Peggy Lee Biography

Norma Deloris Egstrom, 26 May 1920, Jamestown, North Dakota, USA, d. 21 January 2002, California, USA. Peggy Lee was of Scandinavian descent, her grandparents being Swedish and Norwegian immigrants. She endured a difficult childhood and her mother died when she was four; when her father remarried she experienced a decidedly unpleasant relationship with her stepmother. Her father took to drink, and at the age of 14 she found herself carrying out his duties at the local railroad depot. Despite these and other hardships, she sang frequently and headed out to Hollywood in 1938, but despite a singing engagement at the Jade Room on Hollywood Boulevard the trip was not a success.

Leaving California, Egstrom relocated to Fargo in her home state where she appeared on the local radio station WDAY. The manager of the station changed her name to Peggy Lee and her career took an upswing when she moved to Minneapolis, landing several engagements on the local club circuit. Another California visit was equally unsuccessful and she then tried Chicago where, in 1941, as a member of a vocal group, the Four Of Us, she was hired to sing at the Ambassador West Hotel. During this engagement she was heard by Mel Powell, who invited Benny Goodman to hear her. Goodman’s regular singer, Helen Forrest, was about to leave and Lee was hired as her replacement. She joined the band for an engagement at the College Inn and within a few days sang on a record date. A song from this period, ‘Elmer’s Tune’, was a huge success. Among other popular recordings she made with Goodman were ‘How Deep Is The Ocean?’, ‘How Long Has This Been Going On?’, ‘My Old Flame’ and ‘Why Don’t You Do Right?’. Later, Lee married Goodman’s guitarist, Dave Barbour. After she left Goodman’s band in 1943, she had more successful records, including ‘That Old Feeling’ and three songs of which she was co-composer with Barbour, ‘I Don’t Know Enough About You’, ‘It’s A Good Day’ and ‘Mañana’. She also performed on radio with Bing Crosby.

In the 50s she made several popular recordings for Decca Records and Capitol Records, the orchestral backings for many of which were arranged and conducted by Barbour, with whom she maintained a good relationship despite their divorce in 1951. Her 1958 hit single ‘Fever’ was also a collaboration with Barbour. HerBlack Coffee album of 1953 was particularly successful, as was Beauty And The Beat! a few years later. On these and other albums of the period, Lee was often accompanied by jazz musicians, including Jimmy Rowles, Marty Paich and George Shearing.

During the 50s Lee was also active in films, performing the title song ofJohnny Guitar (1954), and writing songs for others includingTom Thumb (1958). She also made a number of on-screen appearances in acting roles, including The Jazz Singer (1952), and for one, Pete Kelly’s Blues (1955), she was nominated for an Academy Award as Best Supporting Actress. However, her most lasting fame in films lies in her off-screen work on Walt Disney’s Lady And The Tramp (1955), for which Lee wrote the song ‘He’s A Tramp’ and provided the voice for the characters of ‘Peg’, the Siamese cats, and one other screen feline.

Her recording successes continued throughout this period even if, on some occasions, she had to fight to persuade Capitol to record them. One such argument surrounded ‘Lover’, which executives felt would compete directly with the label’s then popular version by Les Paul. Lee won out and her performance of her own arrangement, played by a studio orchestra under the direction of Gordon Jenkins, was a sensation. Towards the end of the 50s, though, the intense level of work began to take its toll and Lee suffered a period of illness.

Throughout the 60s and succeeding decades Lee performed extensively, singing at concerts and on television and, of course, making records, despite being frequently plagued with poor health. Her voice, light with a delicate huskiness, offered intriguing contrasts with the large orchestral accompaniment that usually formed a part of a Lee performance. Over the years her repeated use of previously successful settings for songs tended to make her shows predictable but she remained a dedicated perfectionist.

In the early 80s she attempted a stage show, Peg, but it proved unpopular and closed quickly. In the late 80s she again suffered ill health and on some of her live performances her voice was starting to betray the ravages of time. For her many fans, it did not seem to matter: to paraphrase the title of one of her songs, they just loved being there with Peg. In 1992, wheelchair-bound for the previous two years, Lee was persisting in a lawsuit, begun in 1987, against the Walt Disney Corporation for her share of the video profits from Lady And The Tramp. A year later, dissatisfied with the ‘paltry’ £2 million settlement for her six songs (written with Sonny Burke) and character voices, she threatened to write a book about the whole affair. Meanwhile, she continued to make occasional cabaret appearances at New York venues such as Club 53. In 1993 she recorded a duet with Gilbert O’Sullivan for his album Sounds Of The Loop. Six years later Lee once again started litigation for unpaid royalties, this time against her former record company Decca. By this point her performing career had finally been ended through a stroke suffered on 27 October 1998, and she remained in poor health until passing away at her Bel Air home in January 2002. The cause of death was given as a myocardial infarction.

Lee will be remembered as one of the greatest song stylists of the century, alongside such stellar artists as Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Betty Carter.


Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.


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