nominated, see session dated July 26, 1960.)

Peggy Lee's work actually received 4 Grammy nominations. The third nomination was for Best Performance By A Pop Single Artist. (See session dated August 13, 1959.)

The fourth category in which Latin Ala Lee! received a nomination was Best Album Cover. Lee had suggested the basic concept for the cover to Capitol's art department, where it was developed in full by art director Marvin Schwartz. In his bid for a Grammy, Schwartz faced stiff competition from Bob Jones, who monopolized the category with three nominated covers (Carlos Montoya, Stravinsky: Petruchka, and Prokofiev: Alexander Nevsky). Also in competition for the award was Marvin Israel, with his cover of Milt Jackson's album Bean Bags. The year's winner was Schwartz' Latin Ala Lee! .


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in the second Latin Ala Lee! session, dated August 13, 1959.


Arrangers

1. Jack Marshall
Credit to Jack Marshall for all the arrangements from this session relies on the existence of his sketches of them in Capitol's library of scores. Peggy Lee's sheet music library also holds copies of all but one of them (the exception: "I Could Have Danced All Night").


Date: October 10, 1959
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #7978

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jack Marshall (con), Jack Marshall and His Orchestra (acc), Other Individuals Unknown (unk), Peggy Lee (v), Jimmy Joyce Children's Choir (bkv)

a.32505-6   MasterThe Tree - 1:41  (Peggy Lee) / arr: Billy May
     CAPITOL 45: F 4311 — {The Tree / The Christmas List}    (1959)
     CAPITOL LP: (S)T 1423 — Christmas Carousel   (1960)
CAPITOL 45: (England) Cl 15227 — {Jingle Bells (I Like A Sleigh Ride) / The Tree} [different pairing than in USA singles]   (1961)
b.32506-5   MasterThe Christmas List - 2:38  (Peggy Lee) / arr: Billy May
     CAPITOL 45: F 4311 — {The Tree / The Christmas List}    (1959)
     CAPITOL LP: (S)T 1423 — Christmas Carousel   (1960)
CAPITOL LP: (S)T 2390 — Happy Holiday   (1965)
c.32507-10   MasterWhere Do I Go From Here? - 2:18  (Jerry Bock, Sheldon Harnick)
     CAPITOL 45: F 4298 — {You Deserve / Where Do I Go From Here?}   (1959)
     CAPITOL's Starline reel/LP: T 1366 — All Aglow Again!    (1960)
     CAPITOL©EMI's Pathé Marconi CS/LP: (France Pm 156 554 4/1) & (England Eg 26 0605 4/1) — All Aglow Again! ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
     zzz~ Future Noise's Fantastic Voyage CD: Fvtd 043 — Ridin' High: The Complete Record Releases, 1957-1959   (2010)
     www~ World Record Club reel/LP: (England) Tt/T 606 — All Aglow Again!   
     USA Government's "Basic Music Library" AFRS Series radio transcription: P 6901-6902 — [AFRS] Basic Music Library [LP I Like Men + singles]   
d.32507-stereo   AlternateWhere Do I Go From Here? - 2:18  (Jerry Bock, Sheldon Harnick)
     www~ Collectors' Choice CD: Ccm 921 2 — ALL AGLOW AGAIN!   (2008)

The Christmas Carousel Album Sessions (Cross-references)

Dates: June 15 and 19, 1960. Also this singles session.


Songs And Songwriters

1. "The Christmas List"
2. The Tree"
3. Haydn and Schumann
"The Christmas List" is based on a theme by Franz Josef Haydn, from his Symphony No. 94, aka "The Surprise Symphony." "The Tree" is based on Robert Schumann's popular theme "Freiliche Landmann" ("The Happy Farmer"). According to Peggy Lee, both themes were brought to her by Victor Young, years before this session, at a time when she was bedridden and convalescing from an illness.

Personnel

1. Billy May
2. Jack Marshall
The various sources at my reach are in discrepancy over the identity of this session's conductor. In Capitol's Peggy Lee session file, Billy May is named. But Jack Mirtle's discography of Billy May does not show May as involved in the session's conducting. Various Capitol issues (45 single #4311, LP #4298, LP #1423) list instead Jack Marshall as conductor for this date.

Most tellingly, the notes in the back cover of the LP Christmas Carousel state that "Billy May provides a variety of beguiling backgrounds for ten of the selections ... The other two have Jack Marshall's fine accompaniments - a rollicking song called The Tree and a bustling tale of happy preparation, The Christmas List. " Thus Marshall is likelier to have conducted this particular date.


Arrangements

1. Billy May
2. Jack Marshall?
3. "The Tree"
In Peggy Lee's sheet music library, extant arrangements of "The Tree" and "The Christmas List" are credited to Billy May. His authorship is also backed by a comment that Lee made in her autobiography; see notes under session dated June 15, 1960. Nevertheless, in Capitol's library of music scores the arrangement of "The Tree" is credited to Jack Marshall. This discrepancy is obviously problematic. I have put more trust in the claim that May is the arranger.

Lee's library contains no arrangement of "Where Do I Go From Here?" The number was originally issued on 45 and then included in the LP All Aglow Again!. A short note in the back cover of that album claims that its arrangements are by Dave Barbour, Jack Mashall, and Nelson Riddle. No mention is made of Billy May. Given the prominence of guitar in the performance of "Where Do I Go From Here?," it could well be a Jack Marshall arrangement -- or a head arrangement in which Marshall might have been heavily involved.


Issues [Stereo Releases]

1. All Aglow Again! [CD]
Collectors' Choice CD Ccm 921 2 contains stereo versions of "Where Do I Go From Here?," "Sweetheart," "You Don't Know" and "You Deserve." All four songs had been previously available in mono only.


Masters And Alternate Takes

1. "Where Do I Go From Here?"
To notice differences between the two takes of "Where Do I Go From Here?" that have been issued, listen in particular to the last verse of each take.


GENERAL NOTES

Peggy Lee At Capitol Records, 1957-1959

At the end of 1956 or the beginning of 1957, Peggy Lee's contract with Decca Records was up for renewal. From both artistic and commercial standpoints, she had had a satisfactory, successful five-year run with the company. Yet she decided to come back to the company with which she had exclusively recorded for the seven years that had preceded her Decca period. When interviewers asked about the reason(s) for this second switch, Lee told them that she had loved the time spent with Decca but still couldn't help feeling that Capitol was her main home as an artist. Doubtlessly Lee took into consideration other factors as well, but I know of no further comments from her on this matter. Below, I will speculate on other few possible factors.

By 1957, Peggy Lee had more than proven the point that she had set out to make when she left Capitol. The point pertained to her artistic and commercial instincts. In 1952, Capitol had not supported the artist's plan to record the standard "Lover" in the brand new arrangement that she had conceived, and which she had confidently expected to be a hit. Capitol's executives had rejected her concept on the grounds that their catalogue already counted with another act's hit version of "Lover," apparently dismissing any chart-busting potential in Lee's version.

On the other hand, Decca's executives were overly enthusiastic over Peggy Lee' concept for "Lover" and over the prospect of having her join their roster. Their enthusiasm proved well-founded. Immediately after its release, Lee's "Lover" proved a buzz-worthy single, a favorite among industry insiders, and a solid best seller.

Many other significant successes ensued while Lee was at Decca, including not only critically acclaimed albums but also the artist's professional branching out from singing into film. The success of those previous years could not have been lost on Capitol. By 1957, the company must have been open to the idea of having their "daughter" return "home."

Peggy Lee might have also been lured back through an invitation that she couldn't refuse. Her friend Frank Sinatra had joined Capitol in 1953, the year after Lee had left, and he had generated huge critical and commercial success for the label. Sinatra came up with the notion of collaborating on an album, and to have Capitol distribute it.

The Capitol to which Peggy Lee returned was by no means the same one from which she had departed. Most notably, the label's stockholders had sold most of their shares to the British corporation Electric & Musical Industries (EMI) in 1955.

To hold its ever growing operations, Capitol had moreover begun constructing, around 1954, a new studio office complex. The result of this labor was a circular-shaped building with 13 floors that purposefully resemble a stack of records -- a building which is now considered a landmark. The Capitol Tower's full facilities officially opened on April 6, 1956, although the inaugural sessions had been in advance on February 22, 1956. Those initial sessions were dedicated to recording masters for the album Frank Sinatra Conducts Tone Poems Of Color.

A year later, with Sinatra conducting again, Peggy Lee began recording at the Tower. Thereafter (from 1957 to 1959, and beyond), most of Peggy Lee's studio recording activity for Capitol took place in the Tower's ground floor, particularly in studios B and A. (The Tower has three recording studios, simply called A, B, and C, all of them located in the ground floor).

Lee's comeback to Capitol was a solid success. Of the six albums that she made during the three years covered by this discographical page, five made the Billboard chart, all of them peaking within the top 20. One of the albums, Latin Ala Lee!, managed to stay an impressive 59 weeks in the chart. Also making the Billboard charts were six songs from Lee's singles. Among them was "Fever," which became a bona fide hit and is now an enduring pop classic. There was, moreover, a number that is nowadays celebrated as a classic (and as proof of exemplary artistry from all parties involved): "The Folks Who Live On The Hill," a collaboration with Nelson Riddle. Lee's collaboration with George Shearing (Beauty And The Beat!) comes from this period, too, and is still widely praised as a model of musical good taste.


Creative Input, Artistic Control, And Teamwork: Peggy Lee In Charge

Anecdotal evidence indicates that, starting in 1958, Peggy Lee exercised strong control over the nature and direction of her recording sessions at Capitol.

Such does not seem to have been entirely the case, however, during the first year of her comeback to the company (1957). Her two albums from that year strike this discographer as more representative of the musical approach favored by the men who conducted or arranged them -- namely, Nelson Riddle and Frank Sinatra. Similarly, most of that year's singles are in the then-popular genres that Capitol was imposing on its vintage acts: rock 'n' roll and doo-wop. (In addition to Peggy Lee's repertoire, see, for instance, contemporaneous Nat King Cole singles such as "When Rock And Roll Come To Trinidad," "If I May" and "Send For Me.") Granted that Lee sings all of this material with gusto, dedication, personality and good taste, her own stylistic inclinations were probably elsewhere.

After 1957, Lee apparently took the reins. In 1958, she enlisted two men, both musicians, to lead her sessions and albums: Dave Cavanaugh and Jack Marshall. Cavanaugh remained in his position as Lee's producer until 1967. Erstwhile a musician who had played sax in some of Lee's 1940s Capitol sessions, Lee considered him a beloved friend and a collaborator with whom she co-wrote various numbers.

A musician by trade, Marshall can be found listed as the guitarist in sessions by various artists who were part of Capitol's roster in the 1950s, 1960s, and early 1970s. After playing in a couple of Lee sessions in 1957, he graduated to the role of conductor in 1958, and stayed with her until 1959. (I have found no evidence that Marshall conducted for any singer before he did so for Lee, although he appears to have arranged a few instrumental sessions under his name. After leaving Lee, he went on to amass extensive credits for film and television scoring.) Lee might have thought of Marshall as an arranger-conductor amenable and malleable enough to follow her directive without substantially challenging it. In the context of her career, Mashall can also be thought of as a successor (albeit a short-lived one) to her musical partner of the 1940s, Dave Barbour: both men were guitar players who nominally led her sessions. The Marshall-conducted albums from this period (Things Are Swingin', I Like Men!, Latin Ala Lee!) naturally show his musical acumen and helpful support, but ultimately they are more of a reflection of Peggy Lee's own creative input and stylistic leanings at this stage of her career.


Popularity: Peggy In The Polls

For the year 1957, Peggy Lee placed at #8 in Downbeat's female poll. Ranked right below her were Carmen McRae and Julie London, and found right above Lee were Billie Holiday and Eydie Gormé. The top five was held by Ella Fitzgerald, Anita O'Day, Sarah Vaughan, June Christy and Chris Connor.

In the March 6, 1958 issue of the magazine, Leonard Feather published the results of a survey that he had conducted on his own. His twenty-question survey centered around the hotly debated issue of who and what is a jazz singer. 71% of his respondents "cited the manner of phrasing as a jazz singer's chief component." In descending percentage, the other mentioned components were vocal timbre, type of material, type of accompaniment, and handling of vibrato. Another part of the survey asked to rate and rank twelve artists as jazz singers. (Presumably, the chosen names were vocalists with particularly debatable jazz qualifications.) After tallying the results, Feather found out that the top five consisted of Dinah Washington and Frank Sinatra (60% and 57 %, respectively), followed by Woody Herman, Mahalia Jackson, and Peggy Lee (38%, 34%, 32%). The other names that he had included were Jeri Southern (who placed at no. 6, with 29%), Julie London, Barbara Lea, Roberta Sherwood, Bing Crosby, Al Jolson, and Perry Como (the lowest-ranked, with only 2%).

In Downbeat's 1958 annual poll, Peggy Lee and Carmen McRae tied at #10. Mahalia Jackson debuted at #9, Dakota Staton at #4.

In 1959, Peggy Lee climbed back to #8. Carmen McRae, Billie Holiday, and Mahalia Jackson had all fallen from the top 10. Nina Simone debuted at #9, Annie Ross at #3. Lee would continue to climb the poll in the next years.

Also in 1959, Lee placed at #6 in the magazine's Popular poll, which tallied acts of either gender.


Statistics: Total Number Of Peggy Lee Masters

This discographical page lists 92 masters and 9 alternate takes, all of them recorded for Capitol Records between 1957 and 1959.

Besides those 101 performances, there are various special entries that are excluded from the total count:

1. As a concession to audiophiles who often request information on this matter, I have made separate entries for the stereo and monophonic versions of "Fever." (Both versions feature the exact same vocal and instrumental performance, which was recorded on May 19, 1958. The chief difference is in the manner that microphones were set up for either mono or stereophonic reproduction.)

2. I have also made separate listing for selected remixes of "Fever." Those remixes are listed herein because EMI holds them in its vaults, and because official Peggy Lee CDs from the record company have included at least one of the two. (Lee was not directly involved in the making of either remix.)

Only issued alternate takes are included in this page. Additional takes of many of Peggy Lee's masters are known to exist in the vaults, but no systematic listening of them has ever been made.

As for the 92 masters listed, all but 3 of them have been released. Unissued as of 2009 are "Uninvited Dream" (April 13, 1957), "Every Night" (April 22, 1957), and "You Don't Know" (August 30, 1957). Common to those three unissued titles is the fact that Peggy Lee re-made them in subsequent sessions. (The remakes have been released.) In the case of the August 30, 1957 master of "You Don't Know," there is no evidence of its preservation; a search through the vaults did not retrieve it.

In a previous edition of this discography, I listed a fourth unreleased master: "I'm Following You," dated June 14, 1957. I characterized it as "a number about which so little is known that I cannot fully guarantee that Peggy Lee is its singer." In this edition of the discography, I am in a better position to characterize it. Though listed among Peggy Lee's masters in some of the official documentation, this unissued number is actually credited to a teenage girl group called The Four Dolls.

All 101 masters and takes were originally recorded in the studios, except for a live master of "Always True To You In My Fashion" that was taped in concert at The Americana Hotel in Miami, on May 29, 1959.


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