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The Peggy Lee Bio-Discography:
Unissued Recordings, Unconfirmed Record Deals, Misattributed Vocals

by Iván Santiago

Page generated on Sep 17, 2021

I. Scope And Contents

This discographical page consists of three sections, all of them dealing with areas of Peggy Lee's discography that are either unclear or unrealized. The first part lists all studio recordings that remain unissued at the present time. The second section concentrates on performances that have been misattributed to her. The page's last part is a chronological presentation of unfulfilled music deals.

II. Unissued Recordings

At the present time, less than 50 Peggy Lee masters remain unissued. Taking into consideration that Lee's catalogue contains over a thousand masters, 50 is a fairly small number. Moreover, and as will be detailed below, a fair portion of this unissued material falls under the category of rejected and/or re-recorded masters. There is also a portion of this unissued material which is, for practical purposes, non-operational: I am alluding to masters seemingly absent from the labels' vaults, and thus deemed permanently lost -- regrettably so.

Happier tidings can be gleaned from an inquiry into the ratio of Peggy Lee masters that have been made available on CD (rather than just on LP, cassette, or 78-rpm & 45-rpm singles): nearly all of the aforementioned thousand-plus items (though not, of course, the nearly 50 unissued masters). To a large extent, producer Jim Pierson is to be thanked for the nearly-complete digitization of Lee's catalogue: since the 1990s, he has actively sought to make available on CD those masters that had been lying idle in the vaults, awaiting their transfer to that medium.

Immediately below you will find an itemization of the 44 yet-to-be-issued masters (or 34, if we were to skip those suspected to be permanently lost).

A. Never commercially issued so far are the following 16 masters, made for record labels (except for a couple that Lee made for transcription services, and which are listed at the end):

1. I've Had My Moments (Capitol Studio Recording, 1947)
2. My Guitar (Capitol Studio Recording, 1961)
3. Close Your Eyes (Capitol Studio Recording, 1962)
4. Jealous (Capitol Studio Recording, 1963)
5. Since You Have Gone (Capitol Studio Recording, 1963)
6. Paradise (Capitol Live Recording At The Copacabana, 1968) *
7. Big Spender (Capitol Live Recording At The Copacabana, 1968) *
8. Daddy Wah Dah Do (A&M Studio Recording, 1975)
9. Crazy Life (A&M Studio Recording, 1975)
10. The Best Thing (A&M Studio Recording, 1975)
11. Love Me Or Leave Me (A&M Studio Recording, 1975)
12. Saved (A&M Studio Recording, 1975)
13. Since I Fell For You (MusicMasters Studio Recording, 1988)
14. How Long Has This Been Going On? (MusicMasters Studio Recording, 1988)

15. Between The Devil And The Deep Blue Sea (MacGregor Transcription Recording, 1945)
16. I'm In The Mood For Music (Capitol Transcription Recording, 1946)
* originally believed to be lost; extant as copies in the artist's own reel tape collection

[A clarification of the above-seen list. Some knowledgeable fans might be quizzical about the list's inclusion of various titles that they believe to be found in Peggy Lee CDs or LPs. Actually, those versions on CD and LP are not the ones itemized above, but different ones, recorded at different dates and, in some cases, on different labels. For instance, Peggy Lee did record the song "Love Me Or Leave Me" for her Decca album Black Coffee in 1953, but the version of "Love Me Or Leave Me" to which entry #9 refers was recorded more than 20 years later, and it features an entirely different arrangement.]

B. The following 15 titles are mostly rejected masters. As such, they might or might not be technically suitable for release. (All of them were re-recorded by Lee shortly afterwards. Each of the re-recorded versions has been commercially issued.)

17. I've Had My Moments (Capitol Studio Recording, 1946)
18. Golden Earrings (Capitol Studio Recording, 1947)
19. Sunshine Cake (Capitol Studio Recording, 1949)
20. Lover (Decca Studio Recording, 1952)
21. Uninvited Dream (Capitol Studio Recording, 1957)
22. Every Night (Capitol Studio Recording, 1957)*
23. You Don't Know (Capitol Studio Recording, 1957)*
24. One Kiss / My Romance / The Vagabond King Waltz (Capitol Recording, Live At Basin Street East, 1961)*
25. One Kiss / My Romance / The Vagabond King Waltz (Capitol Recording, Live At Basin Street East, 1961)*
26. But Beautiful (Capitol Recording, Live At Basin Street East, 1961)*
27. But Beautiful (Capitol Recording, Live At Basin Street East, 1961)*
28. The Second Time Around (Capitol Recording, Live At Basin Street East, 1961)*
29. Them There Eyes (Capitol Recording, Live At Basin Street East, 1961)*
30. I Got A (Wo)Man (Capitol Recording, Live At Basin Street East, 1961)*
31. Yes, Indeed! (Capitol Studio Recording, Basin Street East Sessions, 1961)*
*actual existence still to be fully proven; #22 might or might not be lost

C. The following four masters have actually been issued on cassette or 78-rpm disc (and, in two cases, even on Public Domain CD), but are still awaiting issue on an official, finely mastered compact disc:

32. I Get The Blues (When It Rains) (MacGregor Transcription Recording, 1945)
33. You Turned The Tables On Me (MacGregor Transcription Recording, 1945)
34. Johnny Fedora & Alice Blue Bonnet (Disney Promotional Recording, late 1945 or early 1946)
35. Two Silhouettes (Disney Promotional Recording, late 1945 or early 1946)

D. Like the ones just listed above, the following 9 masters have never been issued. I have placed them separately because all of them are believed to be lost, unfortunately.

36. The Legend Of The Well (Decca Studio Recording, 1955)
37. Daydream (Capitol Studio Recording, 1968)
38. Don't Speak (Capitol Live Recording At The Copacabana, 1968)
39. Trav'lin' Light (Capitol Live Recording At The Copacabana, 1968)
40. Why Don't You Do Right? (Capitol Live Recording At The Copacabana, 1968)
41. Fever (Capitol Live Recording At The Copacabana, 1968)
42. Lonesome Road (Capitol Live Recording At The Copacabana, 1968)
43. We're Gonna Make It (Capitol Session Master, 1969)
44. Long Gone (Capitol Session Master, 1969; might have been attempted and discarded during the session itself)

[Note about the masters listed above: in the cases of "The Legend Of The Well," "We're Gonna Make It," and "Long Gone," there is no full proof that Lee actually recorded those vocals, but there is session data indicating that, at the very least, steps were undertaken toward such goal.]

E. Alternate takes have not been included in the above-shown itemization. Also excluded from the itemization: rehearsals, media performances (i.e., singing carried out on film, radio, or television), and extant but non-label-owned concert performances.

F. As a side note to this discussion of Peggy Lee's masters, I want to point out a continued demand for a proper CD reissue of the album Norma Deloris Egstrom From Jamestown, North Dakota. By "proper," Peggy Lee fans mean a CD reissue featuring all the album's original master takes. To further clarify: the album has been digitally issued once, on an EMI twofer twofer which substituted alternate takes for the originally released versions. The consensus is that the alternate takes do not measure up to the masters. (In 2011, the album made the transition to digital file format. Initially, it featured the alternate takes. A few months later, it was reported that fan complaints had triggered a replacement of the downloaded alternates with the original master takes. however, the world of digital file is so unwieldy that the matter remains still in contention.)

III. Erroneous, Non-Existent, Or Unconfirmed Recordings By Peggy Lee

In the main body of this discography (i.e., the sessionography), I have included every single Peggy Lee performance whose existence can be verified through audio releases, through record company files, and through the holdings of collectors and institutions. This page lists a small batch of studio recordings whose existence cannot be verified through any such means. In some cases, I have actually found evidence that the given performance has been erroneously attributed to Peggy Lee.

A. "Little Fool," "Willow Road," "Look Up," "The New Look," And Others (1941-1983)
Photos of Peggy Lee appear on the covers of about 75 pieces of sheet music. In a small number of cases, I have no evidence that Lee ever sang the song in question. To wit: "Willow Road" (written by Mel Tormé and Robert Wells; copyrighted 1946), "The New Look" (written by Barclay Allen, Roc Hillman, and Ide Barney; copyrighted ca. 1947), "La Cucaracha" (Lee is among various artists pictured on the cover of this sheet, which describes itself as a "celebrity photo edition," and identifies Lee as a "Chesterfied Supper Club Star"; but she did not sing this number in that show), "Hush-a-Bye" and "Living The Life I Love" (both from the 1953 movie The Jazz Singer, in which they are performed by Lee's co-star, Danny Thomas). In other cases, Peggy Lee did not do a commercial record of the number, but she did sing (or might have sung) it elsewhere: "Little Fool" (written by Lee for a newspaper contest in the early 1940s, while she was the vocalist with Benny Goodman's Band, with which she sang it occasionally, in concerts), "Look Up" (performed during 1948-1949 appearances as host of Chesterfield's Supper Club radio show), and "One Beating a Day" (written by Lee, and recorded by her on demo, in 1983, though not commercially released).

B. "Hey, Buddy Bolden" and "Tenderly" (1940s-1950s)
The computerized information system Muze lists Peggy Lee among the singers heard in Ladies Sings The Blues, a various-artists issue on the label Bella Musica (issued on both compact disc and cassette, catalogue number 89940). The Muze database gives the impression that Lee is heard singing renditions of four songs: "Them There Eyes," "Say It Isn't So," "Hey, Buddy Bolden," and "Tenderly." She is not; Lee is heard on "Them There Eyes" only. An inspection of the actual CD shows that the blame for this error lies partially with Bella Musica, partially with Muze: because the Bella Musica CD identifies "Them There Eyes" as sung by Lee but does not identify the singers of the three numbers that follow, Muze apparently took for granted that all four numbers were Lee interpretations.

C. "Shoo Fly Pie And Apple Pan Dowdy" (1946)
In the February 2, 1946 issue of Billboard magazine, t is reported that "Capitol Songs has four disks lined up for its Shoo Fly Pie And Apple Pan Dowdy. Stan Kenton and Peggy Lee are doing versions of it for Capitol Records, Guy Lombardo will cut it for Decca and Dinah Shore for Columbia." Lee's Capitol Artist File gives no indication that she recorded this novelty, which did become a fine-selling top ten hit for Kenton and his then-canary, June Christy.

D. "Hoo Do Lattel" / "Hoodle Addle" (1947?)
In or around the year 2008, an eBay seller offered a batch of 11 home recording discs (Wilcox-Gay brand). All were said to contain music or songs possibly recorded off the radio. The song titles were handwritten on each label. One disc had "Serenade To The Bells" [sic] penciled on one side, with credit given to Kay Kyser. The other side of that disc credited Peggy Lee with a number whose title is given as "Hoo Doo Lattel." I am not aware of a song bearing that title, and I am left to wonder if it could be a listener's phonetic approximation to "Hoodle Addle," the Ray McKinley ditty that became popular in 1947, and which was recorded not only by The Ray McKinley Quartet but also by Ella Mae Morse and by Glenn Miller with Tex Beneke. Another possibility would be "Toolie Oolie Doolie (The Yodel Polka)," which was a hit for both The Andrews Sisters and Vaughn Horton in 1948. Even if that's the correct tune, bear in mind that listening would be required before it could be confirmed that Peggy Lee is indeed the vocalist. (In other words, we do not know if the maker of this homemade recording correctly credited Lee with the vocal.

E. "Darn That Dream" (1947)
A Capitol master tape misidentifies Peggy Lee as the singer of a performance of "Darn That Dream," recorded ca. December 31, 1947. For more details, see Masters And Songs note near the end of this discography's 1946-1947 Capitol page.

F. "Night Life" (1950s)
The Public Domain label Music International lists this song as one of the 11 tracks in its Peggy Lee issue Old Favorites. It is an error. Only the other 10 tracks are heard in the issue. Lee never recorded "Night Life."

G. "Be Fair With Me, Baby" (1951)
Another Public Domain compilation wrongly credits Lee for a performance of this song. The performer is Billie Holiday.

H. "No Two People" (1952)
The files of the Library of Congress list an unreleased duet of Loesser's "No Two People" (from the 1952 film Hans Christian Andersen), preserved in the form of a cassette donated by Kaye and family. Peggy Lee and Danny Kaye are identified as the singers, Gordon Jenkins as the conductor. Unfortunately, an aural inspection of the cassette in question has determined that Peggy Lee is not the duet's female partner.

I. "Goodbye, My Love" (1952)
A December 27, 1952 article in The New York World Telegram states that "Miss Lee recently linked her lyrics to Victor Young's melodying for the soon-to-be-released Goodbye, My Love." Though the song is indeed known to have been written around that year, no traces of a recording by Lee can be found in either the Decca or Capitol files -- not until July 26, 1966, when Lee did record the song, for Capitol.

J. "Look!" (1953)
"Look!" (master #20-5500) is a 1953 RCA Victor single erroneously attributed to Peggy Lee in an otherwise reliable two-page Peggy Lee Discography published by the magazine DISCoveries in its July/August 1988 issue. The performer is Kenny Lee instead.

K. "Thou Swell," "It All Depends On You," "It's Alright With Me," "Lover, Come Back To Me" (1956, with Harry James)
Advertisement for the CD Harry James And His New Jazz Band on the Mr. Music label incorrectly claimed that Peggy Lee guested on the above-listed vocals. The singing female heard in the compact disc is instead Peggy King.

L. "I'm Following You" (1957)
Wrongly listed among Peggy Lee's recordings in official documentation, the performer of this hitherto unissued Capitol master (recorded on June 14, 1957) is actually a teenage girl group named The Four Dolls.

M. Songs By The Ever-Lovin' Miss Lee (ca. 1957)
A Los Angeles label called Reco-Tape released a 45-rpm disc called The Ever-Lovin' Miss Lee, in which the singer is backed by Barney Kessell, Red Callender, drummer Lou Singer, and harpist Ann Mason Stockton. Both songs ("Pretty Baby," "Stout-Hearted Men") are compositions by the record's producer (James Welton, aka Theodore Weingand), with arrangements by Ted Dale. The female singer heard on this record is billed as Miss Lee, with no first name ever mentioned in the notes or credits. As a result, eBay sellers have occasionally misidentified her as being Peggy Lee. A passing listening makes it clear that it is a different vocalist. In addition to the Reco-Tape single, there is also a reel tape named The Ever-Lovin' Miss Lee .... The reel copy that I have seen appears to be a British reissue, released by one of the many labels which, over the decades, have adopted for themselves the name Esoteric Records. This reel contains seven songs, including those on the single and also the standard "Blow, Gabriel, Blow." Its front cover features a comely blonde with more than a passing resemblance to Jayne Mansfield. The original recording and release dates are unknown; I have picked 1957 only on the basis of a copyright of a song ("My Vision," not on the reel tape) by producer Welton and arranger Dale.

N. "Lonely Town" (1959)
In his 60 Years Of Recorded Jazz (1978-82), Walter Bruyninckx lists "Lonely Town" (master #31805) among the vocals that Lee recorded with George Shearing shortly after their joint performance at a Miami Disc-Jockey Convention (May 28-30, 1959). However, no such title is shown in the Capitol sheets that I have consulted. The sheets give master #31805 to another Lee-Shearing performance ("Nobody's Heart"). Since I do not have a definite explanation for this discrepancy between the Bruyninckx text and the Capitol sheets, I can only speculate. Two hypothetical scenarios come to mind. First scenario: at the Miami convention concert, Peggy Lee and George Shearing might have recorded a song bearing the title "Lonely Town" (presumably, the piece by Bernstein, Comden and Green), but their performance was lost or erased due to the concert tapes' audio quality, which is known to be very poor. Second scenario: Bruyninckx or his source might have consulted paperwork prepared by someone who did not know the title of one of the songs recorded by Lee and Shearing. This person would have assumed that the song in question was entitled "Lonely Town." In the extant repertoire from the Lee-Shearing sessions, there is actually one song that could easily be misidentified as named "Lonely Town," because its first chorus ends with those two words ("Let me sigh, let me cry when I'm blue, let me go 'way from this lonely town"). The song's correct title is, instead, "Blue Prelude." I am inclined to think that the second scenario is the one that actually happened. If so, an additional error was made at some point by someone (else): Bruyninckx's text lists both "Lonely Town" (as master #31805) and "Blue Prelude" (as master #31806). (In other words, the same performance is erroneously listed under two consecutive masters.)

O. "What Child Is This?" (Early 1960s)
Bruyninckx also lists a Lee performance of "What Child Is This?," master #25054, released in a Capitol album with catalogue number (S)T 2979. Bruyninckx does not give the album's title, but I have found it out: The Best Of Christmas. Though unable to locate any copies, I am aware of its track listing, too. It includes a different Lee performance: "I Like A Sleigh Ride (Jingle Bells)" (master #34022). My assumption is that Bruyninckx (or his source) erroneously attributed another singer's recording to Peggy Lee. I do not believe that she ever recorded the song "What Child Is This?". (No such title is listed in Capitol's official session sheets, nor anywhere else in my sources.) The master number that Bruyninckx gives is also wrong: #25054 belongs to a recording of "White Christmas" by Al Martino.

P. "We Wish You A Merry Christmas" (Early 1960s)
Also seemingly erroneous are notices that Peggy Lee lent her voice to a Bing Crosby recording of "We Wish You A Merry Christmas." One source claims that it is a track from Crosby's 1962 Warner Brothers album I Wish You A Merry Christmas. Another source contends that it is part of Crosby's 1963 recordings on the Reprise label.

Q. With Cary Grant (1967)
According to Marc Elliot's book Cary Grant: A Biography, the legendary actor "signed a contract with Columbia [in 1967] to make a Christmas album of readings from classic material with Peggy Lee singing backgrounds." No such album by Grant was ever made, and the plan to have Lee participate as a background vocalist is news to me. Such a plan must have needed permission from Capitol, which might have been unwilling to lend an artist under contract to another label. (Or, if no permission were to be asked, Lee's vocals would have needed to remain uncredited). Grant did go to the studio, though not to do a full album. He recorded just a trio of songs for possible release on a charity single. All three chosen numbers had been written by Lee, a friend of Grant's who was indeed present at the recording session. I have not heard Grant's performances, but I have been told that Lee is not audible in any of the them.

R. "Please, Don't Go" (Late 1960s)
I once received preliminary information about a Capitol master tape whose label listed "Please, Don't Go" among its songs. At the time, the tape had not been further inspected or played. Hence all interested parties were under the impression that this was an unissued and hitherto undocumented performance from the 1960s. (In 1968, Sammy Davis, Jr. recorded a song with that title, composed by David Cohen, for Reprise.) Nonetheless, this bit of preliminary date turned out to be a mere case of mistaken identity. The performance is actually the already-released "Please, Don't Rush Me," recorded on March 29, 1962 and mislabeled as "Please, Don't Go" in the tape's label.

S. "Suzie Snowflake" (1975)
Some sources refer to a Peggy Lee recording of "Suzie Snowflake," a holiday staple that has become somewhat known in the form of a 1951 recording by Rosemary Clooney. It was a Peggy Dee (not Peggy Lee) who recorded a new composition with a similar title ("Suzie Snow Flake") for a label called Conex, in 1975.

IV. Peggy Lee's Unfulfilled Record Deals (1973-1995)

Given the length of Peggy Lee's professional career, it should come as no surprise that a small number of the deals made by Lee, her managers, or record companies fell through for any number of reasons. This page lists such deals chronologically. Also included are album projects that were abandoned. At the present time (September 2010), most of the entries pertain to record deals. In months to come, I will gradually add some television and film acting deals. (Naturally, there might be other unrealized music deals of which I am not aware. I will of course add as they become known to me.)

A. Offer From Raymond Scott (1940)
In early 1940, Lee received a job offer from bandleader and composer (e.g., "Mountain High, Valley Low") Raymond Scott, who would in ensuing decades go on to host the popular Hit Parade show and would marry one of the show's singers, Dorothy Collins. Lee's recurrent throat problems and need to undergo surgery forced her to decline the offer.

B. Offer From Claude Thornhill (1941)
Bandleader Claude Thornhill, whose best-known canary was Maxine Sullivan, expressed interest in having Lee join his band. Lee was interested in the offer, too. Nothing came out because her management agency did not share the interest, due to the fact that Thornhill was not among its clients.

C. Interest From Glenn Miller (1941)
Lee remembers that bandleader Glenn Miller came to see her perform when she was performing in Chicago, and made a point of complimenting her after the show.

D. Early Peggy Lee & Dave Barbour Set (78-rpm Album?, 1946)
I strongly suspect that two sessions recorded by Barbour and Lee in New York were planned for a 10" 78-rpm album which Capitol ultimately left unproduced. For details, see Capitol sessions dated October 17 and 18, 1946.

E. Bossa Nova Ala Lee (LP, Early 1960s)
A planned Peggy Lee album that did not materialize -- not at least under that title. For further details, see notes under Capitol sessions dated January 2 and February 1, 1963.

F. Peggy Lee Sings Peggy Lee (LP, Mid-1960s)
Another album project that was was not carried out to fruition. Specifics unknown. For some additional speculative remarks, see notes under session dated May 21, 1966.

G. Untitled Album (LP, 1967)
Capitol LP St 31-5627.
Mastering date: December 24, 1966.
Eleven-track collection, apparently intended for release in 1967. At the time, seven of the prospective tracks qualified as previously unissued masters. Of the remaining four tracks, one (#8 below) had been previously released on a 45-rpm single, but not on an album. The other three (#1, #6, #4 below) were previously unissued alternates, two of them taken from the Sugar 'n' Spice album sessions. The 11 tracks were to be sequenced as follows:
1. I Believe In You
[previously unissued alternate take #4; the master take released as part of the LP Sugar 'n' Spice is #7]
2. I Didn't Find Love
3. I'll Be Around
4. The Sweetest Sounds
[Take #7. during the production of the Sugar 'n' Spice album, two takes of this song were under consideration. Master #5 was picked.]
5. Close Your Eyes
[This is not the 1963 version of "Close Your Eyes" that was released as part of the album Mink Jazz. It is instead the previously unissued master #24434 from 1962. ]
6. Make Believe
[This is take #6, never issued. "Make Believe" was originally issued on a 45-rpm single, for which take #7 was used.]
7. Again
8. Little Boat
9. Don't Rush Me
10. I'm A Fool To Want You
11. Farewell To Arms

H. Potpourri (LP, 1967)
This was the preliminary working title for the pick-up album that ended up being released under the title Extra Special.

I. Mystery Demo (Between 1973 and 1977)
In a Los Angeles Times interview conducted by Leonard Feather and published on February 19, 1978, Peggy Lee lamented her past involvement with "a team of producers I worked with who spent a great deal of what was supposed to be our working time lying around in the sun in the South of France - and all the expense involved had to be charged against my royalties. It wound up being nothing but a costly demo, which in effect I paid for." Lee appears to be alluding to recordings that were left unreleased. Nothing else is known about this "costly demo."

J. Peggy Lee Sings The Cabaret Songs Of Leiber & Stoller (LP, 1978)
The songwriting and producing team Leiber & Stoller planned a Peggy Lee album which, had it moved past its initial stages, could have included both previously unissued and newly recorded numbers. See note entitled The Aborted Mirrors Projects under studio session dated August 1, 1975.

K. Peg, Music From The Broadway Show (LP, 1983 & CD, later)
Lee frequently talked to the press about her desire to record the Broadway show Peg as an album. Anecdotal evidence suggests that, over the years, repeated attempts to issue Peg on compact disc were made. Those attempts were apparently thwarted by the legal ramifications involved in the release of a repertoire that was originally tied to a theatrical production. In 1992, online music sites listed a CD titled Peg: Peggy Lee on Broadway, which did never show up in music stores. The listing may be an indication that a disc was produced, but ultimately left unissued.

L. Applause Album (LP, 1984)
In another Los Angeles Times interview with Leonard Feather (published on December 31, 1983), the journalist states that "[t]he year ahead will also find Lee back in the recording studios. She has talked to two major companies, but chances are that she will sign with a new organization more specifically aimed at the classic pop market." Lee is then quoted as saying that "the company is Applause Records, and if I go with them, I'm planning to have Artie Butler as my producer. I'm collecting songs right now; I have some wonderful things by a writer who's new to me, Bill Gable." Nothing else is known about this project, which is not presumed to have come to fruition.

M. Live Album At The Ballroom, New York (LP, 1988)
In a New York Times article (January 31, 1988), Stephen Holden writes that Lee "has plans to record four albums for two different companies, including one live at the Ballroom. One of the others will concentrate on vintage blues songs of the Bessie Smith era." The prospective blues album might have evolved into the album Miss Peggy Lee Sings The Blues (recorded for MusicMasters on February 1988). Plans to release a live date from The Ballroom seem to have been abandoned. Nothing else is known about the two other albums that were contemplated. In another interview, conducted by Stephen M. Silverman and published by The New York Post on February 2, 1988, the prospective recording labels are identified as Hermitage (described as "a New York-based classical house about to launch a jazz arm") and Pro-Arte (a Canadian-based label). It is likely that the so-called "Hermitage" label is actually Music Heritage, the parent company of MusicMasters.

N. "How High The Moon" (Film Song Project, 1988)
In his article from January 31, 1988, Holden also mentioned that Mike Nichols had hired Lee to record a "How High The Moon" vocal for the movie soundtrack of Biloxi Blues. There is no evidence that Lee's vocal was ever attempted. For further details, see this discography's film page, once that page opens for viewing.

O. The Peggy Lee Songbook, Volume 2 and 3 (CD, 1990s)
Unrealized plans to record a second Peggy Lee songbook. When There'll Be Another Spring: The Peggy Lee Songbook, Volume 1 was released in 1990, various newspaper and magazine articles reported the singer's tentative plans for a second volume, and hopes for even a third one. (The second volume was slated to contain songs co-written with Dave Barbour, including versions of "It's A Good Day" and "Mañana," all of them to be newly recorded.) Only the first volume ever materialized; there is no trace of recording activity for the second volume.

P. Live Album At Club 53, New York (CD, 1992)
Comments that Lee made to reporters suggest that Chesky Records might have originally planned to record an album live at the New York Hilton's Club 53.

Q. P's & Q's (CD, 1992)
A Capitol-produced CD twofer that contained two Peggy Lee albums conducted by Quincy Jones, If You Go and Blues Cross Country. The album was manufactured but cancelled before its release. In the United States, a few early, presumably promotional copies came out. In Europe, however, a small quantity of copies was pressed and sold in stores.

R. Album With Mel Powell (CD, 1993)
In an interview conducted at an unspecified time in the late 1980s, Peggy Lee and radio broadcaster Fred Hall talked about the unrealized plans to make a piano-and-vocal album that she and Mel Powell had recently had. A celebrated pianist with whom she had worked during her Benny Goodman days, Powell had remained friends with Lee over the decades. During the interview, Lee mused that, whenever the two of them found one another and a piano was nearby, they couldn't help but play together. She declared herself uncertain about the reasons why the project had not yet come to happen, and admiringly enthused about Powell's gifts as a musician. According to Hall, who was apparently involved in the album's proposal (along with Lincoln Mayorga), the project did not proceed because Lee's manager at the time insisted that what the singer needed to do next was not a piano but an orchestral album. (It would seem that the 1990 There'll Be Another Spring was such an album.) In this very interview, Lee also remarked that she considered a piano-and-vocal album the next logical step in her recording career.

S. Album With André Previn (CD, 1993)
Another piano-and-voice duet album. In an extensive interview with Alan Dell, Peggy Lee mentioned that she and André Previn were planning to record an album together, possibly over the summer of that year. For the initial taping, Lee said that she was toying with the idea of using her own house as a recording facility. Under the impression that arthritis had recently rendered Previn unable to play the piano, Dell voiced doubts about the possibility of such a date. His doubts were at least partially misplaced; Previn was still recording instrumental albums for Angel, the label that would also go on to release Lee's CD Love Held Lightly that very year. If we may factor in the highly complimentary comments that Previn made more recently, after Lee passed away, it seems that both artists would have been willing to carry out the project.

T. An Alec Wilder Songbook (CD, 1993)
At some point between the recording and the release of the album Love Held Lightly (more probably around release time), Harbinger Records and Peggy Lee made plans to record an Alec Wilder songbook. According to producer Bill Rudman, the singer's ill health prevented the project from happening.

U. The Superlative Peggy Lee (CD, 1994)
Capitol CD #S21-18015, mastered in June of 1994. A compilation created by Capitol's Special Markets division, which often tended to do requests from third party-companies. (The catalogue number of this prospective CD includes what might be a telling prefix. S21 is the same prefix found, for instance, in a Lee compilation titled Beautiful Music Company Presents Peggy Lee, which was put together on behalf of the company mentioned in the title, Beautiful Music.) Prefix S21 might have thus been used for projects undertaken on behalf of a licensee.) Had there been an actual release, The Superlative Peggy Lee would have marked the digital debut of Peggy Lee's 1967 master of "Lonesome Road," which instead had to await until November of 2009 for its release on CD. Sequenced master:
1. Fever
2. Heart
3. I'm A Woman
4. My Man
5. Mañana
6. Golden Earrings
7. Lonesome Road
8. Things Are Swingin'
9. I Can't Stop Loving You
10. Come Back To Me
11. Then Was Then
12. Is That All There Is?
13. Alright, Okay, You Win
14. Big Spender
15. Why Don't You Do Right?
16. I Don't Know Enough About You
17. It's A Good Day
18. Unforgettable
19. Where Can I Go Without You?
20. You Fascinate Me So
21. So What's New?

V. Peggy Lee ("Wild, Cool And Swingin' " Series) (CD, 1997)
Capitol CD #3540, with a June 30, 1997 mastering date. A compilation produced by Brad Benedict. All chosen tracks were in stereo. Sequenced master:
1. Fever
2. This Could Be The Start Of Something (Big)
3. Hey There
4. Love
5. One Note Samba
6. So What's New?
7. Sweet Happy Life
8. Alright, Okay You Win [master #55285 from 1965]
9. Come Dance With Me
10. I Believe In You
11. The Boy From Ipanema
12. The Alley Cat Song
13. Too Close For Comfort
14. Heart
15. Quiet Nights Of Quiet Stars
16. Trapped
17. Call Me
18. I Enjoy Being A Girl
19. The Lady Is A Tramp
20. My Man