Peggy Lee, born Norma Deloris Egstrom, wasn’t just a singer; she was an icon of sophistication and subtlety. Hailing from humble beginnings as a railroad station agent’s daughter in Jamestown, North Dakota, she crafted a stage persona that captivated audiences for decades. Her journey began during the vibrant big band era, where she honed her skills with the legendary “King Of Swing,” Benny Goodman. From this foundation, she blossomed into one of the most significant female vocalists of the post-war period. Peggy Lee’s genius lay in her remarkable versatility. She effortlessly traversed musical landscapes, from the rhythmic pulse of jazz and blues to the infectious energy of swing, the passionate rhythms of Latin music, the mainstream appeal of pop, the soulful depths of soul, and even the mellow sounds of soft rock in her later career. To truly appreciate her artistry, one must delve into the best Peggy Lee Songs, each a testament to her unique talent.
Lee, a captivating blonde figure with an air of mystique, possessed a vocal style characterized by its elegant restraint. She was a master of economy, using each note with intention and avoiding unnecessary vocal flourishes. Artie Butler, her former arranger, eloquently captured her essence: “She could change the molecules of the oxygen around her because she mastered the art of simplicity. It wasn’t that she had the greatest voice, but she was a unique song stylist. You just heard two notes and knew it was her.” In celebration of her extraordinary contribution to music, we present a countdown of 20 essential Peggy Lee songs that showcase her enduring legacy.
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20: Light Of Love (1958)
Following the phenomenal success of “Fever,” Capitol Records released “Light Of Love,” a distinctly different track that showcased Lee’s versatility. This non-album single was a cheerful gospel-inspired tune, complete with an uplifting, singalong chorus. Stylistically, it stood in stark contrast to her previous hit, yet “Light Of Love” resonated with audiences, reaching No. 63 on the US pop charts and proving her ability to navigate diverse musical styles.
Light Of Love (Remastered 2000)
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19: Pass Me By (1965)
“Pass Me By,” the title track from Peggy Lee’s second 1965 Capitol album, was originally composed by Cy Coleman and Carolyn Leigh for the Cary Grant film Father Goose. A year after the movie’s release, Lee infused the song with her signature sophisticated touch. Driven by military-style drum rolls, the jaunty melody transitions into syncopated jazz rhythms in its final verse. The track quickly climbed the US Adult Contemporary charts, peaking at No. 20 and highlighting her enduring appeal in the mid-60s.
Pass Me By
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18: Sweetheart (1958)
Released in the same year as her smash hit “Fever,” “Sweetheart” shares a similar stylistic DNA. With its minimalist arrangement featuring bass and drums, this sinuous track evokes the same mood and tempo as “Fever.” Penned by R&B songwriter Winfield Scott, known for Elvis Presley’s “Return To Sender,” “Sweetheart” further cemented Lee’s ability to explore a sultry, rhythmically driven sound that captivated listeners.
17: Sugar (That Sugar Baby Of Mine) (1955)
Peggy Lee’s talents extended beyond singing; she also proved herself a capable actress in the film Pete Kelly’s Blues. Her role in the movie earned her an Academy Award nomination for Best Supporting Actress. “Sugar (That Sugar Baby Of Mine)” comes directly from the film’s soundtrack. This smoothly swinging song, reminiscent of Billie Holiday’s style, was actually a re-recording of a track Lee had first recorded a decade earlier, demonstrating her long-standing connection to classic jazz idioms.
Sugar (That Sugar Baby Of Mine)
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16: I’m Gonna Go Fishin’ (1960)
Peggy Lee showcased her songwriting prowess by crafting lyrics for Duke Ellington’s instrumental theme from Otto Preminger’s 1959 film Anatomy Of A Murder. “I’m Gonna Go Fishin'” transforms the big band instrumental into a vocal tour-de-force in 6/8 time. The song modulates through several key changes, which Lee navigates with remarkable ease, before gradually fading to a sudden, dramatic stop, highlighting her vocal control and dynamic range.
I’m Gonna Go Fishin’ (Remastered)
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15: My Man (1959)
For her Capitol album I Like Men!, Peggy Lee delivered a blues-infused rendition of the French cabaret song “Mon Homme,” retitled “My Man.” Her performance is both sassy and seductive, underscored by a sparse arrangement that emphasizes prominent drums, delicate piano riffs, and muted trumpet accents. This compelling interpretation resonated with audiences, reaching No. 81 on the US pop charts and showcasing her ability to infuse international songs with her unique style.
My Man (Remastered 1995)
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14: Caramba! It’s The Samba (1948)
Following the immense success of “Mañana (Is Soon Enough For Me),” Peggy Lee continued to explore Latin rhythms with “Caramba! It’s The Samba.” This vibrant, hip-shaking track, released when Lee was 28, draws inspiration from Brazilian music. It features a prominent warbling flute and lively woodwind melodies weaving around her confident, polished vocals. Her then-husband, guitarist Dave Barbour, contributes a skillful guitar solo. While not as commercially successful as “Mañana,” “Caramba! It’s The Samba” still reached No. 13 on the US charts, demonstrating her continued appeal with Latin-flavored tunes.
13: Hallelujah, I Love Him So (1959)
Peggy Lee had a knack for reimagining R&B songs and making them her own, as evidenced by “Fever” and “I’m A Woman.” She applied this approach to Ray Charles’ hit “Hallelujah, I Love Him So.” Initially considered controversial for blending gospel and blues, Lee’s version, released in 1959, brought the song into mainstream acceptance with a swinging and sophisticated big band arrangement. It charted at No. 77 in the US and was later included on her 1960 compilation album, All Aglow Again!
Hallelujah, I Love Him So
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12: Alright, Okay, You Win (1959)
“Alright, Okay, You Win,” a song closely associated with Count Basie and his vocalist Joe Williams, underwent a transformation in Peggy Lee’s hands. She took this brash tune, written by Mayme Watts and Sid Wyche, and reimagined it as a subtly swinging jazz-blues number. This rendition, featured on her Jack Marshall-arranged Capitol album Things Are Swingin’, entered the US charts, peaking at No. 68 and showcasing her ability to refine and personalize even the most dynamic big band standards.
11: Don’t Smoke In Bed (1948)
While Peggy Lee achieved significant chart success with upbeat songs in the late 1940s, she also showcased her depth as an interpreter of ballads. “Don’t Smoke In Bed,” penned by Willard Robison, is a classic break-up song recorded with Dave Barbour and his orchestra. Lee delivers a convincing portrayal of a disillusioned wife leaving her husband. The song’s poignant message clearly resonated, reaching No. 22 on the national charts and demonstrating her ability to connect with listeners on an emotional level.
Don’t Smoke In Bed
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10: The Folks Who Live On The Hill (1957)
“The Folks Who Live On The Hill,” recorded for the album The Man I Love, conducted by Frank Sinatra, possesses a deep sense of wistfulness and poignancy. This ballad, a tribute to domestic tranquility written two decades prior by Oscar Hammerstein and Jerome Kern, highlights Peggy Lee’s delicate sensitivity. Nelson Riddle’s lush string arrangement beautifully frames her vocal performance, creating a truly moving and timeless recording.
The Folks Who Live On The Hill
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9: Johnny Guitar (1954)
Peggy Lee’s songwriting talent is again evident in “Johnny Guitar,” for which she wrote the lyrics to Victor Young’s haunting, Spanish-flavored melody. The song served as the title theme for the iconic western film starring Joan Crawford, directed by Nicholas Ray. Although the Brunswick single release did not chart initially, “Johnny Guitar” has since become recognized as one of Peggy Lee’s signature songs, celebrated for its atmospheric mood and her evocative lyrics.
Johnny Guitar
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8: Big Spender (1966)
Peggy Lee revisited her persona as a teasing seductress with “Big Spender,” a provocative and slightly theatrical song from the Broadway hit Sweet Charity. Originally a chorus number, Lee transformed it into a captivating solo performance that emphasized her smoldering sensuality. Released as a single, “Big Spender” climbed to No. 9 on the US Adult Contemporary chart, proving her continued ability to reinvent and interpret contemporary material.
Big Spender
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7: He’s A Tramp (1955)
“He’s A Tramp” is a standout track from Walt Disney’s animated classic Lady And The Tramp, and another prime example of Peggy Lee’s songwriting talent. She co-wrote this song, along with “La La Lu” and “The Siamese Cat Song,” for the same film, collaborating with producer and big-band leader Sonny Burke. “He’s A Tramp” perfectly captures the playful and independent spirit of its canine subject.
6: I’m A Woman (1963)
Similar to “Fever,” Peggy Lee wasn’t the first to record “I’m A Woman,” a Leiber & Stoller composition. R&B singer Christine Kittrell originally cut the song a year earlier. However, Lee quickly claimed it as her own, imbuing it with her distinctive style. “I’m A Woman” became a powerful pre-feminist anthem, delivered with an earthy blues sensibility, solidifying Lee’s image as a confident and modern woman in music.
I’m A Woman
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5: Mañana (Is Soon Enough For Me) (1948)
“Mañana (Is Soon Enough For Me)” marked a significant milestone in Peggy Lee’s career, becoming her first No. 1 hit. This infectious Latin-infused track, co-written with Dave Barbour, captured the late 1940s American fascination with global music. Its driving percussion and vibrant energy propelled it to the top of the US pop charts for an impressive nine weeks. Its success encouraged Lee to further explore and record other exotic musical styles.
4: It’s A Good Day (1946)
After departing Benny Goodman’s band in 1943 to pursue a solo career, “It’s A Good Day” became Peggy Lee’s sixth single for Capitol Records. This song was the fourth she co-wrote with her first husband, guitarist Dave Barbour, who also contributes a notable guitar solo. Breaking away from the declining big band sound, Lee opted for a more contemporary small combo arrangement. Despite this shift, the record retained a swinging feel and reached No. 16 in the US charts, becoming one of her most enduring and beloved songs.
It’s A Good Day (Remastered 2002)
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3: Black Coffee (1953)
“Black Coffee,” the title track of one of Peggy Lee’s most acclaimed albums, is undeniably one of the greatest torch songs ever recorded. While jazz vocalist Sarah Vaughan first popularized the song, Lee’s slow, sultry rendition is unforgettable for its decadent, nocturnal atmosphere. Pete Candoli’s bluesy trumpet obligato lines perfectly complement Lee’s languid vocals, creating a masterpiece of mood and emotion.
Black Coffee
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2: Is That All There Is? (1969)
“Is That All There Is?” earned Peggy Lee a Grammy Award and stands as one of the most unconventional singles to ever reach the US Top 20. Written and produced by rock and roll hitmakers Jerry Leiber and Mike Stoller, the song evokes the spirit of Kurt Weill and 1920s Berlin cabaret. Lee largely speaks rather than sings the lyrics, recounting life’s absurdities and disappointments with a darkly humorous and ironic tone, punctuated by a carefree, celebratory chorus.
Is That All There Is?
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1: Fever (1958)
Topping our list of the best Peggy Lee songs is “Fever,” her signature tune that epitomizes her in full seductress mode. While Little Willie John, its co-writer, first hit with the song in 1956, Peggy Lee’s 1958 rendition became definitive. Her version is sensational due to its minimalist arrangement: voice, finger snaps, bass, and drums. Adding another layer of originality, Lee penned new lyrics referencing iconic doomed lovers like Romeo and Juliet, and Captain Smith and Pocahontas. “Fever” earned Lee a Grammy nomination, became a Top 10 hit in the US, and reached No. 5 in the UK. “Fever” is the song that most perfectly encapsulates the essence of Peggy Lee.
Fever
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Explore The Ultimate Peggy Lee collection here. Are there other Peggy Lee songs you consider essential? Share your thoughts in the comments below.
