For those who despair over the notions of purity, Peggy Lee's rendition of "Fever" is an insult to both Little Willie John, the singer of the first version, and to songwriters Eddie Cooley and Otis Blackwell, the latter writing under the name of John Davenport. Of course, these are the very same people who bemoan Elvis' absconding with race music and making a fortune on the backs of those with a lesser audience. But no one has been able to offer proof of Cooley and Blackwells' indignation - particularly the latter who benefited greatly from the success of Miss Lee's record when Elvis took notice as well as the unwanted "Don't Be Cruel" for his next release - and I'm sure everyone cashed their royalty checks.
Little Willie's version is a delightfully lascivious treat that made the little girls who understood wiggle in their seat. But where his recording uses the tales of Romeo and Juliet and Capt. Smith and Pocahantas to provide examples of why they should give in to his seduction, the cool and calculated Miss Lee delivers the same information as a distraction from the directness of her opening statements, distancing herself as a lady would, and letting the tom toms do the hip swiveling for her. With Willie, you're left with no doubt as to what you're going to get where as with Peggy, you're left with only an idea and a lot of hope.
Oddly enough, in the end, everyone is satisfied.
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