That's Life - 2008 Remastered

That's Life is a definitive anthem of resilience, persistence, and the acceptance of life's cyclical nature. At its core, the song serves as a monologue for anyone who has faced repeated failure but refuses to stay defeated. The lyrics explore the concept of the "School of Hard Knocks," where wisdom is gained not through study, but through the visceral experience of winning and losing.

The song creates a stark contrast between the external world's unpredictability and the internal determination of the human spirit. When Sinatra sings about being a "puppet, a pauper, a pirate, a poet, a pawn and a king," he is illustrating the fluidity of status and identity. He suggests that a single human life can encompass the highest highs and the lowest lows, and that one's current station in life is never permanent. The "king" can become a "pauper" overnight, but the reverse is also true.

A crucial element of the song's meaning lies in its refusal to offer toxic positivity. The narrator admits to discouragement, acknowledging that "many times I thought of cuttin' out." This vulnerability makes the ultimate resolve to "pick myself up and get back in the race" more powerful because it is a conscious choice made despite the pain. The closing ultimatum about "July" adds a layer of desperate urgency; it implies that while resilience is noble, patience has its limits, and the drive to succeed is fueled by a fear of total stagnation.

The narrative of the song is a candid, first-person confession from a world-weary protagonist who has experienced the full spectrum of human existence. The narrator begins by acknowledging the common platitude that life is a series of inevitable ups and downs, noting with a touch of cynicism that some individuals seem to derive pleasure from destroying the dreams of others. Despite this harsh reality, the narrator refuses to be defeated, asserting a stubborn will to keep moving forward simply because the world itself continues to turn.

Reflecting on a colorful and tumultuous past, the protagonist lists a diverse array of roles they have played throughout their life: a manipulated puppet, a destitute pauper, a reckless pirate, an introspective poet, an insignificant pawn, and a powerful king. This catalogue of identities suggests a life lived at both the absolute bottom and the very top of society. Through these fluctuating fortunes, the narrator has learned a single, undeniable truth: every time they are knocked down and humiliated, they possess the internal drive to stand up and re-enter the competition.

The narrator then uses a calendar metaphor to describe the volatile nature of success. They recall being at the peak of their powers in April, only to suffer a devastating fall in May. Yet, this setback is met with a guarantee of a comeback; they promise to change the narrative and return to a position of dominance by June. This cycle of rising and falling is accepted as the fundamental nature of life.

However, the song concludes with a stark ultimatum that reveals the narrator's limit. While they claim they cannot deny the urge to quit when things get tough, their heart usually refuses to give up. But they set a deadline: if their fortunes do not improve by July, they vow to finally surrender completely, metaphorically rolling into a ball to die. This dramatic assertion underscores the high stakes of their persistence—they will keep fighting, but they demand results.

That's Life was written by Dean Kay and Kelly Gordon. The song was first recorded in 1963 by Marion Montgomery and later by O.C. Smith. The story goes that Frank Sinatra heard O.C. Smith's version on the car radio while driving in 1965. Captivated by the song's message and melody, he immediately stopped the car and called his daughter, Nancy Sinatra, instructing her to find the publisher because he wanted to record it.

The recording session took place in the autumn of 1966 for the album of the same name. The backing track was arranged by Ernie Freeman, who gave it a soulful, bluesy feel distinct from Sinatra's usual swing style. Produced by Jimmy Bowen, the session is famous for a clash between the producer and the artist. Sinatra, known as "One-Take Charlie," recorded a first take that he was satisfied with. However, Bowen, wanting a grittier, more biting performance, asked for a second take. Sinatra was reportedly annoyed by the request but complied. The anger and frustration he felt were channeled directly into the vocal performance, giving the song its signature edge and defiance. The famous ad-lib "My, my" at the end of the song was reportedly Sinatra's sarcastic jab at Bowen, as if to ask, "Is that enough for you?"

The song is written in 4/4 time with a heavy, swinging backbeat that draws heavily from the blues tradition. The rhythmic structure is driving and relentless, mirroring the message of moving forward "back in the race." Sinatra often sings behind the beat (back-phrasing), which creates a sense of relaxed confidence and swagger, even when the lyrics express frustration.

Lyrically, the song utilizes a mix of AABB and ABAB rhyme schemes, but with significant internal rhyming and alliteration, particularly in the "Puppet, pauper, pirate, poet, pawn" sequence. The rhymes are generally perfect and masculine (face/race, May/say), which contributes to the song's direct, no-nonsense tone. The rhythm of the lyrics matches the musical punches, with the list of roles delivered in a staccato rhythm that emphasizes the sheer number of identities the narrator has inhabited.

Musically, the song marks a departure from Sinatra's traditional big band swing, moving toward a more contemporary soul-jazz and rhythm and blues sound. The arrangement by Ernie Freeman features a prominent, bluesy Hammond organ (played by Mike Melvoin), which grounds the track in a grittier, earthier texture than Sinatra's usual lush strings. The use of a gospel-tinged backing choir calling and responding with "That's life" adds a communal, almost spiritual weight to the complaints, turning a personal rant into a shared sermon.

Vocally, Sinatra employs a technique of hard-hitting articulation and dynamic contrasts. He virtually barks certain lines ("I've been a puppet!") and slides lazily into others, showcasing his mastery of phrasing. The punchy brass hits accentuate the rhythm, mirroring the "kicks" and "stomps" mentioned in the lyrics. The stylistic choice to leave in the rougher edges of his voice—the rasp and the bite—enhances the authenticity of the world-weary narrator.

That's Life revitalized Sinatra's career in the mid-60s, proving he could remain relevant in the age of rock and roll. It reached the Top 5 on the Billboard Hot 100. Culturally, it has become one of the ultimate anthems for the underdog and the survivor. It has been covered by artists as diverse as Aretha Franklin, James Brown, Van Morrison, and David Lee Roth, proving its cross-genre appeal.

In film and media, the song is frequently used to underscore moments of irony or grim determination. It notably appears in the 1993 film A Bronx Tale and was pivotal in the 2019 film Joker, where it served as an ironic counterpoint to the protagonist's descent into madness, cementing the song's association with the duality of comedy and tragedy in the modern public consciousness.

The lyrics of That's Life are rich with metaphors that describe the human condition and social mobility.

• The Roles (Puppet, Pauper, Pirate, Poet, Pawn, King): This alliterative list serves as a metaphor for the universal human experience and the many masks one wears. A "puppet" and "pawn" represent a lack of control, being manipulated by fate or others. A "pirate" and "king" represent agency, power, and perhaps ruthlessness. A "poet" suggests introspection. By claiming to have been all of them, the narrator embodies the Everyman who has seen life from every angle.
• The Calendar (April, May, June, July): The months are used as symbols for the rapid cycle of fortune. "Riding high in April" symbolizes spring, rebirth, and success, while being "shot down in May" represents sudden, unexpected failure. The deadline of "July" creates a metaphorical horizon line—a point of no return where patience runs out.
• The "Big Ball": The image of rolling oneself up in a "big ball and die" is a metaphor for total withdrawal and defeat—a return to a fetal position, symbolizing the ultimate surrender of the will to live and fight.

The titular phrase "That's life" is the central motif, repeated throughout the song both by Sinatra and the backing vocalists. It acts as a resigned punctuation mark to every complaint, a verbal shrug that neutralizes the pain of failure. It transforms from a sigh of resignation in the verses to a shout of defiance in the choruses.

Another key recurring motif is the physical action of falling and rising: "flat on my face" versus "pick myself up." This vertical imagery reinforces the theme of resilience. The musical motif of the ascending organ line often accompanies the lyrical mention of picking oneself up, sonically representing the act of rising.