"Nature Boy" is a song first recorded by American jazz singer Nat King Cole. It was released on March 29, 1948, as a single by Capitol Records and later included on the 1961 album The Nat King Cole Story. The song was written by eden ahbez as a tribute to Bill Pester, who followed the Naturmensch and Lebensreform philosophies that ahbez also practiced. The lyrics describe a group in 1940s Los Angeles called "Nature Boys," a community of people who shared ideas about living close to nature, which ahbez was part of.
"Nature Boy" was released during the American Federation of Musicians (AFM) ban in 1948. It reached the top of the Billboard music charts and sold over a million copies, helping to start Cole's career as a solo artist and introducing him to a wider audience. The song faced legal issues, as Yiddish composer Herman Yablokoff claimed it was copied from his song "Shvayg mayn harts" ("Be Still My Heart"). Ahbez and Yablokoff reached an agreement without going to court. In 1999, the song was honored with the Grammy Hall of Fame Award.
After Cole's success, other record companies released cover versions of "Nature Boy" by artists like Frank Sinatra and Sarah Vaughan, which also became popular. The song became a classic in pop and jazz music, performed by many artists, including Tony Bennett and Lady Gaga, who sang it on their 2014 album Cheek to Cheek. It has also appeared in films such as The Boy with Green Hair (1948), The Talented Mr. Ripley (1999), and the 2001 musical Moulin Rouge!, where David Bowie recorded a version. The song was also featured in the television series Resident Alien.
Background and development
In 1941, George McGrew, who was 33 years old, moved to Los Angeles and began playing piano at the Eutropheon, a small health food store and raw food restaurant located on Laurel Canyon Boulevard. The café was owned by John and Vera Richter, who followed a lifestyle inspired by the Naturmensch (nature person) and Lebensreform (life reform) ideas, which were influenced by the Wandervogel (Wandering Bird) movement in Germany. People who followed this lifestyle, called "Nature Boys," often grew long hair and beards and ate only raw fruits and vegetables. McGrew adopted this lifestyle and chose the name "eden ahbez," writing and spelling his name using lowercase letters. While living in a cave near Palm Springs, ahbez wrote the song "Nature Boy." The song was partly based on his own life and honored his teacher, Bill Pester, who had first introduced him to the Naturmensch and Lebensreform ideas.
In 1947, with the help of Cowboy Jack Patton and Johnny Mercer, ahbez met Nat King Cole's manager backstage at the Lincoln Theater in Los Angeles. He gave the manager a worn copy of "Nature Boy" and asked him to share it with Cole. However, Cole did not pay attention to ahbez's request. Feeling upset, ahbez left the sheet music with Cole's valet, Otis Pollard. Pollard shared the song with Cole, who then began performing it for audiences and received praise for it. Irving Berlin, who was at one of Cole's performances, offered to buy the song, but Cole decided to record it himself. Before releasing it, Cole needed permission from ahbez, but he could not find the songwriter because ahbez had disappeared without leaving contact information. Later, ahbez was found living under the Hollywood Sign, and Cole received his permission to record the song.
Recording and composition
Cole's recording, made on August 22, 1947, included an orchestra led by Frank De Vol, who worked for Capitol Records. The song used strings and a flute to create a magical and charming sound. The first two musical sections of the melody closely resemble the second movement of composer Antonín Dvořák's Piano Quintet No. 2, written in 1887. The song, called "Nature Boy," is structured as a pop ballad with an "A,B" format. Its main melody features three notes that fall in a minor triad above a pickup note. A rising musical line over a diminished ii chord returns to the original minor triad. The melody is based on a simple, descending pattern in the key of D minor, creating a sad and thoughtful mood. The song often uses a common ii–V–I chord progression, which supports the emotional tone of the melody. In the second 4-bar section, a chromatic descending line is built on the lowering of the tonic (Dm–Dm maj7 –Dm 7 –Dm 6 ). This line continues through Gm 6 –Dm and ends with a whole-step drop to the G in the chord Em 7 ♭ 5.
Musician Chris Tyle explained that the lyrics describe ahbez's life, as seen in lines like "There was a boy, A very strange, enchanted boy, They say he wandered very far, Very far, over land and sea." Tyle noted that the final line, "The greatest thing you'll ever learn, Is just to love and be loved in return," is the most meaningful part of the song. Scholars have offered different interpretations of the lyrics, suggesting the "nature boy" could be a child, someone giving advice about love, or an adult discussing personal growth. Author Jeffery P. Dennis said the song includes a theme of love between people of the same gender, with the "nature boy" visiting Cole on a special day and sharing the idea that love is the greatest lesson. Author Raymond Knapp described the song as a mysterious and sorrowful piece, with the final line presenting a powerful truth that feels unbreakable and rescued from life's challenges.
Joe Romersa, an engineer and drummer in Los Angeles who received master tapes, photos, and final works from ahbez, stated that ahbez wanted the lyrics changed. Ahbez believed the phrase "to be loved in return" implied a deal, which he felt was not true in love. Instead, he suggested the line should read, "The greatest thing you'll ever learn is to love and be loved, just to love, and be loved." Romersa explained that this change required ahbez to rewrite the ending melody to match the new lyrics.
Release and reception
In 1948, the American Federation of Musicians (AFM) enforced a second "Petrillo ban" on music recording because of the Taft–Hartley Act. Capitol Records, trying to release music during a strike, released "Nature Boy" as a single on March 29, 1948, with catalog number 15054. Crestview Music, which owned the publishing rights to Cole's songs, sold the rights for "Nature Boy" to Burke-Van Heusen, who acted as a distributor and selling agent. The record appeared on the Billboard pop charts on April 16, 1948, and remained there for 15 weeks, reaching number one. It also reached number two on the R&B charts. "Nature Boy" sold a million copies in 1948 and was listed by Billboard DJs as the greatest record of the year, earning 743 points.
The American music market in the 1940s was divided by race, and it was difficult for Black artists to gain recognition in mainstream pop music. Author Krin Gabbard wrote in his book Jammin' at the Margins: Jazz and the American Cinema that Cole had to wear white makeup while filming a performance of the song. Cole became famous in 1940 as the leader of the King Cole Trio, but "Nature Boy" brought him widespread recognition, especially among white audiences.
Cole used the song's success to end the King Cole Trio and pursue a solo career. He once said "Nature Boy" was one of his favorite recordings. The song's success allowed ahbez to earn about $20,000 (equivalent to $268,006 in 2025 dollars) in royalties. However, Billboard reported that ahbez kept only half of the money, sharing the rest with others who helped promote the song. About 25% went to Mrs. Loraine Tatum for helping with the lyrics, and the rest to Pollard for introducing the song to Cole. Basil R.T. Mumma, a pianist in Chicago, also contributed to the song.
"Nature Boy" received praise from critics and reviewers. Author Ted Gioia wrote in The Jazz Standards: A Guide to the Repertoire that ahbez was one of the most eccentric figures in American popular music. He noted that ahbez and Cole helped open new opportunities for Black artists in white popular music. Will Friedwald, in Sinatra! The Song Is You: A Singer's Art, praised Cole's version, saying the combination of his voice and the string section made the song a hit. Stephen Cook from AllMusic said the song made Cole one of the most famous pop stars after World War II. Billboard reported that audiences would stay in theaters only to hear Cole perform "Nature Boy" and leave once he finished. A 1975 poll by the magazine named it the "Greatest All-Round Record" and "Favorite Pop Recording" of previous years. In 1999, the song was honored with the Grammy Hall of Fame, an award for recordings with historical or artistic significance.
Yiddish theatre composer Herman Yablokoff claimed in his book Memoirs of the Yiddish Stage that the melody of "Nature Boy" was copied from his song "Shvayg mayn harts" ("Hush My Heart"), which he wrote for his play Papirosn (1935). In 1951, when Yablokoff sued ahbez for plagiarism, ahbez denied the claim, saying he heard the melody as if "angels were singing it" in the California mountains. He offered Yablokoff $10,000 to drop the lawsuit, but Yablokoff wanted a public admission that the song was stolen. Eventually, ahbez's lawyers offered $25,000 ($310,096 in 2025 dollars) to settle the case, which Yablokoff accepted. Friedwald noted that it was ironic that a song promoting love and peace became a symbol of the competitive nature of the music industry.
Other versions
The success of "Nature Boy" led to many cover versions of the song being released. However, because of the AFM ban, other record companies could not release full versions with strings. Instead, they only released a cappella tracks. After Cole's version of "Nature Boy," the Dick Haymes recording was released by Decca Records with catalog number 24439. The record first appeared on the Billboard charts on June 4, 1948, and reached number 11.
Frank Sinatra recorded a version without musicians, which was his only recording during the ban. Sinatra's version replaced the string sounds of the original with a choir led by Jeff Alexander. Friedwald said this made the song sound like a Gregorian chant. The recording was released by Columbia Records with catalog number 38210. It debuted on the Billboard charts on May 28, 1948, and reached number 7. Sinatra later performed the song on the radio show Your Hit Parade, accompanied by a choir and orchestral arrangement. RCA Records planned to release versions by Perry Como and Bing Crosby, but these were canceled due to the ban. Musicraft Records released Sarah Vaughan's a cappella version on April 8, 1948. It sold 20,000 copies on the first day and reached number 11 on the Billboard chart. A parody called "Serutan Yob" was recorded by The Unnatural Seven, a group formed after the 1948 AFM ban. The parody featured vocals from Karen Tedder and Jim Hawthorne. It was released by Capitol with catalog number 15210, reached the Billboard charts on October 1, 1948, and stayed there for four weeks, peaking at number 24.
In 1955, Miles Davis recorded the song with Charles Mingus as bassist. Tension between Davis and Mingus made the recording feel intense. They were joined by Teddy Charles on vibraphone and Elvin Jones on drums. Another version was recorded by Bobby Darin in 1961, reaching number 14 in Canada and number 24 on the UK singles chart. A psychedelic rock version was recorded in 1965 by The Great Society, a San Francisco band. Grace Slick sang lead vocals on the track, which was released on their 1968 album How It Was. In the same year, Marvin Gaye recorded his version for a tribute album to Nat King Cole. In 1969, Gandalf released a cover version on their self-titled album.
A version by George Benson reached number 26 in the UK singles chart in 1977. In 1983, soul band Central Line reached number 21. Peggy Lee's version of "Nature Boy" was recorded in 1948 but released in 1995 as part of the compilation album Why Don't You Do Right? Peggy Lee, 1947–1948. Johnny Hartman recorded a version in 1972, which was included on Blue Note's 1995 album For Trane. Abbey Lincoln included her version on her 1995 album A Turtle's Dream. Howard Reich of the Chicago Tribune praised Lincoln's performance, saying it captured a mood of "reverie and awe" that matched the album's "haunting appeal."
Natalie Cole, the daughter of Nat "King" Cole, honored her father by recording "Nature Boy" for an album featuring songs that were major hits for him in the 1940s and early 1950s. That album, Natalie Cole's Unforgettable… with Love, won several Grammy Awards in 1991, including Record of the Year and Album of the Year. Celine Dion performed the song during her A New Day… concert at Caesars Palace. It appeared on her 2002 album A New Day Has Come and on her 2004 live album A New Day… Live in Las Vegas. Stephen Thomas Erlewine of AllMusic said the inclusion of "Nature Boy" was inspired by its appearance in the film Moulin Rouge! (2001). Dion said she enjoyed recording the track, noting the piano's sound and the connection between her voice and the music. Strings and other instruments were added in post-production but later removed to keep the song simple.
Aaron Neville's version was released in 2003 on his
Usage in films
The song was an important part of the film score for The Boy with Green Hair (1948), and the original version was used in the movie. The film producers paid $10,000 to ahbez for using the song, which was more than the amount paid to Betsy Beaton, the author of the story. A recording by Kate Ceberano, with an orchestral arrangement by Derek Williams, was included in the film The Crossing (1990). The song’s melody and lyrics were featured in Untamed Heart (1993), where Cole’s version was used during the closing credits. A piano version by Roger Williams was used as the opening music for the film. The song also appeared in scenes with the main characters.
Miles Davis’ recording of “Nature Boy” was used in the film The Talented Mr. Ripley (1999). In the book Music, Movies, Meanings, and Markets: Cinemajazzamatazz, author Morris Holbrook described the song as a “nondiegetic performance,” meaning it helped show the story’s development and the tension between characters in scenes, such as when Tom Ripley and Dickie Greenleaf play chess and later in a bathtub scene. The song was performed at a jazz club in the film Angel Eyes (2001). A version recorded by Jon Hassell on trumpet and Ronu Majumdar on flute was included on the soundtrack. A 2000 Canadian TV film titled Nature Boy, directed by Kari Skogland, focused on the song’s creation. In the film, Callum Keith Rennie played ahbez, who wrote the song for Cole, portrayed by Terence Carson, after falling in love with a woman named Anna Jacobs, played by Tanya Allen.
The song was a central part of Baz Luhrmann’s Moulin Rouge! (2001). It was first arranged as a techno song with David Bowie’s vocals, then sent to the group Massive Attack, whose remix was used in the film’s closing credits. Bowie called the version “slinky and mysterious” and praised Robert “3D” Del Naja for creating a strong piece of music. Both Bowie’s version and Massive Attack’s remix were on the soundtrack. In the film, John Leguizamo’s character, Henri de Toulouse-Lautrec, sang the song during the opening scenes, and Ewan McGregor’s character, Christian, also performed it. The film’s story was partly inspired by the song’s lyrics, especially the opening lines. The closing lyric, “The greatest thing you'll ever learn is just to love and be loved in return,” was used throughout the movie. A reviewer named Erickson said the song helped make the film’s idea more meaningful.
The song was performed by Heleno de Freitas (played by Rodrigo Santoro) in the film Heleno (2012) during a radio interview scene where he asks if he can sing for his wife and son. Cole’s version was played at the start of Mike Tyson’s one-man show, Mike Tyson: Undisputed Truth, directed by Spike Lee and aired on HBO. On December 25, 2016, 20th Century Fox released a teaser trailer for the film Alien: Covenant, using a cover of “Nature Boy” by singer Aurora as the background music. The song was also used during the title credits of Netflix’s The Andy Warhol Diaries.