 Peggy Lee Peggy Lee is k-o-o-l, pops. So kool she oughtta have a gang. The Best of Peggy Lee (I'd be willing to bet there are 30 CDs out there with the same title) collects the créme de la créme of her Capitol recordings, all the famous tracks you already know and then a bunch that you'll be happy to meet. Dating as far back as 1947 and up to 1970, this CD is probably the best single-disc compilation you can get on Peggy, who is about halfway between jazz singer and rock star. "Fever" is here of course, as is "I'm a Woman" and "Why Don't You Do Right?" These tracks, heavily overused though they may be in countless Police Academy-level movies, still resonate with a deep cool that's hard to shake. Peggy's way with a song was always sly and knowing, a bit aggressive but never unsubtle. The only trouble she had (and it's no trouble at all if you're a fan of Miss Peggy) was a somewhat preposterous reliance on doing blues tunes like "See See Rider" and "Seventh Son"—sure, she could do blues like no one's business, but it was never real blues, like Bessie Smith or whatever. It wasn't even white blues like Dusty Springfield did white soul. That's probably what makes Peggy Lee less accessible to the youngsters, is that you kind of need an appreciation for camp to really get into her. Her great smouldery voice was always in place, and her phrasing was always great, though I wouldn't say that what she had was soul. Ah, who cares, it's like Elvis's movie songs, it's sometimes beside the point how genuine the expression is when it shakes you in the right places. Peggy Lee was one of those artists who parents could dig and their kids could stand, too. The bands were good and the songs were always right for the moment. There is a certain irrelevance to a song like "I'm Gonna Go Fishin'," but it's hard to argue while you're listening. And you can't beat the bedroom seductiveness of "Just For a Thrill" or "Whisper Not" – perfect music for GETTING' IT ON—um, I mean PROCREATING. (Sorry, my vicar insists that I keep these reviews in line with the Church's views on make-out music.) Then there's the pop nicety of "Call Me," always good for a smile or smirk. No, this ain't real blues, but it's at the crossroads where blues meets pop and jazz and few performers can testify like Peggy Lee in that weird arena. Some, of course, love this music for the memories, others because it's "cool" in the way that swing music is "cool." It's a postcard from the '50s, that '50s when everything was pretty much okay, before the Korean War tore the world apart and made Frank Burns go crazy. I don't care if it's cool, "cool," or kool, but it's worth you finding out. I don't play this one a whole lot, but really I don't play much music anymore now that the vicar has banned everything but Bach cantatas. Hopefully he won't make me go into his office for another lesson in "counterpoint" though.
Review by Peter Pumpkin-Piehead |