Nature Boy

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"Nature Boy"
A black Gramophone disc on which the song and artist name is printed on violet paper
Single by Nat King Cole
from the album The Nat King Cole Story
B-side"Lost April"
ReleasedMarch 29, 1948 (1948-03-29)
RecordedAugust 22, 1947 (1947-08-22)
StudioCapitol, 5515 Melrose Ave, Hollywood[1]
Genre
Length2:56
Eden Ahbez
Nat King Cole singles chronology
"
Route 66
"
(1946)
"Nature Boy"
(1948)
"Mona Lisa"
(1950)
Audio video
"Nature Boy" on
YouTube

"Nature Boy" is a song first recorded by American

Bill Pester, who practiced the Naturmensch and Lebensreform philosophies adopted by ahbez. The lyrics of the song relate to a 1940s Los Angeles–based group called "Nature Boys", a subculture of proto-hippies of which ahbez was a member.[2]

"Nature Boy" was released during the

Grammy Hall of Fame Award
.

Following Cole's success, rival record companies released cover versions of "Nature Boy" by other artists including

pop and jazz standard, with many artists interpreting the song, including Tony Bennett and Lady Gaga, who recorded it for their collaborative album Cheek to Cheek (2014). It was also used in numerous films like The Boy with Green Hair, The Talented Mr. Ripley, and the 2001 musical Moulin Rouge!, for which singer David Bowie
recorded a version.

Background and development

In 1941, a 33-year-old

raw food restaurant on Laurel Canyon Boulevard. The café was owned by John and Vera Richter, who followed a Naturmensch (nature person) and Lebensreform (life reform) philosophy influenced by the Wandervogel (Wandering Bird) movement in Germany.[3][4][5][6] Their followers, known as "Nature Boys", wore long hair and beards and ate only raw fruits and vegetables. McGrew adopted the philosophy and chose the name "eden ahbez", writing and spelling his name with lower-case letters.[7] It was there, while living in a cave near Palm Springs, that ahbez wrote "Nature Boy". Partly autobiographical, the song was a tribute to his mentor Bill Pester, who had originally introduced him to Naturmensch and Lebensreform.[8]

In 1947, at the prompting of Cowboy Jack Patton and Johnny Mercer, ahbez approached Nat King Cole's manager backstage at the Lincoln Theater in Los Angeles, handed him a tattered copy of "Nature Boy", and asked him to show it to Cole. However, his pleas were ignored and a disappointed ahbez left the sheet music of "Nature Boy" with Cole's valet, Otis Pollard.[9] From him, Cole learned of the song and loved it. Cole began playing "Nature Boy" for live audiences, and received much acclaim. Irving Berlin, who was present during one of the performances, offered to buy the track from Cole, but Cole decided to record it himself.[10] He needed permission from ahbez, however, before releasing it as a single, but he was unable to find the songwriter since ahbez had disappeared without providing any contact details.[11] After ahbez was discovered living under the Hollywood Sign, Cole got his permission and recorded the song[9] on August 22, 1947, featuring an orchestra conducted by Frank De Vol, who used strings and flute as instrumentation to capture the "enchanting" aspects of the song.

Recording and composition

Cole's recording, which took place on August 22, 1947, featured an orchestra conducted by Frank De Vol—the in-house arranger of Capitol Records.[12] He used strings and flute as instrumentation in the song, to capture the "enchanting" vibe of the track.[10] The first two measures of the song's melody parallel the melody of the second movement in composer Antonín Dvořák's Piano Quintet No. 2 (1887).[13] Written as a pop ballad, "Nature Boy" follows an "A,B" format, with the primary three notes descending on a minor triad above the pickup note. An ascending line over the diminished ii chord returns to the initial minor triad. The harmonic structure makes frequent use of the standard ii–V–I progression in the key of D minor. The second 4-bar section featured a chromatic descending line based on the lowering of the tonic (Dm–Dmmaj7–Dm7–Dm6). The same descending line then continues through Gm6–Dm, then finally ending with a whole-step down to the G in the chord Em75.[14]

Instrumentalist Chris Tyle noted that the lyrics are a musical self-portrait of ahbez, with the lines like "There was a boy, A very strange, enchanted boy, They say he wandered very far, Very far, over land and sea". But he believed that it was the song's last line that made it the most poignant: "The greatest thing you'll ever learn, Is just to love and be loved in return".[15] Various interpretations of the line are given by academics, with the eponymous nature boy being a child, advising on love and relationship, or an adult hippie talking about his journey and inner-love. According to author Jeffery P. Dennis, the song presented a homo-romantic theme, with the eponymous nature boy visiting Cole on a "magic day" and explaining that "the greatest thing you'll ever learn, is just to love and be loved in return".[16] Author Raymond Knapp described the track as a "mystically charged vagabond song" whose lyrics evoked an intense sense of loss and haplessness, with the final line delivering a universal truth, described by Knapp as "indestructible" and "salvaged somehow from the perilous journey of life".[17]

According to Joe Romersa, an engineer/drummer in Los Angeles, to whom ahbez bequeathed master tapes, photos, and final works,[18] ahbez wanted a correction made to the lyrics saying "To be loved in return, is too much of a deal, and there's no deal in love.", and that instead it should read "The greatest thing you'll ever learn is to love and be loved, just to love, and be loved." Romersa has stated that, because these lyrics did not fit with the original ending melody, ahbez re-wrote it.[19]

Release and reception

"Nature Boy" helped Nat King Cole to further popularize his singing career, and made him reach the white audience.

In 1948, a second "

Taft–Hartley Act. Capitol Records, desperate to release recorded material to help sustain profitability during the strike, released "Nature Boy" as a single on March 29, 1948, with catalog number 15054.[20] Crestview Music, which owned the publishing rights to Cole's songs, sold the rights for "Nature Boy" to Burke-Van Heusen, who acted as distributor and selling agent.[21] The record debuted on the Billboard charts of April 16, 1948, and stayed there for 15 weeks, ultimately peaking at number one. It also reached a peak of number two on the R&B charts.[22] "Nature Boy" went on to sell a million copies in 1948 and Billboard DJs listed it as the greatest record of the year, with the song accumulating a total of 743 points.[23][24]

The 1940s American music market was divided by race, and for a black artist to cross over to mainstream pop music was difficult. Author Krin Gabbard noted in his book, Jammin' at the Margins: Jazz and the American Cinema, that Cole had to wear white makeup while filming for the performance of the song.[25] Although he had come into prominence in 1940 as a leader of the jazz trio named King Cole Trio, it was with "Nature Boy" that he received widespread recognition, and it was his rendition that appealed to the white audience.[10]

Cole would later use the success of the song to disband the trio in order to pursue a solo recording career.[26] He once described "Nature Boy" as one of his favorite recordings.[27][28] The success of the song allowed ahbez to accumulate about US$20,000 ($243,601 in 2022 dollars[29]) in royalties.[11] However, Billboard reported that ahbez kept only 50% of the royalty for himself, and distributed the rest among people who had helped bring the song into the limelight. About 25% was shared with Mrs. Loraine Tatum for helping him with the lyrics, and the rest with Pollard, for bringing the song to Cole's notice.[21]

"Nature Boy" has received wide acclaim from critics and contemporary reviewers. Author

Grammy Award established in 1973 to honor recordings that are at least twenty-five years old and that have "qualitative or historical significance".[34] Novelist Steve Erickson in Los Angeles
magazine gave a detailed positive review of the song:

"Nature Boy" is so otherworldly in its melody and lyric that any number of interpretations over the decades, from Nat Cole's to Alex Chilton's, have never been able to make it ordinary. It sounds like something that, from the minute it was written, existed out of time and place—all thousand and one Arabian Nights compressed into two and a half minutes as mediated by a cracked Mojave Debussy slugging down the last of the absinthe from his canteen.[35]

Yiddish theatre composer Herman Yablokoff claimed in his biography, Memoirs of the Yiddish Stage, that the melody to "Nature Boy" was plagiarized from his song "Shvayg mayn harts" ("Hush My Heart"), which he wrote for his play Papirosn (1935).[36] When met with a lawsuit in 1951 for the plagiarization, ahbez first proclaimed his innocence, and telephoned Yablokoff to explain that he "had heard the melody as if angels were singing it... in the California mountains. He offered me $10,000 to withdraw the suit. I said that the money was not important, but I wanted him to admit that the song was geganvet [stolen]; and if he heard angels, they must have bought a copy of my song." Eventually ahbez's lawyers offered to have an out-of-court settlement, offering $25,000 ($281,859 in 2022 dollars[29]) to Yablokoff, which he accepted.[13][37] Freidwald remarked that "it struck no one as ironic that a song with message of love and peace should come to symbolize how cutthroat the pop music business was becoming".[20]

Other versions

Frank Sinatra laughing
Sara Vaughan in a printed dress with her arms folded
Other popular versions of the song were released by Frank Sinatra (left) and Sarah Vaughan (right)

The success of "Nature Boy" soon led to the release of a number of cover versions of the track. However, due to the AFM ban, other record companies could not release full versions with strings, only a cappella tracks.[20] Following Cole's version of "Nature Boy", the Dick Haymes recording was released by Decca Records as catalog number 24439. The record first appeared on the Billboard charts on June 4, 1948, and peaked at number 11.[22]

Frank Sinatra also recorded a musicianless version, which was his only recording during the ban. Sinatra's version of "Nature Boy" replaced the string sounds of the original recording with a choir conducted by Jeff Alexander, which, according to Friedwald, made the song sound like a Gregorian chant.[20] The recording was released by Columbia Records as catalog number 38210. It debuted on the Billboard charts on May 28, 1948, and peaked at number seven.[22] Sinatra later performed the song on the radio show, Your Hit Parade, accompanied by a choir and orchestral arrangement.[20] RCA Records planned to release versions by singers Perry Como and Bing Crosby, but they were subsequently cancelled due to the ban. Musicraft Records released Sarah Vaughan's a cappella version on April 8, 1948. It was a commercial success, selling 20,000 copies on the first day and peaking at number 11 on the Billboard chart.[21] A parody named "Serutan Yob" was recorded by The Unnatural Seven, an offshoot of Red Ingle and his Natural Seven that did not include Ingle due to the 1948 AFM recording ban. "Serutan Yob" featured vocals from Karen Tedder and Los Angeles DJ Jim Hawthorne. It was released by Capitol with catalog number 15210, reached the Billboard charts on October 1, 1948, and stayed there for a total of four weeks, peaking at number 24.[22][30]

In 1955,

UK singles chart.[40] A psychedelic rock version was recorded in 1965 by 1960s San Francisco rock band The Great Society, with lead vocals from singer Grace Slick, released on their 1968 post-breakup album How it Was.[41] Same year, Marvin Gaye recorded and released his version on the Cole tribute album, A Tribute to the Great Nat "King" Cole.[42] In 1969, Gandalf
recorded a cover version released on their eponymous album.

A version by George Benson reached number 26 in the UK singles chart in 1977[43] and in 1983 soul band Central Line reached number 21.[44]

For Trane.[46] Abbey Lincoln recorded a version of the song for her 1995 album A Turtle's Dream. Howard Reich from the Chicago Tribune was impressed with the cover saying that "the mood of reverie and awe [that Lincoln] expresses in 'Nature Boy' epitomize this album's haunting appeal."[47]

Celine Dion performed the song as part of her A New Day... concert at Caesars Palace. The song appeared on her 2002 studio album, A New Day Has Come, and on her 2004 live album, A New Day... Live in Las Vegas.[50] Stephen Thomas Erlewine from AllMusic said that the decision to include "Nature Boy" in A New Day Has Come was inspired by the song's appearance in Baz Luhrmann's musical, Moulin Rouge! (2001).[51] With Billboard, Dion expressed her feelings while recording the track: "This is the one I had the most kick out of in the studio. I could hear the pedal of the piano and the touch of the keys while I was singing. We were following each other, this is the real thing. This was such my pleasure." Initially strings and other instrumentation were added in post-production, but were later removed to maintain the simplicity of Cole's version.[52]

tenth season of American Idol, contestant Casey Abrams presented a jazz version of the song, which was received with a standing ovation from the audience, but faced criticism from the media for the "strange" musical arrangements.[30]

Rick Astley covered this song for his sixth studio album Portrait in 2005. Unfortunately, Astley and Sony BMG were unhappy with the result so the album was poorly promoted, yet it managed to reach No 26 on the UK Albums Chart. Norwegian singer Aurora performed an acoustic version of the song during a live session in May 2015.[55] Her cover was later included as a bonus track on the deluxe edition of her debut album All My Demons Greeting Me as a Friend, released in 2016.[56]

Sofia Hoffmann recorded her interpretation for "Nature Boy" on her second studio album Rebirth which was released in 2022. The song was produced by GRAMMY award winning American pianist, arranger and producer John Beasley.[57]

Tony Bennett and Lady Gaga version

"Nature Boy"
Promotional single by Tony Bennett and Lady Gaga
from the album Cheek to Cheek
ReleasedSeptember 16, 2014 (2014-09-16)
Length4:08
Label
YouTube

After recording the jazz standard "The Lady Is a Tramp", American singer Tony Bennett and Lady Gaga began working on a collaborative jazz album, titled Cheek to Cheek.[58][59] The recording took place over a year in New York City, and featured jazz musicians associated with both artists. Bennett's quartet was present, including Mike Renzi, Gray Sargent, Harold Jones and Marshall Wood as well as pianist Tom Lanier. Along with Evans, jazz trumpeter Brian Newman, a long-time friend and colleague of Gaga, played on the album with his New York City based jazz quintet. Tenor saxophonist Joe Lovano and flautist Paul Horn were also enlisted as musicians. The songs were handpicked by Bennett and Gaga; they selected tracks from the Great American Songbook including "Nature Boy".[59][60] It features instrumentation from flutes and drums, and has an orchestral arrangement. According to Kory Grow of Rolling Stone, Gaga sings in a Liza Minnelli inspired voice with a breathy range, followed by Bennett complimenting her with the story of meeting the titular character.[61][62]

"Nature Boy" was released for

Tophit airplay chart.[69]

Release history

Release dates and formats for "Nature Boy"
Region Date Format Label(s) Ref.
Various September 16, 2014 Streaming [63]

Usage in films

Singer David Bowie's version in Moulin Rouge! was critically appreciated

The song was a primary theme of the film score for The Boy with Green Hair (1948), for which the original version was used.[70] The producers of the film reportedly paid $10,000 to ahbez for using the song, which was cumulatively more than what the author of the story, Betsy Beaton, was paid.[71] A recording by Kate Ceberano with an orchestral arrangement by Derek Williams was featured in the film The Crossing (1990).[72] The tune and lyrics feature prominently in the film Untamed Heart (1993), for which Cole's version was used during the closing credits, while a piano version by Roger Williams served as the opener for the film. The song was also played in intermediate scenes featuring the principal cast.[73][74]

Miles Davis' recording of "Nature Boy" was used in the film The Talented Mr. Ripley (1999).[75] In the book Music, Movies, Meanings, and Markets: Cinemajazzamatazz, author Morris Holbrook described the song as a "nondiegetic performance", exemplifying the plot development and sexual tension in the scene featuring Matt Damon and Jude Law playing chess, naked, and later in a bathtub scene.[76] The song is performed at a jazz club in the film Angel Eyes, (2001). A version recorded by Jon Hassell on trumpet and Ronu Majumdar on flute is featured on the soundtrack.[77] The writing of "Nature Boy" was the theme of a 2000 Canadian TV film of the same title, directed by Kari Skogland. Callum Keith Rennie played ahbez, writing the song for Cole, played by Terence Carson, after falling in love with a woman named Anna Jacobs, portrayed by Tanya Allen.[78]

The song was a central theme in Luhrmann's Moulin Rouge! "Nature Boy" was initially arranged as a techno song with singer David Bowie's vocals, before being sent to the group Massive Attack, whose remix was used in the film's closing credits. Bowie described the rendition as "slinky and mysterious", adding that Robert "3D" Del Naja from the group had "put together a riveting piece of work", and that Bowie was "totally pleased with the end result".[79] Both Bowie's version and Massive Attack's remix appeared on the soundtrack. The version used in Moulin Rouge! was sung by John Leguizamo, as Henri de Toulouse-Lautrec, during the introductory scenes, as well as by Ewan McGregor's character, Christian.[80] Some of the film's premise was based on the lyrics, in particular the opening lines. The closing lyric, "The greatest thing you'll ever learn is just to love and be loved in return" is used throughout the film.[81] While reviewing Moulin Rouge!, Erickson noted that "[by] itself, ['Nature Boy'] redeems the wonderful idea behind Luhrmann's flawed but often wonderful movie."[35]

The song was performed by

20th Century Fox released a teaser trailer for the British-American science-fiction horror film, Alien: Covenant, using a cover of "Nature Boy" by singer Aurora, as the background score.[84] It was also used during the title credits of Netflix's 'The Andy Warhol Diaries'.[citation needed
]

See also

References

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Sources

External links