LOS ANGELES, CA – February 9, 2026 – Peggy Lee Associates today announces the release of a previously unheard recording of Peggy Lee performing the beloved classic “La Vie en Rose” in French, accompanied by a jazz trio. Captured on Lee’s personal reel-to-reel tape recorder around 1952, the intimate performance makes its long-awaited debut as a Valentine, shared publicly for the first time. The digital-only single is available at all digital service providers.

Known to keep a reel-to-reel recorder both at home and while traveling, Peggy Lee documented her studio sessions, rehearsals, informal jam sessions, gatherings with friends, and business meetings, preserving ideas, conversations, and musical moments as they unfolded. Scores of these personal tapes have now been digitized, offering an extraordinary look at Lee’s life and creative process beyond the recording studio.

“As I’ve had my grandmother’s reel-to-reel and cassette tapes digitized, it has felt like being a fly on the wall, traveling back in time,” says Holly Foster Wells, President of Peggy Lee Associates and Lee’s granddaughter. “Hearing her in so many different settings has allowed me to keep getting to know her in new ways. Even with their imperfections, so much of the music on these tapes is stunning. There is something especially moving about hearing her sing just for herself.”

This home recording of “La Vie en Rose,” captured in just one take, comes from an informal gathering, with Lee singing alongside a trio of piano, string bass, and drums, working through several songs in a relaxed, off-the-cuff setting. Research is ongoing to identify the musicians involved. Recorded privately, the sound reflects its original setting and has been newly restored by multi-GRAMMY® Award–winning mastering engineer Michael Graves at Osiris Studio, bringing out the warmth and intimacy of the original performance.

Preserved for nearly 75 years, the release of “La Vie en Rose” launches From the Peggy Lee Archive, a new singles series drawn from the previously unreleased reel-to-reel recordings. While reviewing Lee’s personal tapes, Foster Wells uncovered this performance among a collection of previously unheard recordings that will be shared in future releases. These intimate moments offer a rare glimpse into Peggy Lee’s creative world away from the spotlight.

A lifelong admirer of Édith Piaf, Peggy Lee owned original 78s of “La Vie en Rose” and “Hymne à l’amour” dating back to the 1940s. She performed “La Vie en Rose” on several occasions throughout her career, including on The Ed Sullivan Show in 1950, beginning in English and ending in French; during her April 1951 show at the Copacabana; and as a French-language duet with Charles Aznavour on a 1977 television special. Despite her deep affection for the song, Lee never commercially recorded it, making this newly released performance especially rare.

About Peggy Lee One of the most important musical influences of the 20^th century, Peggy Lee wrote over 270 songs, recorded over 1,100 masters, and had over 100 chart hits throughout her seven-decade career. As one of the world’s first female contemporary singer-songwriters, she co-wrote and sang many of her own hits, most notably “He’s a Tramp” for Disney’s Lady and the Tramp, as well as “Mañana” and “It’s a Good Day.” She’s best known for hits “Why Don’t You Do Right?” “Fever,” “I’m a Woman,” and “Is That All There Is?” for which she won the GRAMMY® for Best Contemporary Female Vocal Performance. A 13-time GRAMMY® nominee, she received Lifetime Achievement Awards from NARAS, ASCAP, and Society of Singers, was inducted into the Songwriters Hall of Fame, and earned an Academy Award nomination for Best Supporting Actress in Pete Kelly’s Blues.

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LOS ANGELES, CA, November 19, 2025 — With the recent reissue of the Selections from Irving Berlin’s White Christmas now available on collectible white vinyl from Universal Music Enterprises (UMe), fascinating lesser-told stories behind the film and its iconic music and recordings offer a rare insight into one of Hollywood’s most beloved holiday films.

When audiences think of 1954’s Irving Berlin’s White Christmas, they often picture Rosemary Clooney and Vera-Ellen serenading Bing Crosby and Danny Kaye with the iconic number “Sisters.” But, as Variety reported, the role played by Clooney was first intended for another timeless voice: Peggy Lee.

According to Variety (March 1953), Paramount had its sights set on Lee — fresh off her acclaimed role in Warner Bros.’ The Jazz Singer (1952) — to play the female lead opposite Crosby in the role of Betty Haynes. But Warner Bros. declined to loan Lee to Paramount, leading to Clooney’s casting and ultimately to Lee’s off-screen, on-record comeback.

Released by Decca Records, the film’s official soundtrack featured Bing Crosby and Danny Kaye — but not Rosemary Clooney. Clooney’s Columbia Records contract prevented Decca from using her vocals, compelling the label to get creative, bringing in Peggy Lee, one of the label’s brightest stars, to re-record Clooney’s songs, including “Love, You Didn’t Do Right by Me” and the beloved “Sisters.” Lee also joined Crosby, Kaye, and Trudy Stevens, who dubbed Vera-Ellen’s singing voice in the film, for the finale of the beloved title song.

For “Sisters,” Lee pulled off a technical and artistic marvel—duetting with herself through the then-innovative process of double-track recording, creating two distinct personalities and harmonizing in perfect unison. It was a one-woman duet that remains one of the most charming curiosities in the White Christmas legacy.

In September 1954, a month before the premiere of Irving Berlin’s White Christmas, Lee performed “Love, You Didn’t Do Right by Me” on a special broadcast of NBC’s Colgate Comedy Hour live at the Hollywood Bowl:

The White Christmas soundtrack wasn’t Lee’s first time filling in for another female vocalist. Just a year earlier (1953), she substituted for Dorothy Lamour on Decca’s The Road to Bali soundtrack, recording Lamour’s solo “Moon Flowers” and joining Crosby and Bob Hope on “Merry-Go-Runaround.”

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LOS ANGELES, CA , October 17, 2025 – In celebration of its 50th anniversary, Universal Music Enterprises (UMe), in collaboration with Peggy Lee Associates and Leiber/Stoller Productions, announces today’s release of an expanded digital edition of Peggy Lee’s cult masterpiece Mirrors.

Available at all digital service providers, the newly remastered expanded edition adds seven bonus tracks to the original album’s 10-song tracklist. Featuring five previously unreleased tracks, the new 17-track edition now features Peggy Lee’s entire A&M Records song catalog.

Conceived by the legendary songwriting and producing team of Jerry Leiber and Mike Stoller, Mirrors presents a series of dramatic vignettes and character studies, all of them vividly brought to life by the combined superpower of Peggy Lee’s superb interpretations and Johnny Mandel’s sumptuous arrangements.

The original ten tracks range in tone from sensual and humorous — “Some Cats Know,” “I’ve Got Them Feelin’ Too Good Today Blues” — to ominous and eerie — “Tango,” “The Case of M.J.” Love and longing, memory and mimesis, self-deception and self-reflection are among the all-too-human themes most prominently showcased throughout. A meditative, mellow mood is conjured by the more somber songs, while the more upbeat tunes burst with playful exuberance. Of Mirrors, Peggy Lee noted that it “reflects on people — their experience, memories, happiness, sadness — and takes you on a cruise: a voyage of the mind.”

The bonus tracks offer a rich potpourri of musical genres, running the gamut from R&B — “Daddy What I Do (The Climb),” “I Ain’t Here” — to shout-style gospel and smooth jazz — “Saved,” “The Best Thing.” Each of these tracks was gamely tackled by the team of Lee, Leiber and Stoller while they were exploring the option of crafting a more mainstream album before they fully settled into making the conceptual Mirrors.

Among the exploratory sessions was Peggy Lee’s interpretation of “Love Me or Leave Me,” a standard she first recorded for her acclaimed 1953 album Black Coffee. Perennially committed to proving that the American songbook shall forever stand the test of new musical trends, she requested the recasting of this old familiar tune (1928) to the effervescent disco beat which, at the time, was just beginning to take hold over the American radio airwaves.

Bold, genre-blurring, and well ahead of its time, Mirrors did not enjoy a roundly auspicious reception in the 1970s, but over ensuing decades it has gone on to become a cult favorite and a critic’s choice. This century’s accolades have included raves from industry insiders such as Jazz Bakery’s president and artistic director Ruth Price (2014), and from publications like the well-respected UK magazine Mojo. The editors of that long-running rock and jazz magazine bestowed their ultimate seal of approval of Mirrors when they granted the album its own entry on their Mojo Collection: The Greatest Albums of All Time (2001).

Further confirmation of the album’s reverential standing comes from Mike Stoller himself, who on some of his more recent travels around the globe discovered that “certain cults had formed around Mirrors. In many countries I visited, I was known as half of the Leiber and Stoller team celebrated not for the Robins or the Coasters or the Drifters, nor for Big Mama Thornton or Elvis or Ben E. King, but for having coauthored Peggy Lee’s Mirrors. That acknowledgement meant a lot to me.” Updated liner notes by Peter Stoller are available here.

Originally released October 17, 1975, Mirrors earned a Grammy® nomination for Best Album Package in 1976.

Track Listing

1. Ready to Begin Again
2. Some Cats Know
3. I’ve Got Them Feelin’ Too Good Today Blues
4. A Little White Ship
5. Tango
6. Professor Hauptmann’s Performing Dogs
7. The Case of M.J.
8. I Remember
9. Say It
10. Longings for a Simpler Time

Bonus Tracks

11. I Ain’t Here***
12. The Best Thing*
13. Love Me or Leave Me*
14. Crazy Life*
15. Daddy, What I Do (The Climb)**
16. Saved*
17. Don Juan***

*previously unreleased
**previously unreleased rough mix
***previously available only on Peggy Lee Sings Leiber & Stoller (2005)

All songs written by Jerry Leiber and Mike Stoller, except for track #13 written by Walter Donaldson, Gus Kahn and track #14 written by Gino Vannelli. Track #12 was co-written by Jerry Leiber, Mike Stoller, Ralph Dino, and John Sembello.

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Los Angeles, CA, October 1, 2025 — In celebration of International Coffee Day, Peggy Lee Associates, in partnership with boutique coffee company Breakfast at Dominique’s, proudly announces the debut of two signature coffees honoring the timeless artistry and elegance of the legendary Peggy Lee.

Named after two beloved songs written and performed by Lee, the signature coffee duo — It’s a Good Day and It’s a Good, Good Night (decaf) — are now available for purchase here. Individual coffee retails for $18.50/bag, and the bundled duo retails for $34.

The first of the coffee duo, It’s a Good Day, is a smooth, melodic Guatemalan medium roast crafted to put a pep in your step similar to the iconic Peggy Lee song of the same title. Slowing it down for the evening is the It’s a Good, Good Night. This sultry Peruvian dark roast is decaffeinated via the Swiss water-processing method to quench your most indulgent nighttime desires. Breakfast at Dominique’s product is provided by an Ohio-based roaster.

Handcrafted in small batches by Breakfast at Dominique’s, each coffee is presented in a beautifully designed package featuring vintage photographs from Peggy Lee’s archives, making each bag a collectible piece and a daily indulgence. Enjoy your coffee with a curated playlist found here.

“The timeless elegance and bold personality of Miss Peggy Lee make constructing this project in homage to her such a personally fulfilling project. I created this company to shine a light on figures who fought long, hard battles and paved their own way, leaving behind unique stories,” says Dominique Benedict, owner of Breakfast at Dominique’s. “Peggy embodies our purpose acutely. I cannot wait to showcase these gorgeous creations with all walks of life and give Peggy’s fans something new to bring into the home and build memories with. There’s no better accessory for a great time with loved ones than a quality cup of coffee.”

“My grandmother loved her coffee — and with ‘Black Coffee’ as one of her most iconic songs, this partnership felt like a natural tribute,” adds Holly Foster Wells, president of Peggy Lee Associates. “Inspired by the optimism of ‘It’s a Good Day’ and the warmth of ‘It’s a Good, Good Night,’ each coffee is meant to let fans savor a little of Peggy’s spirit in every cup.”

About Peggy Lee

One of the most important musical influences of the 20^th century, Peggy Lee wrote over 270 songs, recorded over 1,100 masters, and had over 100 chart hits throughout her seven-decade career. As one of the world’s first female contemporary singer-songwriters, she co-wrote and sang many of her own hits, most notably “He’s a Tramp” for Disney’s Lady and the Tramp, as well as “Mañana” and “It’s a Good Day.” She’s best known for hits “Why Don’t You Do Right?” “Fever,” “I’m a Woman,” and “Is That All There Is?” for which she won the GRAMMY® for Best Contemporary Female Vocal Performance. A 13-time GRAMMY® nominee, she received Lifetime Achievement Awards from NARAS, ASCAP, and Society of Singers, was inducted into the Songwriters Hall of Fame, and earned an Academy Award nomination for Best Supporting Actress in Pete Kelly’s Blues.

About Breakfast at Dominique’s

Breakfast at Dominique’s is a boutique coffee company based in small-town Arkansas. This unique coffee brand is a nod to classic Hollywood — an era of stars that were larger than life. Each blend is created to represent a beloved icon — someone who pursued their dreams and built an untouchable legacy. For more information, visit https://hollywoodblends.com/

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Los Angeles, CA – May 23, 2025 – Today, Capitol/UMe, in conjunction with the acclaimed DJ and producer HoneyLuv and Peggy Lee Associates, unveils the soul-stirring remix of Peggy Lee’s timeless hit “Fever.” An electric reimagination of the Grammy Award-winning icon’s 1958 original, “Fever (HoneyLuv Remix)” is available on all digital platforms.

Breathing a new life into one of American music’s most recognizable songs, HoneyLuv seamlessly entwines her vibrant, house-infused sound into Lee’s original seductive minimalism. Showcasing her penchant for captivating audiences, the rework honors the sophistication and empowerment that defined Lee’s landmark hit while illuminating it with her irresistibly danceable energy.

“’Fever’ always felt timeless to me; this remix was about honoring that energy and letting it live loud in today’s sound,” offers HoneyLuv.

A trailblazer in her own right, Peggy Lee shattered boundaries throughout her seven-decade career as a singer, songwriter, and actress. Her Grammy-nominated version of “Fever,” originally a R&B hit by Little Wille John in 1956, transformed the track into a sultry jazz classic. With only bass, drums, finger snaps, and breathy vocals, Lee made the song unmistakably her own, adding her new verses about famous lovers throughout history. It was a Billboard Top 10 hit and is considered her signature song.

The song’s legacy as an enduring anthem aligns with start of the WNBA’s Indiana Fever season and will serve as the official tunnel entrance song for the team’s home games at Gainbridge Fieldhouse Arena in Indianapolis, IN.

“I’m so excited about the new ‘Fever’ remix by HoneyLuv,” says Holly Foster Wells, Lee’s granddaughter and president of Peggy Lee Associates. “It brings fresh energy to one of my grandmother’s most iconic songs while staying true to its signature sultry vibe. Having it as the Indiana Fever’s entrance anthem feels like a perfect match and a powerful way to connect Peggy Lee’s legacy with a new generation.”

About Peggy Lee

One of the most important musical influences of the 20th century, Peggy Lee wrote over 270 songs, recorded over 1,100 masters, and had over 100 chart hits throughout her seven-decade career. As one of the world’s first female contemporary singer-songwriters, she co-wrote and sang many of her own hits, most notably “He’s a Tramp” for Disney’s Lady and the Tramp, as well as “Mañana” and “It’s a Good Day.” She’s best known for hits “Why Don’t You Do Right?” “Fever,” “I’m a Woman,” and “Is That All There Is?” for which she won the Grammy for Best Contemporary Female Vocal Performance. A 13-time Grammy nominee, she received Lifetime Achievement Awards from NARAS, ASCAP, and Society of Singers, was inducted into the Songwriters Hall of Fame, and earned an Academy Award nomination for Best Supporting Actress in Pete Kelly’s Blues.

About HoneyLuv

A groove-obsessed powerhouse with boundless energy and a flair for flipping the script, HoneyLuv, born Taylor Character, spins every record she plays into pure magic, painting a brilliant portrait of ecstasy with each vibrant release.

Since bursting onto the scene in 2023 after being crowned BBC Radio 1’s Future Star and one of Beatport’s Next Class, the Ohio-born DJ, producer and singer-songwriter’s kinetic sound and hypnotic energy have skyrocketed her to the top of the game at meteoric pace – and there’s no ceiling in sight. From basketball star, to aspiring CIA agent, to global house music paragon, HoneyLuv’s career is not only the story of a supernova; but a complete unraveling of self – a journey through heart, soul and culture.

Following her 2024 breakout track with Roland Clark, “This Is My Life,” named BBC Radio 1’s Hottest Record, HoneyLuv continued to showcase her bold and timeless sound, where soul drips from every beat – with releases like “Sex & The City” with Seth Troxler, and collaborations with artists like Muni Long, Carl Cox, Annie Mac and Jaden Thompson. Cementing herself as an immovable, dynamic force in the scene, she’s conquered some of music’s most iconic stages, including Coachella, Ultra Music Festival Miami, Cercle Festival, Hï Ibiza, and Space Miami, and performed alongside revered innovators such as The Martinez Brothers, Idris Elba, Dennis Ferrer, Amémé and Kevin Saunderson.

Today, HoneyLuv has ardently arrived with a spirit as bouncy as her productions, and razor-sharp instincts, transforming bumping basslines and funky rhythms into ecstatic dancefloor ready journeys. As she continues to overhaul the scene and command global attention with her radiating charm and playful ability to connect with audiences around the world, HoneyLuv isn’t just shaking up the scene, she’s owning it. Remixing the rules through her unapologetically feel-good and fiercely feminine lens, the trailblazing talent creates music that moves – bodies, hearts and culture – as she leaves an indelible mark on the scene, charging ahead on her full-throttle ascent to the top.

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