Peggy Lee's Bio-Discography:
The Capitol Years, Part IV (1957-1959)

by Iván Santiago-Mercado

Page generated on Jun 18, 2018


PRELIMINARY NOTES




The Peggy Lee Look

This page opens with a photographic set consisting of six shots, three of them placed right above and the other three located down below, by the end of this introductory section. The set aims at capturing Peggy Lee's physical appearance during the discographical period under discussion (1957-1959). Accordingly, both rows of photos start out with pictures taken in 1957, move on to 1958 shots, and finish off with images from 1959. (On the matter of dating accuracy, I can offer corroborating evidence for the two earliest photographs only. The dates assigned to the other four items are estimates of mine.)


Peggy Lee's Capitolian Career

When it came to the music world, Capitol is where Peggy Lee felt that she belonged. The singer considered Capitol Records her alma mater. It was a perfectly understandable perspective. Capitol turned out to be, after all, the company on which Lee spent the bulk of her recording career. 

To be more specific, Peggy Lee's vocal stardom shone at Capitol for two long periods (separated only by a five-year residence at a rival label, Decca Records).  The first Capitol period extended over seven years of Lee's career. It had its informal start with a pre-contract session that took place in January of 1944. The period's de facto conclusion would come in the form of another session, scheduled for February of 1952.  The second period lasted much longer. It found the singer holding recording sessions at the Capitol Tower from April 2, 1957 to April 28, 1972.  

The resulting 22-year count grants Peggy Lee top placement as the female artist who worked for Capitol the longest. In the category of "longevity artists," this grand total also places her within the label's top 10, which is filled almost entirely with male acts. (The two exceptions are our pioneering veteran, Peggy Lee, and a steadfast latecomer, Nancy Wilson.)

The present discographical page covers the first three years of Lee's second Capitol period.  Readers interested in an encompassing account of this sub-period (1957-1959) are advised to scroll down to the bottom of the page, where they will find an extensive overview.  The overview also supplies a tabulation of this page's 101 masters and alternate takes, plus trivia such as Lee's placement in Downbeat polls from 1957 to 1959.  As for Lee's Grammy nominations within the years under discussion, specifics can be found under the relevant sessions, which range from the date at which she recorded the song "Fever" (May 19, 1958) to one of the dates dedicated to the album Latin Ala Lee! (August 14, 1959). 


Suggestions, Recommendations And Technicalities

Viewers looking for CD recommendations should pay attention to items whose titles are typed in uppercase and boldface. (For example, the 2009 DRG CD THE MAN I LOVE, in the first session below.)  Additionally, pictures of recommended Capitol/EMI anthologies can be viewed in section I of this page. My recommendations take into consideration sound quality, artwork quality, and programming scope.  Ideally, a recommended issue should rank high on all three areas.  However, I have occasionally granted recommended status to a collection with middling or uneven sound quality because it includes particularly rare tracks; RARE GEMS AND HIDDEN TREASURES and MISS PEGGY LEE are the most notable among such problematic cases.  

As for the blue arrowheads that are periodically found through the page, click on them if you want to see full lists of the issues (i.e., LPs, CDs, etc) on which you can find the Peggy Lee performance of your interest. The issues are listed chronologically, by year of release.  (I have aimed at listing every single issue in existence, with the following exceptions:  various-artists compilations, foreign editions of domestic issues, and MP3 files. The first two categories are actually covered separately, in the miscellaneous section of this bio-discography.  No page is dedicated, on the other hand, to MP3 files, I have chosen to make very limited mention of such a format in my work. I consider it a non-physical configuration of inherently poor sound quality, whose releases are of notoriously ephemeral longevity.)






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

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

a. E 16791-6Master Take (Capitol) He's My Guy - 4:11(Gene DePaul, Don Raye) / arr: Nelson Riddle
CAPITOL EPEap 2 2864 — The Man I Love, Part 2    (1957)
CAPITOL EP(France) 4 864 — Peggy Lee [aka That's All]    (1957)
CAPITOL©EMI CS/LP(United Kingdom) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
Capitol©EMI's Axis CS/LP(Australia) Tc.Axis 6329 / Axis 6329 — Songs For My Man   (1977)
CAPITOL©EMI CD(United Kingdom) 7243 4 97143 2 8 — C'est Magnifique   (1998)
b. E 16792-4Master Take (Capitol) Something Wonderful - 3:16(Oscar Hammerstein II, Richard Rodgers) / arr: Nelson Riddle
CAPITOL EPEap 1 864 — The Man I Love, Part 1   (1957)
c. E 16793-6Master Take (Capitol) Please, Be Kind - 4:14(Saul Chaplin, Sammy Cahn) / arr: Nelson Riddle
CAPITOL EPEap 2 2864 — The Man I Love, Part 2    (1957)
CAPITOL EP(France) 4 864 — Peggy Lee [aka That's All]    (1957)
CAPITOL EP(Japan) 7EP 68 — The Man I Love   (1957)
Longines Symphonette Society Licensed LPSl 5501 — Peggy Lee / Ella Fitzgerald (Zenith Presents Encore; Great Artists Of Our Time, Volume VI)   (1972)
Alto Take: 2 Public Domain CD(United Kingdom) Aln 1907 — Fever! The Very Best Of Peggy Lee    (2008)
AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
d. E 16794-4Master Take (Capitol) The Man I Love - 3:44(George Gershwin, Ira Gershwin) / arr: Nelson Riddle
CAPITOL EPEap 1 864 — The Man I Love, Part 1   (1957)
CAPITOL EP(Japan) 7EP 68 — The Man I Love   (1957)
CAPITOL©EMI Bovema LP(Netherlands) 4C 064 82274 — Rendez-Vous With Peggy Lee   (1975)
All titles on: CAPITOL LPT 864 — The Man I Love   (1957)
World Record Club Licensed reel/LP(United Kingdom) Tt 925 [mono] /St 925 [reprocessed stereo] — The Man I Love   (1970)
CAPITOL 8-track/CS/LPDf 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill [reissue of The Man I Love, minus 2 tracks; false stereo]   (1970)




The Man I Love Album Sessions (Cross-references)

Dates: April 2, 4 and 8, 1957.


Photos

Above: two editions of the album that resulted from the sessions under discussion. The first picture shows the original American Capitol LP (T-864), issued in 1957. The second photo spotlights a 2002 CD reissue (Tocj-9467), released by EMI-Toshiba in Japan.

Below: two shots taken at these Man I Love sessions. In both shots, Peggy Lee is caught inside an isolation booth, first consulting with Nelson Riddle, then listening to Frank Sinatra. Counting almost as a fourth character (and certainly an attention grabber) is a pencil, prominently visible in both photos.


Of Blue Arrowheads and Foreign Doppelgängers

For the benefit of readers who might have not read the general explanation at the top of the page, let me redirect attention to this page's blue arrowheads, such as the one above, at the start of the line CAPITOL©EMI Bovema LP(Netherlands) 4C 064 82274 — Rendez-Vous With Peggy Lee (1975). Click on that arrowhead if you want to browse though a long list of issues containing Lee's interpretation of the song "The Man I Love." (If the arrowhead is left unclicked, only a fraction of the list is visible.)

I should also take this opportunity to explain my discographical policy for non-domestic issues, such as the Japanese compact disc which was just pictured. If you take a look at the above-given list of LPs and CDs, you will notice that, while original American LP T-864 is indeed included, Japanese CD Tocj-9467 is nowhere to be found. The reasoning behind the omission is that this sessionography focuses only on original issues and rarities. Foreign reissues have been entered only when they diverge substantially from the domestic original. (Among the "substantial divergences" which I have deemed worthy of attention: bonus tracks, alternate front covers.)

The disqualified issues have not been fully ignored, however. While they are excluded from this portion of the Peggy Lee sessionography, they actually receive coverage in some of the discography's miscellaneous pages, such as those dedicated to album pictures and foreign releases.





Personnel

1. Frank Sinatra

For her comeback to Capitol Records, Peggy Lee joined forces with longtime friend Frank Sinatra, who was then at the height of his popularity as a recording act. In these April 1957 sessions, Sinatra unofficially took on the role of producer. Officially, he was the conductor of all twelve performances, which would be gathered together in the aptly titled album The Man I Love. (That title ended up being multi-referential. It is the name of the Gershwins' standard with which the album opens. It also conveys the perspective that underlies the entire album, clearly the expression of a female deeply captivated by a male. Though not intentionally so, the album's title additionally serves as a reflection on the fondness and high esteem with which Lee held Sinatra throughout their lives. Hers was an affection built on a sense of gratitude for multiple favors and displays of kindness on his part. The affection would turn intimate for a short time span in the late 1950s, after Lee's divorce from her third husband, Dewey Martin. Afterwards, their connection remain within the realm of friendliness. Incidentally, it is not Sinatra but Martin who poses, with the back to us. in the album's front cover.)

Over the decades, press interviewers frequently queried Lee about the scope of Sinatra's involvement in these sessions. The following comments have been pieced together from various sources, including Lee's autobiography: "He was my neighbor then, and came over and said, let's do an album ... That was Frank's idea, the whole thing. It was his entire production. He came over with a list of about 40 songs, and they were all excellent songs -- gems, you know -- and said, Just choose from this ... Bill Miller [Sinatra's regular pianist] came over and set all the keys with me. Then Frank hired Nelson Riddle to write those lovely arrangements .... And then he had a beautiful orchestra. I thought that album probably would never pay for itself. But I always thought at the time, it doesn't make any difference; this is just so much fun .... And Frank did conduct ... he was following the score and he knew every note in there ... Frank thought of everything to the last detail, including putting menthol in my eyes so I'd have a misty look in the cover photograph ..." (Her reference to the album's cost stems from the fact that record labels generally charged artists for their sessions. The charges were usually retroactive. If an album did not sell, a label was won't to collect money from the artist's royalties.)

The Man I Love was Sinatra's third experience as an album conductor. His first try had been Frank Sinatra Conducts The Music Of Alec Wilder, a set of instrumentals which Columbia Records released in 1946. The opportunity that resulted in his second experience arose ten years later, when Sinatra's earned a significant amount of clout from his status as a top-selling Capitol artist and media personality. The label granted him permission to become the conductor of the very first sessions to be held at their then-brand-new recording facility, the Capitol Tower. The fruits of those sessions were released on a LP called Frank Sinatra Conducts Tone Poems Of Color (1956). It was, as its title suggests, another set of instrumentals -- not vocals. But, just one year later, Sinatra set his sight on the notion of serving as a conductor for a vocalist. His friend Peggy Lee became his target, and Capitol proved receptive to the idea.

Following the Man I Love album sessions, Ol' Blue Eyes would embark in four more conducting projects. Suitably, the Peggy Lee project was followed by a project featuring a male vocalist. In 1959, Sinatra picked up the baton for Dean Martin, another friend. (Those were Martin's Sleep Warm album sessions.)


Record Labels

1. Essex And Capitol

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

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

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


Arrangers And Arrangements

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


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

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

a. E 16799-13Master Take (Capitol) There Is No Greater Love - 3:40(Marty Symes, Isham Jones) / arr: Nelson Riddle
CAPITOL EPEap 1 864 — The Man I Love, Part 1   (1957)
CAPITOL©Toshiba-EMI CD(Japan) Tocp 7459-7460 — Peggy Lee ("Twin Best Now" Series)   (1992)
Beautiful Music Licensed CS/LP/CDBmcs/Bmclp/Bmc S21 56958 (Also Pyr 1, Pyr 2 & Pyd) — The Beautiful Music Company Presents Peggy Lee   (1993)
b. E 16800-5Master Take (Capitol) That's All - 2:55(Alan E. "Bud" Brandt, Bob Haymes) / arr: Nelson Riddle
CAPITOL EPEap 3 864 — The Man I Love, Part 3   (1957)
CAPITOL EP(France) 4 864 — Peggy Lee [aka That's All]    (1957)
Disky Licensed CD(Netherlands) Hr 883492 — Fever   (1997)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
c. E 16801-4Master Take (Capitol) Happiness Is A Thing Called Joe - 4:05(Erwin 'Yip' Harburg, Harold Arlen) / arr: Nelson Riddle
CAPITOL EPEap 3 864 — The Man I Love, Part 3   (1957)
CAPITOL©EMI CS/LP(United Kingdom) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
Capitol©EMI's Axis CS/LP(Australia) Tc.Axis 6329 / Axis 6329 — Songs For My Man   (1977)
d. E 16802-6Master Take (Capitol) The Folks Who Live On The Hill - 3:39(Jerome Kern, Oscar Hammerstein II) / arr: Nelson Riddle
CAPITOL EPEap 3 864 — The Man I Love, Part 3   (1957)
CAPITOL 45(United Kingdom) Cl 15214 — {The Folks Who Live On The Hill [not released as a single in the USA] / Mañana}   (1961)
CAPITOL©EMI 8-track/CS/LP(United Kingdom) 8x/Tc/(S)t 21141 — The Best Of Peggy Lee [=The Hits Of Peggy Lee + 5 bonus tracks]   (1968)
All titles on: CAPITOL LPT 864 — The Man I Love   (1957)
World Record Club Licensed reel/LP(United Kingdom) Tt 925 [mono] /St 925 [reprocessed stereo] — The Man I Love   (1970)
CAPITOL 8-track/CS/LPDf 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill [reissue of The Man I Love, minus 2 tracks; false stereo]   (1970)




The Man I Love Album Sessions (Cross-references)

Dates: April 2, 4 and 8, 1957. Scan above: a trade review, published on The Cash Box.


Issues

1. The Man I Love In Stereo? [LP, CD]
The album The Man I Love was originally issued as a monophonic LP. No true stereo counterpart has ever been released. However, reissues in re-processed or electronically channeled stereo did make appearances during the LP era. EMI itself (Capitol's parent company) can be counted among the labels which resorted to "fake stereo" (see 1970 Capitol/EMI albums listed above). So did the World Record Club, a British-Australian mail label with ties to EMI.

In Japan, two Toshiba-EMI editions erroneously advertised themselves as stereophonic releases. The earliest of them was Ecj 50063, a 1982 LP which shows the word "stereo," in uppercase, on the physical label of its vinyl. The second was Tocj Cp 32 5356, a 1990 CD that is probably a straight reissue of the 1982 LP. The incorrect self-identification as stereo can be found on both the compact disc itself and its back cover.

Such false bits of advertisement from Japanese EMI were probably unintentional. (I do not know how the error started and evolved, but I can certainly speculate. The makers of the Toshiba-EMI LP could have become confused when they looked at Capitol's internal database, where electronically processed LPs must be listed. A Toshiba-EMI officer might have misread the data, mistaking such "fake stereo" entries for real stereo albums. Or, perhaps, a Toshiba-EMI unwisely took for granted that a Capitol LP from 1957 had to be in stereo. If the Japanese officers received data from American officers, there is also the possibility of error during data transmission, or from the American side of the equation.) In any case, some listeners of the 1990 CD and/or the 1982 LP have convinced themselves that they are listening to stereo. Their misconception is understandable -- and not just because of the erroneous claim. So brightened and amplified is the sound quality of Japanese issues that, during a casual listening, one could easily fall under the false impression that the reproduction is stereophonic.

2. Stereo Taping?
Should we then conclude that Capitol's engineers taped the The Man I Love sessions in mono only? Or could it be that these 1957 sessions were originally recorded in stereo as well? At the present time, there is no definitive answer to such questions. Granted that all issued editions of The Man I Love are in either mono or fake stereo, the possible existence of unissued stereophonic tapes must not be discarded. A couple of insiders with access to the Capitol vaults have confidently claimed seeing and even holding in their hands tapes that were labeled as stereophonic. Their sightings happened decades ago, before Capitol's tape library was removed from several storage places into one large non-Capitol business facility. In the process, computerized inventory listings were created, and the old filing systems were discarded. Recent vault searches have not succeeded in locating any stereo items, but it should be noted that such searches have to rely on the computerized listings, which are known to have errors. The tapes could thus be misfiled, and hence currently lost in a vast vault. By the same token, the insiders who claimed to have sighted them could have been mistaken, although my personal belief is that they were not.

It is worth adding that, chronologically, there is no objection to the possible existence of stereophonic Man I Love tapes. Capitol's own earliest stereo date took place four months before these April 1957 sessions. It was a Nat King Cole session, dated December 19, 1956. Through 1957 and 1958, the company followed an experimental, inconsistent approach on this matter: some Capitol sessions were recorded in mono only, while others were treated to both mono and stereo, irrespective of the artist involved. (For instance, a few of of Cole's subsequent sessions were exclusively in mono, the others in both stereo and mono.)

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

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

The catalogue number of the 2LP set is Sttb 517. In this so-called set, the two albums are precariously held together with an adhesive sticker. Approximately 3" by 1", the sticker is placed around the albums' spines. (The companion LP is Broadway Ala Lee, an abridged reissue of Latin Ala Lee!, another Peggy Lee original album. See notes under session dated August 13, 1959.)


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

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

a. E 16815-12Master Take (Capitol) If I Should Lose You - 2:24(Ralph Rainger, Leo Robin) / arr: Nelson Riddle
CAPITOL EPEap 2 2864 — The Man I Love, Part 2    (1957)
CAPITOL EP(Japan) 7EP 68 — The Man I Love   (1957)
CAPITOL 8-track/CS/LPDf 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill [reissue of The Man I Love, minus 2 tracks; false stereo]   (1970)
Beautiful Music Licensed CS/LP/CDBmcs/Bmclp/Bmc S21 56958 (Also Pyr 1, Pyr 2 & Pyd) — The Beautiful Music Company Presents Peggy Lee   (1993)
CAPITOL CS/CD7243 8 28533 4 3 — Spotlight On... Peggy Lee ("Great Ladies And Gentlemen Of Song" Series)   (1995)
b. E 16816-9Master Take (Capitol) Then I'll Be Tired Of You - 2:31(Erwin 'Yip' Harburg, Arthur Schwartz) / arr: Nelson Riddle
CAPITOL EPEap 2 2864 — The Man I Love, Part 2    (1957)
CAPITOL EP(France) 4 864 — Peggy Lee [aka That's All]    (1957)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
Big3 Public Domain CDBt 3039 — Peggy Lee ("The Absolutely Essential CD Collection" Series)   (2011)
c. E 16817-2Master Take (Capitol) Just One Way To Say I Love You - 2:53(Irving Berlin) / arr: Nelson Riddle
CAPITOL EPEap 1 864 — The Man I Love, Part 1   (1957)
CAPITOL EP(Japan) 7EP 68 — The Man I Love   (1957)
d. E 16818-4Master Take (Capitol) My Heart Stood Still - 2:47(Richard Rodgers, Lorenz Hart) / arr: Nelson Riddle
CAPITOL EPEap 3 864 — The Man I Love, Part 3   (1957)
CAPITOL 8-track/CS/LPDf 518 (Twofer: 8xf/4xf/Stbb 517) — The Folks Who Live On The Hill [reissue of The Man I Love, minus 2 tracks; false stereo]   (1970)
Beautiful Music Licensed CS/LP/CDBmcs/Bmclp/Bmc S21 56958 (Also Pyr 1, Pyr 2 & Pyd) — The Beautiful Music Company Presents Peggy Lee   (1993)
All titles on: CAPITOL LPT 864 — The Man I Love   (1957)
World Record Club Licensed reel/LP(United Kingdom) Tt 925 [mono] /St 925 [reprocessed stereo] — The Man I Love   (1970)
CAPITOL©EMI's Music For Pleasure LP(Australia/United Kingdom) Mfp 8094 — Peggy Lee [Reissue of The Man I Love; issued with 2 different covers]   (1970)




The Man I Love Album Sessions (Cross-references)

Dates: April 2, 4 and 8, 1957.


Photos

Above: A Capitol 2-LP set called Spectacular! (Pro 363 - Pro 366), promoting the label's album releases for the 1957 month of August. This set includes two Peggy Lee renditions, "Then I'll Be Tired Of You" and "If I Should Lose You," both of them recorded at the date presently under discussion.

Down below: A Capitol trade ad promoting the same batch of album releases. For further details, read the next paragraphs.


Issues

1. The Album The Man I Love [LP] In The Trade Press And In The Music Charts
An article in the August 3, 1957 issue of Cash Box magazine proclaimed that "Capitol August LP Release Intros 26 New Hi-Fi Packages." The article's first paragraph added that this new Capitol batch, "which [had] hit the nation's stores last week July 22," consisted of "26 new high fidelity albums for August, including initial packages for the label by Leopoldo Stokowski, Fred Waring, Trudy Richards, The Merry Macs, England's Ron Goodwin, and the first LP since her return to Capitol after a five year absence by Peggy Lee."

Capitol August Spectacular was the promotional name with which Capitol baptized this 1958 batch of releases. The tag line can seen in the ad below, originally published on Billboard magazine. A different ad, published on Cash Box magazine, made clear that some of the LPs were also available in EP configuration. In the case of The Man I Love, there were three of such EPs, each containing four of the LP's twelve tracks.

The Man I Love enjoyed favorable press reviews. In its August 1957 issue, Billboard published the following critical reaction to the album: "[t]his represents a powerful outing for the fine trushing of Peggy Lee. The romantic ballads get that wonderful, well-controlled, bluesy huskiness as its best. As if that weren't enough, the package lists Frank Sinatra as conductor of the big strings and woodwind line-up with arrangements by Nelson Riddle. Little more of merchandising value could be asked. Cover of Miss Lee being embraced by a friend is also a stopper. Bound to get good disc jockey support and the word would be to go on this."

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






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

Peggy Lee (ldr), David Klein (om), Nelson Riddle (con), John "Plas" Johnson (sax), Robert "Bob" Bain, Jack Marshall (g), George "Red" Callender (b), Ray Sherman (p), Roy Harte, Raymond Martinez (d), Peggy Lee (v), The Modern Men (Tony Katics, Al Oliveri, Paul Salamunovich, Bob Smart) (bkv)

a. 16840-14Master Take (Capitol) Every Night - 2:32(Scott J. Johnson, Jr., Ronie Rae, Ed Townsend) / arr: Nelson Riddle
CAPITOL 45F 3722 — {Baby, Baby, Wait For Me / Every Night}   (1957)
World Record Club Licensed reel/LP(United Kingdom) Ttp/Tp 352 — The Fabulous Miss Lee   (1963)
Marginal Bootleg CD(Belgium) Mar 068 — Extra Special!   (1997)
b. 16841-rejectedMaster Take (Capitol) Uninvited Dream(Burt Bacharach, Sammy Gallop) / arr: Nelson Riddle
unissued
c. 16842-rejectedMaster Take (Capitol) Baby, Baby, Wait For Me - 2:23(Joseph Davis Hooven, Marilyn K. Hooven) / arr: Nelson Riddle
DRG CD97484 — JUMP FOR JOY   (2009)
American Jazz Classics Public Domain CD(Spain) Ajc 99136 — The Nelson Riddle Sessions   (2017)






The Singles Sessions With Nelson Riddle (Cross-references)

Dates: April 13 and 22, 1957. August 30, 1957.


Issues, Masters And Cross-references

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

2. "Every Night"
For another master of "Every Night," see session dated April 22, 1957. (That second master is not listed in Capitol's Peggy Lee session file, but it does show up in Capitol's master inventory. This fact was discovered in 2008, )

3. "Uninvited Dream"
In Capitol's files, this master of "Uninvited Dream" is labeled as rejected. Capitol and Lee proceeded to remake it one week later, on April 22. They made it yet again, for a third and final try, on August 30, 1957.

4. "Baby, Baby, Wait For Me"
This session's version of "Baby, Baby, Wait For Me" was also branded as 'rejected' in Capitol's files, and also remade in the next session (April 22, 1957). According to Capitol's documentation, the remake was the version issues on the single (#3722).

Notwithstanding the "rejected" branding of this April 13 version, no defects or errors are audible in the master. Hence it was satisfactorily mixed to stereo in 2008, and finally released to the public in 2009.

5. The Stereo Report
This session was simultaneously recorded on both two-track and three-track machines. The resulting single (Capitol #3722) was released as a monophonic item only.

Taking advantage of the availability of the three-track master, modern-day engineers have remixed two of the performances to stereo. One of the them is "Every Night" (the same master which was originally issued on the monophonic single). A stereo remix was prepared for inclusion in the 2000 Capitol CD Rare Gems And Hidden Releases. That stereo remix is also found in the other two main CDs listed above: Collectors' Choice's All Aglow Again! (2008; licensed) and Fantastic Voyage's Ridin' High (2010; Public Domain).

Th other master that has been mixed to stereo is "Baby, Baby, Wait For Me." The remade was made for inclusion on the 2009 DRG CD edition of Jump For Joy. It has also been appropriated by the makers of the above-listed 2010 Public Domain CD.

As for the remaining master ("Uninvited Dream"), the above-shown database indicates that it remains not unissued, let alone unmixed.

6. Possible Master/Issue Errors In The Official Paperwork
For a discussion on the possibility that this session's supposedly unissued master ("Uninvited Dream") is actually the one that has ben belatedly remixed and issued in the CD era, consult my supplementary page to these 1957 singles sessions.


Personnel

1. The Modern Men
Heard on these masters is a male chorus whose name is not revealed in Capitol's documentation -- or anywhere else, for that matter. My identification of the group as The Modern Men is based on an aural comparison between these performances and a few others which are officially credited to that group. The credit should thus be deemed tentative.

George Hewitt, author the Margaret Whiting Discography, is to be thanked for being first in propose that this group is very likely to be the one backing Whiting and also Lee, in their respective doo-wop numbers, from February and April 1957.

Though tonally similar to the Hi-Lo's and the Four Freshmen, this quartet was essentially an offshoot of the Roger Wagner Chorale. Their entry to Capitol's studios happened thanks to Stan Kenton, who recruited them primarily for his 1957 album Kenton With Voices. In addition to working with him at the Tower from January through late March, they also appeared in concert with the bandleader some six or seven months later, at his Rendezvous Ballroom engagement (Balboa Beach). The group probably dissolved shortly afterwards. (They had been coldly received in jazz circles, and Kenton's patronage was not everlasting.)

Bob Smart usually sang leads. Paul Salamunovich is nowadays the best known of the group's members. He went on to have a steady career in the field of sacred music, working as both a choral conductor (becoming the music director of the Los Angeles Master Chorale in the 1990s) and an academician of note (his specialty being Gregorian chant).


Songwriters

1. Ron(n)ie Rae
2. "Every Night"
Capitol 45-rpm single #3722 ("Every Night" / "Baby, Baby, Wait For Me") lists only Scott Johnson and Ed Townsend as the songwriters of "Every Night." My sources for the songwriting credit to Ronnie Rae are BMI and The Library of Congress. On a separate note, I should also point out that Rae's first name can be found under two spellings. It is spelled as 'Ronnie' at the Library of Congress, as 'Ronie' at BMI.


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

Peggy Lee (ldr), Voyle Gilmore (pdr), John "Plas" Johnson (sax), Al Hendrickson, Jack Marshall (g), Max K. Bennett (b), Lou Levy (p), Roy Harte (d), Peggy Lee (v), The Modern Men (Tony Katics, Al Oliveri, Paul Salamunovich, Bob Smart) (bkv)

a. 16860Master Take (Capitol) Every Night(Scott J. Johnson, Jr., Ronie Rae, Ed Townsend)
unissued
b. 16861Master Take (Capitol) Uninvited Dream - 2:30(Burt Bacharach, Sammy Gallop)
CAPITOL©EMI CD7243 5 39756 2 3 — THE SINGLES COLLECTION   (2002)
American Jazz Classics Public Domain CD(Spain) Ajc 99136 — The Nelson Riddle Sessions   (2017)
c. 16862-10Master Take (Capitol) Baby, Baby, Wait For Me - 1:56(Joseph Davis Hooven, Marilyn K. Hooven)
CAPITOL 45F 3722 — {Baby, Baby, Wait For Me / Every Night}   (1957)
CAPITOL EPEap 1 1052 — Fever   (1958)
Collectors' Choice Licensed CDCcm 921 2 — ALL AGLOW AGAIN!   (2008)
Future Noise's Fantastic Voyage Public Domain CDFvtd 043 — Ridin' High; The Complete Record Releases, 1957-1959   (2010)
Armed Forces Radio Service 16" Transcription DiscP 5365 - P 5356 — Basic Music Library [4 Peggy Lee vocals]   





The Singles Sessions With Nelson Riddle (Cross-references)

Dates: April 13 and 22, 1957. August 30, 1957.


Recording Session (Cross-references)

Session #4980 was dedicated to re-recording numbers that had been initially tried during session #4960. The precise reason why all three numbers were re-recorded remains unknown. No significant aural shortcomings are apparent in the April 13, 1957 masters which have been issued.

Nelson Riddle had conducted the earlier session. He did not attend this remake date, however. In addition to Riddle's absence, there were other significant differences. Most notably, members of Peggy Lee's own rhythm section -- specifically, her bassist and her pianist -- joined the few musicians who were returning from the previous session.

The motivation behind Lee's or her producer's decision to make this date remains unknown. One noticeable difference is the swapping of musicians for regular members of Lee's own rhythm section (Bennett, Levy). While the swapping could have stemmed merely from a matter of availability (or lack thereof), it could also be indicative of a desire to perform the numbers in a manner to which Lee's pianist and bassist would have been more amenable.

When it comes to aural comparison of the performances from these two April 1957 sessions, we can only rely on "Baby Baby Wait For Me." (Reason: two of the other four masters remain unissued, and thus unauditioned.) This April 22 version is slightly faster and longer in timing (about thirty seconds more) than the earlier one. The April 13 version gives a more prevalent role to the background vocal chorus, especially during the song's intro. [Addendum, April 30, 2018: thanks to YouTube lister Keoki82, both versions can now be heard, back to back, here.]

It could perhaps be argued that the earlier session was more in keeping with Nelson Riddle's approach, this session more attuned to Peggy Lee's preferences. However, for the time being, I cannot think of any solid evidence to support such an argument.

Four months later (August 30, 1957), Nelson Riddle came back for another singles session with Peggy Lee, bringing with him a full orchestra. On that date, new numbers were recorded. (With one exception: "Uninvited Dream" enjoyed its third incarnation.)


Personnel

1. Voyle Gilmore
My identification of Gilmore as this session's producer should be deemed tentative. The identification is solely based on the fact that his name is on the session's AFM report. His signature is found in a line in the document. The line's text reads "accepted by employer."

2. The Modern Men
My identification of The Modern Men as the male chorus heard on these masters is tentative. For a longer explanation, see personnel notes under session dated April 13, 1957.


Masters, Issues And Cross-references

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

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

Mysteriously, this session's "Every Night" (master #16860) is not listed in the Capitol session files at my reach. It is listed, however, in the Capitol Label Discography compiled by Michel Ruppli, Bill Daniels, and Ed Novitsky, with assistance from Michael Cuscuna. It is also listed on a Capitol inventory of master tapes.

3. "Uninvited Dream"
Peggy Lee tackled "Uninvited Dream" on three dates, including the present one. For the other two versions, see sessions dated April 13 and August 30, 1957. The earliest rendition (April 13) remains unreleased, and I have no additional details about it. The last rendition (August 30) was the one which Capitol originally issued on a 45-rpm single (#3811).

This session's version (master #16861) is identified in Capitol's files as rejected. It was, however, released belatedly (2002).

Listeners should be easily able to distinguish between the two released masters. They are performed in very different musical styles. The rendition from the present session is a doo-wop piece; the August 30 version (i.e., the original release on 45 rpm) is sung as a ballad. [Addendum, April 30, 2018: thanks to YouTube lister Keoki82, both versions can now be heard, back to back, here.]

4. Possible Master/Issue Errors In The Official Paperwork
This discography has a supplementary page about Lee's 1957 singles sessions. I created that page to voice my doubts about the full accuracy of the documentation at my reach. When it comes to Lee's three 1957 singles sessions, I suspect that the otherwise reliable Capitol documentation suffers from a few mistakes. In the particular case of "Uninvited Dream," I have entertained the possibility that the April 13 and 22 versions have been wrongly swaped in the company's paperwork.

I should clarify that I have not "acted upon" my above-expressed doubts. In this session (as well as the preceding one and the ensuing one), the details about "Uninvited Dream"" are presented as they are found in Capitol's files.

4. The Singles Collection [CD Set]
5. "Uninvited Dream" In Stereo
As already mentioned, Capitol originally issued the August 30, 1957 version of "Uninvited Dream" on a monophonic single. The version dated April 22 is listed in Capitol's files as rejected.

In 2002, the rejection decree was rescinded -- though not on purpose. Master 16861 was incorporated to The Singles Collection. The team involved in the making of that collection wrongly thought that they were including the version heard in the single.

If we leave aside the matter of the unintentional dissemination of wrong data, fans of Peggy Lee should consider this error a felicitous one. A second version of "Uninvited Dream" wounded up being released from the vaults, where it might have otherwise stayed. Better yet, it is an interpretation entirely different from that of the original single (i.e., doo-wop instead of ballad), and in different sound reproduction (i.e., stereo instead of mono).

Less fortunate was the fact that this production error led to the publication of inaccurate data in the discographical details that I prepared for the booklet of The Singles Collection. Operating under the mistaken assumption that the version to be included was the one originally on 45-rpm disc, I supplied information that pertained to the single, not to this previously unissued version. (The error obviously found on the original pressing. I was told that the necessary corrections would be made in subsequent pressings of the set.)


The Mysterious "I'm Following You" Master

Listed in a Capitol inventory of Peggy Lee tapes is a song titled "I'm Following You," bearing master number 16596 and recorded on June 14, 1957. A look at the Capitol Label Discography by Michel Ruppli et al reveals that master #16596 is from a session (#6082), and that it remains unissued. This session is not credited to Peggy Lee, however, but to an act known as The Four Dolls.

The other two resulting masters from session #6082 ("Three On A Date" and "So Proud Of You") were issued on Capitol single #3766. Online, I have actually come across scans of this 45-rpm disc. Its physical label bears the legend "promotional debut record," and the performers are indeed identified as The Four Dolls. (This act is unknown to me. While researching it, I have come across only one brief description of them as "a teenage girl group.") Credited with conducting the two numbers on the single is a man who, at this time, had just begun working with Peggy Lee on a regular basis: Jack Marshall.

It thus appears that an unissued number from a session by The Four Dolls has been erroneously listed among Peggy Lee's masters. Then again, we should not completely discount the (admittedly slim) possibility that a Peggy Lee master has been wrongly misplaced in a session by The Four Dolls, or even that Peggy Lee could have accompanied The Four Dolls as a guest performer. Before a definitive conclusion can be offered, actual listening of the "I'm Following You" master is obviously necessary.


The Undated 1957 Photo Sessions




The two photos seen above come from a 1957 Peggy Lee session for Capitol Records. Further specifics remain unclear. In the absence of any other leading clues, we can only assert that these photos could have been taken at any of Lee's 1957 record dates. Here is a list of her Capitol dates from that year:

-- April 2, 4, 8 (The Man I Love sessions)
-- April 13 & 22; August 30 (the singles sessions)
-- (December 5 & 20 (the Jump For Joy sessions)

For two reasons, August 30, 1957 is the strongest candidate. First, there is the fact that one of these photos was published on a December 1957 magazine issue. If the magazine actually came out in early December, or even late November, then August 30 would be the recording date closest to the magazine's publication.

Second: the published photo bears a caption promoting Capitol single 3811. The two masters on that single, "Listen To The Rocking Bird" and "Uninvited Dream," were both recorded during Lee's August 30, 1957 session. (Note, however, that the caption does not state if the photo is from that session -- or, for that matter, from any particular session.)

As for the viability of the other candidates, the sessions from December 5 and 20 should be deemed the least likely suspects. It stands to reason that any photos published on a December 1957 issue were taken weeks before the publication's date -- and thus earlier than any sessions held on that month. (Still, these possibilities cannot be discarded yet. Contrary to expectations, the magazine could have been published, after all, at a very late date in December.)


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

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

a. 17424-6Master Take (Capitol) Listen To The Rocking Bird - 2:13(Alice Hawthorne aka Septimus Winner, Hal Levy, Richard "Whistling Dick" Milburn) / arr: Nelson Riddle
CAPITOL 45F 3811 — {Listen To The Rockin' Bird / Uninvited Dream}   (1957)
CAPITOL EPEap 1 1052 — Fever   (1958)
CAPITOL©EMI's Odeon CS/LP(Argentina) 106083 — Peggy Lee ("Elegidos/Personalidades" Series)   (1979)
b. 17425-7Master Take (Capitol) It Keeps You Young - 2:30(Larry Coleman, Charles Singleton) / arr: Nelson Riddle
CAPITOL's Starline reel/LPT 1366 — All Aglow Again!    (1960)
CAPITOL©EMI's Pathé Marconi CS/LP(France Pm 156 554 4/1) & (UK Eg 26 0605 4/1) — All Aglow Again! ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
Collectors' Choice Licensed CDCcm 921 2 — ALL AGLOW AGAIN!   (2008)
DRG CD97483 — THE MAN I LOVE   (2009)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 606 — All Aglow Again!   
c. 17426-9Master Take (Capitol) Uninvited Dream - 2:02(Burt Bacharach, Sammy Gallop) / arr: Nelson Riddle
CAPITOL 45F 3811 — {Listen To The Rockin' Bird / Uninvited Dream}   (1957)
World Record Club Licensed reel/LP(United Kingdom) Ttp/Tp 352 — The Fabulous Miss Lee   (1963)
Collectors' Choice Licensed CDCcm 921 2 — ALL AGLOW AGAIN!   (2008)
DRG CD97483 — THE MAN I LOVE   (2009)
Future Noise's Fantastic Voyage Public Domain CDFvtd 043 — Ridin' High; The Complete Record Releases, 1957-1959   (2010)
Armed Forces Radio Service 16" Transcription DiscP 5999 - P 6000 — Basic Music Library [LP Jump For Joy + 2 songs from 1 single]   
d. 17427-LOSTMaster Take (Capitol) You Don't Know(Walter Spriggs) / arr: Nelson Riddle
unissued






The Singles Sessions With Nelson Riddle (Cross-references)

Dates: April 13 and 22, 1957. August 30, 1957. (For other singles sessions in this page, look up the following dates: May 19 and September 14, 1958. October 10, 1959. Naturally, the album sessions also include songs that were released on singles.)


Masters

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

2. "Uninvited Dream"
For two other versions of "Uninvited Dream" (one first issued during the CD era, another still unissued), see sessions dated April 13 and 22, 1957. The issued versions are easy to distinguish because their musical backings are markedly different from one another. Also, this session's version (released in the original 45-rpm single) was recorded in mono only, whereas the version from April 22, 1957 comes from a multi-track tape, and was mixed to stereo. [Addendum, April 30, 2018: thanks to YouTube lister Keoki82, both versions can now be heard, back to back, here.]

3. Possible Master/Issue Errors In The Official Paperwork
For commentary about the possibility of errors in the dating of the various masters of "Uninvited Dream" (primarily the earlier ones, rather master 17426), read my comments in this supplementary page to the 1957 sessions.





Issues

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

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


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

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

a. 18041-7Master Take (Capitol) Just In Time - 2:50(Jule Styne, Betty Comden, Adolph Green) / arr: Nelson Riddle
CAPITOL EPEap 1 979 — Jump For Joy   (1958)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
b. 18042-10Master Take (Capitol) Music! Music! Music! - 2:30(Bernie Baum, Stephen Weiss) / arr: Nelson Riddle
CAPITOL EPEap 1 979 — Jump For Joy   (1958)
Disky Licensed CD(Netherlands) Hr 883492 — Fever   (1997)
Armed Forces Radio Service 16" Transcription DiscP 5999 - P 6000 — Basic Music Library [LP Jump For Joy + 2 songs from 1 single]   
c. 18043-17Master Take (Capitol) Back In Your Own Back Yard - 2:26(Dave Dreyer, Al Jolson, Billy Rose) / arr: Nelson Riddle
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
Armed Forces Radio Service 16" Transcription DiscP 5999 - P 6000 — Basic Music Library [LP Jump For Joy + 2 songs from 1 single]   
d. 18044-15Master Take (Capitol) When My Sugar Walks Down The Street - 1:58(Gene Austin, Jimmy McHugh, Irving Mills) / arr: Nelson Riddle
CAPITOL EPEap 1 979 — Jump For Joy   (1958)
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
CAPITOL (10") LP(Japan) Olp 10 — Jump For Joy   
Armed Forces Radio Service 16" Transcription DiscP 5999 - P 6000 — Basic Music Library [LP Jump For Joy + 2 songs from 1 single]   
All titles on: CAPITOL LP(S)t 979 — Jump For Joy   (1958)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 524 — Jump For Joy   (1966)
World Record Club Licensed LP(Australia) Lm 87 — Jump For Joy   (1966)




The Jump For Joy Album Sessions (Cross-references)

Dates: December 5 and December 20, 1957. January 3, 1958. Photos above: original Capitol US LP T-979 (1958) and one of its several Japanese issues, Capitol LP Ecs 80167 (1975).


Arrangements

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


Masters

1. Alan Silverman
2. Jump For Joy
3. "Just In Time"
On July 27, 2013, mastering engineer Alan Silverman gave a talk at the Fourth Annual Capital Audiofest, a three-day symposium geared toward serious music audiophiles. Silverman's talk concentrated on his experiences working with the master tapes of Jump For Joy, which he remixed and remastered for DRG's CD edition of the album. At the original time of this writing (September 2013), the full talk was available on YouTube in the form of three video clips, of which the second contained the bulk of the engineer's commentaries about the album. That second clip is no longer available, but the other clips do remain viewable as of March 2018. Near the beginning of the third clip, Silverman plays the full master take #18041-7 ("Just In Time," from the present session), including a fleeting but welcome bit of rehearsal and studio talk.


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

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

a. 18084-9Master Take (Capitol) I Hear Music - 2:07(Burton Lane, Frank Loesser) / arr: Nelson Riddle
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
Harmony Collection Licensed CS/CD(United Kingdom) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
b. 18085-3Master Take (Capitol) Old Devil Moon - 2:58(Erwin 'Yip' Harburg, Burton Lane) / arr: Nelson Riddle
Harmony Collection Licensed CS/CD(United Kingdom) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL©EMI CD(United Kingdom) 7243 5 32580 2 3 — Peggy Lee Sings The Standards   (2001)
Not Now Music Public Domain CD(United Kingdom) Not2cd 698 — Cheek To Cheek; Frank Sinatra & Peggy Lee   (2018)
c. 18086Master Take (Capitol) What A Little Moonlight Can Do - 2:41(Harry Woods) / arr: Nelson Riddle
CAPITOL©EMI LP/CD(Australia) Tc Sca 082/Cdmid 166224 [CD rel. in 1984] — Peggy Lee ("20 Golden Greats" Series)    (1982)
All titles on: CAPITOL LP(S)t 979 — Jump For Joy   (1958)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 524 — Jump For Joy   (1966)
World Record Club Licensed LP(Australia) Lm 87 — Jump For Joy   (1966)




The Jump For Joy Album Sessions (Cross-references)

Dates: December 5 and December 20, 1957. January 3, 1958. Scan above: Trade reviews, published on The Cash Box and The Billboard.


Masters

1. Unissued Or Unused Master?
I am wondering if a fourth master was planned and attempted at the present session, but ultimately erased. To better present my point, a detailed explanation ensues.

This Peggy Lee session (#6457) was the first of several artist dates recorded by Capitol on December 20, 1957. Vocalist Gordon MacRae was featured on that day's second session. While Lee was in the process of recording her LP Jump For Joy, MacRae was in the process of recording his In Concert (a studio album, despite its deceptive title).

Album sessions customarily produced four masters. (Exceptions are, admittedly, easy to find. Nevertheless, I am referring to what was the standard procedure.) MacRae's session #6458 fulfilled expectation by producing four masters (#18088 to #18091). Not so, in the case of Lee's session #6457. The company files show it as generating only three masters (#18084 - #18086).

Between these Lee and MacRae sets of masters, there is one numerical gap. Who and what was recorded on master #18087? The answers to these questions might or might not be "nothing" and "nobody." In the Capitol Label Discography, Michel Ruppli et al state that there is "no information about master #18087."

The number thus appears to have been left unused. Given such a state of affairs, we can reasonably arrive at this final assumption: master 18087 was intended for use at the Peggy Lee date.

We could also elaborate further, even if we have now crossed into the perilous terrain of speculation. Suffice it to present just two possible scenarios. One: at the session, Lee could have recorded a fourth song, to which master #18087 would have been assigned. At some point later on, dissatisfaction with the master quality would have been voiced. Ultimately, the taped performance would have been discarded, and its number dropped from the written record.

Two: the session's other three masters could have taken longer to record than planned, leaving the participants with no time to cover an intended fourth performance. This second scenario comes off as a particularly sensible, easy-to-picture one, of course.

It is worth noting that Peggy Lee's next date (January 3, 1958) atypically produced five instead of the customary four masters. One of those five masters probably compensated for the one "missing" from the present session. Tellingly, the fifth master (#18158) carries a substantially higher number than the others.


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

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

a. 18128-7Master Take (Capitol) Ain't We Got Fun - 2:10(Raymond Egan, Richard Whiting, Gus Kahn) / arr: Nelson Riddle
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL (10") LP(Japan) Olp 10 — Jump For Joy   
b. 18129-9Master Take (Capitol) The Glory Of Love - 2:37(Billy Hill) / arr: Nelson Riddle
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL (10") LP(Japan) Olp 10 — Jump For Joy   
c. 18130-19Master Take (Capitol) Jump For Joy - 2:07(Duke Ellington, Sid Kuller, Paul Francis Webster) / arr: Nelson Riddle
CAPITOL EPEap 1 979 — Jump For Joy   (1958)
CAPITOL LP(Japan) Ecs 65039/65040 — Peggy Lee ("Golden Double 32" Series)   (1976)
CAPITOL©EMI Publishing House CDMp Aw 11/05 — The EMI Songs Collection ("Great Singers Sing Great Songs," Volume 4: Peggy Lee)   (2005)
CAPITOL (10") LP(Japan) Olp 10 — Jump For Joy   
CAPITOL©Toshiba-EMI LP(Japan) Cp 8215 — This Is! Peggy Lee ("Jazz Vocal Best" Series)   
d. 18131-17Master Take (Capitol) Cheek To Cheek - 2:37(Irving Berlin) / arr: Nelson Riddle
Harmony Collection Licensed CS/CD(United Kingdom) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
CAPITOL©Toshiba-EMI CD(Japan) Tocp 7459-7460 — Peggy Lee ("Twin Best Now" Series)   (1992)
CAPITOL©EMI's Music For Pleasure CS/CD(United Kingdom) 7243 8 56805 2 6 [also Mfp 6342] — The Very Best Of Peggy Lee [tracks same as EMI Presents The Magic, diff. artwork]   (1997)
e. 18158Master Take (Capitol) Four Or Five Times - 2:33(Byron Gay, Marco H. Hellman) / arr: Nelson Riddle
All titles on: CAPITOL LP(S)t 979 — Jump For Joy   (1958)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 524 — Jump For Joy   (1966)
World Record Club Licensed LP(Australia) Lm 87 — Jump For Joy   (1966)




The Jump For Joy Album Sessions (Cross-references)

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


Issues And Dating

1. Original Release Year Of Jump For Joy [LP]
The original release date of Jump For Joy is not disclosed in the Capitol files that I have consulted. Some secondary sources claim that it was originally issued in 1959. Such source are misleading. Extant trade ads prove that the album was part of Capitol's batch of releases for April of 1958. As further evidence, there are album reviews dating from 1958 (April 19 in Cash Box, May 5 in Billboard, September 1958 on a British publication). Still further, the LP was pictured on the September 8, 1958 issue of Life magazine, as part of an advertisement of Capitol's mail record club. See also point #4 below, which provides an explanation for the misplaced claims of a 1959 original LP issue.

2. The Album Jump For Joy In The Trade Press
As seen in the ad pictured above, Capitol's batch of April 1958 releases was promoted under the playful rubric Hi-Fiesta. The batch consisted of 31 LPs, which variously fell under the following categories: pop (14), and classical (11), international (6). The ad gives pride of place to the Danny Kaye, Peggy Lee, and Frank Sinatra items. [The latter, a compilation, marked Capitol's twelfth Sinatra issue. Among the other releases from the Hi-Fiesta bonanza were Bob Bain's first album for the label, Rockin' Rollin' Strollin'].

3. The Album Jump For Joy In The Music Charts
After entering Billboard's Best-Selling Pop LPs chart on the week of July 14, 1958, this long play spent five weeks in the countdown. It peaked at #15.

4. Release Date For The Stereo LP Edition Of Jump For Joy
The mono and stereo editions of Jump For Joy were not issued simultaneously. The monophonic edition (T-979) came out in April 1958, while the stereophonic counterpart (ST-979) had its official release date on March 16, 1959.

Lack of full knowledge on the matter has misled several secondary sources into believing that both the mono and stereo editions of the album came out in 1959. A similar error of judgment applies to some sources' information about Lee's next release on LP, Things Are Swingin'. (See notes below, under session dated May 19, 1958.)

5. Capitol's Early Stereo Tapes
From 1957 to mid-1958, Capitol released a series of two-track stereo tapes. Material for the series was culled from albums which were contemporaneously recorded in not only mono but also stereo. The album Jump For Joy falls during this period, and it was certainly recorded in both mono and stereo. Nevertheless, no stereo tape of was ever issued. (As already stated, the album had to wait until 1959 for its first stereophonic outing.) For more elaborate commentary on this subject, consult notes under session dated May 19, 1958.

6. Capitol's Stereo LPs
Capitol's very first batch of stereophonic LPs arrived at record stores around the country in August of 1958. A steady supply of new titles in stereo continue to appear on each subsequent month of that year. In addition to soundtracks and classical music, there were releases by acts such as Nat King Cole, Stan Kenton, George Shearing, and Frank Sinatra. Incidentally, not one single female act was incorporated to this entire series of 1958 stereo LPs. The women would have to wait until the following year, during which the steady flow of Capitol stereophonic vinyl continued unabated.

In 1959, Capitol Records also embarked on a side project: the re-release of some of its more marketable albums from the previous years, this time in stereo. Those were popular albums which had been hitherto issued only in monophonic sound, despite having been simultaneously recorded in both mono and stereo. The stereo edition of Jump For Joy can be counted among the outcomes of this side project. (Another one for the count is Frank Sinatra's Where Are You?. Mono release: September 1957; stereo release: February 1959).

I do not know which female Capitol singer held the honor of having the first stereo album at that label. The primary candidates are Mavis Rivers, Judy Garland, June Christy and, with Jump for Joy, Peggy Lee. If Lee's stereo album came out on March 16 (as speculated a few paragraphs above), then Jump For Joy might indeed predate the releases of Garland's The Letter, Rivers' Take A Number, and June Christy Recalls Those Kenton Days.

7. Cross-references
To further contextualize the various points made in the preceding paragraphs, I am planning to prepare an overview of Capitol's early stereo days. For the time being, you can also find some topical information in sections XXI and XXII of the discography's essay about the song Fever.


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

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

a. 19142-6Master Take (Capitol) Things Are Swingin' - 2:10(Peggy Lee, Jack Marshall) / arr: Jack Marshall
CAPITOL EPEap 1 1049 — Things Are Swingin', Part 1 {aka It's A Wonderful World}   (1958)
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL 45(United Kingdom) Cl 15103 — {Things Are Swingin' [not released as a single in the USA]/ You Deserve}    (1959)
b. 19143-11Master Take (Capitol) Lullaby In Rhythm - 2:14(Benny Goodman, Clarence Profit, Walter Hirsch, Edgar Sampson)
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP(France Pm 156 619 4/1) & (United Kingdom Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
c. 19144-4Master Take (Capitol) You're Getting To Be A Habit With Me - 2:39(Al Dubin, Harry Warren)
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI LP/CD(Australia) Tc Sca 082/Cdmid 166224 [CD rel. in 1984] — Peggy Lee ("20 Golden Greats" Series)    (1982)
d. 19145-5Master Take (Capitol) Fever - 3:19(Otis Blackwell aka John Davenport, Eddie Cooley, Uncredited Second Lyricist) / arr: Peggy Lee
CAPITOL 45F 3998 — {Fever / You Don't Know [1958 master]}   (1958)
CAPITOL 783998 — {Fever / You Don't Know [1958 master]}   (1958)
CAPITOL EPEap 1 1052 — Fever   (1958)
All titles on: CAPITOL Jazz CD7243 5 97071 2 9 — THINGS ARE SWINGIN'   (2004)
Carrefour Licensed CD(France) 50999 505469 2 3 — Things Are Swingin'   (2007)
Play 24-7 Public Domain CD(United Kingdom) Play 2 073 — Things Are Swingin' & The Man I Love ("Original Masters Collection" Series)   (2010)
Future Noise's Fantastic Voyage Public Domain CDFvtd 043 — Ridin' High; The Complete Record Releases, 1957-1959   (2010)
Play 24-7 Public Domain CD(United Kingdom) Play 3 015 — These Ladies Can Swing, Volume 1 {Peggy Lee, Ella Fitzgerald, Nina Simone}   (2010)
Blue Moon Licensed/Public Domain CD(Spain) Bmcd 880 — Swingin' Brightly & Gently; Complete Recordings, 1958-1959   (2016)




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

Dates: May 19, 25, 27 and 30, 1958. Images above: original Capitol US LP T-1049 (1958) and Japanese EMI-Universal CD reissue Tocj-9753 (2013).


Issues And Dating

1. Things Are Swingin' [LP]
2. Original Mono And Stereo LP Releases Of Things Are Swingin'

The release date of the LP Things Are Swingin' is not disclosed in the official sources at my reach. Many secondary sources list it as originally issued in 1959 -- specifically, May 1959. Not so. The error stems from the fact that the mono and stereo editions of the LP were separately issued.

The mono edition of Things Are Swingin' was probably released in November 1958. Strongly pointing toward such a release date is a Capitol trade ad, published on that month. Evidence also exists in the form of an album review which, though published somewhat belatedly, still predates the May 1959 claim. (The review is on a February 1959 publication.)

It was the stereo edition that was released in May of 1959. Indeed, the May 16, 1959 issue of Cash Box lists Things Are Swingin' among 20 albums that Capitol was issuing in stereo on that month.

A similar, parallel mono/stereo situation applies to Jump For Joy, the Capitol album which Peggy Lee recorded before this one. See the notes under session dated January 3, 1958. See also a more general explanation of the situation immediately below.

3. Capitol's World Of Stereophonic Sound
4. Capitol's Stereo Tapes

The year 1959 found Capitol making a concerted effort to enter the vinyl stereo market. Within those twelve months, Capitol issued its very first batches of stereo LPs, stereo EPs, and stereo 45-rpm singles. (Lest the reader becomes confused, I should clarify that Capitol by no means abandoned mono. The point being made is that, during 1959, the label began to regularly release its vinyl issues in not only mono but also stereo. As with most of the record industry, Capitol would continue to do so until around 1967.)

In the particular case of Capitol's LPs, a twofold release process took place through 1959. One part of the process was obvious and expected: new Capitol albums were recorded and released in stereophonic LP (as well as monophonic LP). The other part of the process was a separate, supplemental enterprise: this year also saw the re-release in stereo of some albums that had previously come out in mono only.

The reason why such stereo re-releases were a possibility was that, since late December of 1956, Capitol had been recording selective sessions in both mono and stereo. Within that pre-1959 period, the primary goal of Capitol's attempts at stereo engineering was to compete in a niche market: the stereo tape, which appealed to audiophiles willing to pay premium price for their favorite music. Albums such as George Shearing's Black Satin and Nat King Cole's Love Is The Thing (both recorded during the second half of December 1956) had thus been issued in not only mono 12" LP but also stereo 7.5 IPS reel.

Since Peggy Lee's Jump For Joy sessions (December 1957 - January 1958) were among those simultaneously captured in mono and stereo, the resulting album might have been under consideration for release on stereo tape, too. No tape was ever issued, however. While the reason for the abstention remains unknown, it should be pointed out that Capitol's abandoned its two-track stereo tape venture by mid-1958. It is possible that Jump For Joy missed its chance on account of having been recorded during the latter part of the label's stereo-tape project. (Most of the vocal entries in Capitol's two-track stereo tape series were actually recorded and issued during 1957. For the entire run, only one of them was ever by a female vocalist -- Keely Smith. Perhaps solo vocal albums did not sell as well in the stereo tape market as classical and instrumental pieces, with female entires doing especially poorly. Smith's I Wish You Love could have served as a test run for the label, its sales helping them to determine if other female vocalists were worth including in the series.)

Incidentally, Capitol and its parent company, EMI, returned to the stereo tape market in 1959, but those belong to a different series. They are 4-track, 3.75 stereo tapes, whose sound quality audiophiles do not rate as high as that of the earlier tapes.

5. Things Are Swingin' [CD, Blue Note]
In addition to the 2004 American release of this compact disc under the Capitol Jazz branch, the Blue Note branch seems to have also issued it, apparently in Europe only. The Blue Note version uses entirely different artwork: a small b&w photo of Lee from the mid-1950s, against white and blue stripes. That artwork can be seen in the Main Capitol Albums Photo Gallery of this discography.

6. Capitol #3398 [78]
Peggy Lee's Capitol session files identify Capitol #3998 ("Fever"/"You Don't Know") as a single released on 45-rpm disc. No 78-rpm counterpart is listed. However, a 78-rpm disc version of Capitol #3998 definitely exists. I do not own it, but I have seen copies up for auction on the web. Since one auctioneer identified his copy as a Canadian issue, I have tentatively assumed that Capitol #3998 was released on 78-rpm disc in Canada, but not in the United States. If any reader of this discography knows otherwise I would appreciate receiving a correction and/or corroboration of the existence of an American 78-rpm pressing. ("Fever /You Don't Know" was definitely issued on 78-rpm speed in the United Kingdom and maybe in other parts of the Old World, too. But, as far as I have been able to ascertain, such overseas 78-rpm disc editions bore (or are likely to bore) a different catalogue number: CL 14903. My just-stated query pertains not to CL 14903 but to a Capitol 78-rpm disc that bears the catalogue number 3998.)

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





The Fever Singles Sessions (Cross-references)

Dates: May 19 and September 14, 1958. This date is mainly an album session, to which a single session was tagged -- probably because Capitol executives were keen on having Lee rush-record what was expected to be a hit single, "Fever." The September 14 session was the follow-up, in which (once again, probably at the instigation of Capitol executives), Lee was asked to record a couple of songs obviously aimed at mainstream radio and at the popular mass market. (One of the September 14 numbers was musically modeled after "Fever," although it is vocally taken in a different direction by Lee.)


Songs

1. Peggy Lee's Initial
Exposure To "Fever"

The song "Fever" was first brought to Peggy Lee's attention by Max Bennett, who played bass for her during the mid-1950s. For extensive details about the song and its history, both before and after Peggy Lee recorded it, consult this supplementary page.

2. Peggy Lee's "Fever"
In The Music Charts,
At The Grammys, And In
The Annals Of Popularity

According to Joel Whitburn's The Billboard Book Of Top 40 Hits, Peggy Lee's recording of "Fever" debuted in Billboard's Hot 100 during the week of July 21, 1958. It peaked at #8 and stayed in the chart for 13 weeks. The song also reached the top ten of two specialized Billboard charts: #10 in the Most Played By Jockeys list and #9 in the Best Seller Pop Singles in Stores list.

As shown in another Whitburn book (The Billboard Book Of Top 40 R&B And Hip Hop Hits) Peggy Lee's recording of "Fever" also entered Billboard's rhythm & blues charts. It peaked at #5 in theMost Played By R&B By Jockeys chart and #12 in the R&B Best Seller In Stores chart. (As for the previously mentioned Most Played R&B In Jukeboxes chart, by 1958 it was no longer operating -- or, if it was, Billboard magazine was not publishing the tabulations.)

Naturally, Cash Box also provided evidence of the single's success. "Fever" peaked at #6 on that magazine's Best Selling Singles chart. It spent a 14-week total therein (beginning with the week of July 13, concluding with week of October 11th, 1958). I should clarify that Cash Box scored all available versions under the same slot. Hence this #6 peak is credited to four "Fever" singles (some of which might have actually been out of circulation by then): Peggy Lee's, Earl Grant's, Little Willie John's, and Ray Peterson's. Peggy Lee's version is the only one bearing an asterisk, serving as indication that it was the actual hit single at the time. All four singles are also listed on another Cash Box poll, titled Top Ten Juke Box Tunes. There, too, the peak was #6, reached on the August 23, 1958 week.

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

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

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






Arrangements

1. "Fever"
Peggy Lee herself came up with the arrangement of "Fever." She was the who conceived the overall direction of the number, and decided on its instrumentation. Lee was also the one who, in rehearsals and concert performances, directed her musicians to play the melody in its famously spare way. Further specifics on this matter are provided in an epilogue that was added to the second edition of Lee's autobiography. The epilogue's author, music critic Will Friedwald, states that "Peggy Lee had sketched the arrangement and given it to [Jack] Marshall. He kept adding things and Miss Lee taking them out to maintain her desire to keep it as earthy as possible. Producer Dave Cavanaugh agreed with her on this point, and as a result, the final arrangement is Peggy Lee's and hers alone."

However, all the official Capitol paperwork credits Jack Marshall with the arrangement, not Peggy Lee. Marshall is (mis)credited chiefly because he was the conductor and arranger of the other songs that were recorded during this May 19, 1958 session. The upshot of such a bureaucratic situation was that, when "Fever" was nominated at the Grammys for Best Arrangement, the nomination went to Marshall instead of Lee. "Had she won the best orchestration Grammy in 1958, she would have been the first female for a generation to receive that award," remarks Friedwald. For a longer discussion, consult the aforementioned supplementary page.


Personnel

1. "Fever"
Master #19145 features only (Peggy Lee's vocal with Joe Mondragon's bass, Shelly Manne's snare drums, and finger snapping. The latter has been credited to different people in different reports, none of which have sufficient confirmation. Note also that, during the recording, Mondragon actually turned off the snares, using his fingers instead of drum sticks. The identity of the playing musicians (Manne, Mondragon) has been fully confirmed; numerous listings of erroneous personnel can be found on the web and in print.

It is not clear if all the above-listed musicians stayed (idly) around for the recording of "Fever." They might have been dismissed after the other three masters had been completed, and the presence of a full orchestra was no longer needed. It seems, however, that one musicians stayed: guitarist Howard Roberts, who is credited in various sources as the individual (or one of the individuals) who snapped finders during the performance. His staying might have stemmed from Jack Marshall's aforementioned plan to record "Fever" with more instrumentation than Lee wished. In the end, she prevailed. (Biographer James Gavin states that both Marshall and producer Dave Cavanaugh "were commended to snap," but it is not clear if the biographer's comment is relying on an actual source, or painting a self-imagined scenario.)

For more details, in particular about the finger snaps, consult the aforementioned page about the song "Fever."






Songwriters

1. Writing Credits For "Fever" (Valid And False Ones)
The original melody and lyrics of "Fever" were written by Otis Blackwell and Eddie Cooley only. Lee's recording features some of those original lyrics, but also adds plenty of new ones, none of which were written by Blackwell and Cooley. (Among them: the verses about Romeo and Juliette, Captain Smith and Pocahontas.) Many sources, including sheet music, include the additional lyrics. Regrettably, the two men are implicitly credited for them in all such sources, despite their utter lack of involvement in their creation.

The overall tenor of the additional lyrics was Peggy Lee's idea. The singer thought of them while she was preparing to debut her version of the number in concert (four months before the song ended up being recorded). The concert in question was a major one for her, signifying a return to performing after a short period of maritally imposed retirement from show business. The venue where this return would take place was the Copacabana, known for its emphasis on spectacle and variety. (Shows often featured, besides the main attraction, a diversity of performing acts.) Intent on making her comeback show a spectacular event both musically and visually, Lee spent over $20,000 in wardrobe. She also hired Sid Kuller, a talented (and probably very expensive) wordsmith who, from his roots in vaudeville, had moved on to write special material for the Broadway shows, movies and concert acts of many notable comedians and singers (Abbott & Costello, Eddie Cantor, Sammy Davis Jr., Duke Ellington, Billy Eckstine, Lena Horne, Tony Martin, Groucho Marx, Louis Prima, et cetera).

"Fever" was among the concert numbers for which Lee commissioned Kuller to write special material, possibly with the intention of having actors or dancers enact the lyrics, as she sang them. Further specifics are unclear. She might have had a sketch and/or a general leading concept in mind, dictating that the special lyrics should concentrate on "history's love lessons." Relying on Lee's suggestions, Kuller would have proceeded to put pen to paper. Alternatively, Lee might have worked out lyrics based on Kuller's suggestions, who would have further worked on them once she was finished. In any case, the results made their debut at Lee's expensively produced but also highly successful Copacabana engagement from February 1958.

In 1989, Peggy Lee wrote, by herself, additional, fresh lyrics for a new version of "Fever." She recorded them on the MusicMasters label, which in turn released them as part of the album There'll Be Another Spring: The Peggy Lee Songbook. See studio sessions dated November 1-3, 1989, in this page. For more details, consult the aforementioned supplementary page.





Masters

1. "Fever": The Original Monophic Issues
Master #19145 ("Fever") was originally issued in 1958. The original issues were the 45-rpm single and the EP shown directly above (first of the two images). By the end of June, the single was commercially. The EP was released around October. Both issues were in mono.

2. "Fever": The Earliest Stereophonic Issues
3. Capitol's Earliest Stereo EPs
As already discussed in the notes to earlier sessions of this page, Capitol had first ventured into the stereo mark in 1957, with the release of a series of stereo reel tapes. In late 1958, the label mover on to stereo LPs. EPs and 45-rpm singles followed in 1959.

Capitol's very first batch of stereo EPs came into the market on April 13, 1959. The news were announced on the April 6, 1959 issue of Billboard magazine. The batch consisted of titles from five artists, among which Peggy Lee was the only female:

SEP 1-1129 - Tijuana Jail (The Kingston Trio)
SEP 1-1181 - Peter Gunn (Ray Anthony)
SEP 1 1231 - You Made Me Love You (Frank Sinatra)
SEP 1 1232 - Fever (Peggy Lee)
SEP 1-1233 - French Foreign Legion (Frank Sinatra)

4. "Fever" In Stereo
In 1959, "Fever" came out on both on a stereophonic EP and a various-artists compilation LP. Those proved to be isolated instances: the immense majority of ensuing reissues reverted to the original, monaural option. Conversely, there is a relatively small number of reissues that have used the stereo alternative For the benefit of audiophile listeners wanting to hear the master in stereophonic sound, below is a chronological list of the much smaller quantity of issues which is known to contain it. (The stereo sounds fine. However, in the particular case of "Fever," mono is by far the best-sounding of the two configurations.)

a) Capitol LP: Sw 1162 (Reissued as Sw 6184?) — More Stars In Stereo (various-artists set, 1959)
b) Capitol EP: Sep 1 1232 — Fever (pictured above; 1959)
c) Capitol©Emi's Pathé Marconi 45: 2c 008 83378 — Fever ("Dance Forever" Series, No. 28) (France, 1983)
d) Time-Life Music Licensed CS/LP: 4 Lgd/Slgd 07 — Peggy Lee; "Legendary Singers" Series (1985)
e) Capitol's Cema Special Markets CS/CD: S41/S21 17888 — Greatest Hits (1994)
f) Capitol CS/CD: 7243 8 28533 4 3 — Spotlight On... Peggy Lee ("Great Ladies And Gentlemen Of Song" Series) (1995)
g) Capitol Jazz CD: 0777 7 97826 2 8 — Miss Peggy Lee (1998)
h) Capitol CD: 7243 4 97308 2 3 — The Best Of Miss Peggy Lee (1998)
i) Capitol©Emi CS/CD: 7243 5 27818 4 3 / 7243 5 27818 2 9 — The Very Best Of Peggy Lee (United Kingdom, 2000)
j) Collectors' Choice CD: Ccm 921 2 — All Aglow Again! (Licensed, 2008)
k) Future Noise's Fantastic Voyage CD: Fvtd 043 — Ridin' High; The Complete Record Releases, 1957-1959 (United Kingdom, Public Domain, 2010)
l?) Capitol LP: Cw 5077 — I Left My Heart In San Francisco (Japan; release year unknown, possibly early 1970s)

The last item, identified by the letter L, is a tentative entry. Unfortunately, I have not listened to this particular item, which identifies its contents as being in stereo. (Hence I cannot categorically assert that the stereo claim applies to all 12 of its tracks.)

For all other issues containing master #19145, monaural is either known or believed to have been used.

5. "Fever" Remixed And Mashed Up
During the first decade of the twenty-first century, Peggy Lee's hit version of "Fever" began to be used in remixes and mashups that counted with the approval and involvement of EMI, the record company that owned the master at the time. Here are three such remixes, along with the issues in which they have been commercially released:

a) Fever {Gabin Remix} - 3:22
available on ...
-- Capitol CD single: 70876 17990 2 6 — Fever Single Remix (2003)
-- Capitol©Emi CD: 7243 82680 2 7 — The Best Of The Singles Collection (2003)
-- Capitol©Emi Electrola CD: 94635 9779 2 9 — Essential Peggy Lee (Germany, 2006)
-- For non-Peggy Lee items containing this remix, see the "Fever" entry in the page that this discography dedicates to Various-Artists Compilations.

b) Fever {Alex Callier Remix} - 3:25
available on ...
Capitol©Emi's Blue Note CD: 00946 342786 2 1 — Mad About Blue ("Sidetracks" Series, Volume 6; Compiled And Remixed By Alex Callier) (Various Artists, Netherlands, 2006)

c) Passenger Fever {Mark Vidler's Mashup Of Iggy Pop And Peggy Lee Numbers; Produced By Mark Vidler} - 3:07
available on ...
Capitol©Emi CD: 387629 — Mashed (Various Artists, United Kingdom, also identified as Virgin 858; 2007)

Peggy Lee had no direct involvement in the making of the above-listed mashup and remixes. (They were made, however, with EMIl's consent. Digital copies were kept by the label in its logs.) Hence they have been duly discussed in these notes but have not been entered in the discography's database of masters and alternate takes. As can be seen above, the Peggy Lee CDs that feature them have been listed under the regular "Fever" master. In the CD Index, the notes under these CDs' entries also specify whether said CDs contain a remix or a mashup.


Photo

Below: an unidentified and undated photo shows Peggy Lee in the act of performing "Fever" at a charity event (possibly March Of Dimes). Her general look suggests that this event dates from the first half of 1958. Note also that her dress seems to be the same attire which she wore for the Jump For Joy photo session.

There is a good chance that this telethon performance was the one which led to Capitol's request for a Lee recording of "Fever." (Details on that particular situation, courtesy of celebrated disc jockey Red Robinson, can be read in this discography's research page about "Fever," section IX.)

A bit of additional research has uncovered that the Third Annual March Of Dimes Telethon took place on Saturday, January 18, 1958, from noon to midnight. If that's truly the 1958 telethon on which Lee sang "Fever," then one of my previous statements will need to be corrected: her first public performance of the song would have happened at this telethon, not at her Copa engagement.





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

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

a. 19200-6-stereoAlternate Take You Don't Know - 2:22(Walter Spriggs)
Collectors' Choice Licensed CDCcm 921 2 — ALL AGLOW AGAIN!   (2008)
b. 19200-7-monoMaster Take (Capitol) You Don't Know - 2:31(Walter Spriggs)
CAPITOL 45F 3998 — {Fever / You Don't Know [1958 master]}   (1958)
CAPITOL 783998 — {Fever / You Don't Know [1958 master]}   (1958)
CAPITOL EPEap 1 1052 — Fever   (1958)
c. 19201-4Master Take (Capitol) Ridin' High - 2:07(Cole Porter)
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
d. 19202-5Master Take (Capitol) Alright, Okay, You Win - 2:52(Mayme Watts, Sidney Wyche) / arr: Bill Holman
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL 45F 4115 — {Alright, Ok, You Win / My Man}   (1959)
CAPITOL EPEap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
e. 19203-10Master Take (Capitol) It's Been A Long, Long Time - 2:18(Sammy Cahn, Jule Styne)
CAPITOL EPEap 1 1049 — Things Are Swingin', Part 1 {aka It's A Wonderful World}   (1958)
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)


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

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






Photos ("You Don't Know")

Recorded at this session, the number "You Don't Know" was picked to serve as the B side of Capitol single #3998, which featured "Fever" on its main side. Though never as popular as "Fever," this other number is an important one in the singer's canon. Lee actually recorded "You Don't Know" four times -- more than just about any other song in her sessionography. We can thus surmise that the singer favored this blues.

Her first recorded version (August 30, 1957) was never issued, and is currently deemed lost. Made for Capitol, it features an arrangement by Nelson Riddle.

This session's master take of "You Don"t Know" (#19200-7) is the rendition heard on the Capitol single. (The latter was released on 45 and, abroad, on 78 as well. A 78-rpm disc copy is indeed pictured above.) "You Don't Know" was also included, as a bonus track, on the Capitol Jazz CD issue of Things Are Swingin' (second photo above).

An alternate take from the present session has been commercially issued, too. Take #19200-6 appears as a bonus track on the Collectors' Choice CD All Aglow Again! (third picture above).

Lee recorded the song for Capitol again on February 1, 1966. That version also came out as the B single of another single (fourth photo above), and was included as well in the LP Big $pender (fifth picture above).

The artist's last recorded version of "You Don't Know" was undertaken in February of 1988, for the MusicMasters album Miss Peggy Lee Sings The Blues (last image above).


Masters And Alternate Takes

1. "You Don't Know"
Two takes of "You Don't Know" have been issued. Thanks to Peggy Lee's different phrasing and approach from one to the other, the two takes are easy to tell apart. Besides the vocal, there are marked differences between the musical intros, too. Moreover, one take is in mono, the other in stereo. An earlier (and unissued) master of "You Don't Know" was also recorded; see session dated April 30, 1957, including notes.


Songs

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

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

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

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


Issues

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

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

The sound of the S&P CD is arguably clearer. S&P worked with a master tape of the LP which had neither artificial echo nor the other procedures that engineers applied to the final LP mix. The resulting reissue has a feel of immediacy to it. Listeners may get the impression that many of the songs are being performed in the moment, right in front of them. The lack of in-depth processing has thus resulted in greater clarity.

On the flip side of the coin, there is some unavoidable hiss and distortion in the S&P CD -- particularly, in the songs that come from the 1940s. However, such instances of distortion are minor and do not work to the tracks' detriment. Vocal and instruments are still heard in clear and fine fidelity, even on top of the occasional hiss.

As for the DCC version, it possesses a more "faraway," echo-laden quality which actually benefits the darker songs in the album, such as "Don't Smoke In Bed." This CD preserves the echo or reverb effect that is heard in the original LP. Given the lack of any significant amount of hiss or tape distortion throughout (except for one track, "While We're Young," which was sourced from the hiss-filed tape that was readily available at the time, not from the original acetate disc) the CD's final engineer (Bob Norberg) must have applied additional processing, such as a modern no-noise program.

Reports about the engineering of the DCC CD indicate that a dry transfer was originally made and released, but promptly recalled at the client's request, who asked for a new transfer with reverb. For that second, reverb-drenched transfer (the one heard in most of the commercially available DCC CD copies), engineer Bob Norberg was enlisted. Only one track ("Is That All There Is?") was kept as it was heard in the original pressing (i.e., without reverb and without no-noise). Despite Norberg's crucial, final involvement, the DCC still credits the engineer that did the dry, subsequently modified transfer (Steve Hoffman).


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

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

a. 19209-5Master Take (Capitol) It's A Good, Good Night - 1:54(Peggy Lee)
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP(France Pm 156 619 4/1) & (United Kingdom Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
b. 19210-10-monoMaster Take (Capitol) You're Mine, You - 1:46(Johnny Green, Edward Heyman)
CAPITOL LPT 1049 — Things Are Swingin'   (1958)
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
c. 19210-_-stereoAlternate Take (Capitol) You're Mine, You - 1:47(Johnny Green, Edward Heyman)
CAPITOL LPSt 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP(France Pm 156 619 4/1) & (United Kingdom Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
d. 19211-8-monoMaster Take (Capitol) Life Is For Livin' - 3:11(Sammy Cahn, Jimmy Van Heusen) / arr: Sammy Cahn
CAPITOL EPEap 1 1049 — Things Are Swingin', Part 1 {aka It's A Wonderful World}   (1958)
CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
e. 19211-_Alternate Take (Capitol) Life Is For Livin' - 3:08(Sammy Cahn, Jimmy Van Heusen) / arr: Sammy Cahn
CAPITOL Jazz CD7243 5 97071 2 9 — THINGS ARE SWINGIN'   (2004)
Carrefour Licensed CD(France) 50999 505469 2 3 — Things Are Swingin'   (2007)
Play 24-7 Public Domain CD(United Kingdom) Play 2 073 — Things Are Swingin' & The Man I Love ("Original Masters Collection" Series)   (2010)
Play 24-7 Public Domain CD(United Kingdom) Play 3 015 — These Ladies Can Swing, Volume 1 {Peggy Lee, Ella Fitzgerald, Nina Simone}   (2010)
Blue Moon Licensed/Public Domain CD(Spain) Bmcd 880 — Swingin' Brightly & Gently; Complete Recordings, 1958-1959   (2016)


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

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





Photos

Australian and British vinyl reissues of the album Things Are Swingin', issued by those countries' branches of the World Record Club. A young model's photo was used on the cover of the Australian reissue. (For other details about reissues such as these ones, consult this discography's gallery of Capitol albums. Similar details are also provided in the British and foreign index pages.) The last image captures Peggy Lee in one of the Capitol Tower's recording studios. Although the date remains unknown to me, Lee's haircut suggests that the occasion was one of her 1958 spring to fall dates, which were dedicated to two albums (Things Are Swingin', I Like Men!) and one post-"Fever" single.


Arrangements

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


Masters, Alternate Takes And Issues

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

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

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

Live it up!
Yes, live!

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

Live it up!


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

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

My thanks to Don and to Yvan Tarbouriech, from the aforementioned Board, for their kind assistance with this matter.


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

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

a. 19233-10Master Take (Capitol) Alone Together - 2:05(Harold Dietz, Arthur Schwartz)
AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
b. 19234-8Master Take (Capitol) It's A Wonderful World - 2:13(Harold Adamson, Jan Savitt, Johnny Watson)
CAPITOL EPEap 1 1049 — Things Are Swingin', Part 1 {aka It's A Wonderful World}   (1958)
CAPITOL©EMI CS/CD(United Kingdom) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
Disky Licensed CD(Netherlands) Hr 883492 — Fever   (1997)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL©EMI CD(United Kingdom) 7243 4 97143 2 8 — C'est Magnifique   (1998)
AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
c. 19235-10Master Take (Capitol) I'm Beginning To See The Light - 1:45(Duke Ellington, Don George, Johnny Hodges, Harry James)
K-tel Licensed CS/LP(Netherlands) Tn 1722/1721 — Lovers' Rendezvous   (1988)
CAPITOL CS/CD7243 8 28533 4 3 — Spotlight On... Peggy Lee ("Great Ladies And Gentlemen Of Song" Series)   (1995)
EMI Special Markets CD95937 — The Best Of Peggy Lee   (1995)
All titles on: CAPITOL LP(S)T 1049 — Things Are Swingin'   (1958)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP(France Pm 156 619 4/1) & (United Kingdom Tcems/Ems 1139) — Things Are Swingin' ("Retrospect" & "Nostalgia" Reissue Series)   (1985)


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

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





Photos

Todo Se Dice Con Swing is the Argentinian LP edition of the album Things Are Swingin'. The second image is a shot from the same photographic date that generated the front cover of Things Are Swingin'.


Issues

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

The album is also listed in a Most Played By Jockeys survey published in the December 8, 1958 issue of Billboard, where it ranked #6.

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

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

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

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


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

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

a. 30107-14-monoMaster Take (Capitol) Light Of Love - 1:30(Charles Singleton) / arr: Jack Marshall
CAPITOL 45F 4071 — {Sweetheart / Light Of Love}   (1958)
CAPITOL EPEap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
CAPITOL EP(France) Feap 106 — Sweetheart   (1959)
b. 30107-15-stereoAlternate Take (Capitol) Light Of Love - 1:28(Charles Singleton)
CAPITOL CD72435 27564 2 1 — RARE GEMS AND HIDDEN TREASURES [aka Capitol's Collectors Series, Vol. 2]   (2000)
Collectors' Choice Licensed CDCcm 921 2 — ALL AGLOW AGAIN!   (2008)
c. 30108-12-stereoAlternate Take (Capitol) Sweetheart - 2:19(Winfield Scott) / arr: Jack Marshall
Collectors' Choice Licensed CDCcm 921 2 — ALL AGLOW AGAIN!   (2008)
d. 30108-21-monoMaster Take (Capitol) Sweetheart - 2:22(Winfield Scott) / arr: Jack Marshall
CAPITOL 45F 4071 — {Sweetheart / Light Of Love}   (1958)
CAPITOL EPEap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
CAPITOL EP(France) Feap 106 — Sweetheart   (1959)


The "Fever" Singles Sessions (Cross-references)

Dates: (May 19, May 25) and September 14, 1958. The first two dates are surrounded by parentheses because they were actually album sessions, not singles sessions. However, in addition to generating numbers for an album, the May 19 date also produced one song meant for release on 45-rpm single. The song in question, "Fever," was essentially tagged to the May 19 session. Producer Dave Cavanaugh and other Capitol executives were probably keen on having Lee rush-record what was expected to be a hit single. The other date under parenthesis (May 25) had a similar modus operandi, although it actually reversed the order of things. Though also dedicated to the waxing of masters for an album, that session started off with the recording of a song slated to serve as the flip side on the "Fever" 45-rpm single. (The song was the blues "You Don't Know," a favorite of Lee's). Capitol gave the catalogue number 3998 to the resulting single.

Moving on to the present session, its goal was to produce the follow-up to Capitol #3998, a major hit. To that purpose, Lee was asked to record a couple of songs obviously aimed a the mass market, and at mainstream radio. One of the numbers was musically modeled after "Fever," whereas the other number was patterned in the contemporaneous pop gospel/ r&b vein. (For other 1957-1959 sessions specifically dedicated to singles, look up the following dates: April 13 and 22, 1957. August 30, 1957. October 10, 1959. Naturally, some of the album sessions included songs that were released on singles, too.)






Photo

A trade advertisement placed by Capitol in music trade publications in early October of 1958. It highlights three singles, including the one that resulted from this Peggy Lee session.


Songs (And Music Charts)

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

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

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

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

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

3. Unusual Sightings In Billboard's Hot 100 Chart: Songbirds From The Pre-Rock Era
For artists whose careers had blossomed in the 1930s and 1940s, entries in Billboard's weekly singles charts were rare from the mid-1950s onwards. And even when one such entry uncharacteristically showed up, seldom did it crack the top 40. (A very notable exception to this generalization is the case of Frank Sinatra, whose singles reached top ten positions many times in the 1950s and 1960s. Aside from Sinatra, a handful others managed one major top 40 hit here and there -- most notably, Louis Armstrong with "Hello Dolly" -- or a brief string of minor hits in a by-the-numbers, overtly commercial vein. There were also one or two pop artists who found some success by catering to a country or countrypolitan audience, but not much of it when they tried to record in the pop-jazz vein which had characterized their work of previous decades.)

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

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


Masters And Alternate Takes

1. "Sweetheart"
2. "Light Of Love"
3. The Stereo Report
Two takes of "Sweetheart" have been issued, one in mono and the other in stereo. The same patters hold true for "Light Of Love" as well.

In the case of "Sweetheart," one of the most noticeable differences between takes can be heard when Lee first comes to the lines "I'll drown myself in the deep blue sea / Yes, I'll drown myself in the deep blue sea." Listen, in particular, to the way in which the word "sea" is sung from one take to the other.

The differences between the two takes of "Light Of Love" are subtler. The vocal sounds identical and, overall, the music sounds the same, too. Nevertheless, intent listening of the intro reveals that, at :06, the bass plays five notes in the mono take, four notes in the stereo take. As best assessed by my friend George Hewitt (to whom I owe the realization that more than one take of "Light Of Love" has been released), "the tempo of the mono take is slower, but only by a fraction."


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

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

a. 30428-7Master Take (Capitol) Charley, My Boy - 1:35(Ted Fiorito, Gus Kahn)
CAPITOL LPS(T) 1131 — I Like Men!   (1959)
CAPITOL EPEap 1 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
b. 30429-10Master Take (Capitol) Oh Johnny, Oh Johnny Oh! - 1:47(Ed Rose, Abe Olman)
CAPITOL LPS(T) 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
World Record Club Licensed reel/LP(United Kingdom) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
c. 30430-8Master Take (Capitol) My Man - 2:13(Jacques Charles, Channing Pollock, Albert Willemetz, Maurice Yvain) / arr: Jack Marshall
CAPITOL 45F 4115 — {Alright, Ok, You Win / My Man}   (1959)
CAPITOL LPS(T) 1131 — I Like Men!   (1959)
CAPITOL EPSep 1 1232 — Fever   (1959)
d. 30430-9Alternate Take (Capitol) My Man - 2:10(Jacques Charles, Channing Pollock, Albert Willemetz, Maurice Yvain) / arr: Jack Marshall
CAPITOL EPEap 1 1213 — Alright, Okay, You Win [aka Peggy Lee]   (1959)
CAPITOL EP(France) Feap 106 — Sweetheart   (1959)
CAPITOL EP(Germany) Eap 1 45 010 — O.k. Peggy Lee   (1959)
Disky Licensed CD(Netherlands) Tc 862652 — Peggy Lee ("A Touch Of Class" Series)   (1997)
e. 30431-8-monoMaster Take (Capitol) I'm Just Wild About Harry - 2:09(Eubie Blake, Noble Sissle)
CAPITOL LPT 1131 — I Like Men!   (1959)
CAPITOL EPEap 1 1131 — I Like Men!   (1959)
World Record Club Licensed reel/LP(United Kingdom) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
Pure Pleasure Licensed audiophile LP(United Kingdom) Ppan T1131 — I LIKE MEN!   (2009)
Armed Forces Radio Service 16" Transcription DiscP 6901 - P 6902 — Basic Music Library [LP I Like Men + 4 songs from 2 singles]   
f. 30431-stereoAlternate Take (Capitol) I'm Just Wild About Harry - 2:09(Eubie Blake, Noble Sissle)
CAPITOL LPSt 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI CS/LP(United Kingdom) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)




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

Dates: October 17, 19, and 22, 1958. Images above: original Capitol US LP T-1131 (1958) and Japanese EMI-Universal CD reissue Tocj-9754 (2013).


Personnel

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

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

Those two choruses were apparently created specifically for Lee's recording. The late Milt Bernhart, who was one of the session's musicians, referred to them on more than one occasion. Stan Kenton researcher Ed Chaplin shared with me his knowledge about this particular matter: "I asked [Bernhart] a few years ago when he was in the UK telling lots of us about his life in music, and he told me he thought that the new words in I'm Just Wild About Harry were constructed to name all the sidemen on the date(s)." Indeed, heard in the second of the two choruses are the names Barney, Jim, Shelley, Mike, Benny, Mannie, Milt, Jack, and Mahlon, a list that cover the session's entire personnel (i.e., Kessel, Rowles, Manne, Rubin, Carter, Klein, Bernhart, Marshall, Clark). Less clear is the identity of the other men mentioned in the second chorus, since they are not listed in the AFM report: Pete, David, Tony, Curly and Mack. Perhaps some names, such as "Curly," were thrown in just for rhyming or comical effect. Other names could belong to the engineers and additional personnel; "David" was probably producer Dave Cavanaugh.

As for the names heard in the other chorus (i.e., the first chorus, from which I quoted in the previous paragraph), they could of course refer to actual individuals as well, but so far I have not found any evidence of such being the case.


Arrangers And Arrangements

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





Songs

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

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

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


Masters, Alternate Takes And Issues

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

2. "I'm Just Wild About Harry": Mono/Stereo Distribution
Please notice that I have not listened to all the issues listed above. For that reason, I have had to make some educated guesses when it has come to choosing which version (mono or stereo) of II'm Just Wild About Harry" is found in the non-auditioned issues. The exact same caveat applies to two other performances from the I Like Men! sessions that have also been issued on different mono and stereo takes. See a more extensive commentary about this matter in the Issues notes under session dated October 22, 1958.

3. "My Man": Take Differentiation
This session's two takes of "My Man" have clearly audible differences. One of the differences is heard in Peggy Lee's phrasing of the line "the world is bright," around 1 minute and 24 seconds into the two takes. In the alternate (#9), the singer stretches the word "bright" more than in the master (#8).

At least three songs from the I Like Men sessions were issued in different takes, one for the mono and the other for the stereo version of the album. (The three songs in questions are not from the session under discussion.) The same master take of "My Man" was, on the other hand, included in both the monophonic and the stereophonic version of the album. The alternate take was originally consigned to 45-rpm issues, as can be seen in the issue listings above.

4. "My Man": Take Distribution
I have not been able to locate every issue in which "My Man" has been included. Of the list seen above, I can vouch for the correct take assignation of the following issues:

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

On the other hand, I have yet to locate copies or receive specifics about the following issues:

e) the original 45-rpm single (F 4115).
f) the EP Fever (Sep 1232).
g) the French EP Sweetheart (Feap 106).

For these last three items, my assignation of one or the other take of "My Man" is thus based on educated guessing only. Confirmation and corrections would be appreciated.


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

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

a. 30436-3Master Take (Capitol) I Love To Love - 2:51(Herbert Baker) / arr: Benny Golson
b. 30437-14Master Take (Capitol) It's So Nice To Have A Man Around The House - 2:22(Harold Spina, John M. "Jack" Elliot)
Armed Forces Radio Service 16" Transcription DiscP 6901 - P 6902 — Basic Music Library [LP I Like Men + 4 songs from 2 singles]   
c. 30438-14Master Take (Capitol) So In Love - 2:33(Cole Porter)
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
Pair Licensed CS/CDPcdk/Pcd 2 1194 — Seductive   (1989)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
Armed Forces Radio Service 16" Transcription DiscP 6901 - P 6902 — Basic Music Library [LP I Like Men + 4 songs from 2 singles]   
d. 30439-5Master Take (Capitol) I Like Men! - 2:06(Peggy Lee, Jack Marshall) / arr: Jack Marshall
CAPITOL EPEap 1 1131 — I Like Men!   (1959)
CAPITOL EPSep 1 1232 — Fever   (1959)
BMG MUSIC PUBLISHING CD[promo] Pub 016 — PEGGY LEE: SONGWRITER   (2001)
Armed Forces Radio Service 16" Transcription DiscP 6901 - P 6902 — Basic Music Library [LP I Like Men + 4 songs from 2 singles]   
All titles on: CAPITOL LPS(T) 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
World Record Club Licensed reel/LP(United Kingdom) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)




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

Dates: October 17, 19, and 22, 1958. Images above: May 1959 advertisement announcing the release of various Capitol albums in stereo. Among them was I Like Men, whose mono edition had been originally issued two months earlier. Also, a black & white, larger edition of the photo that graces the front cover of the I Like Men! album.


Arrangements

1. Jack Marshall
2. "I Like Men"
The album I Like Men! credits Jack Marshall with all of its arrangements. Because collective credits of this type are sometimes highly overstated, I have tried to handle them with caution in this discography, putting more trust on individual authorship claims. Accordingly, three of this session's four arrangements are left uncredited. The fourth, for the song "I Like Men," is extant in Peggy Lee's sheet music library, and bears Marshall's name. (For evidence that may contradict the album's overall credit to Marshall, see entries immediately below.)

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

3. Yutaka Yokokura
4. "So In Love"
Furthermore, a Yutaka Yokokura arrangement of the song "So In Love" is also found in Lee's library. Nevertheless, that particular score bears no direct connection to this date's performance of "So In Love": Yokokura probably wrote his score 20 years after the present session took place.


Personnel

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


Issues

1. Fever [EP]
On April 13, 1959, Capitol proudly released its first batch of stereo EPs. The four artists whose EPs Capitol chose for this treatment were Frank Sinatra, Nat King Cole, Ray Anthony, and the only female in the bunch, Peggy Lee. (As for stereo LPs, Capitol had already released its first batch of 13 titles, all of them instrumentals, back in October 1958.) Lee's stereophonic EP consisted of songs that she had recorded the previous year. Three of them had been hit singles: "Fever," "Alright, Ok, You Win," and "My Man". The EP's fourth song was Lee's self-penned number "I Like Men!," a cut from her 1959 LP of the same title. (Also, for the record, I should add that two of the hits had been previously released not only on single but also on original LP: "Alright, Ok, You Win" in the album Things Are Swingin' and "My Man" in the album I Like Men!.)

2. Review Of I Like Men! [LP]
In the February 16, 1959 issue of Billboard, Capitol T 1131 received four stars and an appreciative review. To quote: "[t]he wonderful Miss Lee sings about her men -- Charley My Boy, I'm Just Wild About Harry, Jim, Oh Johnny, etc. The backgrounds are varied -- sometimes rhythm only and in other cases band brass and wind instruments, and in still others, string groups. The constant
thruout is Miss Lee herself who is also in great form. Plenty of jockey fodder here packed into a set that should garner a lot of sales action for quite a spell."

3. Absent From The Music Charts: I Like Men! [LP]
The LP I Like Men! never entered the music charts. This fact is curious because each of Lee's three previous Capitol LPs had made Billboard's Top 20, and the same would prove true of Beauty And The Beat!, the album that followed the one under discussion.
Not knowing the reason(s) for the album's absence from the music charts, I can only offer an exploration of the various factors which might or might not been at play.

The extent of promotional effort is one of the the most basic venues to explore. On the surface, it would seem to have been sufficient. In her 1959 guest TV appearances, Lee did sing some of the songs from the album, which Capitol released in February 1959. She is also likely to have sung some of the album's numbers in her concurrent concert appearances. (The reason why I cannot categorically assert that she did so: specific concert data from the year 1959 has hitherto proven elusive.)

For its part, Capitol certainly sent out promotional copies of I Like Men! to both the trade press and radio stations (as suggested by the above-quoted Billboard review, and by the eventual circulation of album copies in used record stores across the country). Capitol is also likely to have included at least one of the LP's tracks on its sampler of releases for the spring of 1959. (Unfortunately, I have not been able to locate a copy of that sampler, titled Sounds Unlimited, nor do I know its track listing.)

Then there were the promotional ads, two of which are pictured here. The one in the present session advertises stereo releases. It combines then-brand new albums with some that had been issued in recent seasons. (This ad is actually cropped, limiting the view to just three of the several albums pictured.) Next session's ad shows the full batch of new Capitol pop/jazz releases for the first quarter of 1959.

Amidst that 1959 batch of albums, lack of chart success was not exclusive to I Like Men!. On the contrary: of the pictured albums, not one managed to enter the charts. This arguable oddity becomes all the more curious when said albums are compared to recent and subsequent LPs from these artists' catalogues. In Nat King Cole's case, the pattern is very similar to Peggy Lee's. His LP offerings from the previous year had charted, and so would his ensuing LP. Some of George Shearing's various albums from the previous year had charted as well, and at least one more would do so in the following year. Notice, too, that the March 1959 Jonah Jones album Jonah Jumps Again was a sequel to his top 15-charting LP Jumpin With Jonah from 1958, and thus a release with potential for at least a modicum of sale and chart action. Etc., etc.

Faced with this state of affairs, one can only wonder if Capitol's standard amount of promotional effort (or, if not the amount, then the approach to the task) was becoming insufficient. Notwithstanding its undertaking of the various promotional strategies already cited, perhaps Capitol was being somewhat neglectful. Perhaps. At this point in time, the label was clearly dedicating a fair amount of its attention to a multi-layered "stereophonic initiative" (e.g., conversion of previous monophonic releases to stereo, preparation of new EP and LPs in stereo). There was also one circumstantial event that probably monopolized the attention of Capitol's advertisement department. I am referring to the much publicized Miami disc jockey convention that took place in May 1959, and which must have required a substantial amount of preparation. (That convention would serve as the basis for Lee's next album, the chart-hitting Beauty And The Beat!.)

In the specific case of Peggy Lee's catalogue, it is also worth pondering whether Capitol saturated that year's market. There were four Capitol-Lee LP releases in 1959 (as opposed to two in 1958), as well as one from Decca (Miss Wonderful). In addition to I Like Men! and Beauty And The Beat!, her other 1959 Capitol LPs were stereo versions of albums previously issued in mono only (Jump For Joy and Things Are Swingin'). In short, five Lee album in one year could have thus been one or two too many for the buying public. Then again, Capitol went on to release five Peggy Lee LPs in 1960 -- a fact which suggests that, from the company's perspective, the singer's sales were healthy, and the market was not saturated with her product.

As I expressed as the outset, this exploration is not an attempt at providing a definitive answer to the query at hand. Instead, the exploration has remained mostly at an observational level. (To arrive at even a workable hypothesis, I believe that more extensive research would have to be carried out.)


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

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

a. 30470-9-monoMaster Take (Capitol) Jim - 2:59(Caesar James Petrillo, Nelson A. Shawn, Milton Samuels)
CAPITOL LPT 1131 — I Like Men!   (1959)
World Record Club Licensed reel/LP(United Kingdom) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
Pure Pleasure Licensed audiophile LP(United Kingdom) Ppan T1131 — I LIKE MEN!   (2009)
Armed Forces Radio Service 16" Transcription DiscP 6901 - P 6902 — Basic Music Library [LP I Like Men + 4 songs from 2 singles]   
b. 30470-_-stereoAlternate Take (Capitol) Jim - 2:59(Caesar James Petrillo, Nelson A. Shawn, Milton Samuels)
CAPITOL LPSt 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP(United Kingdom) Tcems/Ems 1287 — I Like Men! ("Nostalgia" Reissue Series)   (1988)
c. 30471-25-monoMaster Take (Capitol) Bill - 2:46(Jerome Kern, Oscar Hammerstein II, P. G. Wodehouse)
CAPITOL LPT 1131 — I Like Men!   (1959)
World Record Club Licensed reel/LP(United Kingdom) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
Pure Pleasure Licensed audiophile LP(United Kingdom) Ppan T1131 — I LIKE MEN!   (2009)
Armed Forces Radio Service 16" Transcription DiscP 6901 - P 6902 — Basic Music Library [LP I Like Men + 4 songs from 2 singles]   
d. 30471-_-stereoAlternate Take (Capitol) Bill - 2:46(Jerome Kern, Oscar Hammerstein II, P. G. Wodehouse)
CAPITOL LPSt 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
CAPITOL©EMI CS/LP(United Kingdom) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
e. 30472-4Master Take (Capitol) When A Woman Loves A Man - 2:46(Bernie D. Hanighen, Gordon Jenkins, Johnny Mercer) / arr: Jack Marshall
CAPITOL LPS(T) 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)
World Record Club Licensed reel/LP(United Kingdom) T 518 — I Like Men! [contains 1 track not on original US version]   (1966)
f. 30473-15Master Take (Capitol) Good-For-Nothin' Joe - 2:32(Rube Bloom, Ted Koehler)
CAPITOL LPS(T) 1131 — I Like Men!   (1959)
CAPITOL EPEap 1 1131 — I Like Men!   (1959)
CAPITOL reel-to-reel tapeY2t 2234 — I Like Men! / Things Are Swingin'   (1965)




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

Dates: October 17, 19, and 22, 1958. Images above: March 1959 advertisement displaying Capitol's batch of new album releases on that month. Among them was I Like Men, along with offerings from Nat King Cole, Jonah Jones, George Shearing, Judy Garland, and others. (This image shows 10 of them. There were more.) Also, a color shot from the same photographic session which generated the front cover of the I Like Men! album.


Masters And Alternate Takes

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

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

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

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


Issues

1. Mono/Stereo Distribution
Please note that I have not listened to all the issues listed above. For that reason, I have had to make some educated guesses when it has come to choosing which version (mono or stereo) of "Bill" and "Jim" is found in the non-auditioned issues. At the present time, I can only vouch for the correct adjudication of these takes in the case of:

a) the original Capitol LPs
b) the Capitol reel-to-reel tape
c) the EMI LP Songs For My Man
d) the EMI twofer CD
e) the above-average, noteworthy Public Domain 2CD set Ridin' High
f) the set Peggy Lee ("Eight Classic Albums" Series), Volume 2

In the case of (b), the adjudication is not based on actual listening. It relies instead on the heavy advertisement of such tapes as being full-stereo offerings. As for the following items:

g) World Record Club
h) Pure Pleasure audiophile LP
i) Pathé Marconi LP and cassette reissues

I have not listened to any of them, but details such as their respective catalogue numbers suggest that (g) and (h) are monophonic.

The company Pathé Marconi favored the use of stereo over mono, though it certainly reissued monophonic items when no stereo counterparts were available. Unfortunately, I have not seen even photos of these two Pathé Marconi items; my awareness of their alleged existence comes only from music guide listings.


Personnel

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


Arrangers And Arrangements

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


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

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

a. 31444-11Master Take (Capitol) Hallelujah, I Love Him So - 2:26(Ray Charles) / arr: Jack Marshall
CAPITOL 45F 4189 [purple label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [mono]   (1959)
CAPITOL 45S 4189 [red label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [stereo]   (1959)
US Government's Air Force Recruitment Service AFRS 45Programs No. 59-60 — Music In The Air {Hallelujah I Love Him So /Timothy [Henry Mancini instrumental]}    (1959)
b. 31445-10Master Take (Capitol) You Deserve - 2:26(Kenny Jacobson, Rhoda Roberts) / arr: Jack Marshall
CAPITOL 454298 — {You Deserve / Where Do I Go From Here?}   (1959)
CAPITOL 45(United Kingdom) Cl 15103 — {Things Are Swingin' [not released as a single in the USA]/ You Deserve}    (1959)
CAPITOL EP(United Kingdom/France) Eap 4 1366 — All Aglow Again!   (1960)
CAPITOL©EMI CS/CD(United Kingdom) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
Marginal Bootleg CD(Belgium) Mar 068 — Extra Special!   (1997)
CAPITOL©EMI Electrola CD(Germany) 94635 9779 2 9 — Essential Peggy Lee   (2006)
c. 31446-16Master Take (Capitol) I'm Looking Out The Window - 2:49(Traditional) / arr: Jack Marshall
CAPITOL 45F 4189 [purple label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [mono]   (1959)
CAPITOL 45S 4189 [red label] — {Hallelujah, I Love Him So / I'm Looking Out The Window} [stereo]   (1959)
CAPITOL©EMI CD7243 82680 2 7 — The Best Of The Singles Collection    (2003)
CAPITOL©EMI CD(Korea) 8806344820326 — The Very Best Of Peggy Lee; The Capitol Years   (2006)
Starbucks Coffee Licensed CD509996 — Come Rain Or Come Shine ("Opus Collection" Series)   (2010)
All titles on: CAPITOL's Starline reel/LPT 1366 — All Aglow Again!    (1960)
CAPITOL©EMI's Pathé Marconi CS/LP(France Pm 156 554 4/1) & (UK Eg 26 0605 4/1) — All Aglow Again! ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
CAPITOL©EMI CD7243 5 39756 2 3 — THE SINGLES COLLECTION   (2002)





A Singles Session. The All Aglow Again! Pick-up Sessions (Cross-references)

This session's main purpose was the recording of numbers for release on singles. All three session masters also served a secondary purpose when they were picked up for inclusion in the twelve-track album All Aglow Again!, which consisted entirely of numbers from singles sessions, a few of them even hitherto unissued.

All Aglow Again! dates: primarily February 18, 1952 (3 masters, all of them previously unissued) and March 28, 1959 (3 masters). Also, November 25, 1947 (1 master), August 30, 1957 (1 master), May 19, 1958 (1 master), May 25, 1958 (1 master), October 17, 1958 (1 master) and October 10, 1959 (1 master).

Images above: Original Capitol LP T-1366, All Aglow Again! A trade review of one of the singles generated by the present session. Sheet music for Ray Charles' self-written 1956 hit "Hallelujah, I Love Her So," which later on became a hit for one of his admirers, Peggy Lee (1959). The number has been recorded by several other singers as well, including Harry Belafonte (1958) and Ella Fitzgerald (1962). Pictured in the sheet music, along with Peggy Lee, is Charles' fellow Atlantic labelmate Chris Connor, who recorded the song earlier than Lee (1958).


Issues

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

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

3. The Advent Of Stereo 45-rpm Singles At Capitol Records
Capitol 45-rpm disc #4189 ("Hallelujah, I Love Him So" / "I'm Looking Out The Window") was part of the very first batch of stereo singles to ever be issued by Capitol Records. Released in April of 1959, the batch consisted of six singles whose catalogue numbers ran from 4168 to 4193. According to the Both Sides Now discographical website, they were:

S4168 - Castin' My Spell / Telephone Baby (Johnny Otis Show)
S4176 - The Bunny Hop / Walkin' To Mother's (Ray Anthony)
S4189 - Hallelujah, I Love Him So/ I'm Lookin' Out the Window (Peggy Lee)
S4192 - Here I Am / Big Fat Sally (Ronnie And Roy)
S4193 - Little Child / Rhythm (Bobby Hammack)
S4194 - Wanna Kiss You To-Night / I'm In The Mood For Love (Earl Holliman)

Essentially an advertisement for this batch of releases, the following article can be found in the April 13, 1959 issue of Billboard magazine: Capitol will invade the stereo singles field on April 27 with an initial release of six sides. Four of those sides will be simultaneous stereo and one-track singles while two will be dual-track versions of earlier monaural releases. Four simultaneous stereo-monaural singles will feature Peggy Lee, Bobby Hammack, Ronnie & Roy and Earl Holliman. Stereo repeats of earlier monaurals will be Ray Anthony's "Walkin' To Mothers" and Johnny Otis' "Castin' My Spell". Disks will be $1.15 per single. Capitol won't stick to a regular stereo singles schedule but will issue dual-track singles when it feels market demands or the material itself particularly warrants. A similar and longer article was run on the April 25, 1959 ice of The Cash Box. We are told that Capitol intended to issue further stereo single records as the demand increases, or when the company feels that a particular single record has an anticipated sales potential, at a $1.15 retail price. Readers are also reminded that Capitol had released its first stereo EPs (five, in total) on April 13.

Two more Capitol singles followed in May of 1959:
S4167 - Tijuana Jail / Oh Cindy (The Kingston Trio; released on 5/18/59)
S4184 - You Made Me Love You / I Must Be Dreaming (Nat King Cole; released on 5/25/59)

The next batch of Capitol stereo singles came out in October (or, according to a different source, November) of 1959, and once again a Peggy Lee item was among them. The following list, containing four singles, could be incomplete:
S4298 - You Deserve / Where Do I Go From Here? (Peggy Lee)
S4301 - The Happiest Christmas Tree / Buon Natale (Nat King Cole)
S4302 - Love Is The Only Thing / Sunny Side Of Heaven (Tennessee Ernie Ford)
S4303 - Coo Coo-U / Green Grasses (The Kingston Trio)

From the same early stereo Capitol period (1959-1961), I know of two additional Peggy Lee singles: “The Tree / The Christmas List” (#4311, released in 1959), and “Heart / C’est Magnifique” (#4349, released in 1960).

By 1961, the industry had just about given up on the idea of selling stereo singles. The stereophonic 45-rpm disc would thus have to wait until 1968 for its return to record stores. (In the interim, new stereo singles were made only for jukebox machines. One such stereo jukebox single is Capitol Kb 2820-2821, containing Peggy Lee and Nat King Cole versions of the song “Toys For Tots,” and playing at a speed of 33 rpm. It was produced as a promotional service for a Marine Reserve charity campaign. Its release date is unclear; it might actually date back to late 1960.)

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

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


Songs

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


Songwriters

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

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


Masters

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


The Capitol-Americana Dates





The next two entries are dedicated to Capitol's session work for the LP Beauty And The Beat!, featuring Peggy Lee in the company of George Shearing. The first session is actually a live date, the second a studio recreation of that date. Shown in the present entry is advertisement for the convention within which the live date took place (The 2nd Annual International Radio Programming Seminar And Pop Music Disc Jockey Convention). In addition to this page's ensuing coverage of the Beauty And The Beat! sessions, I have also created a supplementary write-up about them. Though less Lee-oriented, that write-up should be of interest to anyone wanting to know more about these sessions and the festivities at hand.


Date: May 29, 1959
Location: The Ballroom, The Americana Hotel, 97th Street, Bal Harbour, Miami
Label: CAPITOL
Session Number, If Any, Unknown / Taped In Concert

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

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





The Beauty And The Beat Sessions (Cross-references)

Dates: Late May 1959 and ca. June 1959. Photos above: Peggy Lee and George Shearing, performing at the 1959 National Disc Jockey Convention. Photos below: blurrier photos of Shearing and Lee in performance. The pianist is seen first, along with some quintet members and, on the microphone, the show's announcer. Because Shearing and Lee performed in front of an audience on both Friday, May 29 and Saturday, May 30, it is unclear if these photos come from their recording date, or from their second performance. Absence of visible recording equipment tilts the balance toward the 30th. So does the fact that these pictures were published together with those of other acts who performed on that Saturday. The mosaic's caption is non-conclusive, however. We are told that the pictured acts are "among those who performed at the [Saturday] show and the functions {emphasis mine}. (Also, and for what is worth, the unidentified announcer or master of ceremonies in the Shearing picture is not Capitol executive Mike Maitland, who was scheduled to host the Friday activities.) The last photo supplies a clearer view of the ballroom's stage, on the occasion of a 1958 concert date by another act.


The Live (Concert) Session

In the late 1950s, Peggy Lee and George Shearing were both Capitol artists whose records were produced by Dave Cavanaugh. The three of them joined forces to record a concert during the Second National Disc Jockey Convention at the Americana Hotel, in Miami. Unfortunately, their plans were thwarted by the several technical problems which they faced at the venue. The concert's performances by Lee and Shearing were still recorded but, in the end, they were deemed unreleasable. The main problem: very poor sound quality from the audio feedback. (There is just one exception: the single performance shown above. The fact that its sound quality is fine made its belated release possible. More details below, under Performance.)

Lacking any concert material to show for, Capitol and Cavanaugh found themselves in a dilemma. Copies of the album had been promised in advance to attending disc jockeys who had signed for them. Hence, in order to fulfill the expectations of what was a highly prized sector of the industry, the decision was made to recreate the concert in the studio. The recreation was issued as an album titled Beauty And The Beat, which is discussed in the next session (dated June 1959). Meanwhile, the present date (May 29, 1959) concentrates on the actual, flawed concert at the Americana in Miami.

In his autobiography, George Shearing wrote extensively about this concert. The pianist stated that "the whole industry was there, all the main record companies. So this gave us a built-in audience response, in fact it was an incredible audience and the whole atmosphere [...] was charged because of that." Interviewed for the liner notes of the 1992 Capitol Jazz CD Beauty And The Beat!, Peggy Lee had the following to add: "I was so exhausted [after flying in, working out keys, and doing continuous rehearsal with little sleep], I don't remember the performance too well, I just remember standing there." Notwithstanding the vagueness of the singer's recollection, the one performance listed under this date ("Always True To You In My Fashion") reveals that both Lee and Shearing were in excellent form, and that the audience was very appreciative, indeed.





Performance

This delightful rescue from the vaults starts with a playful exchange between Peggy Lee and the audience of disc jockeys. As she sings the words "there's an oil...," Lee catches herself, and stops. The performer has just realized that those words belong not to the chorus that she had just started ("I've been asked to have a meal ...") but to one that comes later in the song ("there's an oil man known as Tex ..."). The vocalist stops, and confesses to the dj's that she just "goofed." Following a quick, playful exchange of words with members of the audience, Lee and The Shearing Quintet start over. On that second occasion, the performance goes through without a hitch. After it ends, and as applause ensues, Lee is heard asking, in a humorous voice, "you think that one might have a chance maybes? ... I hope so!" The artist was probably wondering if the audio pickup had successfully recorded this rendition of "Always True To You In My Fashion" -- the implication being that the audio of previous numbers had already been determined to be unsatisfactory.


Masters And Issues

1. "Always True To You In My Fashion"
2. The Best Of The Singles Collection [CD]
Please note that this rendition of "Always True To You In My Fashion" is not the same one that is heard in the Beauty And The Beat! album. Note also that the only issue which contains this particular rendition of "Always True To You In My Fashion" is the British edition of the CD The Best Of The Singles Collection. The American edition of the same CD does not include it -- and neither does the MP3 edition. (Both domestically and internationally, the track program of the MP3 edition is identical to the American CD.)


Personnel

1. The Correct Rhythm Section
The identities of this date's bassist, drummer and vibraphonist have been the subject of contention. Herein I have listed the names given in Capitol's session file, which is my primary source throughout this discographical page. Besides Shearing's, the musician names found on file are: Carl Pruitt (b), Ray Alexander (vib), and Ray Mosca (d). All three musicians are indeed known to have been members of Shearing' quintet during the late 1950s, and hence expected to have played at both live and studio dates. In the album itself, George Shearing is heard saying "at this time, we introduce our bass player, Carl Pruitt," thereby giving partial validation to the personnel listing in the session file. The 1992 Capitol Jazz CD Beauty And The Beat! lists a different set of musicians, which is now known to be erroneous. For a longer explanation, consult this session's supplementary page.

2. Jack Marshall
Guitarist and conductor Jack Marshall was also slated to be present at this concert date, to serve in his capacity as Peggy Lee's musical director.


Date: Possibly June 1959
Location: unknown (Los Angeles or Miami)
Label: CAPITOL
Capitol Session #7774

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

a. 31800Master Take (Capitol) Don't Ever Leave Me - 2:58(Jerome Kern, Oscar Hammerstein II) / arr: {Head Arrangement}
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL©EMI CD(Korea) 8806344820326 — The Very Best Of Peggy Lee; The Capitol Years   (2006)
b. 31803-1 / 31893-editMaster Take (Capitol) You Came A Long Way From St. Louis - 3:16(John Benson Brooks, Bob Russell) / arr: {Head Arrangement}
CAPITOL 45F 4243 — {You Came A Long Way From St. Louis / I Lost My Sugar In Salt Lake City}   (1959)
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
c. 31804Master Take (Capitol) There'll Be Another Spring - 2:27(Peggy Lee, Hubie Wheeler) / arr: {Head Arrangement}
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP(United Kingdom) Eap 8 1219 — Beauty And The Beat!, Part 2 {I Lost My Sugar In Salt Lake City} {Peggy Lee, George Shearing}   (1959)
d. 31805Master Take (Capitol) Nobody's Heart - 2:29(Richard Rodgers, Lorenz Hart) / arr: {Head Arrangement}
e. 31806-5Master Take (Capitol) Blue Prelude - 2:24(Joe Bishop, Gordon Jenkins) / arr: {Head Arrangement}
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP(United Kingdom) Eap 8 1219 — Beauty And The Beat!, Part 2 {I Lost My Sugar In Salt Lake City} {Peggy Lee, George Shearing}   (1959)
f. 31807Master Take (Capitol) Do I Love You? - 3:51(Cole Porter) / arr: {Head Arrangement}
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP(United Kingdom) Eap 7 1219 — Beauty And The Beat!, Part 1 {Do I Love You} {Peggy Lee, George Shearing}   (1959)
g. 31808Master Take (Capitol) All Too Soon - 3:16(Duke Ellington, Carl Sigman) / arr: {Head Arrangement}
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP(United Kingdom) Eap 9 1219 — Beauty And The Beat!, Part 3 {Mambo In Miami} {Peggy Lee, George Shearing}   (1959)
h. 31809Master Take (Capitol) If Dreams Come True - 2:49(Benny Goodman, Irving Mills, Edgar Sampson) / arr: {Head Arrangement}
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP(United Kingdom) Eap 9 1219 — Beauty And The Beat!, Part 3 {Mambo In Miami} {Peggy Lee, George Shearing}   (1959)
i. 31810 / 31894-editMaster Take (Capitol) I Lost My Sugar In Salt Lake City - 2:47(Johhny Lange, Leon Rene) / arr: {Head Arrangement}
CAPITOL 45F 4243 — {You Came A Long Way From St. Louis / I Lost My Sugar In Salt Lake City}   (1959)
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
j. 31811Master Take (Capitol) Get Out Of Town - 2:30(Cole Porter) / arr: {Head Arrangement}
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP(United Kingdom) Eap 7 1219 — Beauty And The Beat!, Part 1 {Do I Love You} {Peggy Lee, George Shearing}   (1959)
k. 31812Master Take (Capitol) Always True To You In My Fashion - 2:17(Cole Porter) / arr: {Head Arrangement}
CAPITOL LPT 1219 — Souvenir Of The 1959 DJ Convention {Peggy Lee, George Shearing} [aka Beauty And The Beat!]   (1959)
CAPITOL reel/LPTat/(S)T 1219 — Beauty And The Beat! {Peggy Lee, George Shearing}   (1959)
CAPITOL©EMI EP(United Kingdom) Eap 7 1219 — Beauty And The Beat!, Part 1 {Do I Love You} {Peggy Lee, George Shearing}   (1959)
All titles on: CAPITOL Jazz CDCdp 7 98454 2 — Beauty And The Beat! ["original album" version] {Peggy Lee, George Shearing}   (1992)
CAPITOL Jazz CD7243 5 42308 2 0 — BEAUTY AND THE BEAT! ["original session tapes" version] {Peggy Lee, George Shearing}   (2003)
Real Gone Jazz Public Domain CD(Holland) Rgjcd 314 (also 5036408133823) — Peggy Lee ("Eight Classic Albums" Series)   (2012)





The Beauty And The Beat Sessions (Cross-references)

Dates: Late May and ca. June 1959. Photos: the original LP from these sessions, in its American monophonic edition, and the 1992 American CD release. Below, the front cover of a souvenir album, discussed at the end of this session. Also, shots taken at the Beauty And The Beat studio date.


The Studio (Album) Session

This session contains a studio recreation of a special concert that Peggy Lee and the George Shearing Quintet jointly gave at the Americana Hotel in Miami, on May 29, 1959. The titles recorded during this studio recreation are presumed to have been the same ones performed (or scheduled to be performed) at the concert. For details about the actual concert, and the P.A. system that failed to produce commercially releasable concert masters, read this supplementary page.


Dating

In Capitol's session file for Peggy Lee, these masters are listed under the date April 28, 1959. That date is clearly erroneous, as it predates both the concert and the studio dates. Unfortunately, this April 28 date has been disseminated. It can be found in various Capitol CD releases, including the 1992 CD edition of Beauty And The Beat! and the boxed set Miss Peggy Lee.

In Capitol's master file, a different date was entered: May 28-30, 1959. That is actually an "umbrella dating," covering as it does the whole three main days of the Second Annual International Radio Programming Seminar And Pop Music Disc Jockey Convention. Lee ND Shearing concert took place on May 28. Of course, this dating (May 28, May 28-30) also fails at being accurate, because the present masters are recreations of the concert performances, recorded in the studio after the convention was over.

To my knowledge, no Capitol file reveals the true date on which these studio masters were recorded.

The convention was not scheduled to conclude until May the 31st. Taking that fact into account, we can confidently ascertain that the Beauty and The Beat masters date from June, at the earliest. We could further speculate about the likelihood of an early June date. Producer Cavanaugh probably wanted to set up a studio date as soon as possible. If Lee, Shearing, and a Capitol studio were all available in early June, chances are that the session(s) took place right then.


Personnel

See personnel comments under previous session. I am operating under the assumption that the same members of The George Shearing Quintet played during both live and studio dates. That assumption rests in turn on the fact that the listed musicians were -- at this point in time -- official members of the quintet.


Arrangements

All titles are believed to have head arrangements. Peggy Lee wrote in her autobiography (published in 1989) that she and George Shearing "rendezvoused in Florida to set the keys and figure out the arrangements." Both Lee and Shearing made additional remarks on this topic during their respective interviews, for the liner notes of the Capitol Jazz CD Beauty And The Beat! (1992). Lee remembered that "[w]e started from scratch with all new arrangements ... We used head arrangements, because George is blind and doesn't use written music. We kept working these songs out and rehearsing as we went, until George had all the harmonies and everything going." Shearing said that "[w]e just discussed the tunes between us, the same as I do with every singer that I've worked with. We had various ideas, some of which we dismissed, some of which we adopted." During an earlier interview with disc jockey and radio personality Fred Hall, Lee had similarly explained that, "because George is unsighted, everything had to be head arrangements. So the whole thing was planned. We came down a little early, and worked out the whole album. He is so brilliant, that George. So, it was like doing the arrangements and everything all in one time there."





Masters

1. "Lonely Town" [Master #31805]
In his Sixty Years Of Recorded Jazz discography, Walter Bruyninckx identified Capitol master #31805 as "Lonely Town" and claimed that it was released on the Capitol Beauty And The Beat! LP. Bruyninckx (or his sources) misidentified the performance on that master. What's more, no song with such a title is part of the Beauty And The Beat sessions.

According to Capitol session files, master #31805 is instead "Nobody's Heart" (a Lee-Shearing performance which remained unissued until ints release, as a bonus track, on the 1992 CD edition of Beauty And The Beat!.

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

There's a different and much likelier explanation, however. Following "Nobody's Heart" (#31805), the next master (#31806) listed in the Capitol files is "Blue Prelude," whose first chorus reads as follows: "Let me sigh / Let me cry when I'm blue / Let me go 'way from this lonely town." Bruyninckx's source must have wrongly isolated the first chorus of "Blue Prelude," treating it as a separate song, and succumbing to the assumption that its title had to be "Lonely Town."

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

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

31801 Isn't It Romantic? (preceded by Shearing chatter)
31802 Satin Doll (preceded by Lee's announcement, as well as Shearing chatter)
31813 Mambo In Miami (Armando Peraza feature, preceded by a Shearing introduction)


Issues And Collectors' Corner

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

2. Two Different Versions Of Beauty And The Beat! [CD]
Capitol has issued two versions of Beauty And The Beat!. The oldest is the one heard on the original LP. That version comes from second-generation tapes. It contains dubbed-in applause and spoken introductions which were recorded separately from the songs, and which Capitol's engineers spliced into the tapes.

On CD, the original LP version made its first appearance on a Japanese disc, issued in 1988. That Japanese edition was in turn transferred to a domestic CD, released in 1992. That 1992 CD edition became the most readily available and hence better known of the digital Beauty And The Beat! versions.

The other CD edition comes from the first-generation master tapes. No applause or spoken introductions are heard. It too was released first in Japan first (2002), thereafter in the United States (2003). The Japanese issue was produced by Toshiba-EMI , the American issueI by Capitol Jazz.

Because the first-generation master tapes are fabulously well preserved, the 2002-2003 edition reveals a wealth of vocal nuances that are not quite readily apparent in the orginal LP, nor in the 1988-1992 CD editions. Many fans of vocals are consequently awestruck by what they hear in the 2002/2003 releases -- and justly so.

However, the earlier edition has its fans, too. For them, there is overriding pleasure in listening to the charm of a live-in-concert atmosphere, however recreated such an atmosphere might be.

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


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

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

a. 32216-6Master Take (Capitol) Hey There - 2:10(Richard Adler, Jerry Ross) / arr: Jack Marshall
CAPITOL jukebox EPXe 1290 — Latin Ala Lee!   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2 {aka On The Street Where You Live}   (1960)
CAPITOL EP(France) Eap 4 1290 — Latin Ala Lee!   (1960)
b. 32217-9Master Take (Capitol) C'est Magnifique - 2:06(Cole Porter) / arr: Marty Paich
CAPITOL 454349 — {Heart / C'est Magnifique}   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1 {aka Heart}   (1960)
CAPITOL EP(France) Eap 4 1290 — Latin Ala Lee!   (1960)
c. 32218-5Master Take (Capitol) Till There Was You - 2:31(Meredith Willson) / arr: Jack Marshall
CAPITOL jukebox EPXe 1290 — Latin Ala Lee!   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3 {aka Till There Was You}   (1960)
CAPITOL 45(United Kingdom) Cl 15184 — {Till There Was You [not released as a single in the USA] / (A) Bucket Of Tears}   (1961)
d. 32219-5Master Take (Capitol) Dance Only With Me - 2:29(Jule Styne, Adolph Green, Betty Comden)
CAPITOL jukebox EPXe 1290 — Latin Ala Lee!   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3 {aka Till There Was You}   (1960)
CAPITOL 8-track/CS/LPSf 519 (Twofer: 8xf/4xf/Stbb 517) — Broadway Ala Lee [Reissue of Latin Ala Lee, minus 2 tracks; false stereo]   (1970)
Marginal Bootleg CD(Belgium) Mar 068 — Extra Special!   (1997)
Not Now Music Public Domain CD(United Kingdom) Not3CD 270 — Greatest Hits   (2018)
All titles on: CAPITOL reel/LPZt/(S)T 1290 (Reissued as Sm 1290, Srs 5080) — Latin Ala Lee!   (1960)
Pigeon Public Domain CD(Japan) Gx 106 — Latin! Peggy Lee ("Latin Music" Series)   (1987)
CAPITOL©EMI's Pathé Marconi CS/LP(United Kingdom) Tcems/Ems 1304 — Latin Ala Lee! ("Nostalgia" Reissue Series)   (1988)





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

Dates: August 12, 13, and 14, 1959. Photos: Latin Ala Lee!, the LP that resulted from these sessions. Seen here in its first British incarnation (1960; stereo and mono copies). These British copies have 11 tracks, thereby missing one of the 12 selections on the original American release. The reason for the omission is explained next.


Issues

1. Latin Ala Lee! [British LP Edition]
2. "Till There Was You" Denied British 'Visa'
The LP Latin Ala Lee! was released on both sides of the Atlantic in 1960, with the same artwork and catalogue number. There was, however, one significant difference between American and British pressings: the British edition excluded the number "Till There Was You," thereby featuring a total of 11 instead of 12 tracks. That song had originated in the show The Music Man, which had been recently running on Broadway. The reason for its exclusion from Lee's LP was contractual. British EMI was not allowed to release any versions of the song -- at least, not until after the release of the cast album and/or the show's run therein.

"Till There Was You" was also left out of Srs 5080, a reissue of Latin Ala Lee that British EMI prepared around 1971, as part of its Starline LP series. The British finally incorporated the song on the 1988 cassette/LP reissue of the album (Tcems 1304 & Ems 1304), which was part of a series jointly coordinated by the French and British branches of EMI.


Songs

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

The debut of "Till There Was You" in the British music charts took place during the week of March 25, 1961. Lee's rendition stayed for just a week, placing at #40. But shortly afterwards (during the week of April 8), it re-entered the chart, staying for three more weeks. That second time around, it peaked at #30.

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


Personnel

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


Arrangers And Arrangements

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


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

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

a. 32228-5Master Take (Capitol) Heart - 1:59(Richard Adler, Jerry Ross, John M. "Jack" Elliot) / arr: Jack Marshall
CAPITOL 454349 — {Heart / C'est Magnifique}   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1 {aka Heart}   (1960)
CAPITOL EP(France) Eap 4 1290 — Latin Ala Lee!   (1960)
b. 32229-6Master Take (Capitol) The Surrey With The Fringe On The Top - 1:59(Oscar Hammerstein II, Richard Rodgers) / arr: Jack Marshall
CAPITOL jukebox EPXe 1290 — Latin Ala Lee!   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2 {aka On The Street Where You Live}   (1960)
CAPITOL EP(Denmark) Eap 4 1290 — Latin Ala Lee!   (1960)
c. 32230-6Master Take (Capitol) Wish You Were Here - 2:47(Harold Rome) / arr: Jack Marshall
CAPITOL jukebox EPXe 1290 — Latin Ala Lee!   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2 {aka On The Street Where You Live}   (1960)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
d. 32231-4Master Take (Capitol) I Am In Love - 2:10(Cole Porter) / arr: Jack Marshall
CAPITOL jukebox EPXe 1290 — Latin Ala Lee!   (1960)
CAPITOL EP(United Kingdom) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3 {aka Till There Was You}   (1960)
CAPITOL©EMI's Music For Pleasure CS/CD(United Kingdom) 7243 8 56805 2 6 [also Mfp 6342] — The Very Best Of Peggy Lee [tracks same as EMI Presents The Magic, diff. artwork]   (1997)
All titles on: CAPITOL reel/LPZt/(S)T 1290 (Reissued as Sm 1290, Srs 5080) — Latin Ala Lee!   (1960)
CAPITOL 8-track/CS/LPSf 519 (Twofer: 8xf/4xf/Stbb 517) — Broadway Ala Lee [Reissue of Latin Ala Lee, minus 2 tracks; false stereo]   (1970)
Pigeon Public Domain CD(Japan) Gx 106 — Latin! Peggy Lee ("Latin Music" Series)   (1987)





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

Dates: August 12, 13, and 14, 1959. Photos: One of the various CD editions of Latin Ala Lee! This one, on the S&P label, is sonically the best of all of them, and thus highly recommended. Make sure that you do not confuse it with the other CD editions, all of which feature the same front cover artwork. The S&P edition can be distinguished from its unique back cover photo (seen above), and for the inclusion of "Sweet Happy Life" among its bonus tracks.


Songs

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

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

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


Issues And Masters

1. Latin Ala Lee! [Jukebox EP]
The catalogue number Xe-1290 belongs to the jukebox EP version of Latin Ala Lee!. The EP set consists of the following 33-rpm discs, all of them released in stereo only:

Xe1 1290 - "The Surrey With The Fringe On The Top" & "The Party's Over"
Xe2 1290 - "Hey There" & "I Am In Love"
Xe3 1290 - "I Could Have Danced All Night" & "Till There Was You"
Xe4 1290 - "I Enjoy Being A Girl" & "Dance Only With Me"
Xe5 1290 - "On The Street Where You Live" & "Wish You Were Here"

This jukebox set culls 10 of the 12 songs from its LP counterpart, leaving out "Heart" and "C'est Magnifique." These omitted songs are the ones that were instead issued on a commercial 45-rpm single. It is also likely that this pair of songs was issued on a single playable on jukebox machines, but so far I have found no confirmation for such a possibility.

A more basic note on the matter at hand. Oftentimes, discs such as the ones from the EP under discussion wound up being sold as separate pieces. Online auction sites sometimes misrepresent their true nature, failing to acknowledge that they were originally part of a larger unit.

2. Broadway Ala Lee [LP]
This 1970 Capitol LP is a reissue of the 1960 album Latin Ala Lee!. Two songs from the original album were deleted. The original artwork was changed, too. Broadway Ala Lee was sold both as a stand-alone (catalogue number Sf 519) and as a twofer (catalogue number Sttb 517). The other album in the twofer is also a reissue, titled The Folks Who Live On The Hill and presented in "duophonic" or electronically processed stereo (catalogue number Df 518). See session dated April 4, 1957. Incidentally, the prefix of Broadway Ala Lee truly is Sf, not Df as some sources erroneously claim. As for Stbb, Capitol used that prefix to identify all the twofers in the reissues series to which The Folks Who Live On The Hill / Broadway Ala Lee belongs.

3. S&P Latin Ala Lee! [CD]
4. S&P Latin Ala Lee! [LP] {180 Gram Virgin Audiophile Vinyl}
5. DCC Latin Ala Lee! [CD]
6. EMI Latin Ala Lee! [CD]
Remixed in the same studio where the original sessions were recorded, the S&P issue of Latin Ala Lee! boasts vibrant sound quality. The LP version is on 180 gram Virgin audiophile vinyl.

For both the S&P CD and audiophile LP, the original master tapes were used. As for the other CD versions of the album Latin Ala Lee!:

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

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

c) unlike the above-mentioned two, the Hallmark version is not a licensed but a Public Domain release. Hallmark is a budget company with a tendency to release poor-sounding product, sometimes obviously (and outrageously) mastered from beaten LPs.

7. "I Am In Love"
8. S&P Latin Ala Lee! [CD, LP]
The S&P remix of this session's "I Am In Love" boasts a minor but curious detail. Toward the end of the track in the S&P CD, Lee is heard singing the phrase "so in need of a stampede of love" five times. In all other issues, that closing phrase is heard only four times.


Personnel And Instruments

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


Arrangers

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


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

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

a. 32234-7Master Take (Capitol) I Could Have Danced All Night - 2:09(Alan Jay Lerner, Frederick Loewe) / arr: Jack Marshall
CAPITOL EP(United Kingdom) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1 {aka Heart}   (1960)
CAPITOL EP(France) Eap 4 1290 — Latin Ala Lee!   (1960)
CAPITOL EP(Denmark) Eap 4 1290 — Latin Ala Lee!   (1960)
b. 32235-11Master Take (Capitol) On The Street Where You Live - 2:13(Alan Jay Lerner, Frederick Loewe) / arr: Jack Marshall
CAPITOL EP(United Kingdom) Eap/Sep 6 1290 — Latin Ala Lee!, Part 2 {aka On The Street Where You Live}   (1960)
CAPITOL 8-track/CS/LPSf 519 (Twofer: 8xf/4xf/Stbb 517) — Broadway Ala Lee [Reissue of Latin Ala Lee, minus 2 tracks; false stereo]   (1970)
CAPITOL©EMI 8-track/CS/LP(United Kingdom) 8x/Tc/St 23168 (also 062.81537) — The Very Best Of Peggy Lee ("Very Best" Series)   (1973)
c. 32236-5Master Take (Capitol) I Enjoy Being A Girl - 2:14(Oscar Hammerstein II, Richard Rodgers) / arr: Jack Marshall
CAPITOL EP(United Kingdom) Eap/Sep 5 1290 — Latin Ala Lee!, Part 1 {aka Heart}   (1960)
CAPITOL 8-track/CS/LPSf 519 (Twofer: 8xf/4xf/Stbb 517) — Broadway Ala Lee [Reissue of Latin Ala Lee, minus 2 tracks; false stereo]   (1970)
Pair Licensed CS/CDPcdk/Pcd 2 1194 — Seductive   (1989)
d. 32237-8Master Take (Capitol) The Party's Over - 3:18(Jule Styne, Betty Comden, Adolph Green) / arr: Jack Marshall
CAPITOL EP(United Kingdom) Eap/Sep 7 1290 — Latin Ala Lee!, Part 3 {aka Till There Was You}   (1960)
Harmony Collection Licensed CS/CD(United Kingdom) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
CAPITOL©EMI CS/CD(United Kingdom) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
All titles on: CAPITOL reel/LPZt/(S)T 1290 (Reissued as Sm 1290, Srs 5080) — Latin Ala Lee!   (1960)
CAPITOL jukebox EPXe 1290 — Latin Ala Lee!   (1960)
Pigeon Public Domain CD(Japan) Gx 106 — Latin! Peggy Lee ("Latin Music" Series)   (1987)





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

Dates: August 12, 13, and 14, 1959. Photos: Two LP reissues of Latin Ala Lee!, the first British, the second American. Both contain less tracks than the original American LP.


Issues

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

In Music Vendor's stereo album chart, Latin Ala Lee! fared even better, peaking at #9 during the week of July 25, 1960. This magazine also published a separate mono album chart. I do not know exactly how high the LP peaked therein, but it was definitely no lower than within the top 15, with the top 10 certainly possible.

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

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

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

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


Personnel

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


Arrangers

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


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

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

a. 32505-6Master Take (Capitol) The Tree - 1:41(Peggy Lee) / arr: Billy May
CAPITOL 454311 — {The Tree / The Christmas List}    (1959)
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL 45(United Kingdom) Cl 15227 — {I Like A Sleigh Ride (Jingle Bells) / The Tree} [different pairing than in USA singles]   (1961)
b. 32506-5Master Take (Capitol) The Christmas List - 2:38(Peggy Lee) / arr: Billy May
CAPITOL 454311 — {The Tree / The Christmas List}    (1959)
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL LP(S)T 2390 — Happy Holiday   (1965)
c. 32507-10-monoMaster Take (Capitol) Where Do I Go From Here? - 2:18(Sheldon Harnick, Jerry Bock)
CAPITOL 454298 — {You Deserve / Where Do I Go From Here?}   (1959)
CAPITOL's Starline reel/LPT 1366 — All Aglow Again!    (1960)
CAPITOL©EMI's Pathé Marconi CS/LP(France Pm 156 554 4/1) & (UK Eg 26 0605 4/1) — All Aglow Again! ("Retrospect" & "Nostalgia" Reissue Series)   (1985)
Blue Moon Licensed/Public Domain CD(Spain) Bmcd 880 — Swingin' Brightly & Gently; Complete Recordings, 1958-1959   (2016)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 606 — All Aglow Again!   
Armed Forces Radio Service 16" Transcription DiscP 6901 - P 6902 — Basic Music Library [LP I Like Men + 4 songs from 2 singles]   
d. 32507-_-stereoAlternate Take (Capitol) Where Do I Go From Here? - 2:18(Sheldon Harnick, Jerry Bock)
Collectors' Choice Licensed CDCcm 921 2 — ALL AGLOW AGAIN!   (2008)
Future Noise's Fantastic Voyage Public Domain CDFvtd 043 — Ridin' High; The Complete Record Releases, 1957-1959   (2010)





The 1959 Singles Session And The Christmas Carousel Album Sessions (Cross-references)

Dates: June 15 and 19, 1960. Also this session. (For other singles sessions in this page, look up the following dates: April 13 and 22, 1957. August 30, 1957. May 19 and September 14, 1958. Naturally, the album sessions also include songs that were released on singles.) Photos above: the single that resulted from this session, in a promotional version. Both sides are shown, and so is the cover (featuring identical artwork on front and back).


Songs And Songwriters

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

Personnel

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

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


Arrangements

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

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


Issues [Stereo Releases]

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


Masters And Alternate Takes

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




GENERAL NOTES

Peggy Lee At Capitol Records, 1957-1959

By early 1957, Peggy Lee's contract with Decca Records was up for renewal. Since the singer had had a successful five-year run at the label, her signing of another extended contract would have suited both parties.  However, Lee had another offer of her interest.  Aware that the Decca contract was about to lapse, two men from another label started to "court" her.   One of the men was Glenn Wallichs, president of Capitol Records & future chairman of that label's board. The other mensch was Frank Sinatra, Capitol's biggest star at the time & pop music's future chairman of the board. 

Lee decided to return to the label for which she had exclusively recorded from the mid-1940s to 1951.  When interviewers asked about her reasons for the second switch, the vocalist told them that she had loved the time spent with Decca but still couldn't help feeling that Capitol was her artistic home.  Along with the courtship of Sinatra and Wallichs, this desire to "come back home" seems to have dictated her course of action.

It could also speculated that Lee felt vindicated, and thus ready to rejoin Capitol.  By leaving the label she had proven a point about the viability of her artistic and commercial instincts. In 1952, Capitol had not supported Lee's plan to record the standard "Lover" in a brand new arrangement that the singer had conceived, and which she confidently expected to be a hit. Capitol's executives had rejected her concept on the grounds that their catalogue already counted with another act's hit version of "Lover." Lee's protests that her version also had chart-busting potential fell on deaf ears at Capitol.

But not so at Decca.  Having see her perform it live, Decca's executives (Sonny Burke, Milt Gabler) were overly enthusiastic about her desire to record her reconceptualization of "Lover."  They are similarly enthusiastic over the prospect of having Lee join that label's roster.  Their enthusiasm proved well-founded.  Immediately after its release, Lee's "Lover" became a buzz-generating single.  It ended up becoming not only a solid best seller but also a a favorite among industry insiders. 

Many other significant successes ensued while Lee was at Decca.  There were critically acclaimed albums and more popular singles.  There was also the Lee's professional branching out from singing into film, which would lead to an Academy award nomination in the category of Best Supporting Actress. The success of those Decca years could not have been lost on Capitol.  By 1957, Capitol must have been open to the idea of having their "daughter" return "home" -- as attested by the wooing from the label's patriarch, Glenn Wallichs. 

Peggy Lee was also lured back through an invitation from her friend Frank Sinatra, whom she couldn't refuse. Sinatra had joined Capitol on the year after Lee had left, and he had gone on to generate huge critical and commercial success for the label.  Now, in early 1957, he was coming up to her with the offer of collaborating on an album, and to have Capitol distribute it.  Lee was sold on the idea.  

Album sessions featuring Sinatra were scheduled for early April; Lee is presumed to have signed a contract with Capitol right around that time.  Most likely, her five-year contract with Decca had expired at the end of March.  Pointing to such likelihood is a statement printed on the April 2, 1952 issue of Variety.  The issue announces that Lee had just "ankled the [Capitol] diskery Friday (29) to ink a longterm pact" with Decca.   (March the 29th was actually a Saturday, but  otherwise the announcement seems to be correct. Her first Decca sessions took place immediately afterwards, in April of 1952.)

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

To hold its ever growing operations, Capitol had moreover begun constructing, around 1954, a new studio office complex. The result of this labor was a circular-shaped building with 13 floors that resembled a stack of records -- a building which is now considered a landmark. The Capitol Tower's full facilities officially opened on April 6, 1956, although the inaugural sessions had taken place in advance, on February 22, 1956.  Those initial sessions were dedicated to recording masters for the album Frank Sinatra Conducts Tone Poems Of Color.
   
With Sinatra conducting for her, Peggy Lee began her recording activity at the one-year-old facility on April 2, 1957.  Several additional April sessions were followed by three more in August and December of that initial year.  In the ensuing 15 years, Peggy Lee's studio waxings consistently took place at the Tower's B and A studios.  (The Tower has three recording studios, simply called A, B, and C.  All of them are located in the ground floor).

This late 1950s comeback to Capitol turned out to very successful for Lee. Of the six albums that she made during the three years covered by this discographical page, five made the Billboard chart, all of them peaking within the top 20. One of the albums, Latin Ala Lee!, managed to stay an impressive 59 weeks in the chart. Also making the Billboard charts were six songs from Lee's singles. Among them was "Fever," which became a bona fide hit and is now an enduring pop classic. During these same years she also recorded for posterity a number that is nowadays celebrated as a classic (and as proof of exemplary artistry from all parties involved): "The Folks Who Live On The Hill," on which she collaborated with Nelson Riddle, his orchestra, and Frank Sinatra.  Lee's subsequent collaboration with George Shearing (Beauty And The Beat!) comes from this same period, too, and is still widely praised as a model of musical good taste. 

(Photos above: Peggy Lee during the three years under discussion, beginning with 1957 and ending with 1959.  The second photo is  from 1958, the third from either 1958 or 1957.)


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

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

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

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

A musician by trade, Marshall played guitars in the sessions of various Capitol artists during the late 1950s, 1960s, and early 1970s. After doing so in a couple of 1957 Peggy Lee sessions, he graduated to the role of conductor in 1958, and continued to work with her until 1959. I have found no evidence that Marshall conducted for any singer before he did for Lee, although he appears to have arranged a few instrumental sessions under his name. Lee could have thus been instrumental in his graduation from session musician to session leader. She might have thought of Marshall as an arranger-conductor amenable and malleable enough to follow her directive, without substantially challenging it. Marshall can also be thought of as a Dave Barbour successor (albeit a short-lived one); both men were guitar players who nominally led Lee's sessions. The Marshall-conducted albums from this period (Things Are Swingin', I Like Men!, Latin Ala Lee!) naturally show his musical acumen and supportive skills, but ultimately they are more reflective of Peggy Lee's own creative input and stylistic leanings at this stage of her career. Once Lee stopped working with Marshall, he went on to amass extensive credits for both film and television scoring.




Popularity: Capitol And The Disc Jockey Polls

With the advent of rock and rhythm & blues, labels such as Capitol took a backseat to those which specialized on such fields. Even so, the majors still fared very well, especially thanks to the star power of some of the TV and/or film stars in their respective rosters (in Capitol's case, Frank Sinatra, star of both Hollywood and Tin Pan Alley).

Capitol could also boast of having maintained a favorable place in the world of radio. Take, for instance, the above-shown scores from The Billboard Eleventh Annual Disc Jockey Poll (1958). "Fever" is ranked #6 among the disc jockeys' favorite singles of the year, and Peggy Lee is named their favorite female vocalist of 1958.


Popularity: Peggy In The Polls

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

Meanwhile, Billboard's Tenth Annual Disc Jockey Poll claimed a #6 position for Peggy Lee in its the category of Favorite Female Vocalist (1957). Lee was down two notches from her 1956 position at #4, as Sarah Vaughan had shot up from #8 to #4, and June Christy had remained steady at #5. Ella Fitzgerald had remained steady at #3, while the top two vote getters had swapped places, with Patti Page climbing to #1 and Doris Day ceding the throne.

As was typically the case over the years, Peggy Lee's 1957 Cash Box rankings were lower. A mid-year survey called The Cash Box Disc Jockey Poll places her at #16 in a top 23 also topped by Doris Day and Patti Page, bottomed by Margaret Whiting and Jill Corey. The only other Capitol artist on the list is June Christy, at #11.

But it was Variety that ranked Lee at the lowest. In a 16-slot Best Female Vocalist Of 1957 poll, Lee was hanging by a thread at the bottom with 1,370 votes, while the better-positioned Jo Stafford (1,654) and Dinah Shore (#14) were also at risk. Clearly oriented toward the more overtly commercial hit makers of the moment, the so-called Best poll presented a top three that con sited of Jane Morgan (41,392 votes), Debbie Reynolds, and Patti Page (57,271 votes). Sarah Vaughan was comfortably positioned at #9 and the likes of Joni James were still around (#13), but Ella Fitzgerald was nowhere to be found, and ditto for Margaret Whiting or Lena Horne. (I have yet to track down the equivalent 1958 poll from Variety magazine. If one was published, Peggy Lee's ranking must have improved on the strength of her recording of the popular "Fever."

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

For its part, The Billboard published its Eleventh Annual Disc Jockey Poll on its December 15, 1958 issue. In the category of Favorite Female Vocalist, Capitol's Peggy Lee ranked at #3, up three notches from the previous year, when the #3 position had been occupied by Ella Fitzgerald (now one notch below). Exchanging their respective positions from the preceding year, Mercury's Patti Page placed at #2 and Columbia's Doris Day at #1. Capitol also grabbed the fifth and seventh notches, thanks to Keely Smith and June Christy. (The former was making her debut, the latter had fallen two notches). Meanwhile, in the same poll's Favorite Single top ten list, Peggy Lee's rendition of "Fever" could be found at #6. "Volare" occupied both the first and the last spots, courtesy of Domenico Modugno's and Dean Martin's versions.

A poll for which I am lacking full source information (possibly 1958, possibly Variety) asked disc jockeys the question Which Female Vocalist Did You Program Most?. Peggy Lee placed at at #4. Former Variety poll toppers Page and Morgan were nowhere in site, but Page wass at #5, James at #6, Stafford at #7, Vaughan at #8, Fitzgerald at #12, Shore at #13, Horne at #19, Gorme at #20, and Whiting in the last, #21 spot. The top three consisted of Gale Storm, Kay Starr and, at #1, Jaye P. Morgan. Also in the running were Teresa Brewer (#9), Rosemary Clooney (#10), Georgia Gibbs (#11), Julie London (#14), Gogi Grant (#15) and, successively, a triumvirate of worthy interpreters, starting with Carmen McRae (#16), proceeding to Jeri Southern (#17), and ending with Chis Connor (#18).

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

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

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


Statistics: Total Number Of Peggy Lee Masters

This discographical page lists 92 masters and 10 alternate takes, all of them recorded for Capitol Records between 1957 and 1959.

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

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

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

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

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

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

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

(Photos below: colorful publicity shots of Peggy Lee, during or around the years under discussion. The first and last shots are believed to be from 1957. The middle shot has been reported to date from either 1959 or 1960.)





Sessions Reported: 24

Performances Reported: 102

Unique Songs Reported: 86

Unique Issues Reported: 290