Song Of The Day by Eric Berman – The Jukebox Series #21 – Peggy Lee: “Is That All There Is” b/w “Me And My Shadow” – Capitol 45 RPM Single 2602 (A3/B3)
“The Jukebox Series” focuses on the 80 records that inhabit my 1963 Seeburg LPC1 jukebox. I’ve had my jukebox (or as I like to call it “the prehistoric iPod”) for a little over twelve years and in that time I’d like to think that I’ve perfected the mix of 45s within.
Records seldom get any darker than today’s jukebox classic by Peggy Lee. “Is That All There Is” was written by songwriters Jerry Lieber and Mike Stoller, the team who gave us such classic hits as “Hound Dog,” “Jailhouse Rock,” “Searchin’,” “Young Blood,” “Charlie Brown,” “Poison Ivy,” “Kansas City,” “Stand By Me,” “Love Potion No. 9,” “Spanish Harlem” and many others, too numerous to mention here.
The impetus for the song came to Jerry Lieber from his wife Gaby Rodgers, who introduced him to the 1896 short story Disillusionment by Nobel Prize winning author Thomas Mann. Many of the song’s lyrics including its title were picked up directly from the text of the story. Lieber picked two specific incidents in the story, the house fire and the breakup of a romance for the verses, and then he added his own verse about the circus to complete the record. When Mike Stoller read Lieber’s lyrics he said that the story “ached with the bittersweet irony of the German cabaret.” As a result, Stoller based the music on that of Threepenny Opera composers Bertolt Brecht and Kurt Weill.
The song was originally recorded by Georgia Brown, Tony Bennett, Guy Lombardo, Marlene Dietrich and Leslie Uggams before making its way to Peggy Lee. Lieber and Stoller also offered it to Barbra Streisand’s management who turned it down for their charge. When Streisand finally heard the song, she complained that she got passed over for a crack at recording it.
By the time that Lee got around to recording this song in 1969, the big band era from which she got her start as a vocalist with Benny Goodman was long over, as well as the many hit making years that followed during the 1950s. Her last top ten hit before today’s Song Of The Day was “Fever” back in 1958.
The song’s orchestral arrangement was written by Randy Newman who also conducted the orchestra on the record. The track was included on Lee’s 1969 album of the same name in which she covers Neil Diamond’s “Brother Love’s Traveling Salvation Show,” George Harrison’s “Something,” Randy Newman’s “Love Story” and Lieber & Stoller’s “I’m A Woman.” She also revisited the song “Me And My Shadow” that she had recorded many years earlier for the album, making it the B-side to the single.
When Lee agreed to record the song, she was very specific as to how many times she would sing the song for them. Jerry Lieber picks up the story in the book Hound Dog: The Lieber And Stoller Autobiography: “I’ll do three takes, she said, and no more … The initial takes weren’t great. She had to ease her way into the mood and find that sweet spot. At take 10, she still didn’t have it. But being a trouper, Peggy kept going. At take 15, I suspect that she took a belt because her takes were improving. Take 30 was good, but take 36 was pure magic. I looked at Mike and Mike looked at me and we could do nothing but jump up and down with joy. This was one of the greatest performances ever. Peggy had done it. We had done it. The enormous potential of this little song had been realized.”
Continues Lieber: “Let’s hear it back, I told the engineer. We waited. Silence. We waited a little longer. More silence. What’s wrong?, asked Peggy. I’m dying to hear the last take. Then came the words that cut through me like a knife. I forgot to hit the record button, said the engineer. What do you mean you forgot to hit the record button?, I screamed at the top of my lungs. This has to be a f*ckin’ prank! No one forgets to hit the record button. This was the greatest take in the history of takes! Stop joking! Let’s hear it! Play the goddamn thing!”
“But there was nothing to play. Nothing to do. Nothing had been recorded. Killing this kid would have been too kind. Yet Peggy, bless her heart, was stoic. Guess I’ll have to sing it again, she said bravely. And she did. Take 37 was nothing short of marvelous. That’s the take the world knows today. She is melancholy, she’s sultry, she’s fatalistic, she is in tune, and she delivers the song with a wondrous sense of mystery. It is good — it is, in fact, very, very good — but it is not, nor will ever be, take 36.” The 37th take was thus used as the master, with various splices from the other takes.
Lee’s recording climbed to the #11 position on the pop charts and topped the easy listening charts in 1969. The song also went on to win a Grammy Award for Best Female Pop Vocal Performance the following year. Throughout the years, it has been covered by the likes of Chaka Khan, Sandra Bernhard, P.J. Harvey, Bette Midler and rock group Giant Sand.
