The Peggy Lee Bio-Discography And Videography:
The Capitol Years, Part 6
by Iván Santiago Mercado

For general commentary about Peggy Lee's career during these years, see note at the bottom of this page. For trivia such as Lee's placement in Downbeat polls during the years 1963-1967, and for a tabulation of this page's 131 masters and takes, see this page's final note as well. As for Grammy nominations, see notes under session dated January 5, 1963.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Richard "Dick" Hazard (con), Other Individuals Unknown (acc), Justin Gordon (f), Emmanuel "Manny" Klein (t), Al Hendrickson, John Pisano (g), Max K. Bennett (b), Mike Melvoin (p), Stan Levey (d), Peggy Lee (v)

The I'm A Woman Album Sessions (Cross-references)

Dates: November 14, 1962. January 2, 3, 4 and 5, 1963. March 29, 1962.


Issues

1. Bossa Nova Ala Lee [LP]
Some time in 1962 or 1963, a newspaper columnist announced that a Peggy Lee LP entitled Bossa Nova Ala Lee would soon be released. But no album with such a title ever materialized. (n.b.: I do not have the names of the column and the columnist. All I have in my possession is the paper's bit about the album, as reprinted in another source.)

The reasons why the album was not released are unknown, and thus open to speculation. Among the many possible explanations that come to mind (e.g., perhaps the columnist was misinformed, or perhaps plans for the album were postponed and then never re-activated), there is one particular idea that I consider worth pondering. Could it be that the title of the album was changed from Bossa Nova Ala Lee to I'm A Woman? In addition to the title, the album's direction would have been changed as well, mainly to fit the vibe of the song "I'm A Woman." Aware of that song's hit potential, producer Cavanaugh would have asked Lee and company to re-orient the gestating album from a bossa nova to a blues piece -- or so I am inclined to speculate. (Capitol issued both the single "I'm A Woman" and the album I'm A Woman around the same time -- in February 1963.)

To my ears, the album I'm A Woman could have been easily titled Blues Ala Lee. From a marketing standpoint, however, the decision to name it after the prospective hit was wiser.

For more speculative comments on this topic, see notes under session dated February 2, 1963.


Personnel

1. Al Hendrickson
2. John Pisano
For the I'm A Woman sessions, the sources at hand give a collective personnel. Two guitarists are listed in each date: Al Hendrickson and John Pisano. It is not clear if they were both present in all sessions, or if they instead alternated between them. The wording in Capitol's session file ("Al Hendrickson or John Pisano") suggests alternation.

3. Justin Gordon
The identification of Justin Gordon on flute is tentative. In Capitol's session file, the likelihood of his presence is phrased as "prob. Justin Gordon."

Nik Venet (pdr), Other Individuals Unknown (acc), Bobby Darin, Peggy Lee (v)

Sources, Masters, Personnel, And Issues

1. Sources For "Jealous"
This currently unissued master is from a Bobby Darin session at which Peggy Lee dropped by.

"Jealous" is poorly documented. Of the Darin discographies that I have consulted, none list it. The master is not included in Peggy Lee's session files, either.

Fortunately, music industry insiders have confirmed its existence. According to them, "Jealous" is preserved in a Capitol session tape that identifies it as a performance by Bobby Darin with background singer. "Jealous" is also documented in the Capitol Label Discography, compiled by Michel Ruppli, Bill Daniels, and Ed Novitsky, with assistance from Michael Cuscuna.

Peggy Lee is the mysterious background singer. She is not identified by name anywhere in the session tape (nor in the aforementioned Capitol Label Discography). For most of the performance, Lee sings wordless syllables ("dood dood boody doo") behind Darin's vocal. (Only Darin sings actual words.)

The session tape also preserves a playful exchange between the vocalists. Lee chucklingly tells Darin that he is going to kill her career. Darin retorts that she is going to make his.

In his book That's All: Bobby Darin on Record, Stage & Screen, Jeff Bleiel states the following: "Some material Darin recorded for Capitol remains in the can. An unreleased live album was recorded in Vegas in 1963. Also, Nik Venet reports that a studio album of standards, recorded with radically different arrangements than usual, remains unissued. One track from those sessions was a Darin-Peggy Lee duet on the song Angry, which came about accidentally. While Tom Morgan was producing Lee in one Capitol studio, Venet was recording Darin in another. The two producers met in the men's room and decided to get the two superstar vocalists together for a track. It remains in the Capitol vaults." Either Bleiel or Venet misremembered the song's title, probably because of the logical association between being "angry" and feeling "jealous."

2. Producers Tom Morgan and Nik Venet
There is no corroboration for Bleiel's above-quoted reference to Tom Morgan as Peggy Lee's producer. I know of no collaborations between them -- nor between Nik Venet and Lee, for that matter. Dave Cavanaugh is the only man known to have produced Lee's sessions during the period in question. (Morgan's and Venet's work for Bobby Darin is, on the other hand, well-documented. At Capitol, Darin worked with Morgan chiefly during 1962, with Venet in 1963.)

3. Non-Lee Masters
Bobby Darin went to the Capitol Tower's recording studios on both January 2 and 3, 1963.

Recorded during the January 3, 1963 session were "Jealous" and the following masters, in which Peggy Lee did not participate:

38907-18 When You Were Sweet Sixteen
38909-10 I Ain't Got Nobody

"I Ain't Got Nobody" and "When You Were Sweet Sixteen" made their debut in the Bobby Darin CD The Unreleased Capitol Sides. (For further details about this disc, see next point below.) In discrepancy with my other sources, CD annotator Ric Ross actually lists one more master under January 3:

38899-4 Beautiful Dreamer

Here is the partially different account found in Ruppli's Capitol Label Discography:

January 3, 1963
Session #10975
38906 Somebody Stole My Gal - unissued

January 3, 1963
Session #10978
38988 When My Baby Smiles At Me (remake) — unissued
38899-4 Beautiful Dreamer — CD Coll. Choice CCM 079-2
38907-8 When You Were Sweet Sixteen — CD Coll. Choice CCM 079-2
38908 Jealous — unissued
38909-10 I Ain't Got Nobody — CD Coll. Choice CCM 079-2
[Ruppli's Note:] The version of 38898 listed above is taken from the artist file, which does not mention it was a remake.

As for the previous date (January 2), Ross and Ruppli are in basic agreement, aside from the master's number:

[From Ross]
38988 When My Baby Smiles At Me.

[From Ruppli]
January 2, 1963
Session #10973
38895 When My Baby Smiles At Me — CD Coll. Choice CCM 079-2

4. Bobby Darin: The Unreleased Capitol Sides [CD]
This 1999 CD from Collectors' Choice (Ccm 079 2) includes 13 previously unissued tracks recorded between January 2 and January 14, 1963. Those 13 tracks are presumed to be the numbers that had been planned for inclusion, along with "Jealous," in what producer Nik Venet described as a studio album of standards, recorded with radically different arrangements than usual. Half of the tracks were taped between January 2 and 4, the other half between January 9 and 14. Background choruses are prevalent in the January 2-4 half, which consists of songs from the 1920s and earlier. (The songs from the January 9-14 half were contemporaneous.)

Peggy Lee (ldr), Dave Cavanaugh (pdr), Other Individuals Unknown (acc), Emmanuel "Manny" Klein (t), Al Hendrickson, John Pisano (g), Max K. Bennett (b), Mike Melvoin (p), Stan Levey (d), Peggy Lee (v)

The I'm A Woman Album Sessions (Cross-references)

Dates: November 14, 1962. January 2, 3, 4 and 5, 1963. March 29, 1962.


Masters And Alternate Takes

1. "Try A Little Kindness"
Master #38911 is erroneously identified as "Try A Little Kindness" in Peggy Lee's Capitol session file. There is a 1969 Glen Campbell hit with that title, but the number sung by Peggy Lee in this 1963 master is the standard "Try A Little Tenderness."

2. "A Taste Of Honey"
Two takes of "A Taste Of Honey" have been released. The most noticeable difference between takes happens during Lee's second run through the chorus "I'll leave behind my heart to wear / And may it e'er remind you of / A taste of honey / A taste much sweeter than wine." In the alternate, Lee makes a pause between the words "sweeter" and "than wine"; she does not do so in the master. Also, the vocal is a wee bit slower, and the singing more exacting in take #5: the master is the superior take by far.


Personnel

1. Al Hendrickson
2. John Pisano
For the I'm A Woman sessions, the sources at hand give a collective personnel. Two guitarists are listed in each date: Al Hendrickson and John Pisano. It is not clear if they were both present in all sessions, or if they instead alternated between them. The wording in Capitol's session file ("Al Hendrickson or John Pisano") suggests alternation.


Arrangers And Arrangements

1. Dick Hazard
2. "A Taste Of Honey"
Credit to Dick Hazard for the score of "A Taste Of Honey" should be deemed tentative. The basis for the credit is the existence of a "Taste Of Honey" arrangement under Hazard's name in Peggy Lee's sheet music library. (As for my tentativeness, it is due to the fact that I have not inspected the library's arrangement, and hence I cannot guarantee that it really is the same one applied to the Capitol master.)


Cross-references (Songs)

1. "Try A Little Tenderness"
For another Peggy Lee version of this song, see page dedicated to World Transcriptions, third session.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Richard "Dick" Hazard (con), Justin Gordon (f), Emmanuel "Manny" Klein (t), Al Hendrickson, John Pisano (g), Max K. Bennett (b), Mike Melvoin (p), Stan Levey (d), Peggy Lee (v)

The I'm A Woman Album Sessions (Cross-references)

Dates: November 14, 1962. January 2, 3, 4 and 5, 1963. March 29, 1962.

Personnel And Instruments

1. Al Hendrickson
2. John Pisano
For the I'm A Woman sessions, the sources at hand give a collective personnel. Two guitarists are listed in each date: Al Hendrickson and John Pisano. It is not clear if they were both present in all sessions, or if they instead alternated between them. The wording in Capitol's session file ("Al Hendrickson or John Pisano") suggests alternation.

2. Justin Gordon
The identification of Justin Gordon on flute is tentative. In Capitol's session file, the likelihood of his presence is phrased as "prob. Justin Gordon."

Peggy Lee (ldr), Dave Cavanaugh (pdr), Richard "Dick" Hazard (con), Other Individuals Unknown (acc), Paul Horn (r), Emmanuel "Manny" Klein (t), Dave Wells (tb), Al Hendrickson, John Pisano (g), Max K. Bennett (b), Mike Melvoin (p), Stan Levey (d), Francisco Aguabella (per), Peggy Lee (v)

The I'm A Woman Album Sessions (Cross-references)

Dates: November 14, 1962. January 2, 3, 4 and 5, 1963. March 29, 1962.


Issues

1. The Album I'm A Woman In The Music Charts And At The Grammys [LP]
2. Grammys For Best Female Category, 1963-1968
Peggy Lee's 11th album chart entry peaked at #18. After making its debut during the week of March 9, 1963, it spent 26 weeks in the chart.

At the Grammy's sixth awards ceremony, Peggy Lee was nominated for the sixth straight consecutive year in the category of Best Vocal Performance, Female. Her fellow nominees were two newcomers (The Singing Nun, Barbra Streisand) and two repeat honorees (Eydie Gormé, Miriam Makeba). Lee's nomination was for the album I'm A Woman. Newcomer Streisand won on this year and on the next two. (Eydie Gormé broke Streisand's run in 1966, and Dionne Warwick prevented Streisand from winning in 1968. Bobbie Gentry was the category's winner in 1967.)

Surprisingly Ella Fitzgerald, the other perennial nominee -- and perennial winner -- was not nominated this year. (Fitzgerald would receive her next nomination in 1966, which she would not win. There would be no more nominations for Fitzgerald until 1976, when the Grammy inaugurated a new category for jazz vocals, which Fitzgerald did win.)

After this year, Lee herself would not be nominated again until 1969, when she finally broke from her bridesmaid status, becoming the category's winner. See session dated January 24, 1969.


Arrangements And Arrangers

1. "Come Rain Or Come Shine"
2. Neal Hefti
Peggy Lee's sheet music library contains three arrangements of this song. (I have not been able to inspect any of them.) The respective arrangements by Yutaka Yokokura and Byron Olson probably date from the 1970s, when Lee worked with both men. The third arrangement, by Neal Hefti, could be the one used for this recording.

Hefti worked on and off with Lee during various periods of her career: in the late 1940s, during her Decca years, and in 1960 concerts. If Hefti did not write his arrangement for this session's performance, then chances are that he wrote it for an earlier version of "Come Rain Or Come Shine" that Lee performed on both television and radio, back in the mid-1950s.)


Personnel

1. Al Hendrickson
2. John Pisano
For the I'm A Woman sessions, the sources at hand give a collective personnel. Two guitarists are listed in each date: Al Hendrickson and John Pisano. It is not clear if they were both present in all sessions, or if they instead alternated between them. The wording in Capitol's session file ("Al Hendrickson or John Pisano") suggests alternation.


Songs (And Music)

1. "Mack The Knife"
2. Piano Playing
3. "Le Secret"
The unknown melody played by Mike Melvoin in Peggy Lee's version of "Mack The Knife" has been the subject of discussion and research. Music writer Will Friedwald was intrigued by its familiarity, and recognized it as the same melody that Nat King Cole played in his version of "Embraceable You." David Lennick has finally identified it as "Le Secret," credited to Leonard Gauthier and not to be confused with the better-known "Le Secret" which was authored by Gabriel Faure. Other music professionals have supplied additional details of value. Vince Giordano found out that, in America,
Gauthier's tune was published in 1904. Dan Morgerstern located the following review in the April 1886 issue of The Monthly Musical Record: "Le Secret, by Leonard Gautier, is a clever and pretty composition, probably transcribed from an instrumental score, as it is called an Intermezzo Pizzicato. " The entire exchange on this matter can be read at http://web.me.com/willfriedwald/Site/Wilscis_Rarities_Blog/Entries/2009/11/15_Mystery_Solved_-_thank_you_David_Lennick.html

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Max K. Bennett (con, b), Justin Gordon (f, ts), Jack Sheldon (t), John Pisano (g), Bob Corwin (p), Stan Levey (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The Mink Jazz Album Sessions (Cross-references)

Dates: March 29 and 30, 1962. February 2, 5, 6 and 7, 1963.


Issues

1. Bossa Nova Ala Lee [LP]
As previously mentioned, a forthcoming Peggy Lee album entitled Bossa Nova Ala Lee was announced in at least one newspaper column from around 1962 or 1963. No album with such a title ever materialized, and I have found no further mention of it anywhere else. Could it be that Bossa Nova Ala Lee was the preliminary title of the album that was ultimately released as Mink Jazz? Given that piece's cool, hushed and mellow groove, Capitol could have considered marketing it as Lee's own take on the bossa nova sound.

Notice also that some of Mink Jazz's numbers mysteriously date back to a year earlier: perhaps those earlier sessions (March 29 and 30, 1962) were the ones originally conceived as part of a bossa nova-oriented project.

In my previous note about this same topic (see session dated January 2, 1963), I proposed a similar hypothesis that considered not Mink Jazz but I'm A Woman as the album into which Bossa Nova Ala Lee evolved. Here is yet a third hypothesis, which combines elements from the previous two: after a decision to abandon plans for a Bossa Nova Ala Lee, that prospective album's tracks could have been distributed between the other two albums, which were both released during the first half of 1963 (in February and June).


Arrangers And Arrangements

1. "I Won't Dance"
2. Shorty Rogers
2. Max Bennett
Capitol issues of the album Mink Jazz list Max Bennett as the arranger of this album's sessions. However, Peggy Lee's sheet music library contains a Shorty Rogers arrangement of "I Won't Dance," and I have tentatively assumed it to be the same arrangement heard in the album. (Since I have not inspected the library's arrangements, I cannot be fully certain that any of them are the same ones used for the masters that Lee did at Capitol.) Lee's music library also has an arrangement for "The Lady Is A Tramp," but its author is not named.


Masters

1. Masters #39120 And #39121
According to the Capitol Label Discography, Capitol's files give no information for masters #39120 and #39121. Since they follow this date, which produced just two performances ("I Won't Dance" and "The Lady Is A Tramp"), there is a good possibility that #39120 and #39121 were scheduled to be part of Lee's session, too. If so, either the session had to be shortened for reasons unknown, or otherwise four masters were actually recorded, but two were considered unsatisfactory and subsequently scrapped. (n.b.: The masters precede a Glen Campbell date with its own four master numbers, 39122 - 39125).

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Max K. Bennett (con, b), Justin Gordon (f, ts), Jack Sheldon (t), John Pisano (g), Bob Corwin (p), Stan Levey (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The Mink Jazz Album Sessions (Cross-references)

Dates: March 29 and 30, 1962. February 2, 5, 6 and 7, 1963.


Arrangers

1. Shorty Rogers
2. Max Bennett
3. "As Long As I Live"
The Capitol CD Mink Jazz lists a collective personnel in which Max Bennett is named as the sessions' arranger. Generally wary of the accuracy of collective credits, I have refrained from entering Bennett's name as arranger of these songs.

In Peggy Lee's sheet music library, however, there is an arrangement of "As Long As I Live" for which Shorty Rogers receives authorship credit. I am tentatively trusting that this arrangement, which I have not inspected, is the same one heard in the album . Also found in Lee's music library are arrangements of the date's two other songs, for which no arranger's name is given.


Masters

1. Master #39133
The Capitol Label Discography indicates that Capitol's files have no information for master #39133, which precedes the next session (by Onzy Matthews, consisting of 4 master numbers, 39134 - 39137) and which I presume to have been reserved for Lee's session. The files' lack of information suggests to me that the master number was either left unused or actually used for a performance which was ultimately deemed unsatisfactory and subsequently scrapped.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Max K. Bennett (con, b), Justin Gordon (f), John Pisano (g), Bob Corwin (p), Stan Levey (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The Mink Jazz Album Sessions (Cross-references)

Dates: March 29 and 30, 1962. February 2, 5, 6 and 7, 1963.


Personnel

Peggy Lee session file offers no personnel for this particular date. The only source in which I have found the personnel is the Capitol Jazz CD Mink Jazz. The information given by the producers of the Capitol Jazz CD was probably obtained from AFM, whose files are deemed the most reliable source for recording sessions.


Dating

There is a slight discrepancy in the date that the two main sources at hand assign to this session. Capitol's session file gives it as [Wednesday] February 6, 1963, where the Capitol Jazz CD has a February 7 dating. Until additional information comes forth, I am keeping the date supplied by Capitol's session files.

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Max K. Bennett (con, b), Justin Gordon (f, ts), Jack Sheldon (t), John Pisano (g), Bob Corwin (p), Stan Levey (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The Mink Jazz Album Sessions (Cross-references)

Dates: March 29 and 30, 1962. February 2, 5, 6 and 7, 1963.


Issues

1. The Album Mink Jazz In The Music Charts [LP]
Peggy Lee's 12th album chart entry peaked at #42. Beginning with the week of July 27, 1963, it spent a total of 9 weeks in the chart.


Masters

1. "Close Your Eyes"
For an earlier and unissued version of "Close Your Eyes," see session dated November 14, 1963.


Arrangements

Capitol issues of the album Mink Jazz list Max Bennett as this session's arranger. For session arrangements, I have generally abstained from trusting collective credits.

Peggy Lee's sheet music library contains a Shorty Rogers arrangement of "It's A Big, Wide Wonderful World" which I have not inspected, but have tentatively assumed to be the same arrangement heard in the album.

Lee's music library also contains two arrangements of her self-penned number "Where Can I Go Without You?," one by Hal Mooney, the other by Sid Feller. The Mooney arrangement was probably for her earlier recording of the song, on Decca. By process of elimination, I have thus tentatively credited Sid Feller with this session's chart.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Max K. Bennett (con), Other Individuals Unknown (unk), Peggy Lee (v)

The In Love Again! Album Sessions (Cross-references)

Dates: May 29, 1963. October 30, 1963. November 2, 1963. December 7, 1963.

Notice that this is really a singles session. It took place months before the actual In Love Again! dates. Only one of the two session's songs ("Got That Magic") was included in the album.


Arrangers And Arrangements

The collective personnel found in the LP In Love Again! lists Dick Hazard, Bill Holman, and Shorty Rogers as the album's arrangers. Evidence of their involvement exists for later In Love Again! dates -- not for this particular one. (Strictly speaking, and as explained in the previous paragraph, this is not an album session; hence it is not surprising that the album's arranger credits do not apply.)

Copies of this session's two arrangements exist in Peggy Lee's sheet music library. Neither copy lists an author.

According to the liner notes of the LP Extra Special!, "A Doodlin' Song" features a head arrangement. I am tentatively assuming that the same statement applies to "Got That Magic."


Masters

1. Masters #39909 And #39910
According to the Capitol Label Discography by Michel Ruppli et al, there is no information about masters #39909 and #39910 in Capitol's files. I am assuming that both numbers had been pre-assigned to this Lee date, which produced just two masters (#39907 and #39908), out of a possible maximum of four. If my assumption is correct, then masters #39909 and #39910 were simply left unused or, otherwise, they were used and then, after being deemed unsatisfactory, discarded. (The 4-master pattern on which I based my assumption also holds true for the session that follows Lee's. Glen Gray And The Casa Loma Orchestra recorded three masters: #39911, #39912 and #39913. Tellingly, the next session begins with master #39915, and there is no information about master #39914.)

Peggy Lee (ldr), Dave Cavanaugh (pdr), Billy May (con), Other Individuals Unknown (unk), Peggy Lee (v)

The Then Was Then And Now And Now! Album Sessions (Cross-references)

One of this session's two masters was included in Capitol's original album Then Was Then And Now And Now!. That album's session dates are: June 18, 1965. July 7, 1965. September 21, 1965. Also, May 31, 1963 and December 9, 1964.


Songs

1. "This Could Be The Start Of Something (Big)"
Originally named "This Could Be The Start Of Something," the word "Big" became part of this song's title only through popular preference and continued usage. Aware of such circumstances, songwriter Steve Allen went on to authorize the extended title.


Masters

1. "Leave It To Love" [Master #34416, Dated September 1, 1960]
2. "Leave It To Love" [Master #39916, Dated May 31, 1963]
Confusion surrounds the two above-listed masters. One of them does not seem to really exist.

In Peggy Lee's Capitol session files, master #34416 is identified as the one that was included in Capitol's LP Then Was Then And Now Is Now!. Master #39916 is shown as unreleased.

In the Capitol Label Discography, those details are reversed: master #39916 is presented as the one included in the LP. Next to master #34416, the note "no information" is found.

A vault search for master #34416 proved fruitless. Hence I have deleted it from this discography, and re-assigned all issues of Then Was Then And Now Is Now! to this session's master of "Leave It To Love."

My current, tentative explanation for this mystery is that a mistake was made in some files -- i.e., an inadvertent transformation of 3[99]16 into 3[44]16, which subsequently led to the presumption that both of those masters contained Lee versions of "Leave It To Love."


Personnel, Arrangers And Arrangements

1. Billy May
2. "Leave It To Love"
My inclusion of Billy May in this session's personnel relies entirely on the following statement from the liner notes of the LP Then Was Then And Now Is Now!: "Billy May arranged and conducted Peggy's big band backing on Leave It to Love." Capitol's session file does not list May at all. Neither does Jack Mirtle's discography of Billy May.

3. Max Bennett
Under this session, Capitol's file includes the interrogatory note "cond. by ??Max Bennett." This quizzical notation probably meant that the session's conductor was unknown to the file's annotator and that, in the absence of definite knowledge, Max Bennett was deemed the likeliest candidate. Bennett was a logical choice because he is the conductor of both the previous session (May 29) and the ensuing one (October 30).

Peggy Lee (ldr), Dave Cavanaugh (pdr), Max K. Bennett (con), Other Individuals Unknown (unk), Peggy Lee (v)

The In Love Again! Album Sessions (Cross-references)

Dates: May 29, 1963. October 30, 1963. November 2, 1963. December 7, 1963.


Personnel And Cross-references

This date's musicians are unknown, though presumed to be mostly the same ones who participated in a later In Love Again! session, dated November 2, 1963.


Arrangements

1. Sources
Capitol's original LP In Love Again collectively credits Dick Hazard, Bill Holman, and Shorty Rogers for the album's arrangements. There are no specifics as to who arranged which number.

Fortunately, Peggy Lee kept copies of this session's arrangements in her music library. Thus her library is my primary source for the arranger credits shown above.

Peggy Lee (ldr), Marion L. Klein (om), Dave Cavanaugh (pdr), Max K. Bennett (con, b), Unknown (f), James "Jim" Decker, Vincent DeRosa, Richard "Dick" Perissi (frh), Dennis Budimir, John Pisano (g), Lou Levy (p), Francisco Aguabella, Stan Levey (d), Victor Arno, Harry Bluestone, David Frisina, James Getzoff, Ben Gill, Stanley Plummer, Nathan Ross, Paul Shure, Marshall Sosson, William Weiss (vn), Justin Gordon (wds), Peggy Lee (v)

The In Love Again! Album Sessions (Cross-references)

Dates: May 29, 1963. October 30, 1963. November 2, 1963. December 7, 1963.


Arrangements

1. Source
The source for this session's arranging credits is Peggy Lee's sheet music library. (Capitol's original LP In Love Again does credit Dick Hazard, Bill Holman, and Shorty Rogers for the album's arrangements, but does not specify which numbers were arranged by each man.

2. "Since You Have Gone"
The Shorty Rogers arrangement of this song identifies it just as "You Have Gone," thereby skipping the official title's adverb.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Max K. Bennett (con), Other Individuals Unknown (unk), Peggy Lee (v)

The In Love Again! Album Sessions (Cross-references)

Dates: May 29, 1963. October 30, 1963. November 2, 1963. December 7, 1963.


Personnel

This date's musicians are unknown, though presumed to be mostly the same ones who participated in an earlier In Love Again! session, dated November 2, 1963.


Arrangements

1. Source
Capitol's original LP In Love Again collectively credits Dick Hazard, Bill Holman, and Shorty Rogers for the album's arrangements. The album does not specify which arrangements were written by each man.

My source for this session's arranging credits is Peggy Lee's sheet music library, where copies of all but one of these scores can be found. "Little By Little" is the only one missing.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Polito (eng), Robert "Bob" Bain, John Pisano, Howard Roberts (g), Charles "Chuck" Berghofer (b), Lou Levy (p), Stan Levey (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The In The Name Of Love Album Sessions (Cross-references)

Dates: June 26, 1964. July 1, 2 and 6, 1964.


Songs

1. "In The Name Of Love" In The Music Charts
Peggy Lee's version of the song "In The Name Of Love" made an appearance in Billboard's Bubbling Under The Hot 100 chart, with a #132 position.

Lee's next chart entries would earn higher scores thanks to a new development in Billboard's chart tabulation: the gathering and publication of airplay data from radio stations that played adult contemporary music. (For details, see session dated December 9, 1964.)


Personnel And Arrangements

1. Source
Capitol's Peggy Lee session file is the source of this personnel.

The back cover of the Capitol LP In The Name Of Love lists the same personnel and also states that this session features head arrangements.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Hugh Davies (eng), Billy May (con), Billy May and his Orchestra (acc), Conrad Gozzo, Emmanuel "Manny" Klein, Ray Triscari (t), Milt Bernhart, Ed Kusby aka Edward Kuczborski, Kenny Shroyer (tb), James "Jim" Decker (frh), John Pisano (g), Charles "Chuck" Berghofer (b), Lou Levy (p), Stan Levey (d), Francisco Aguabella (bo, cng), Justin Gordon, Paul Horn, Theodore Nash aka Theodore Nash, Maury Stein (wds), Peggy Lee (v)

The In The Name Of Love Album Sessions (Cross-references)

Dates: June 26, 1964. July 1, 2 and 6, 1964.


Masters And Alternate Takes

1. "Make Believe"
This discography includes alternate takes only when they have been issued or when they have somehow become available to collectors. In a few exceptional cases, however, I have entered an alternate because it strikes me as worthy of future release -- or so I have been led to believe through specific comments from those who played in it or who have heard it.

The above-listed alternate take of "Make Believe" is more overtly playful than the master. Between choruses, Peggy Lee speaks brief humorous or connective phrases (e.g., "and to continue"). The performance ends with various male voices -- presumably the session's musicians -- exclaiming, one by one, "me too." (When Lee performed "Make Believe" in a 1965 episode of The Jack Paar Show, she and her company approached the song in this playful manner.)


Arrangements

1. Source
The Capitol LP In The Name Of Love contains three of this session's four masters. The album's back cover identifies the arranger of each song. Further corroboration comes from Peggy Lee's sheet music library, where copies of the arrangements can be found.

2. "Make Believe"
Also part of Peggy Lee's library is an arrangement of "Make Believe" (i.e., the one song from this session that is not part of the album In The Name Of Love). The arrangement is credited to "Grusin & Rodby." Not having actually inspected it, I can only speculate as to whether it is the same arrangement used at this session. I suspect that it is ... and it isn't.

In my estimation, the arrangement at Lee's library is likely to be a 1970s re-working of the score used for this 1964 session. I am referring to a re-working of "Make Believe" that is part of Lee's 1977 album Live In London, and which she performed in other concert shows as well. It is indeed similar to the arrangement used during this session, but also different in various aspects. Since John Rodby was in college or high school in 1964, he is the likeliest author of the 1970s reworking.

Conversely, Dave Grusin probably did this session's original arrangement. (He is known to have done another arrangement for the album; see next session.)


Issues

1. Time-Life's "Legendary Singers" [LP Series]
2. Peggy Lee's Volume In The Time-Life Series [LP]
Aimed at adult listeners of classic pop music, Time-Life's "Legendary Singers" series consisted of about 18 boxes numbered as follows: (1) Nat King Cole, (2) Frank Sinatra, (3) Ella Fitzgerald, (4) Perry Como, (5) Lena Horne, (6) Bing Crosby, (7) Peggy Lee, (8) Johnny Mathis, (9) Sarah Vaughan, (10) Tony Bennett, (11) Andy Williams, (12) Judy Garland, (13) Mel Tormé, (14) Jo Stafford, (15) Nat King Cole [second Cole issue in the series], (16) Rosemary Clooney, (17) Harry Belafonte, and (18) Dionne Warwick.

Before the CD era, this series' Peggy Lee volume was an important item for completists. Released in 1985, it included two songs that had not been previously issued: "Deep Purple" and "Make Believe." Also among the volume's 22 tracks were a few picks that would have been considered fairly obscure at the time -- most notably, "Bye, Bye, Blues" and "By The Time I Get To Phoenix." Gene Lees was the author of the set's informative notes, and might have also been responsible for the felicitous track selection.


Personnel

1. Source
Capitol's Peggy Lee session file is the primary source for this session's personnel, which is also listed in the back cover of the Capitol LP In The Name Of Love.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Hugh Davies (eng), Jules Jacob[s] (r, wds), Milt Bernhart, Ed Kusby aka Edward Kuczborski (tb), James "Jim" Decker (frh), John Pisano (g), Charles "Chuck" Berghofer (b), Lou Levy (p), Stan Levey (d), Francisco Aguabella (bo, cng), Justin Gordon, Paul Horn (wds), Peggy Lee (v)

The In The Name Of Love Album Sessions (Cross-references)

Dates: June 26, 1964. July 1, 2 and 6, 1964.


Arrangements

1. Source
The Capitol LP In The Name Of Love contains two of this session's three masters. The album's back cover identifies the arranger of each song. Further corroboration comes from Peggy Lee's sheet music library, where copies of the arrangements can be found.

2. "Again"
Also part of Peggy Lee's library is an arrangement of "Again" (i.e., the one song from this session that is not part of the album In The Name Of Love). This library arrangement is credited to Billy May.


Personnel

1. Source
Capitol's Peggy Lee session file is my source for this session's personnel. It is also listed in the back cover of the Capitol LP In The Name Of Love.


Masters

1. Master #52360
According to Ruppli et al's Capitol Label Discography, Capitol's master files show no information for master #52360.

Since this Peggy Lee date contains three master numbers (#52357, #52358, #52359) out of a possible four, I believe that #52360 had been reserved for this session, too. (A session by The Lettermen covers the next four masters.) The lack of information in Capitol's database suggests that master number 52360 was either left unused or otherwise used on a performance that was deemed unsatisfactory, and ultimately scrapped.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Polito (eng), Robert "Bob" Bain, John Pisano, Howard Roberts (g), Charles "Chuck" Berghofer (b), Lou Levy (p), Stan Levey (d), Francisco Aguabella (bo, cng), Justin Gordon, Paul Horn (wds), Peggy Lee (v)

The In The Name Of Love Album Sessions (Cross-references)

Dates: June 26, 1964. July 1, 2 and 6, 1964.


Songs, Songwriters And Cross-references (Film)

1. "Senza Fine"
2. Hoagy Carmichael
3. Alec Wilder
4. The Phoenix
Although Alec Wilder is the only songwriter credited for the lyrics of "Senza Fine," there is a possibility that Hoagy Carmichael wrote a few of the lines, too.

The original version of "Senza Fine" is in Italian. Song publisher Howie Richmond was the one who brought the melody to the United States, after hearing the original during a trip to Italy. Around 1962, Alec Wilder was asked to write English lyrics for it. He completed a set of lyrics that he mailed, for revision and suggestions, to Hoagy Carmichael. In the book Stardust Melody: The Life And Music Of Hoagy Carmichael, author Richard M. Sudhalter states that Carmichael wrote back to Mr. Richmond "stating his intention to improve upon the lyric." It is not clear if Carmichael carried out his intention. The finished Wilder product might thus contain some uncredited lyrics by Carmichael.

Sudhalter also explains that "Senza Fine" was originally published in 1964 and then re-published in 1966, when it was picked for inclusion in the soundtrack of the movie The Phoenix. Hence the subtitle that the song acquired at that time: "The Phoenix Love Theme."


Issues

1. The Album In The Name Of Love In The Charts [LP]
Peggy Lee's 13th album chart entry took place on the week of September 26, 1964. This album spent six weeks in the chart, and peaked at #97.


Personnel

1. Source
Capitol's session file is my source for this session's personnel, which is also listed in the back cover of the LP In The Name Of Love.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Cy Coleman, Lou Levy (con), Unknown (oc), Other Individuals Unknown (unk), Peggy Lee (v)

The Pass Me By And The Then Was Then And Now And Now! Album Sessions (Cross-references)

This session's three masters were originally distributed over two album releases.

Two of the masters can be found in Pass Me By. That album's session dates are: December 9, 1964. February 17, 18 and 19, 1965.

The third master was included in the eponymously titled Then Was Then And Now And Now!. That album's session dates are: June 18, 1965. July 7, 1965. September 21, 1965. Also, May 31, 1963 and December 9, 1964.


Songs

1. "Pass Me By" In The Music Charts
Since the advent of rock 'n' roll, singles by vintage pop-jazz artists such as Peggy Lee had been at a serious disadvantage in Billboard's charts. Data from adult contemporary stations was not being published. The magazine had been tabulating airplay mostly from stations that concentrated on kiddie pop and other mainstream music. This situation was finally rectified in 1965, when Billboard started publishing a tally for adult-oriented popular music, in a chart that over the years was variously called Easy Listening, Pop-Standard, Middle-of-the-Road, or Adult Contemporary.

In truth, the chart had debuted in 1961. However, there had been no actual compilation of data from adult contemporary stations before 1965. In its pre-1965 form, the chart was simply a list of the few adult contemporary songs (mostly ballads) that had charted in that week's Hot 100. For instance, if the highest-charting ballad in the Hot 100 was at #12, and the next ballad was at #17, that week's Easy Listening chart would have listed them at #1 and #2, respectively.

In early 1965, the chart's name was changed to Middle-Road Singles. Its number of slots was still in flux: it could list a maximum of 25, a minimum of 15 titles.

During the week of March 13, 1965, "Pass Me By" reached a #20 position in this chart.

"Pass Me By" also made the lower part of the more mainstream charts. In Billboard's Hot 100, the song made its debut during the week of February 27, 1965 and stayed for 3 weeks, peaking at #93. In Cashbox's Top 100 Singles, it debuted one week earlier (February 20, 1965) and spent 4 weeks. Cashbox tallied together the popularity of two recordings of "Pass Me By," Peggy Lee's and Mike Douglas'; they peaked at #86.


Masters And Issues

1. "That's What It Takes"
2. Pass Me By / Big Spender [CD]
A fellow fan of Peggy Lee is convinced that her EMI twofer Pass Me By / Big Spender contains an alternate take of "That's What It Takes." He owns a British pressing of the LP; I own an American pressing. I have not been able to detect any differences between the version in my American LP pressing and the version in the CD. Opinions and comments on this matter would be appreciated.

3. Master #53145
The Capitol Label Discography indicates that Capitol's files have no information for master #53145, which follows the three masters entered in this Peggy Lee session. Since recording sessions usually held a maximum of four masters, my suspicion herein -- and in various other similar cases throughout the Capitol pages -- is that the master in question had been reserved for a Lee recording. Either it was left unused or, alternately, it was used on a performance that was ultimately scrapped. (The company's next four masters, numbered 53146 to 53148, were assigned to a Frankie Laine date.)


Personnel

1. Pass Me By [LP] As A Source
The personnel listed in the back cover of the Capitol LP Pass Me By is a collective and thus imprecise one. I would be willing to accept it for those LP sessions that took place on three consecutive days (February 17, 18 and 19, 1965) but not for the present date, which happened months earlier. Hence I have abstained from assigning the personnel given in the LP to this date.

2. Conductors
My various sources of information for this session are in conflict on the matter of the date's conductor.

Capitol single #5346 indicates that "Pass Me By" and "That's What It Takes" were conducted by Lou Levy. Ditto for the Capitol LP Pass Me By.

Peggy Lee's Capitol session file lists instead Dave Grusin and Shorty Rogers as the conductors, without specifying which one was responsible for which song. Still further, the Capitol LP Then Was Then And Now Is Now! gives a third conductor, Cy Coleman, for the song "Then Was Then."

Finally, the Capitol Label Discography indicates that the session's big band tracks were arranged by Dave Grusin, Shorty Rogers, and Cy Coleman. This piece of information strikes me as the most logical: I believe that none of those three men was in charge of conducting, and that each was instead responsible for one of the three arrangements used during the date.

My basic assumption is that the session's main conductor was pianist Lou Levy, and that Cy Coleman (present at the session as a friend of Lee and as someone who also recorded for Capitol) might have taken over the piano for the one number that he and Lee composed.


Musical Instruments

1. Ocarina
This unusual wind instrument was used on "Pass Me By" only.


Arrangers And Arrangements

1. Cy Coleman
2. "Then Was Then"
Two of my sources give credit to Cy Coleman for the arrangement of his own composition, "Then Was Then And Now Is Now!": Capitol's session files and the Capitol LP that was titled after the song. My other sources do not give arranging credit for this number.

3. "Pass Me By"
4. Dave Grusin
The arranger of "Pass Me By" is not identified in the LP that bears the same title, nor in Capitol's session files.

Peggy Lee's sheet music library has a copy of a "Pass Me By" arrangement which is credited to Dave Grusin. Since I have not inspected the library's arrangement, its identification as the same one used at this session should be considered tentative. There is always the possibility that the arrangement scored by Grusin is a different one, meant for Lee's concerts. I am more inclined to think, however, that Lee used the same arrangement of "Pass Me By" at the session and in live performance.

Since "Pass Me By" is one of two Coleman-composed songs recorded during this session, and since he is credited with the arrangement of the other composition, there is some room to question if Coleman himself arranged both numbers, rather than just one. What's more, "Pass Me By" is part of a movie score (Father Goose, 1964) which was composed and conducted by Coleman. However, actual listening of Lee's recording suggests not Coleman's piano-anchored touches but a brassier pen, such as Dave Grusin's.

5. "That's What It Takes"
6. Lou Levy
7. Shorty Rogers
Peggy Lee's sheet music library contains an arrangement of "That's What It Takes," but its arranger is not identified.

The Capitol LP Pass Me By credits Lou Levy with the arrangement. I am actually more inclined to believe that Levy was only the conductor of "That's What It Takes," and that either Shorty Rogers or Dave Grusin did the arrangement.

As previously mentioned, Rogers and Grusin are listed as the session's conductors in Capitol's session file. It is a claim that I believe to be wrong. I suspect that each of these men instead did one of the session's three arrangements.

Since I have credited Grusin with one of the arrangements, and since I have credited Cy Coleman with another), Rogers is my likeliest candidate for the arrangement of "That's What It Takes."

Because I have no evidence to back up my line of reasoning, this session's arranging credit to Rogers is highly tentative, and Lou Levy is still in the running as possible arranger.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Lou Levy and His Orchestra (acc), Robert "Bob" Bain, Dennis Budimir, John Pisano, William "Bill" Pitman (g), Bob Whitlock (b), Lou Levy (p), John Guerin (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The Pass Me By Album Sessions (Cross-references)

Dates: February 17, 18 and 19, 1965. Also, December 9, 1964.


Arrangements

The back cover of the Capitol LP Pass Me By states that the album's songs "were under the direction of Lou Levy, whose expert musicians created most of the accompaniment without benefit of pre-scored arrangements."


Personnel And Musical Instruments

1. Source
My sources for this session's personnel are the back cover of the LP Pass Me By and the Capitol session files. Both sources list the same personnel under this and the other February, 1965 dates.

2. Guitars
3. Dennis Budimir
4. Bill Pitman
I have listed four guitarists in all the Pass Me By sessions from February 1965. In truth, however, each date featured not four but three guitarists: Bob Bain, John Pisano and a third man who was Dennis Budimir in some of the sessions, Bill Pitman in the others. Unfortunately, none of the sources at hand specifies the dates on which Budimir and Pitman each played. Instead, the non-committal phrasing "Dennis Budimir or Bill Pitman" is found in my sources.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Lou Levy and His Orchestra (acc), Robert "Bob" Bain, Dennis Budimir, John Pisano, William "Bill" Pitman (g), Bob Whitlock (b), Lou Levy (p), John Guerin (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The Pass Me By Album Sessions (Cross-references)

Dates: February 17, 18 and 19, 1965. Also, December 9, 1964. For details about this session's personnel and arrangements, see notes under session dated February 17.


Issues

1. The Album Pass Me By In The Music Charts [LP]
Peggy Lee's 14th album chart entry peaked at #145. After its debut during the week of May 22, 1965, it spent 4 weeks in Billboard's Top 200 album chart.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Lou Levy and His Orchestra (acc), Robert "Bob" Bain, Dennis Budimir, John Pisano, William "Bill" Pitman (g), Bob Whitlock (b), Lou Levy (p), John Guerin (d), Francisco Aguabella (bo, cng), Peggy Lee (v)

The Pass Me By Album Sessions (Cross-references)

Dates: February 17, 18 and 19, 1965. Also, December 9, 1964. For details about this session's personnel, see notes under session dated February 17.


Issues

1. Pass Me By / Big Spender [CD]
This EMI twofer CD has received mixed reviews. Detractors variously argue that some of the CD's tracks evince excessive processing, contain mixes different from those in the LP, or are in mock stereo. Although criticisms have been leveled particularly at the twofer's Big Spender half, some dissatisfaction has been extended to a couple of songs from Pass Me By ("L-o-v-e," "Quiet Nights Of Quiets Stars"). I'm in disagreement with the criticism of the twofer's Pass Me By numbers; their mastering strikes me as uniformly fine.


Masters

1. Master #53407
According to the Capitol Label Discography, the record company's master files hold no information about master #53407, which follows the three masters generated by this Peggy Lee date. Since a maximum of four masters could be recorded at any given session, I assume that master #53407 had been reserved for Lee's date. Perhaps it was left unused, or perhaps it was used on a performance that was ultimately deemed unsatisfactory, and consequently discarded. (The two masters that follow #53407 were used during a session by the Three Travelers. In yet more proof that a 4-master-per-session pattern is at play, #53410 and #5311 were left unused.)


Arrangements

1. Head Arrangements
As explained in a note under a previous session (dated February 17, 1965), most of the Pass Me By masters feature head arrangements. In the particular case of "Oh! You Crazy Moon," the back cover of the LP Extra Special! confirms that it has a head arrangement.

Peggy Lee (ldr), Marion L. Klein (om), Dave Cavanaugh (pdr), Sid Feller (con), Sid Feller and His Orchestra (acc), Robert "Bob" Bain, John Collins, Barney Kessel (g), Max K. Bennett (b), Lou Levy (p), Victor Feldman, John Guerin (d), Victor Arno, Edward Bergman, Harry Bluestone, Jacques Gasselin, Ben Gill, Dan Lube, Erno Neufeld, Lou Raderman, Nathan Ross, Marshall Sosson (vn), Alvin Dinkin, Paul Robyn (vl), Joseph Saxon, Eleanor Slatkin (vc), Theodore Nash aka Theodore Nash (wds), Peggy Lee (v)

The Then Was Then And Now Is Now! Album Sessions (Cross-references)

June 18, 1965. July 7, 1965. September 21, 1965. Also, May 31, 1963 and December 9, 1964.


Masters And Issues

1. Stereo Issues
2. "Maybe This Summer"
3. "Stop Living In The Past"
4. Then Was Then And Now Is Now! / Bridge Over Troubled Water [CD]
"Maybe This Summer" and "Stop Living In The Past" were originally recorded in both mono and stereo, but until 2008, only the mono alternatives had been commercially available. This situation has been finally rectified through the release of the Collectors' Choice CD Then Was Then And Now Is Now! / Bridge Over Troubled Water, in which both masters made their stereo debut.


Arrangers And Arrangements

1. Sid Feller
Generally, I have abstained from blindly trusting collective credits -- all the more so when the only source for them is the back cover of an album. But in the case of Then Was Then And Now Is Now!, I am trusting its back cover's claim that Sid Feller arranged all but two of the album's numbers. The most persuasive factor for me is how the anonymous annotator makes a point of singling out those two exceptions ("Leave It To Love" and "Then Was Then," both from earlier sessions) before he proceeds to state that "[a]rrangements for all other selections and the musical direction for the album, are by Sid Feller."

2. "The Shadow Of Your Smile"
3. Dick Hazard
4. Mickey Ingalls
In the case of "The Shadow Of Your Smile," corroboration of Sid Feller's authorship can be found in Peggy Lee's music sheet library, where an extant arrangement of the song is under his name.

Also extant in the library are two later arrangements of "The Shadow Of Your Smile." One is by Dick Hazard, the other by Mickey Ingalls.

5. "Stop Living In The Past"
6. "Maybe This Summer"
Two of this session's masters are not part of the album u>Then Was Then And Now Is Now!. Musically, they might as well be, however, insofar as they are in the same style. Prominently heard in both the album and the non-album masters is a battery of strings, which were Sid Feller's specialty.

Peggy Lee's sheet music library contains a copy of one of those non-album numbers,"Stop Living In The Past." It is indeed credited to Feller.

I have found no authorship credit for the other number ("Maybe This Summer) but I am willing to tentatively credit Feller for it, too.


Personnel

1. Source
The session's report sheet from the American Federation Of Musicians is my source for the above-entered personnel.

2. Victor Feldman
3. Ted Nash
Victor Feldman and Ted Nash are known to have played more than one instrument during the Then Was Then And Now Is Now! sessions. Unfortunately, there are no specifics on the matter, other than those shown in this session personnel and instruments listing.

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

The Then Was Then And Now Is Now! Album Sessions (Cross-references)

June 18, 1965. July 7, 1965. September 21, 1965. Also, May 31, 1963 and December 9, 1964.


Songs

1. "Free Spirits" In The Music Charts
Peggy Lee's version of "Free Spirits" entered Billboard's Easy Listening chart during the week of October 23, 1965. It stayed for seven weeks, peaking at #29.


Personnel And Cross-references

This date's musicians are unknown, but presumed to be mostly the same ones who participated in an earlier Then Was Then And Now Is Now! session, dated June 18, 1965.


Arrangements And Cross-references

For the reason why I have credited Sid Feller with this session's arrangements, see note under previous session (June 18, 1965). All three arrangements are actually extant in Peggy Lee's sheet music library, but none lists an author.


Masters

1. Master #53900
The Capitol Label Discography indicates that Capitol's files have no information for master #53900, which follows the three masters entered in this Peggy Lee session. Since recording sessions usually held a maximum of four masters, my suspicion herein -- and in various other similar cases throughout the Capitol pages -- is that the master in question had been reserved for a Lee recording. Either it was left unused or, alternately, it was used on a performance that was ultimately scrapped. The Capitol session that followed this one was also by Peggy Lee.


Collectors' Corner

1. "I Got To Sleep / Stop Living In The Past" [45]
In the United States, this 45 was issued in a plain sleeve. In Germany, it was issued (as K 23.086) in a sleeve that features a photo of the Capitol Tower.

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

The Happy Holiday Album Sessions (Cross-references)

Dates: July 9, 1965. June 15 and 19, 1960. Also, October 10, 1959.

The LP Happy Holiday is not an original album but a reissue. It identifies itself as such in a small note located at the top of the back cover. ("Some of these selections were included formerly in Peggy Lee's Christmas Carousel album on Capitol.) The album's only new material amounts to three numbers, all of them recorded during this date. All other songs were indeed culled from Lee's earlier holiday album, Christmas Carousel.


Issues

1. Compleat Little Drummer Boy (Pro 4470 DJ) [LP]
The entire track listing of this various-artists EP consists of the same song ("Little Drummer Boy") in different interpretations by various members of the Capitol roster: Tennessee Ernie Ford, Sonny James, The Lettermen, Lou Rawls, Peggy Lee, Al Martino, Marlene Dietrich. Compleat Little Drummer Boy was not a commercial but a promotional item, probably distributed to radio stations only. (n.b.: As with most other various-artists compilations, I have not incorporated this issue to the present sessionography. Instead, I have listed it in a separate discographical page, dedicated to such compilations, and viewable in the Miscellanea section of this discography.)

2. The Album Happy Holiday In The Music Charts [LP]
Curiously, Joel Whitburn shows this album as entering Billboard's album chart on December 30, 1967, which is over two years after its original release. The fact that it is a seasonal release could account for its late entry in the chart; perhaps it went unnoticed during earlier holiday seasons. Happy Holiday peaked at #115 and became Peggy Lee's 16th album chart entry. (Her 15th entry was the album Big Spender, which was released in April 1966.)


Songs And Songwriters

1. "The Little Drummer Boy"
2. "The Carol Of The Drum"
3. Katherine K. Davis
4. Henry Onorati
5. Harry Simeone
Katherine K. Davis wrote both the lyrics and the melody of "The Carol Of The Drum" in 1941. Davis sub-titled her song a "Czech carol, freely transcribed," thereby suggesting that she had either drawn inspiration or borrowed from traditional material.

In later decades, the origins and history of the song has piqued the interest of music academics, but there has yet to be a definitive conclusion on the matter of how much David borrowed from original folk material. Most recordings -- including Lee's -- do not identify the song as a Traditional. (A few exceptions can be found in ASCAP's database.)

While still acknowledging Katherine Davis' rightful claim, for this discography I have chosen to deem "The Little Drummer Boy" Traditional material, too.

Henry Onorati and Harry Simeone are also credited as songwriters. However, they wrote neither the melody nor the lyrics. Instead, the two gentlemen wrote some of the earliest and better-known arrangements of the song. Onorati's 1957 arrangement was for a recording by the Jack Halloran Singers. Simeone's 1958 arrangement was for a 45 single by his Harry Simeone Chorale. That Simeone version was the first to give the title "Little Drummer Boy" to what was previously known as "The Carol Of The Drum." (Preceding the Simeone and Onorati versions was a 1952 recording by The Trapp Family Singers.)


Personnel

This date's musicians are unknown. They may be, for the most part, the same ones who participated in the Then Was Then And Now Is Now! dates that preceded this one. See personnel under session dated June 18, 1965.


Arrangers And Arrangements

1. Sid Feller
2. "Little Drummer Boy"
Credit to Sid Feller for this song's arrangement is based on the existence of a copy in Peggy Lee's sheet music library. Since I have not inspected the library's arrangement, my attribution of this session arrangement to Feller should be considered tentative.

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

The Then Was Then Album Sessions (Cross-references)

June 18, 1965. July 7, 1965. September 21, 1965. Also, May 31, 1963 and December 9, 1964.


Arrangers And Arrangements

1. Sid Feller
In the album Then Was Then And Now Is Now, Sid Feller is credited with arranging all songs from this session. With the exception of "Losers Weepers," copies of all those Sid Feller arrangements indeed exist in Peggy Lee's sheet music library.

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Bill Holman (con), Bill Holman and His Orchestra (acc), Other Individuals Unknown (unk), Peggy Lee (v)

The Big $pender Album Sessions (Cross-references)

Dates: October 27 and 29, 1965. February 1, 1966.


Songs

1. "Big Spender" In The Music Charts
Peggy Lee took the song "Big Spender" to the top 10 of the Easy Listening chart. After making its debut during the week of January 29, 1966, Lee's recording spent nine weeks in that chart, peaking at #9.

At the time that "Big Spender" reached its peak position, the chart's top slot was occupied by Al Martino's version of "Spanish Eyes."


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in a later Big $pender session, dated July 18, 1966.


Arrangements

1. Source
The back cover of the Capitol LP Big $pender is one of my two sources for the arranging credits that I have entered in this session. My other source is Peggy Lee's sheet music library, where copies of all four arrangements have been kept. Both sources identify the same arrangers in all four cases.

In addition to the Bill Holman arrangement, Lee's library contains a second "Big Spender" score, credited to Emile Charlap.


Masters, Alternate Takes And Issues

1. "Big Spender"
In this discography, I have listed alternate takes only when they have been commercially released or when they have come into collectors' hand -- as is the case with this session's alternate take of "Big Spender." The take can be found in a reference tape whose original owner seems to have been Peggy Lee herself. Dupes of the tape -- which also contains unmixed material -- are owned by a few collectors.

The most noticeable difference between the two takes of "Big Spender" occurs at the end of the performances. Lee closes the alternate by repeating the phrase "spend a little time with me" three times. No such repetition is heard in the master take. Of the two takes, the master is the superior version.

2. "Big Spender"
According to the Capitol Label Discography, an overdub of "Big Spender" was conducted on October 29, 1965.

3. Pass Me By / Big $pender [CD]
4. "It's A Wonderful World"
5. "Let's Fall In Love"
6. "Come Back To Me"
Fans of Peggy Lee have given decidedly mixed reviews to the EMI twofer Pass Me By / Big $pender. Some fans have complained that the CD sounds over-processed. Others feel certain that the disc contains mixes different from those in the LP. Still others hear mock stereo in selected tracks.

Of the CD tracks which are more often singled out as disappointments, three come from this session: "It's A Wonderful World," "Let's Fall In Love" and "Come Back To Me." Also frequently cited is "You've Got Possibilities," from a later session.

After repeated listening of both the EMI CD and the original LP in various music equipments, I believe that the sonic problems are inherent to the original masters. To my ears, the shortcomings pertain to the way in which the music was mastered. (As for the vocals, overall they sound fine in both the LP and the CD.) In songs such as "Come Back To Me," some of the instruments sound either distant or muffled. "Let's Fall In Love" is particularly problematic. The music comes off as removed, opaque and, at times, drenched in echo. It sounds at its worst in the EMI compilation C'est Magnifique.

The EMI CD actually features improved mastering over that of the original LP. However, it does not solve the LP's shortcomings, which might stem from the original masters.

Peggy Lee (ldr), Marion L. Klein (om), Dave Cavanaugh (pdr), John Kraus (eng), Bill Holman (con), Conte Candoli, Walter "Pete" Candoli, Al Porcino, Clarence "Shorty" Sherock (t), Vernon "Vern" Friley, Urban "Urbie" Green, Robert Knight (tb), Aubrey Bouch, Unknown (frh), John Gray, Alfred "Al" Viola (g), Max K. Bennett (b), Lou Levy (p), Francisco Aguabella, Stan Levey, Chester Ricord (d), Bernard Fleischer, Arthur C. Smith (wds), Peggy Lee (v)

The Big $pender Album Sessions (Cross-references)

Dates: October 27 and 29, 1965. February 1, 1966.


Issues

1. The Hits Of Peggy Lee [LP]
2. "I'll Only Miss Him When I Think Of Him"
According to the Capitol Label Discography, there is a 1969 pressing of The Hits Of Peggy Lee (Capitol LP #2887) that misses one of the tracks from the 1968 original: "I'll Only Miss Him When I Think Of Him."

2. Routine Jazz! [CD]
I have not been able to listen to this Japanese disc, which is said to contain a dj-remixed version of "I Must Know." (Johnny Hartman, Duke Pearson, Marlena Shaw, and Horace Silver are among the other singers whose tracks are included, all of them presumably in remixed versions.)


Personnel

1. Al Porcino
2. Arthur C. Smith
3. Bernard Fleischer
These three musicians played more than one instrument during this session. Porcino played two instruments, Smith played three, and Fleischer played four. Unfortunately, the official paperwork that I consulted lists only one of the instruments that each of these musicians played.


Songs (I) And Songwriters

1. "Gotta Travel On"
2. Paul Clayton
3. Peggy Lee?
As explained by Bob Coltman in his book Paul Clayton And The Folksong Revival, "Gotta Travel On" had its origins in the American folk song tradition. Folksong collector Paul Clayton was the man who brought the number into the world of popular music. After becoming acquainted with traditional variations of "Gotta Travel On," Clayton drew inspiration from them to create and add what is now known as the song's main chorus ("Done laid around and stayed around this town too long / Summer's almost gone, winter's comin' on / Done laid around and stayed around this town too long / And I feel like I gotta travel on").

Larry Ehrlich, another folk songwriter, heard Clayton sing that chorus, and began singing it himself. Ehrlich then played it during a casual meeting at his apartment. One of the attendees was Peter Seeger, who in turn suggested the creation of some verses. With yet another attendee (singer David Lazar), Ehrlich wrote new verses on the spot.

Next, Seeger showed the verses and the chorus to his group, The Weavers (original members: Lee Hays, Ronnie Gilbert, Fred Hellerman), who came up with yet more verses. Under the title "Done Laid Around," the group's finished version was released in 1958. It was the earliest of the many versions to come in the ensuing years.

BMI gives joint credit for this song to an endless string of names: Seeger, Paul Clayton, Erhlich, Gilbert, Hays, Hellerman, Lazar, and Seeger. The involvement of all of those men have been explained in the preceding paragraphs.

In the LP Big Spender, Peter Clayton is the only person who receives credit for the song. Lee indeed sings the chorus that was originally penned by Clayton, with slight variations that are also found in versions by other singers. ("Oh, I've been around and played around this town too long").

However, the verses sung by Lee are not those heard in the version by The Weavers, nor am I aware of any other version that contains them. Lee does not sing about the various characters who are common to most folk, country and rock versions (e.g., Johnny, "poppa," the sheriff).

The verses of her version are basically a feminized take on the number. (A sample: "I'm gonna hit the high road and leave that man behind / Yes, I'm gonna hit the high road and get him off my mind / Yes, I'm going down that long long road 'cause I don't need his kind / And I feel like I gotta travel on" .....) I believe that Lee herself wrote those verses, but have no corroboration yet. My songwriting credit to her is thus tentative, and not found in any of my sources.


Songs (II), Arrangers And Arrangements

1. "Gotta Travel On / Moving' On"
Master #55288 is listed in the AFM report as "Gotta Travel On / Movin' On." Although the released master is
simply titled "Gotta Travel On" in all commercial issues, I have chosen to use instead the AFM report's combined title. I believe that "Movin' On" is the name that Lee gave to the aforementioned new lyrics that she herself probably penned.

In Peggy Lee's sheet music library, there is no arrangement for a song called "Gotta Travel On," but there is one for a number entitled "Movin' On." Billy Byers wrote that arrangement.

2. Source
The back cover of the Capitol LP Big $pender is one of my two sources for the arranging credits that I have entered in this session. My other source is Peggy Lee's sheet music library, where copies of most of the
arrangements ("Alright, Okay, You Win," "I Must Know," "Watch What Happens") have been kept. The same arrangers are identified in both sources.

In addition to the Billy Byers arrangement, Lee's library contains a second "Alright, Okay, You Win" score, written by Bill Holman for an earlier recording of the song.


Masters

1. Number of Masters Per Session
Curiously, this session includes five masters, which is over the usual maximum rule of four to which Capitol usually adhered. Notice that a much higher number had to be assigned to the fifth master.

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Unknown (f, g, b, p, d), Peggy Lee (v)

The Big $pender Album Sessions (Cross-references)

Dates: October 27 and 29, 1965. February 1, 1966.


Songs

1. "That Man" In The Music Charts
After its debut during the week of April 9, 1966, this humorous Peggy Lee novelty spent five weeks in the Easy Listening chart, peaking at #31. "That Man" became the vocalist's ninth self-penned Billboard entry.

2. "You've Got Possibilities" In The Music Charts
Peggy Lee's version of the Broadway showtune "You've Got Possibilities" reached a #36 peak in Billboard's Easy Listening chart, where it stayed for four weeks. The tune made its debut during the week of June 18, 1966, when the chart's number one slot was occupied by Frank Sinatra's reading of "Strangers In The Night."


Masters And Mixes

1. "That Man"
"That Man" (master #55605) exists in at least two mixes. The original mix was considered for inclusion in the album Big Spender, but ultimately left unissued until its release in the Collectors' Choice CD Two Shows Nightly (Deluxe Edition).


Issues

1. The Album Big $pender In The Music Charts [LP]
Peggy Lee's 15th album chart entry made its debut in Billboard Top 200 during the week of July 30, 1966. It stayed for three weeks, reaching a #130 peak.


Arrangers And Arrangements

1. Head Arrangements
2. "That Man"
Two of this session's three masters were included in the Capitol album Big $pender. According to the album's annotator, both feature head arrangements. I have assumed that the session's third master ("That Man") features a head arrangement as well.

3. "You Don't Know"
The annotator of the Capitol album Big $pender describes this session's arrangement for "You Don't Know" as a "little band blues treatment that features guitars ... cooked up during this session."

4. "You've Got Possibilities"
5. Mundell Lowe
Extant in Peggy Lee's sheet music library is an arrangement of "You've Got Possibilities" under Mundell Lowe's name. Although I have not inspected it, I am inclined to think that it is the same one used during this session.

However, the annotator of Big $pender lists "You've Got Possibilities" as one of the album numbers that feature head arrangements. I wonder if what the annotator had in mind was actually an arrangement created and written at the session chiefly by Mundell Lowe, with input from Lee and the other musicians. (The personnel of this guitar-driven session is, for the most part, unknown. Perchance guitarist Mundell Lowe was in charge of the date. As for the rest of the personnel of this guitar-driven session, it remains unknown.)

In any case, my credit to Lowe should be considered tentative. (n.b.: Lee's library also contains arrangements of this session's two other songs, but no author is given in either score. Obviously, my speculation about Lowe's involvement in creating and writing this date's arrangements could be applied to those songs, too. I have refrained from doing so only because the library's arrangements of "You Don't Know" and "That Man" do not credit him -- or, for that matter, anyone else.)

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Bob Cooper, Harry Klee, Jack Nimitz, Bud Shank (r), Aubrey Bouch, Bill Henshaw, Sinclair Lott, Henry Sigismonti (frh), Robert "Bob" Bain, Dennis Budimir, John Pisano (g), Toots Thielemans (g, w), Max K. Bennett (b), Unknown (str), Lou Levy (p), Artie Kane (org), Earl Palmer (d), Larry Bunker, Emil Richards, aka Emil Radocchia (per), Peggy Lee (v)

Issues

1. Peggy Lee Sings Peggy Lee [LP]
This session of all-Peggy Lee compositions compels me to mention a LP entitled Peggy Lee Sings Peggy Lee, whose release was announced by Capitol in 1965. For reasons unknown, this prospective album never materialized. Peggy Lee Sings Peggy Lee would have presumably come out in 1965 or 1966. Perhaps some of this session's songs were considered for inclusion?


Songs

1. "(Stay With Me) Stay With Me"
In the label of Capitol 45 #5678, this session's last master is identified as "(Stay With Me) Stay With Me." Most other sources simply call it "Stay With Me." The longer title was probably Capitol's attempt at differentiating the Lee-Jones composition from others of the same title, including one written by Bert Kaempfert and another co-written by the team of Caroline Leigh and Jerome Moss.


Arrangers And Arrangements

1. Source
2. Johnny Mandel
3. Quincy Jones
My source for this session's arranging credits is Peggy Lee's sheet music library, in which scores of all three songs are kept.

Johnny Mandel is identified as the arranger of "The Shining Sea" in Lee's library and also in the back cover of the Capitol LP Extra Special!.

The library's arrangement of "Happy Feet" is credited to Quincy Jones but the score for "Stay With Me" does not name an author. Since Jones was the composer of not only these songs but also the movie for which they were written, I have tentatively credited him with the arrangement of "Stay With Me," too.


Personnel

1. Source
The booklet of the CD Blues Cross Country is my source for this session's personnel.


Masters And Takes

1. "Happy Feet"
2. "Stay With Me"
3. (So-called) Overdubs
Various sources indicate that masters #56010 ("Happy Feet") and #56012 ("Stay With Me") were overdubbed. No specifics are given in those sources, but I do have strong convictions about the types of overdubs involved.

In "Happy Feet," Peggy Lee is heard singing in unison with herself. (At times, not just two but a choir of Peggy Lees seems to be heard.) For that reason, I believe that the type of overdub to which my sources refer involves vocal doubletracking.

In the case of "Stay With Me," my yet-to-be-corroborated belief is that the strings section was the only overdubbed component. See also point #4, immediately below.

4. "Happy Feet"
This session's master take of "Happy Feet" has been preserved not only in the original session tape but also in reference and safety tapes. The master is identified as #4 in some of those tapes, as #1A in others. Although I have not listened to any of the tapes in question, I suspect that #4 is the performance as originally recorded and that #1A is the final product, with the aforementioned strings dubbed in. As will be seen in some of this page's ensuing dates (e.g., session dated June 8, 1967), the same two-number pattern is common to other 1966 and 1967 masters for which I also suspect that the strings were overdubbed.

Peggy Lee (ldr), Marion L. Klein (om), Dave Cavanaugh (pdr), Dave Grusin (con), Laurindo Almeida, Robert "Bob" Bain, Dennis Budimir, John Collins, Herb Ellis, Al Hendrickson, Louis "Lou" Morell (g), Max K. Bennett (b), Lou Levy (p), Francisco Aguabella, Larry Bunker, John Guerin (d), Peggy Lee (v)

The Guitars Ala Lee Album Sessions (Cross-references)

Dates: July 18, 22 and 26, 1966.


Issues

1. Latin Ala Lee! [CD On S&P Records]
2. "Sweet Happy Life"
As originally released in the Capitol album Guitars Ala Lee, Lee's performance of "Sweet Happy Life" evinces a fair amont of echo.

The echo has been removed from the digitally remastered "Sweet Happy Life" that was included, as a bonus track, in the 2003 S&P CD Latin Ala Lee!.


Masters And Cross-references

1. "Mohair Sam"
2. Overdub
According to Capitol documentation, an electric bass guitar was overdubbed onto master #56724 ("Mohair Sam").

This session's master take of "Mohair Sam" has been preserved not only in the original session tape but also in reference and safety tapes. The master is identified as #8 in some of those tapes, as #10A in others. Although I have not listened to any of the tapes in question, I suspect that #8 is the performance as originally recorded and that #10A contains the exact same take but with the electric bass guitar dubbed in.

As will be seen in some of this page's ensuing dates (e.g., session dated June 8, 1967), the same two-number pattern is common to various other 1966 and 1967 masters for which I suspect that the strings were overdubbed, too.

3. "My Guitar"
For earlier masters of this song, both of them unissued, see sessions dated June 22 and 24, 1961.


Personnel

1. Source
My source for this session's personnel is the report sheet at the American Federation of Musicians.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Unknown (frh, g, b, p, d, wds), Peggy Lee (v)

The Guitars Ala Lee Album Sessions (Cross-references)

Dates: July 18, 22 and 26, 1966.


Masters And Alternate Takes

1. "Good Times"
Two takes of "Good Times" have been commercially issued. The most noticeable difference between them occurs during the line "and the good times passed me by," which is heard at the very end. More specifically, there is a word from that line that is sung as one note in the master take, prolonged over three notes in the alternate. The word in question is "passed." My thanks to Yvan Tarbouriech for pointing out this difference, and for alerting me, in the first place, about the existence of two takes.


Songwriters

1. "An Empty Glass"
2. Branco
In the Capitol LP Guitars Ala Lee, a person by the last name of "Branco" receives credit, along with Luiz Bonfá and Dick Manning, for co-writing "An Empty Glass." Branco is not listed in any of the other pertinent sources available to me, which include ASCAP, the EMI CD Pretty Eyes / Guitars Ala Lee, and the Steve Lawrence & Eydie Gormé album Bonfa & Brazil. (The latter features guitar playing by songwriter Bonfá himself.)

I have been informed that this mysterious individual "would likely be Billy Branco, who is/was well known in Brazil, and probably the original Brazilian Portuguese lyricist for Bonfá's melody." After some time spent fruitlessly researching for information about Billy Branco, I finally came to the realization that the correct spelling of the lyricist's last name is not Branco but Blanco. This realization did not carry me much farther, however. I have been unable to retrieve any indication that Billy Blanco was involved in the writing of "An Empty Glass."

A more promising lead comes from the Library of Congress. According to the library's Copyright Office, "An Empty Glass" has a so-called variant title: "Vento Branco." Armed with this piece of information, we can now argue that the mysterious co-writer of "An Empty Glass" probably does not exist. Instead, it seems that, while assembling track information for the album Guitars Ala Lee, Capitol inadvertently invented a person. The company's attempt at including the Portuguese sub-title of "An Empty Glass" went awry: the word "vento" was skipped, and the word "branco" was placed next to the names of the song's writers.

Note that, curiously, the words "vento branco" ("white wind") are not heard in the English lyrics. Perhaps "Vento Branco" was simply the name that Bonfá gave to his melody when it was an instrumental. (Or, if Portuguese words were ever attached to this melody, the title "Vento Branco" suggest that they were fairly different from those written by Manning.)


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in an earlier Guitars Ala Lee session, dated July 18, 1966.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Unknown (g, b, str, p, d, wds), Peggy Lee (v)

The Guitars Ala Lee Album Sessions (Cross-references)

Dates: July 18, 22 and 26, 1966.


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in an earlier Guitars Ala Lee session, dated July 18, 1966.


Masters And Sessions

1. "Beautiful, Beautiful World"
2. Overdub
According to the Capitol Label Discography, this session's master contains an overdub. No aditional details are given. Based on a pattern common to other 1966 and 1967 dates, I believe that the overdubbed component was the strings section. For a especially telling example of this pattern, see Masters notes under session dated June 9, 1967.

In Capitol's vaults, "Beautiful, Beautiful World" is preserved not only in the original session tape but also in reference and safety tapes. Some of those tapes identify the master take as #25, whereas others call it #4A. My yet-to-be-corroborated impression is that #4A is the overdubbed product, #25 the original performance sans overdub.

2. Session Numbers
This is the first of various Peggy Lee dates that bear a session number in the 14000 range. On this matter, a clarification must be made.

In Capitol's Peggy Lee file, her 14000 sessions are wrongly listed as 13000s. Since Capitol reserved the entire 13000 numerical series to New York sessions, none of the Guitar Ala Lee LA sessions should bear numbers in that range.

Other Capitol files feature the correct 14000 numbers; the numerical mistake seems to be circumscribed just to the session files. This session, for instance, is correctly numbered 14001 in most Capitol files, yet incorrectly found as #13001 in Lee's session file. (I do not know if this error extends to other artists' session files.)

Peggy Lee (ldr), Dave Cavanaugh (pdr), Unknown (g, b, str, p, d, wds), Peggy Lee (v)

The Guitars Ala Lee Album Sessions (Cross-references)

Dates: July 18, 22 and 26, 1966.


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in an earlier Guitars Ala Lee session, dated July 18, 1966.


Masters And Sessions

1. Overdubs And Take Numbers
According to the Capitol Label Discography, this session's masters contain overdubs; details unknown. Based on a pattern common to other 1966 and 1967 dates, I believe that the overdubbed component was the strings section. For a especially telling example of this pattern, see Masters notes under session dated June 9, 1967.

Overdubbing probably accounts for the fact that each of these masters has not one but two numbers attached. Take, for instance, the case of "Think Beautiful." In Capitol's vaults, some reference and safety tapes identify the master take as #5, whereas other tapes label it #3A. My hypothesis is that the number 5 refers to the master as originally recorded with just a rhythm section, and that 3A stands for the same master with the strings overdubbed. (The reason why this is a hypothesis -- not fact -- is that I have not inspected the actual tapes, nor do I have any additional information about them.)

2. Session Numbers
All 1300s session numbers shown in Capitol's Peggy Lee file contain one incorrect digit: it should be a 4 instead of a 3. For instance, this date is incorrectly numbered 13005 in the session file, but elsewhere it is found as #14005. A longer explanation can be found in the notes under the session dated July 26, 1966.


Arrangements

1. Source
For this and all other Guitars Ala Lee sessions, the back cover of the original LP is the primary source of each arranging credit.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Robert "Bob" Bain, Dave Grusin (con), Other Individuals Unknown (unk), Peggy Lee (v)

The Extra Special! Pick-up Album Sessions (Cross-references)

The 1967 LP Extra Special! is essentially a compilation of singles from the 1960s, beginning with masters recorded on July 26, 1960 and ending with this date's two performances. The rest of the selections date from September 1, 1960; May 19, 1961; April 2, 1962; May 29, 1963; February 19, 1965; and May 21, 1966. In addition to numbers that were originally on singles, the album also contains three tracks that were previously unissued in 1967: "The Shining Sea," "Oh! You Crazy Moon," and from this very session, "Call Me Darling, Call Me Sweetheart, Call Me Dear."


Songs

1. "So, What's New?" In The Music Charts
2. "Walking Happy" In The Music Charts
Capitol 45 #5758 was a double-charting single.

"So, What's New?" entered the Easy Listening chart during the week of October 15, 1966, when Frank Sinatra's recording of "Summer Wind" occupied the top spot. This Lee recording peaked at #20 and stayed for seven weeks. "So, What's New?" was also Peggy Lee's 10th (and last) self-penned number to make the charts.

"Walking Happy" debuted a week later, and reached a higher position: #14. It stayed in the chart for eleven weeks.

"So, What's New?" and "Walking Happy" became Peggy Lee's 60th and 61st song entries in Billboard's charts.


Arrangers And Arrangements

1. Source
The source for the arranging credits of this session's masters is the back cover of the LP Extra Special!

2. "So, What's New?"
3. Mundell Lowe
In addition to this session's arrangement by Robert Bain, a Mundell Lowe score of "So, What's New?" is also extant in Peggy Lee's sheet music library.


Issues

1. Peggy Lee: Greatest Hits [CD]
2. "So, What's New?"
3. "What's New?"
Musicbank CD #1183 (Peggy Lee: Greatest Hits) incorrectly lists "So, What's New?" among its tracks. The Public Domain disc contains instead Lee's World Transcription version of a song with a similar title ("What's New?").

Peggy Lee (ldr), Dave Cavanaugh (pdr), Ralph Carmichael (con), Anthony Terran, James C. "Jimmy" Zito (t), Robert "Bob" Bain, Dennis Budimir, John Pisano (g), Max K. Bennett (b), Harry Bluestone, Arnold Delnick, Bonnie Douglas, David Frisina, Jacques Gasselin, Nat Kaproff, Erno Neufeld, Paul Shure, Gerald Vinci (str), Lou Levy (p), Toots Thielemans (h), Nick Ceroli (d), Justin Gordon, John "Plas" Johnson (wds), Peggy Lee (v)

The Somethin' Groovy Album Sessions (Cross-references)

Dates: June 6, 8, 9 and 10, 1967.


Songs

1. "I Feel It" In The Music Charts
Peggy Lee's version of "I Feel It" reached the top 10 of Billboard's Easy Listening chart. After making its debut during the week of September 30, 1967, it peaked at #8 and stayed for ten weeks. Frank Sinatra's recording of "The World We Knew" was on the top spot at peak time.

2. "(The) Lonesome Road"
Although widely listed as "The Lonesome Road" most everywhere, including the Capitol 45 in which Peggy Lee's version was first issued, this song's official title is "Lonesome Road." By this time, after decades and decades of general incorporation the title, I believe that the article deserves to be deemed optional.


Masters And Alternate Takes

1. "I Wound It Up" [I]
In Capitol's Peggy Lee session files, "I Wound It Up" (master #57769) appears twice, once under this date once under the a June 29, 1967 session, where it is the only number listed. Fortunately, the June 29 file includes a clarification: "Peggy Lee overdubbed on master 57769 from June 6, 1967 session."

The Capitol Label Discography also lists this master under two sessions. However, details partially differ from those given in the aforementioned session files:

a) the second date in which "I Wound It Up" appears is not June 29 but June 10.
b) under June 10, "I Wound It Up" is identified as a remake that has been issued on EMI CD #93065.

Point (b) is most definitely an error: "I Wound It Up" was not included on the EMI CD Extra Special! / Somethin' Groovy!. As for point (a), currently I know of no data or sources that can determine which is the correct date for the overdub. (Perhaps both dates are correct. The overdubbing process could have carried over from June 10 to June 29.)

2. "I Wound It Up" [II]
Through these Capitol pages, I am listing unissued alternate takes only in exceptional instances, such as when I have knowledge of noteworthy variations between master and alternate. In the case of "I Wound it Up," there is an alternate take whose ending differs notably from the master. Only in the master do we hear the closing line "why not?!," which Lee utters in a comical voice. The alternate ends instead with the line "and it might." That line is also heard in master (before the words "why not"), but Lee phrases in a different manner. Of the two takes, the master is the superior one, although the alternate is fine as well.


Personnel And Arrangements

1. Source
The source for this session's personnel is Capitol's Peggy Lee session file.

2. "Lonesome Road"
3. Ralph Carmichael
4. Billy May
Two of my sources list an arranger for "Lonesome Road" -- not the same man, though.

One source is a fine essay that Gene Lees wrote for the Peggy Lee volume in Time-Life's "Legendary Singers" album series. He credits Ralph Carmichael with the arrangement. However, I am not sure if Lees' credit is based on definite knowledge or on the fact that Capitol's session files name Carmichael as the "musical director" of this date. Despite the deceptive credit found in the session's file (and in the Capitol LP Somethin' Groovy!, which contains one of this session's numbers), I suspect that Carmichael's responsibilities were circumscribed to the conducting and arranging of the strings, and that he was not directly involved in the preparation of the original arrangement, nor in the conducting (if any) of the rhythm section.

My other source is Peggy Lee's sheet music library, which contains one arrangement of "Lonesome Road" that is credited to Billy May. Hence I have tentatively entered May's name as the arranger of this date's "Lonesome Road" master. (I have not personally inspected the library's contents. The credit is tentative because I cannot be fully certain that the library's arrangement is the same one used for this session.)

5. Toots Thielemans
The identification of Toots Thielemans as part of this personnel comes from information given by Gene Lees in his aforementioned notes for the Peggy Lee volume of the Time Life Music series: "The sensitive arrangement is by Ralph Carmichael, and the harmonica solo [in "Lonesome Road"] is by Toots Thielemans, a favorite Lee collaborator."

Peggy Lee (ldr), Dave Cavanaugh (pdr), Other Individuals Unknown (unk), Peggy Lee (v)

Masters And Alternate Takes

1. "You're Driving Me Crazy"
Lying in the vaults and probably worthy of future release is an alternate take of "You're Driving Me Crazy" that approaches this number in a manner different from the master take. For one, the alternate is more of a midtempo. It also features one additional musical instrument. An organ, not heard at all in the master take, joins in.

2. "You Must Have Been A Beautiful Baby"
The Capitol Label Discography lists "You Must Have Been A Beautiful Baby" (master #57786) under both the June 7 and June 8, 1967 sessions. The June 7 listing is labeled as "rejected." Since the same master number is given to both "You Must Have Been A Beautiful Baby" entries, I have decided to list this performance only under June 8. Unless I find proof that there are extant performances of "You Must Have Been A Beautiful Baby" from both June 7 and 8, I won't be listing this master under the earlier date.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Ralph Carmichael (ccm), Toots Thielemans (g, h), Unknown (str), Other Individuals Unknown (unk), Peggy Lee (v)

The Somethin' Groovy Album Sessions (Cross-references)

Dates: June 6, 8, 9 and 10, 1967.


Personnel, Masters And Takes

1. Toots Thielemans
2. Harmonica And Guitar
Toots Thielemans' plays harmonica on "Release Me" and guitar on "No Fool Like An Old Fool." Thielemans might also be one of the various guitar players who are heard in both "You Must Have Been A Beautiful Baby" and "No Fool Like An Old Fool."

3. Ralph Carmichael
4. Overdubbed Strings
This session featured brass, strings and a rhythm section.

According to the Capitol Label Discography, overdubs of the session's masters took place on June 28 ("You Must Have Been A Beautiful Baby") and June 29 ("Release Me," "No Fool Like An Old Fool").

As in other 1966 and 1967 dates with similar musical accompaniment, I believe that the overdubbed component was the strings section.

It is also my belief that Ralph Carmichael was only in charge of conducting the strings.

Moreover, I find it likely that the unknown musicians who played strings on June 28 and 29 are mostly the same ones that worked with Carmichael during the earlier, June 6, 1967 session.

5. "You Must Have Been A Beautiful Baby"
The Capitol Label Discography lists "You Must Have Been A Beautiful Baby" (master #57786) under two dates: June 7 and June 8, 1967. The June 7 performance is labeled "rejected." Because both dates' performances receive the same master number, I have listed "You Must Have Been A Beautiful Baby" only under June 8. Unless I find proof that versions from both days are extant, I won't be listing "You Must Have Been A Beautiful Baby" under June 7.

6. Take Numbers
Each of the masters from the Somethin' Groovy! album has been preserved not only in the original session tapes but also in reference and safety tapes. There is a peculiarity about all the album's masters: in some tapes they bear one number, in other tapes a different number. For instance, "You Must Have Been A Beautiful Baby" is identified as master take #10 in one tape, but as master take #3B in another tape. I believe that #3B stands for the version of this performance which has overdubbed strings, whereas take #10 is the master take as originally recorded -- that is to say, without any overdubs.

I must stress that this is a belief or a hypothesis of mine. For me to upgrade it to "fact," I would need to listen the tapes or to receive verification from anyone who might have given them a listening.

Peggy Lee (ldr), Dave Cavanaugh (pdr), Ralph Carmichael (ccm), Lou Levy (con, p), Unknown (r, str), Dennis Budimir, Mundell Lowe (g), Toots Thielemans (g, h, w), Max K. Bennett (b), John Guerin (per), Peggy Lee (v)

The Somethin' Groovy Album Sessions (Cross-references)

Dates: June 6, 8, 9 and 10, 1967.


Songs

1. "(Our) Love Is Here To Stay"
"Love Is Here To Stay" is the official title that the Gershwin brothers gave to their song, which went on to become one of their best-known standards. Over the decades, popular preference has turned the possessive our into an unofficial part of the title.


Personnel, Issues, Masters And Alternate Takes

1. Source
My source for this session's personnel is the report sheet at the American Federation of Musicians. (No personnel is given in Capitol's Peggy Lee session.)

2. Ralph Carmichael
The AFM report shows only a rhythm section on this date, and does not list Ralph Carmichael among those present. Yet musical instruments other than piano, bass and percussion are clearly heard in the released masters. Also puzzling is the fact that Carmichael is credited as the "musical director" of the album that contains this session's masters (Somethin' Groovy). For plausible explanations, see my next point.

3. Overdubbed Reeds And Strings
The Capitol Label Discography indicates that overdubs of this session's masters were made on June 28 ("Two For The Road," "Makin' Whoopee," "Love Is Here To Stay") and June 29 ("Something Stupid"). I assume that the components overdubbed over those two dates were the strings and the woodwinds.

The names of the musicians who participated in the June 28 and 29 overdub dates remain unknown. Presumably, most of them were the same musicians who worked with Carmichael during an earlier session, dated June 6, 1967.

4. Toots Thielemans
Toots Thielemans is the whistler in "Somethin' Stupid," the harmonica player in "Makin' Whoopee."

5. "Something Stupid"
Under this date, I have entered both a master and an alternate take of "Something Stupid." So far, I have not been able to track down the mysterious compilation that is supposed to contain this alternate. Because the information that I have about the alleged alternate take is very vague, that entry should be deemed tentative.

6. "(Our) Love Is Here To Stay"
7. Miss Peggy Lee [CD]
The Capitol set Miss Peggy Lee uses a different mix of the song "(Our) Love Is Here To Stay." The vocal is the same, but a brass section was aparently overdubbed in a few spots. Although the mix issued in Miss Peggy Lee comes off as a fine one, the superior mix remains the one from the original album.

8. Take Numbers
At Capitol, each of the masters from the Somethin' Groovy! album is tied to not one but two master numbers. For more details, see notes under the June 8 or June 9 Somethin' Groovy! sessions.


Arrangements

1. "Two For The Road"
2. Ted Nichols
3. "(Our) Love Is Here To Stay"
4. Johnny Mandel
This session's arranging credits to Johnny Mandel and Ted Nichols must be deemed tentative. The credits are based on the existence of an arrangement of "Two For The Road" and an arrangement of "(Our) Love Is Here To Stay" in Peggy Lee's sheet music library, the former credited to Nichols, the latter to Mandel. (Since I have not been able to inspect any of the library's arrangements, nor do I know of anyone else who has compared them to the arrangements used at this session, I cannot definitely assert that the library's scores are truly the ones followed in the recording session.)

Peggy Lee (ldr), Dave Cavanaugh (pdr), Ralph Carmichael (ccm), Unknown (r, b, str, d), Toots Thielemans (g), Peggy Lee (v)

The Somethin' Groovy Album Sessions (Cross-references)

Dates: June 6, 8, 9 and 10, 1967.


Arrangements

1. "It Might As Well Be Spring"
2. Ted Nichols
Peggy Lee's sheet music library contains a Ted Nichols arrangement of "It Might As Well Be Spring." I have not inspected it, but I am tentatively assuming it to be the same one used at this recording session.


Personnel And Masters

1. Ralph Carmichael
2. Overdubbed Strings
This session's masters feature a rhythm section, strings some brass instruments. The strings, conducted by Ralph Carmichael, were actually dubbed in at a later date.

I am presuming that the unidentified strings players heard in this session's masters were mostly the same ones who worked with Carmichael in an earlier session (June 6, 1967).

The Capitol Label Discography indicates that overdubs of masters "It Might As Well Be Spring" and "Sing A Rainbow" took place on June 28, and that "I Can Hear The Music" underwent overdubbing on both days.

3. Take Numbers
At Capitol, each of the masters from the Somethin' Groovy! album is tied to not one but two master numbers. For more details, see notes under the June 8 or June 9 Somethin' Groovy! sessions.

GENERAL NOTES

Peggy Lee's Artistic Career, 1963-1967

The five years under discussion (1963-1967) cemented Peggy Lee's reputation as one of America's preeminent vocalists. From a professional standpoint, this was a period of stability for the artist. Lee continued to earn raves: music critics kept on naming her among the nation's best vocalists, and she still placed within the top ten of popularity polls for jazz and classic pop singers. To judge from her frequent guest performances in the television circuit, there was steady demand for her work. She also remained a handsomely remunerated nightclub entertainer. Moreover, Capitol kept the vocalist under contract throughout this period, releasing her records on a regular basis. In short, Peggy Lee's professional career continued on a smooth and well-grounded path.

More generally speaking, however, artists of Lee's generation suffered during this period. For the previous ten years, those artists had found themselves distanced from the music mainstream; after the advent of The Beatles in 1964, the distance grew further. (The rise of rock 'n' roll had struck the first blow, and the British invasion was now dealing the second.) By the mid-1960s, worthy acts such as June Christy, Jo Stafford, and Kay Starr ended up either retiring or losing their record contracts. Lee was among the few and savvier artists who held steady. She was also among the relatively few established acts who enthusiastically embraced The Beatles right away, declaring them bearers of an exciting new sound and worthy contributors to the blues-rock-pop continuum.

Around 1964, the music chart was the one barometer of popularity where Lee was no longer faring well. The gap between them and the mainstream was not merely musical but, rather, generational. As previously intimated, consistent mainstream popularity was no longer an achievable goal for vintage (pre-1950s) singers. There were precious few exceptions. Those vintage singers who remained current in the charts counted with the significant advantage of a high profile in the media: they hosted weekly television shows or cultivated a Hollywood career. (First and foremost among them was Frank Sinatra, of course. His chart success continued unabated for the entire decade of the 1960s, thanks not only to his undeniable talent and business smarts but also to his branching out to other fields of entertainment and to media visibility. There was, on the one hand, his film work, along with the gossip about his life that attracted public attention. There was also, on the other hand, his unshakable position as one of America's icons of the entertainment world.)

But Peggy Lee and other vintage acts were not faring as poorly in music sales and airplay as trade publications had led listeners to believe. When Billboard finally compiled and, for the first time, published programming from adult contemporary radio stations, it became clear that Lee's singles had remained current within this niche. From 1965 to 1967, eight of her renditions made the top 30 of the adult contemporary chart, including two performances that reached the top ten. Moreover, five of the albums that Lee recorded between 1963 and 1967 managed to make the album's top 200 chart. By this time, entry in the albums chart was, as previosuly suggested, something of a feat for artists of Lee's generation -- particularly those who did not have the advantage of a film career or a weekly job in television.

In Peggy Lee's case, however, there was a moderate share of mainstream visibility, thanks in particular to her periodic appearances in many variety shows. She also did a couple of one-hour specials (1966, 1967) for a syndicated series. Both specials showcased Lee's musicality and the versatility of her repertoire.


Popularity: Peggy In The Polls

In 1962, Peggy Lee had ranked #3 in Downbeat's female singers poll. Lee kept her #3 ranking in 1963. The same pattern applied to the top 2 holders of the previous year, Ella Fitzgerald and Nancy Wilson. (Fitzgerald actually remained at the top until 1970. Wilson remained at #2 until 1967, and slipped very slowly thereafter, remaining in the top 10 until 1973.) Barbra Streisand, a recent newcomer to the list, ranked #8 in 1963.

In 1964, Lee fell down to #8 and Streisand climbed to #4. Meanwhile, Aretha Franklin made her debut at #18.

During the next two years, both Peggy Lee and Barbra Streisand slipped in the poll. From her #8 position in 1964, Lee fell to #10 (1965), and then to #12 (1966). From her #4 peak in 1964, Streisand fell one notch to #5 (1965), then five notches to #10 (1966). Aretha Franklin remained in the lower top 20.

In 1967, Peggy Lee climbed back into the top ten, placing at #7. Besides Ella Fitzgerald, Nancy Wilson, and Peggy Lee, the names that comprised the top 10 in 1967 were Carmen McRae, Aretha Franklin (shooting up from her three previous years in the lower top 20), Sarah Vaughan, Nina Simone (#6), Dionne Warwick (#8), Anita O'Day, and Morgana King. Betty Carter, holder of the #7 slot in 1966, fell off the top ten, to #13. Streisand continued to slip, this year to #16. (Streisand would bounce back to #10 in 1968, but would thereafter remain in the top 20).

During the years covered by this discographical page, Peggy Lee's name also made appearances in other Downbeat polls. For the year 1963, Lee ranked #7 in the International poll. Her name was also part of the Critics poll during the years 1964 (#7), 1965 (#6), and 1966 (also #6).


Statistics: Total Number Of Peggy Lee Masters

This discographical page shows a total of 122 masters and 9 alternate takes, all of them recorded for Capitol Records between 1963 and 1967.

Of those 122 masters, 3 remain unissued. Two of them are from Peggy Lee's own sessions: "Try A Little Tenderness" (January 3, 1963) and "Since You Have Gone" (November 2, 1963). The third track is from a Bobby Darin date which featured Lee as guest vocalist (January 3, 1963).

Of the 9 alternate takes, four ("Make Believe," "Big Spender," "You're Driving Me Crazy," "I Wound It Up") remain unissued. Another take ("Good Times") is available exclusively in the mono version of the Peggy Lee LP Guitars Ala Lee. A fifth take ("Something Stupid") was reportedly issued on 8-track cartridge only; I still need corroboration that this 8-track version truly is an alternate take. The remaining takes ("A Taste Of Honey," "Love Is Here To Stay," That Man") are available on Peggy Lee CDs where they substitute for the respective master takes. "That Man" and "Love Is Here To Stay" are actually best described as mixes different from the masters, rather than alternate takes per se (i.e., the same vocal seems to be heard in both versions, but the mixes feature alterations or additions to the musical score). Alternate takes of many other Peggy Lee performances are known to exist in the vaults, but no systematic listening of them has ever been attempted.