That's Life

"That's Life" is a powerful anthem about resilience, perseverance, and the indomitable human spirit in the face of adversity. The lyrics articulate a philosophy of accepting life's inherent volatility—its unpredictable highs and lows—while refusing to be defeated by its challenges. The song's narrative follows a character who has experienced the full spectrum of fortune, from being "ridin' high in April" to being "shot down in May". Despite these setbacks and encountering people who take pleasure in "stomping on a dream," the protagonist's response is one of stubborn optimism. The core message is encapsulated in the recurring resolution: "Each time I find myself flat on my face, I pick myself up and get back in the race." It's a celebration of tenacity and the refusal to quit, even when the thought arises. The song suggests that this struggle is the very essence of living, and true character is defined by the ability to continually re-engage with life's challenges.

The song chronicles the volatile and unpredictable nature of existence, a journey filled with dizzying highs and crushing lows. The narrative opens with a common saying, acknowledging the world's perception of life as a series of ups and downs, like being celebrated one moment only to be discarded the next. The singer describes the experience of being on top of the world in April, only to be "shot down in May." However, this setback is met not with despair, but with a confident vow to change this tune and reclaim a top position by June. This establishes the central theme of resilience from the outset.

The lyrics delve into the darker aspects of human nature, observing that some people derive pleasure from destroying others' dreams. This is a painful reality, yet the singer refuses to be defeated by it, recognizing that the world continues to turn regardless. This perspective fuels a determination to carry on. The song then uses a series of powerful metaphors to illustrate the many roles and states of being one can experience in a lifetime. The singer has been a "puppet, a pauper, a pirate, a poet, a pawn and a king," a line that encapsulates a life of immense variety, of being controlled and in control, impoverished and royal, a creator and a mere piece in someone else's game. This multifaceted experience, of being "up and down and over and out," has led to a singular, profound piece of wisdom: every time he finds himself knocked down, he has the strength to pick himself up and re-enter the race of life.

This core message of perseverance is reiterated with a sense of defiance. The singer admits to contemplating quitting, of giving up the fight. It's a moment of raw honesty, acknowledging the temptation of surrender that everyone faces. However, his heart refuses to accept defeat; it "just ain't gonna buy it." This internal conflict is resolved by a powerful self-affirmation. He declares that if he didn't believe the struggle was worthwhile, he would simply leave it all behind, poetically described as jumping on a "big bird" and flying away. The final verse carries a potent, almost ultimatum-like promise. He commits to keep fighting, but with a stark acknowledgment of his limits. If, after all his efforts, nothing changes by the coming July, he humorously and hyperbolically threatens to "roll myself up in a big ball and die." This final, defiant, and slightly sardonic statement, capped with a dismissive "My, my," perfectly captures the song's spirit: a blend of tough-minded optimism, hard-won wisdom, and an unbreakable will to face whatever life throws his way.

"That's Life" was written by Dean Kay and Kelly Gordon in 1963. The first recording was by Marion Montgomery that same year, but it failed to chart. The song's journey to Frank Sinatra was serendipitous. Sinatra heard a version by O.C. Smith on his car radio in 1965 and was immediately taken with it. He stopped the car, called his daughter Nancy, and tasked her with finding the song's publisher because he was determined to record it. Sinatra first performed the song on his 1966 television special, A Man and His Music – Part II, with an arrangement by Nelson Riddle. The studio version, which would become the definitive one, was recorded on July 25, 1966, at United Recording in Hollywood. It was arranged and conducted by Ernie Freeman and produced by Jimmy Bowen. Sinatra, famous for his 'one-take' recording style, was reportedly annoyed when Bowen asked for a second take. This irritation is often credited for the resulting performance's extra "bite" and the defiant ad-lib, "My, My," at the end, which was directed at Bowen.

The song's structure is built on a straightforward rhyme scheme, primarily using couplets (AABB), which gives the lyrics a memorable, aphoristic quality (e.g., "say"/"May", "tune"/"June"). This simple scheme supports the song's direct, no-nonsense message. The rhythm is a driving, mid-tempo swing that creates a sense of forward momentum, perfectly embodying the theme of "getting back in the race." The song is set in a major key and has a complex chord progression, giving it a richer harmonic texture than typical pop songs of the era. The interplay between the lyrical rhythm and the musical rhythm is crucial; Sinatra's phrasing is masterful, sometimes lagging slightly behind the beat, sometimes pushing ahead, which imbues the performance with a sense of swagger and confidence. The rhythm section, led by a prominent drum beat and walking bassline, provides a solid foundation, while the brass stabs and organ fills punctuate the vocals and add to the overall feeling of energetic defiance.

Frank Sinatra's performance of "That's Life" is a masterclass in vocal delivery and musical arrangement that amplifies the song's lyrical themes. His vocal style is famously conversational, yet it builds in intensity to match the song's emotional arc. He sings with a defiant "scowl in his voice," a tone that was somewhat out of character but perfectly suited the song's gritty optimism. This edge is particularly noticeable in the second take, which producer Jimmy Bowen coaxed out of an annoyed Sinatra. The arrangement by Ernie Freeman is a powerful example of big band pop, featuring a robust brass section, a soulful organ that gives it a slight R&B flavor, and a female backing chorus that adds to the anthemic quality. The song's structure builds dynamically, starting with a relatively calm organ intro before the brass and drums kick in, creating a crescendo that mirrors the narrator's rising determination. The use of alliteration in the lyrics ("puppet, a pauper, a pirate, a poet, a pawn and a king") is a key literary device that makes the line memorable and rhythmically compelling. The final ad-lib, "My, my," became a signature, adding a touch of personal, defiant swagger to the recording.

"That's Life" became one of Frank Sinatra's signature songs and a major commercial success, especially notable for its popularity during the rock-dominated era of the mid-1960s. Released in November 1966, the single reached No. 4 on the Billboard Hot 100 chart and No. 1 on the Billboard Easy Listening chart. The album of the same name also sold over a million copies. Its message of resilience has made it an enduring anthem, widely used in popular culture to signify perseverance. It has been featured in numerous films, most famously in the final scene of Joker (2019) and its 2024 sequel, as well as in A Bronx Tale (1993), Casper (1995), and TV shows like Brooklyn Nine-Nine. The song has been covered by a vast array of artists across different genres, including Aretha Franklin, James Brown, Van Morrison, David Lee Roth, Michael Bublé, and Lady Gaga, cementing its status as a timeless classic. The song is seen as a reflection of Sinatra's own life, with its many professional and personal comebacks, which adds to its authentic and powerful legacy.

"That's Life" is rich with symbolism and metaphors that illustrate its core themes of volatility and resilience. The opening lines, "You're ridin' high in April, shot down in May," serve as a direct metaphor for life's sudden and unpredictable downturns. The most extensive metaphor is the list of roles the narrator has played: "a puppet, a pauper, a pirate, a poet, a pawn and a king." This alliterative sequence symbolizes the vast and contradictory range of human experience, from being powerless (puppet, pawn) to being powerful (king), from being destitute (pauper) to being a romantic adventurer (pirate) or creator (poet). It suggests a life lived to the fullest, embracing every possible identity and circumstance. The entire song can be seen as a metaphor for the "Wheel of Fortune," a medieval and philosophical symbol representing the capricious nature of fate, where one can be at the top (king) or bottom (pauper) through no fault of their own. The act of "getting back in the race" is a metaphor for re-engaging with life's struggles after a fall, while the final, slightly comical threat to "roll myself up in a big ball and die" is a hyperbolic expression of ultimate frustration, underscoring the singer's fighting spirit through irony.

The most significant recurring phrase and central motif is the title itself, "That's life." It appears at the beginning of several verses, acting as a philosophical shrug and a declaration of acceptance of life's unpredictable nature. This phrase is the song's anchor, grounding the narrative of dramatic ups and downs in a simple, relatable sentiment. The lyrical motif of falling and rising is central, expressed most directly in the lines, "Each time I find myself flat on my face, I pick myself up and get back in the race." This couplet functions as the song's thesis statement, repeated to reinforce the core message of resilience. Another key recurring element is the musical arrangement's dynamic build. The song repeatedly swells in volume and intensity, particularly during the choruses and the climactic final verse, mirroring the emotional journey from contemplation to bold defiance. The soulful organ riff is a recurring musical motif that weaves through the track, providing a consistent textural element against the powerful brass.