In advance of tomorrow's Pied Pipers list...followed by a Jo Stafford and a Johnny Mercer list........

For Mr. Anchovy... :)

Hard ta get this one outta yer head, once it enters...... :)

A Mills Blue Rhythm Band list.............

The Mills Blue Rhythm Band

The Mills Blue Rhythm Band was an American big band of the 1930s.

The band was formed in Harlem in 1930, with reedman Bingie Madison the first of its many leaders. It started life as the Coconut Grove Orchestra, changing to Mills Blue Rhythm Band when Irving Mills became its manager in 1931. At various times the same group was known as the "Blue Rhythm Band", "Blue Ribbon Band", "Blue Rhythm Boys", "The Blue Racketeers", "Earl Jackson's Musical Champions", "Earl Jackson and his Orchestra", "Duke Wilson and his Ten Blackberries", "King Carter's Royal Orchestra", "Mills Music Masters", "Harlem Hot Shots" and uncredited playing behind Louis Armstrong.

The Mills Blue Rhythm Band were based at The Cotton Club in New York. They worked steadily through the 1930s deputizing for the Duke Ellington and Cab Calloway Orchestras; often taking their undesirable engagements . Violinist Carroll Dickerson briefly fronted the band, followed by Drummer Willie Lynch in 1931 and then compere Jimmy Ferguson (Baron Lee). Edgar Hayes, Eddie Mallory and Dave Nelson all had temporary stints as band leader until Lucky Millinder permanently took over the role in 1934.

The band recorded 150 sides for a variety of labels including Brunswick, Columbia, Victor, The ARC stable of labels (including Oriole, Perfect, Regal, Romeo, Banner, Melotone, Domino), Variety, and Vocalion. Despite success with a few hit records (including "Truckin'" and "Ride, Red, Ride") and a strong lineup of talented soloists, the group never became one of the more prominent black bands of the day. This is often attributed to the lack of a single identifable leader, and Irving Mills' preference to have the band perform an understudy role. Many of the Mills Blue Rhythm Band's recordings are now considered jazz classics by collectors.

The group disbanded in 1938. Millinder joined Bill Doggett's band before reforming it into his own orchestra in 1940

Irving Mills revived the Mills Blue Rhythm Band name for two recording sessions in 1947 under the guidance of Van Alexander. The only original band member at either of the 1947 sessions was trumpeter Charlie Shavers.

Some tunage:

They satisfy
Please don't talk about me when I'm gone 

Straddle the fence 

Levee down low 

Heebie Jeebies 

Moanin' 

Blues in my heart 

I can't get along without my baby 

Minnie the moocher 

Futuristic jungleism 

Blue flame 

Red devil 

Moonlight fiesta
Stardust (yeah, I found another version only AFTER I posted the "Stardust" list) 

Low down on the bayou 

Poor Minnie the moocher 

Black and tan fantasy 

Sugar blues 

Minnie the moocher 2  

Moanin' 

Moanin' 2  

Low down on the bayou 2 

Minnie the moocher 3 

Heat waves (as Billy Banks and the Blue Rhythm Boys) 

Shine on harvest moon (as Carter and King's Jazzing Orch.)
Love is just around the corner (as Harlem Hot Shots w/ Wingy Manone)
March winds, April showers (as Harlem Hot Shots w/ Wingy Manone)
Feeling gay
In a sentimental mood 

Let's have a jubilee 

Reefer man 

Savage rhythm 

Smoke rings 

Blue rhythm 

http://www.mediafire.com/?oivfg35o7h77cwv

Comin' up...a Mills Blue Rhythm Band list.........

Doing the Tab Smith list made me think about the Mills Blue Rhythm Band.......dug some tunes out....they'll be up this afternoon. Meanwhile.........dig on this :)

OTR....Command Performance Armed Forces radio broadcast #189 - 08/30/1945

Command Performance was a radio program which originally aired between 1942 and 1949. The program was broadcast on the Armed Forces Radio Network (AFRS) with a direct shortwave transmission to the troops overseas. It was not broadcast over domestic U.S. radio stations.

Troops sent in requests for a particular performer or program to appear, and they also suggested unusual ideas for music and sketches on the program, such as Ann Miller tap dancing in military boots. Top performers of the day appeared, including Jack Benny, Frank Sinatra, Bob Hope, Fred Allen, Ginger Rogers, Judy Garland and The Andrew Sisters.

A spinoff series, Request Performance, aired on CBS in 1945-46.

In 2009, the Pentagon Channel revived the show with some of today's newest acts.

This is a broadcast from 8/30/1945, with Frank Sinatra, Bogart and Bacall, and Victor Borge

I have a lot of these broadcasts, I often play them through a modified old radio cabinet (a shell outfitted with an ipod and Bose speakers). It's kinda cool late at night....lights off...radio dial glowing...old shows coming out of it :)

http://www.mediafire.com/?4u8y9gzn6wwq27h

A Tab Smith list..........

Tab Smith

Talmadge (Tab) Smith (Kinston, North Carolina, January 11, 1909–Saint Louis, Missouri, August 17, 1971), was an American swing and rhythm and blues alto saxophonist.

Smith joined his first professional band, the Carolina Stompers, in 1929. In the 1930s and 1940s he spent several years in the bands of Lucky Millinder and Count Basie, as well as spending long periods freelancing both as a player and as an arranger. After the Second World War he led his own groups, which concentrated on rhythm and blues as jazz turned from swing to bop.

His biggest R & B hit was "Because of You", which reached number 1 on the R & B charts, and number 20 on the pop charts, in 1951. "Because of You" was made for United, a company for which Smith recorded prolifically until it closed in 1957. Tab Smith put out 24 singles and a 10-inch LP for the company. On his United sides, Smith sometimes played tenor saxophone.

During the 1950s, Smith was a significant rival to alto saxophone-playing bandleader Earl Bostic, who recorded for King. He was also in competition with his own formative influence, Johnny Hodges, until Hodges returned to the Duke Ellington band.

His career never recovered from the closure of United Records. After brief stays at Checker and King, Smith retired from the music business in the early 1960s. He sold real estate, and played piano part-time in a steakhouse.

The following is from:
http://home.earthlink.net/~jaymar41/tabsmith.html

Talmadge (Tab) Smith was born in Kingston,North Carolina in 1909. By the early 1930s he had decided on music as a profession and joined the Eddie Johnson Orchestra as a tenor sax player.Soon he switched to alto sax as his instrument of choice. He made his way to St.Louis and played with Fate Marable and soon was a part of the Mills Blue Rhythm Band. For a short time in the early forties he was in the Count Basie band and then went to the orchestra of Lucky Millinder. He began fronting his own small combo in 1946. He suffered what was a common tragedy among the traveling R & B crowd when a serious auto accident in 1947 injured him and killed vocalist Trevor Bacon. He quit music for a time and did not resume until late in 1950. At that time he led a small combo and had an extended engagement at the 20th Century Club in St.Louis.

In March of 1951, Tab Smith signed a recording contract with the Premium Records label of Chicago. There were two releases by Tab on the label - #874 - "Spider Rock" and "Messing Around", and #876 - "Jimmy's Blues" and"Anytime For You" voc- Chuck Young. In June "Spider Rock"is a good seller in the South. In July of the year Lew Simpkins leaves Premium Records and forms his own label in Chicago to be called United Records. He immediately signs Tab Smith to the new label. In September United #104 is released pairing "Because Of You" (the R & B instrumental version of Tony Bennett's big pop hit), and "Dee-Jay Special". United Records in the push for publicity for the record tout Smith in trade ads as "the world's greatest altoist". By November "Because Of You" has become the most successful of sax instrumentals and is also making inroads into the pop market. Soon it is the number one seller in the city of Chicago. United follows this successful formula with their next Smith release, "Sin" (a big pop hit for Eddie Howard first and then the Four Aces) and "Can't We Take A Chance" on #107. By the end of the year "Sin" is selling well on the West coast, and rival Chicago label Chess Records takes notice and purchases four masters by Tab Smith previously recorded for the Premium label.

In 1952 Smith starts to get many personal appearance jobs including the Ebony Lounge in Cleveland, Philadelphia's Club Harlem, and soon the Apollo Theater in New York. Soon Chess releases #1501 from their Premium masters - "Love" and "Easy Mr.Benson" (as in Al ,Chicago's d.j. "Ol Swingmaster"). United releases #113 "Milk Train" in February. In March a big show hits the Howard Theater in Washington D.C. - Tab with B.B. King and Tiny Bradshaw. Chess tries again with #1510 with "Love"and a new flip side "Slow And Easy". Complicating matters is a new release on Atlantic of a previous recording by Smith - "Echo Blues" and "Moon Dream"on #961. In April the current record on United #115 - "Blanket Of Blue" / "Down Beat"is issued. Smith goes to the West coast and appears at San Diego's Creole Palace. In July Tab Smith joins Edna McGriff and Lynn Hope for a number of one nighters. Now King Records gets into the act with #4546 - "Tab's Purple Heart". United counters with #124 - "On The Sunny Side Of The Street" and "Bit Of Blues", and in late October - #131 - "You Belong To Me" and "Auf Wiedersehn".

In early 1953 Tab joins Jimmy Witherspoon, Willie Mae Thornton, and the Johnny Otis band on an extensive tour of one nighters. In May United releases #147 - "My Mother's Eyes" and "Cuban Boogie". Other United releases during the year are #153 - "Cherry" / "I've Had The Blues All Day" voc-Johnny Harper; and #162 - "All My Life" / "Seven Up". Tab fills out the latter part of the year with long stays at Pep's in Philadelphia and the Capitol Lounge in Chicago. In early 1954 United #171 is out. It features "Jumptime" and "Strange" with Tab Smith doing the vocal. Tab and The Five Royales go out on tour throughout the South and Midwest lasting into June. Two more United Records releases are out in the spring and summer of 1954. They are #174 - "Rock City" and "My Baby" voc-by Tab; and #178 - "Ace High" and "How Long Has It Been?". The Tab Smith and the Five Royales show moves to the West coast, and as the tour dates go into Oklahoma, they are joined by the Todd Rhodes band and The Midnighters. In late October United releases #184 - "IN A Little Spanish Town" and "Mr. Gee".

In 1955 Tab Smith and The Five Royales continue on tour doing a number of dates in California as United Records continues to release instrumental stylings by the altoist. #187 - "Tabolino" and "Cottage For Sale" sells well initially and is followed by 190 - "Top 'n Bottom" and "For Only You". In October #195 is released and features "Mean To Me" and "Spider's Web". In 1956 time is running out for the independent United label. However the label issues a Tab Smith LP album called "Red, Hot, And Cool Moods". They release #203 - "Yo-Yo Blues" and I Feel Like I Wanna Die" voc-Ray King, and late in the year United tries again with Tab Smith's version of "Pretend" and the flip side "Crazy Walk" on #205. In February of 1957 Tab Smith & his band back up a huge lineup of talent including The Spaniels, ElDorados, Joe Turner, Bobby Charles, Gene & Eunice and many others at the Regal Theater in Chicago in an Al Benson production. "Pretend" is a big seller in Chicago and Milwaukee. In April Smith and his band and the Five Royales appear in Denver. United #209 is released featuring "Soft Breeze" and "Someone To Watch Over Me".

United is still at it in 1958 issuing a Tab Smith cover of Earl Bostic's "Mambolino" on #217. The flip is "Just One More Time". By July United Records is reportedly being merged with J.O.B. Records, and Tab Smith's contract is now in the hands of the Chess Brothers. Chess records Smith on their new subsidiary label Argo with #5304 - "Try A Little Tenderness" and "Don't Play With Love". At year's end Argo releases "Smoke Gets In Your Eyes" (a new version) and "My Happiness Cha Cha"on #5323. In 1959 Tab is recorded with a full complement of strings for Chess records at a studio session in Nashville. In August two cuts from that session are released by Chess - the pop standards "The Nearness Of You" and "Because Of You" on #933. This side was the last record by Tab Smith that made any headway among music listeners.

Tab Smith by now was a mostly forgotten player in the musical sweepstakes as the audience had changed by the late 1950s. Certainly not a part of the American Bandstand generation, and not happy with the situation with Chess, he hung around for a short time until he made the decision in late 1960 to retire from the music business altogether. He became a real estate agent in the city of St.Louis ending a thirty year career. He was United Records answer to Earl Bostic, and their careers certainly had many parallels. Smith had fleeting success, even less than Bostic, but his longevity as a sax stylist made him a musician to remember. He was a name to recall as the foundation of rock' n roll was being built, and his connection with United Records was part of that history in which the independent record labels were so much an important part. We remember Tab Smith, altoist.

Here's a little set of tunes for a Wednesday night:

I Don't Want To Play In The Kitchen
Tab steps out
All night long
Roebie's blues
Riffin' the bass
Granny dodging at the Savoy
You lovely you
Rosa Lee
On the sunny side of the street
Fat mouth blues
Darling you're all I need
Jumpin' at the Track
Morning blues
Echo blues
Feel like I wanna die
Boogie Joogie
Crazy walk w/ Combo
Dansero w/ Combo
In a little Spanish town w/ Combo
Just one more time  w/ Combo
Mr. Gee w/ Combo
My Mother's eyes w/ Combo
Pretend w/ Combo
Rock city w/ Combo
Spider's web w/ Combo
T.G. blues w/ Combo
Yoyo blues w/ Combo



http://www.mediafire.com/?iz9ldij6bw1ipaj

And one more from "To have and have not".........

My favourite movie........

There's an upcoming Hoagy Carmichael list........it got me to thinkin' about "To have and have not"....watched it again, and thought I'd share....

Cliff "Ukelele Ike" Edwards.......

Cliff  "Ukelele Ike" Edwards

From Wikipedia:

Cliff Edwards (June 14, 1895 – July 17, 1971), also known as "Ukelele Ike", was an American singer and voice actor who enjoyed considerable popularity in the 1920s and early 1930s, specializing in jazzy renditions of pop standards and novelty tunes. He had a number one hit with "Singin' in the Rain" in 1929. He also did voices for animated cartoons later in his career, and is best known as the voice of Jiminy Cricket in Walt Disney's Pinocchio (1940).

Edwards was born Clifton A. Edwards in Hannibal, Missouri. He left school at age 14 and soon moved to St. Louis, Missouri, where he entertained as a singer in saloons. As many places had pianos in bad shape or none at all, Edwards taught himself to play ukulele  (then often spelled "ukelele") to serve as his own accompanist (selecting that instrument as it was the cheapest in the music store). He got the nickname "Ukelele Ike" from a club owner who could not remember his name. He got his first break in 1918 at the Arsonia Cafe in Chicago, Illinois, where he performed a tune called "Ja Da," written by the club's pianist, Bob Carleton. Edwards and Carleton made the tune a hit on the Vaudeville circuit. Vaudeville headliner Joe Frisco hired Edwards as part of his act, which was featured at the Palace in New York City, the most prestigious theater in vaudeville, and then in the Ziegfeld Follies.

Edwards made his first phonograph records in 1919. He recorded early examples of jazz scat singing in 1922. The following year he signed a contract with Pathé Records. He became one of the most popular singers of the decade, and appeared in several Broadway shows. He recorded, in his distinctive style, many of the pop and novelty hits of the day, such as "California, Here I Come", "Hard Hearted Hannah", "Yes Sir, That's My Baby", and "I'll See You in My Dreams".

In 1925, his recording of "Paddlin’ Madeleine Home" would reach number three on the pop charts. In 1928, his recording of "I Can't Give You Anything but Love" was number one for one week on the U.S. pop singles chart. In 1929, his recording of "Singin' in the Rain" was number one for three weeks. Edwards's own compositions included "(I'm Cryin' 'Cause I Know I'm) Losing You", "You're So Cute (Mama O' Mine)", "Stack O' Lee", "Little Somebody of Mine", and "I Want to Call You 'Sweet Mama'". He also recorded a few "off-color" novelty numbers for under-the-counter sales, including "I'm a Bear in a Lady's Boudoir."

More than any other performer, Edwards was responsible for the soaring popularity of the ukulele in the 1920s. Millions of ukes were sold during the decade, and Tin Pan Alley publishers added ukulele chords to standard sheet music. Edwards always played American Martin ukuleles favoring the small soprano model in his early career. In his later years Edwards moved to the sweeter, large tenor ukulele more suited to crooning which was becoming popular in the 1930s.

Edwards' continued to record until shortly before his 1971 death. His last record album, "Ukulele Ike," was released posthumously on the independent Glendale label. He reprised many of his 1920s hits, but his then failing health was evident in the recordings.

In 1929 Cliff Edwards was playing at the Orpheum Theater in Los Angeles, California, where he caught the attention of movie producer-director Irving Thalberg. His film company Metro-Goldwyn-Mayer hired Edwards to appear in early sound movies. After performing in some short films, Edwards was one of the stars in the feature Hollywood Revue of 1929, doing some comic bits and singing some numbers, including the film debut of his hit "Singin' in the Rain". He appeared in a total of 33 films for MGM through 1933.

Edwards was very friendly with MGM's comedy star Buster Keaton, who featured Edwards in three of his films. Keaton, himself a former vaudevillian, enjoyed singing and would harmonize with Edwards between takes. One of these casual jam sessions was captured on film, in Doughboys (1930), in which Buster and Cliff scat-sing their way through "You Never Did That Before." Buster was battling a drinking problem at the time, and Cliff was nursing a drug habit, both of which are unfortunately evident in the finished film. In scenes when Keaton is sharp and alert, Edwards appears befuddled; when Edwards regains his sobriety, Keaton is now stumbling and fumbling. (Edwards was ultimately replaced in the Keaton films by Jimmy Durante.)

Edwards was also an occasional supporting player in feature films and short subjects at Warner Brothers and RKO Radio Pictures. He played a wisecracking sidekick to western star George O'Brien, and filled in for Allen Jenkins as "Goldie" opposite George Sanders in The Falcon Strikes Back. In a 1940 short, he led a cowboy chorus in Cliff Edwards and His Buckaroos.

Edwards appeared in the darkly sardonic western comedy The Bad Man of Brimstone in 1937, and in 1939 he played the character "Endicott" in the screwball comedy film His Girl Friday. Also in 1939, he voiced the off-screen dying Confederate soldier in Gone with the Wind in the makeshift hospital scene with Vivien Leigh and Olivia De Havilland casting large shadows on a church wall.[1] In 1940 came his most famous voice role, as Jiminy Cricket in Walt Disney's Pinocchio. Edwards's touching rendition of "When You Wish Upon a Star" from that film is probably his most familiar recorded legacy. In 1941, he voiced the head crow in Disney's Dumbo and sang "When I See An Elephant Fly".

In 1932, Edwards got his first national radio show on CBS. He would continue hosting network radio shows on and off through 1946. However, from the early 1930s, Edwards' popularity faded as public taste shifted to sweeter style crooners like Russ Columbo, Rudy Vallee, and Bing Crosby.

Like many vaudeville stars, Edwards was an early arrival on television. For the 1949 season, Edwards starred in The Cliff Edwards Show, a three-days-a-week (Monday, Wednesday, and Friday evenings) TV variety show on CBS. In the 1950s and early 1960s, he made a number of appearances on The Mickey Mouse Club, in addition to reprising his Jiminy Cricket voice for various Disney shorts and the Disney Christmas spectacular, From All of Us to All of You.

Edwards was careless with the money he got in the boom years of the 1920s, always trying to sustain his expensive habits and lifestyle. While he continued working during the Great Depression, he would never again enjoy his former prosperity. Most of his income went to alimony for multiple former wives and for paying other debts. He declared bankruptcy four times during the 1930s and early 1940s.

Edwards suffered from alcoholism and drug addiction in his later years, living in a home for indigent actors. He often spent his days hanging around the Walt Disney Studios to be available any time he could get voice work, sometimes being taken to lunch by animators to whom he told stories of his days in vaudeville.

He had disappeared from the public eye at the time of his 1971 death as a charity patient at the Virgil Convalescent Hospital in Hollywood, California. His body was initially unclaimed and donated to the University of California, Los Angeles medical school. When Walt Disney Productions, which had been quietly paying many of his medical expenses, found out about this, it offered to purchase the corpse and pay for the burial; but this was actually done by the Actors' Fund of America (which had also aided Edwards) and the Motion Picture and Television Relief Fund. The Disney company paid for his grave marker.

From www.redhotjazz.com :

Cliff Edwards got his start in show business as a teenager in St. Louis where he sang in movie theatres and saloons. While singing in the saloons he began to accompany himself on the ukulele and developed a style of improvised singing, which he called "effin". "Effin" sounds a lot like the human voice imitating a hot trumpet or kazoo solo. Edwards had a wonderful voice with at least a three octave range and he would inject his "effin" solos into his songs in the same way that a Jazz musician would take a solo. A good argument can be made that Edwards 1922 recordings with Ladds Black Aces and Bailey's Lucky Seven  are the first recorded examples of scat singing, but some Jazz critics would disagee and point back to Gene Greene's 1911 Victor recording "King of the Bungaloos". Between 1913 and 1918 Edwards struggled to make a living traveling with carnivals and doing menial labor to get by. In 1917 he moved to Chicago where he took a job as a singer in the Arsonia Cafe going to tables and singing and playing the ukulele for tips. It was here that he started using the stage name of "Ukulele Ike". The pianist at the club was Bob Carlton who had written a novelty song that he called "Ja Da". Cliff became a sensation singing the song and he and Joe Frisco, a stuttering comedian and dancer, formed a vaudeville act that was successful enough to end up playing at the Palace in New York City. It is interesting to note that Frisco was instrumental in bringing Tom Brown's Dixieland Jazz Band  north from New Orleans in 1915. After appearing in Ziegfeld Follies, Edwards and Frisco's act came to an end and Cliff teamed up with another dancer and singer named Pierce Keegan. They billed their act as "Pierce Keegan "Jazz Az Iz" and Cliff Edwards "Ukelele Ike" and toured the vaudeville circuit, performed in Zeigfeld's Midnight Frolic in 1919 and recorded five songs for Columbia which unfortunately were never issued. The act broke up in mid-1920 and Edwards then teamed up with Lou Clayton who would later work with Jimmy Durante in vaudeville. In 1922 Edwards recorded his first records with Ladds Black Aces and Bailey's Lucky Seven. In 1924 Edwards hit the bigtime when he appeared in George Gershwin's "Lady Be Good" on Broadway and introduced the song "Fascinatin' Rhythm" and stole the show. He went on to score other big successes in other Broadway productions and become a major star of vaudeville. When we think of the 1920s the image of a crooner with a ukulele comes to mind. This image is based on Edwards popularity and his uke. Throughout the 1920s Edwards recorded with top Jazz talents like Adrian Rollini, Red Nichols, Miff Mole, Vic Berton, Joe Tarto, among others. The records released under the name of Cliff Edwards and his Hot Combination are of particular Jazz interest. In 1929 Edwards scored another hit with his version of "Singin' In The Rain"in the movie "The Hollywood Revue Of 1929" and this role established him as a film star. He went on to appear in more than 100 motion pictures. Throughout the 1930s and early 1940s Edwards continued to be a much sought after actor in Hollywood. His singing and film roles led him to be cast as the voice of Jiminy Cricket in the Disney animated feature "Pinocchio". Cliff sang the song "When You Wish Upon a Star" in the film and it won an Oscar for best song in 1940. His rendition of this song is one of the great popular vocal performances of the 20th century and it became the theme of the Disney corporation. Edwards went on to be the voice of Jim Crow in the animated feature "Dumbo" and star in the Durango Kid "B movie" westerns. It is estimated that Edwards sold 74 million records during his career. Despite all of this success and earning millions of dollars in his career he went bankrupt several times due to alimony payments, income tax troubles, gambling, alcoholism and drug addiction. His star faded in the 1950s and 1960s and Edwards died broke and on welfare in 1971, a forgotten man.

Here are some tunes for you:

Good little bad little you 9-21-1928 w/ Joe Venuti and Eddie Lang
1 Entire radio programme 1940s "The Cliff Edwards show" 1944 NBC
2 Entire radio programme 1940s "The Cliff Edwards show" 1944 NBC
3 Entire radio programme 1940s "The Cliff Edwards show" 1944 NBC
4 Entire radio programme 1940s "The Cliff Edwards show" 1944 NBC
5 Entire radio programme 1940s "The Cliff Edwards show" 1944 NBC
Mr insurance man ('30s double entendre "party record") 11-1936
A pretty girl is like a melody
A song of old Hawaii
After my laughter came tears 12-1927
Ain't she sweet 1927
He's the Hottest Man in Town 1924
California here I come 4-1924
Clap hands here come Charlie 12-1925  Come up and see me sometime 10-13-1933
Dinah 1925
Feelin' the way I do 3-1924
For me and my gal
Give a little whistle (From "Pinocchio") 10-1939  Victor 26477
Hang on to me 5-30-1928
How can you look so good 1925
I can't give you anything but love 7-12-1928  from "Blackbirds of 1928"
I cried for you
I don't want nobody but you 4-1926
I used to love you, but that's all over now
I'll buy the ring and change your name to mine 2-1925
I'll see you in my dreams 2-5-1930
I'm a bear in a lady's boudoir  11-1936
Give "It" to Mary with love 11-1936
I'm no fool (yeah, that old kids song)
If you knew Susie 5-1925
It had to be you 4-1924
Just a night for meditation 1928
Just you just me (from the Talking Picture Production "Marianne")  6-14-1928
Mary Ann 1-1928
The night is young and you're so beautiful
Night owl 10-24-1933
Orange blossom time From Talking Picture Production "Hollywood Revue Of 1929"  5-28-1928
Paddlin Madelin home 6-1925
Paper doll 1949
Ragtime cowboy Joe
Reaching for someone (and not finding anyone there) 6-9-1928
Singin' in the rain (incomplete) From Talking Picture Production "Hollywood Revue of 1928"  5-28-1928
Sunday
Sweet Leilani
That's my weakness now 7-12-1928
The sweetheart of Sigma Chi 1949
You, the human animal (one of the later "kid's" songs)
Somebody loves me w/ Andy Iona and his Islanders from "George White's Scandals" 8-1924
St. Louis blues w/ Andy Iona and his Islanders
Stack O Lee pt 1 10-3-1928
Stack O Lee pt. 2 10-3-1928
A love like ours
Five foot two eyes of blue 1926
Halfway to heaven 8-15-1928
I'll take her back if she wants to come back 12-1924
In the gloaming
Love is just around the corner (with an annoying voiceover at the beginning)
My bundle of love 1925
Singing a song to the stars 1930
The only only one for me 1924
When you and I were young Maggie blues 1934
So nice 1934 w/ Dixie Dunbar

http://www.mediafire.com/?c93t147jb4jgrgz

(The Real) Tuesday Weld...another vid (For Sarah)

This one is for Sarah, who asked me to post it :) "Go to bed, hon", "Yes, Mom..." ;)

(The Real) Tuesday Weld.........

My daughter and I were just watching this after the post................fun.

(The Real) Tuesday Weld..........

I was having a TRTW moment this evening..........(I have those occasionally). Anyway, here's a little sampler of some of my favourites from them, from several CDs.

Bathtime In Clerkenwell (From "I, Lucifer")

Anything But Love (From "The Return of the Clerkenwell Kid")

I'll See You in My Dreams (From "At The End Of The World")
The Ugly & The Beautiful (From "I, Lucifer")

(Still) Terminally Ambivalent Over You (From "I, Lucifer")

Kix (From "The London Book of the Dead")

Easter Parade (From "I, Lucifer")

Daisies (From "The Return of the Clerkenwell Kid")

The Life And Times Of The Clerkenwell Kid (From "I, Lucifer")

The Show Must Go On (From "I, Lucifer")

Heaven Can't Wait (From "I, Lucifer")

The Birds and the Bees (From "The Return of the Clerkenwell Kid")

Apart w/ The Puppini Sisters (From "The London Book of the Dead")

Am I In Love? (From "The Return of the Clerkenwell Kid")

I Love The Rain (From "Where Psyche Meets Cupid")
Return I will to Old Brazil

Cloud Cuckooland

http://www.megaupload.com/?d=BIDRT1T4

Me tired....a little "eye-wash"...some more vintage views gathered from around the webbage before ZZzzz for me.....

Long gone....torn down (of course)

Scary white kid in whiter face....??!!

Wrong..so wrong on so many levels........

Fine...Slim Chiply was posted again on the "Flint Expatriates" blog...now I can't get the jingle out of my head..."I'm Slim Chiply, the guy you see on the Paramount Potato Chips bright red pack. I'm the flavor deputy, protecting crispness in every pack. They're delicious, and so nutritious, yes sir'ee, they're pips, Paramount Potato chips."

Chicago 1940s

Stardust..............A little "End O' the Dance" collection....... ;)

The night is drawing to a close.......last dance. And the last song of the night is......Stardust.

Here is EVERY version I have......(just for fun)

Miles Davis (live in Stockholm)

Hot Club of Cowtown

Bing Crosby

Les Paul

Artie Shaw (live)

Boswell Sisters

Coleman Hawkins

Django Reinhardt

Errol Garner Trio

Frank Sinatra/Pied Pipers

Freddy Gardner

Glenn Miller

Glenn Miller Army Air Force Band Vocal Dinah Shore (radio recording)

Gus Arnheim Orch (radio)

Harmonicats

Harry James and his Music Makers

Helen Humes

Hoagy Carmichael 1927

Hoagy Carmichael 1931

Ink Spots

Irving Mills and his Hotsy Totsy Band

Isham Jones

John Scott Trotter w/ Bing Crosby (radio)

Keely Smith

Liberace

Louis Armstrong

McKinney's Cotton Pickers

Mills Brothers

Nat King Cole

Original Victoria Band

Paul Whiteman Orch. w/ Connie Boswell

Hoagy Carmichael vers 3

Hoagy Carmichael vers 4 (spoken)

Art Pepper

Tommy Dorsey Orch.

Karl Schwendler AKA Charlie And His Orchestra (WWII Nazi Propaganda)

It's all in fun.....enjoy!

http://www.mediafire.com/?hom9lnx3sr2r3e9

Lists coming up...........

I'm a thinkin' Gene Austin.......and another list by Cliff "Ukelele Ike" Edwards. Any requests?? send 'em on...I'm always happy to look through my stuff, or do the legwork to locate it. Hey! thanks for helping push me over the 3000 in views..........Gotta love that someone out there likes what I like! :)

The HUGE Annette Hanshaw list........

Annette Hanshaw

From Wikipedia:

Catherine Annette Hanshaw (October 18, 1901 – March 13, 1985) was one of the first popular female jazz singers. In the late 1920s she ranked alongside Ethel Waters, Bessie Smith and the Boswell Sisters.

Her singing style was relaxed and suited to the new jazz-influenced pop music of the late 1920s. Although she had a low opinion of her own singing, she continued to have fans because she combined the voice of an ingenue with the spirit of a flapper. Hanshaw was known as "The Personality Girl," and her trademark was saying "That's all," in a childish voice at the end of many of her records.

Between September 1926 and February 1934, she recorded prolifically. From 1926–28 she recorded for Pathe (her sides were released on both the Pathe and Perfect labels). Starting in June 1928, she recorded for Columbia; most of these were issued on their dime store labels Harmony, Diva, Clarion and Velvet Tone. A handful were also released on their regular price Columbia and OKeh. Although most were released under her own name, she was renamed Gay Ellis (for sentimental numbers) and Dot Dare or Patsy Young (for her Helen Kane impersonations). She recorded under a number of other pseudonyms which included Ethel Bingham, Marion Lee, Janet Shaw, and Lelia Sandford. Starting in August 1932, she began recording for the ARC with her recordings issued on their Melotone, Perfect, Conqueror, Oriole and Romeo. Her final session, February 3, 1934 was placed on ARC's Vocalion label.

Hanshaw made her one and only appearance on film in the 1933 Paramount short Captain Henry's Radio Show, "a picturization" of the popular Thursday evening radio program Maxwell House Show Boat, in which she starred from 1932 to 1934.

Having grown tired of show business, in the late 1930s Hanshaw retired and settled into married life with her husband, Pathé Records executive Herman "Wally" Rose. Later in life, in a would-be comeback, she recorded two demo records, but they were never released. She died of cancer in 1985 at New York Hospital after a long illness; she was living in Manhattan at that time.

Collections of Hanshaw's recording were released on Audio CD in 1999 by Sensation Records. Another revival of interest occurred in 2008 with the indie animated feature Sita Sings the Blues, which retold the Indian epic poem the Ramayana from Sita's perspective by setting scenes from it to performances by Hanshaw. More recently, her 1929 song "Daddy Won't You Please Come Home" was featured in the video game Bioshock 2 in 2010.

For many years it was believed that Annette had been born in 1910 and began her recording career shortly before her 16th birthday. However, it has recently come to light that she was in fact  born nine years earlier, making her 24 at the time of her first commercial recording in September 1926. Her nephew, Frank W. Hanshaw III, has confirmed 1901 as the date on her birth certificate.

The essential sites to visit:
http://annettehanshaw.tripod.com/

http://www.redhotjazz.com/hanshaw.html (with the great discography)


Hmmmm, Annette....Boy did I have a TON of music to go through. It was great to revisit all the tunes, though. Here's the BIG list. I hope you all enjoy it. There are some tunes that I have put extra notes on...private recordings, questionable, undocumentable ones, etc...If you know more than I, and have anything to add...PLEASE let me know so I can make any necessary changes to the list. THANKS!!

And now, as Miss Annette would say: "THAT'S ALL"!!!!! enjoy..........

Daddy won't you please come home? (from "Thunderbolt") 5-31-1929
Ain't cha 11-27-1929
Ain't he sweet 1-28-1927
Big city blues (From the Fox "Movietone Follies of 1929")  4-5-1929
Black bottom 9-12-1926
Medley: Blue evening-You heavenly thing-what's the reason I'm not pleasin' you (very poor quality) unissued private acetate 1936
Body and soul (from "Three's A Crowd")  10-7-1930
Calling me home 10-20-1926 (fairly poor quality)
Carolina moon 1-11-1929
Cherie, I love you 10-20-1926
Chiquita 8-31-1928
Do, do, do 11-26-1926
You know I know ev'rything's made for love 11-26-1926
Fit as a fiddle 12-2-1932
For Old Times' Sake 6-12-1928
Forget-Me-Not 8-20-1929
That's just my way of forgetting You 9-13-1928
her first recording - 1925 Audition medley (What can I dear after I say I'm sorry/bye bye blackbird/The day that I met you/Don't want nobody but you?/I wonder what's become of Joe?/Has anybody seen my gal)
Here or there 2-2-1927
Here we are 7-24-1929
He's the last word 1-28-1927
Ho hum 5-9-1931
I cover the waterfront 6-3-1933
I get the blues when it rains  4-30-1929
I like what you like 6-1927 w/ Joe Venuti
I love a ukelele 4-17-1930
I think you'll like it 10-28-1929 (INCOMPLETE)
I want to be bad (from "Follow Thru") 3-14-1929
If I'd only believed in you 10-22-1926
If You Can't Tell The World She's A Good Little Girl Just Say Nothing At All 11-1926
If You See Sally 2-26-1927
I'm a dreamer (but aren't we all) (from "Sunny Side Up) 12-4-1929
I'm All Alone in a Palace of Stone (The "Peaches" and Browning song) 11-1926
I'm following you (from "It's a Great Life") 2-11-1930
(I'm Cryin' 'Cause I Know) I'm Losin' You 1-1928
I'm somebody's somebody now 6-1927
In a great big way (from "Hello Daddy")  1-17-1929
In The Sing-Song Sycamore Tree 1-1928
I've a got a feeling I'm falling 5-9-1929
I've got it (but it don't do me no good) 5-5-1930
My inspiration is you 11-8-1928
Have you ever seen a dream walking (I think this is one of her acetates...poor quality, background noise)
Ain't that a grand and glorious feeling 6-1927
All I do is dream of you (another acetate, perhaps...poor quality)
Aw, Gee! don't be that way now  4-1-1927
You must have been a Beautiful baby (private acetate?)
My Bill-(excerpt from Maxwell House "Showboat" radio programme 6-12-33**I have another longer version on here, also...different length)
Blue moon (more of the same...just piano/voice...private acetate, later recording '30s)
Button up your overcoat (from "Follow Thru") 3-14-1929
Can't help loving that man of mine (excerpt from Maxwell House "Showboat" 6-12-33)
Ever since time began  2-20-1931
Get Out And Get Under The Moon 5-1928 OR 8-10-1928
Give me liberty or give me love (From "Broaway Singer")  11-22-1933
Goodnight my love (not sure on this one...private recording? I mostly know this by Ruth Etting)
He's funny that way (another questionable one...any feedback?)
How about you (again...questionable. feedback would be appreciated)
If I had a boy like you 6-16-1930
If I had a talking picture of you (from "Sunny Side Up")  12-4-1929
If you want the rainbow (you must have the rain) 10-19-1928
I Gotta' Get Myself Somebody To Love 12-20-1931
It's the Talk of the Town 9-1-1933
I Wanna Be Loved By You (from "Good Boy")  11-22-1928
I have to have you 11-27-1929 w/ the Ben Selvin Orch.
Happy days are here again (from "Chasing Rainbows") 2-11-1930
Cooking Breakfast for the one I love  2-25-1930 w/ the Sam Lanin Orch.

http://www.mediafire.com/?soob6ac0p16q0dq


A Precious Little Thing Called Love (From "The Shopworn Angel")  2-20-1929
Mine all mine 11-23-1927
It All Depends On You 1-28-1927
It Was Only A Sun Shower 9-8-1927
Just Like A Butterfly 4-29-1927
Kiss Your Little Baby Goodnight 11-26-1926
Lay Me Down To Sleep In Caroline 9-13-1926
Lazy Lou'siana Moon 3-10-1930 
Lets fall in love (From the Film)  2-3-1934
Little white lies 7-21-1930
Lonely nights in Hawaii 8-10-1928
Love me tonight 8-18-1932
Lover come back to me (from "The New Moon")  3-15-1929
Maui chimes 1-11-1929
Maui girl 8-31-1928
Mean to me 2-20-1929
Miss Anabelle Lee 8-1927
Moanin' low (From the "Little Show")  8-29-1929
Moon song 1-25-1933
My baby knows how 10-22-1926
My Bill (excerpt from Maxwell House "Showboat" radio programme 6-12-33 ** see note above)
My idea of heaven 4-1-1927
My sin 4-30-1929
Nothin' 4-14-1927
One sweet letter from you 11-26-1926
Pale blue waters 3-10-1930
Rosy cheeks 4-29-1927
Say it isn't so 9-12-1932 OR 9-20-1932
Six feet of papa 9-12-1926
So blue 4-1-1927
Sweet Lei Lahua 11-8-1928
That's why I love you 9-13-1926
That's you baby 4-5-1929
The one in the world 5-9-1929
The right kinda man (From Motion Picture "Frozen Justice")  10-19-1929
The way I feel today 7-21-1930
There must be somebody else 11-23-1927
Thinking of you 11-23-1927
Tiptoe through the tulips with me (from "The Gold Diggers Of Broadway") 9-20-1929
True blue Lou (from "The Dance Of Life")  7-24-1929
Ua like no a like 6-4-1929
Walkin' my baby back home 2-20-1931
Was it a dream 6-12-1928
What do I care what someone said? 4-14-1927
When the world is at rest (INCOMPLETE)  1-17-1929
Who's that knocking at my door? 9-8-1927
Wistful and blue 4-14-1927
Would you like to take a walk? 1-20-1931
You're the cream in my coffee (from "Hold Everything!")  11-8-1928
You're the one I care for 12-20-1931
You wouldn't fool me, would you (from "Follow Thru")  3-15-1929
The song is ended11-23-1927
Who'oo You-oo that's who! 6-1927
Loveable and sweet (From Motion Picture - "Street Girl")  8-29-1929
under the moon 6-1927
Are you happy 10-1927
It was so beautiful 8-16-1932
Manhattan serenade (another later private recording?)
Say it isnt so 9-12-1932
My future just passed (from "Safety In Numbers")  6-16-1930
My man (another questionable one...any opinions??)
Nobody cares if i'm blue (from "Bright Lights")  7-21-1930
Sing a little low down tune 6-22-1933
Sonny boy (from "The Singing Fool") 11-8-1928
So this is love (again, I'm questioning the origin...sounds like her, but a later recording...maybe one of the private acetates??)
Sweetheart darlin' 6-3-1933
Telling it to the daisies (but it never gets back to you) 5-5-1930
There ought to be a moonlight savings time 5-9-1931
 What I wouldn't do for that man (From "Applause") 9-16-1929
When I'm housekeeping for you (from "The Battle Of Paris")  12-4-1929 OR 12-13-1929
You're just to sweet for words, honey O' mine 2-20-1931



http://www.mediafire.com/?ro8rfrg0i4egqa8

That Annette list will be up in a few.........

Gahhh......a bunch of work, that......it'll be up in a few, tho....

Some eye candy for tonight in advance of the Annette Hanshaw list in the AM....

Oh, and honey......madly working away at it...getting correct recording dates....For all you fans of "The Personality Girl", Miss Annette, I'm posting 144 tunes. Yes, 144...that's 6.7 hours! Woooot!

Meanwhile, while the elves are hammering away in the workshop, tonight, getting the specs....here's some vintage eye candy, gleaned from the  Web-a-verse.....enjoy!

No, I'm not even going to comment....I hear, however, that he's running for office as a Tea Party candidate ;)

I told ya I was a barber.... ;)

Coming up...an Annette Hanshaw list........a big one....stay tuned :)

Varetta DIllard

Varetta Dillard

Born: February 03, 1933, Harlem, New York, NY  Died: October 04, 1993, Brooklyn, NY

Varetta Dillard was one of the great unknown blues shouters of the 1950s. A two-time winner of the Apollo Theater's amateur competition, she recorded solo and as a part of a duo that she shared with vocalist/pianist H-Bomb Ferguson. Signed by Savoy in 1951, her singles included "Easy Easy Baby" in 1952 and "Mercy, Mr. Percy," her theme song, the following year.

Dillard became known for her tribute songs to fallen heroes. She recorded "Johnny Has Gone," in memory of late vocalist Johnny Ace, in 1955 and was pressured to record "I Miss You Jimmy," in tribute to James Dean, after switching to the RCA Victor/Groove label in 1956. Although she subsequently recorded for Triumph and MGM's Club subsidiary, Dillard ended her solo recording career in 1961 and joined her husband's gospel group, the Tri-Odds. A product of New York's Harlem, Dillard spent much of her childhood in hospitals due to a bone deficiency. She turned to music as a form of therapy.

http://home.earthlink.net/~jaymar41/varetta.html

In October of 1951 Savoy Records boss Herman Lubinsky signs Varetta Dillard to a recording contract. The first release on the label is Savoy #822 "Please Come Back To Me" / "Love And Wine". Not much happened with that first outing, and in February of 1952, "Hurry Up" / "Please Tell Me Why". In March Varetta does one week at the Apollo Theater in Harlem. Next for her is a series of one nighters throughout the South with the band of Oran "Hot Lips" Page and the Five Keys. In mid May "A Letter In Blues" / "Easy Easy Baby" is the next Savoy release. In the South "Easy" gets considerable airplay. From that jump in plays and sales Varetta gets two weeks at New York's Club Baby Grand, a week at the Howard Theater in Washington D.C., and a an appearance at Detroit's Flame Show Bar. "Easy" is now subject to the pop cover, this time by Eileen Barton on Coral. A few days after Labor Day Savoy releases "Them There Eyes" / "You Are Gone". One side of the record "Eyes" gets good airplay in the East and Midwest. In late November a Rudy Toombs song, "I Cried And Cried" is out on Savoy b/w "Double Crossin' Daddy". In an attempt for something new, Savoy teams Varetta with blues singer H-Bomb Ferguson for an end of year release - "Tortured Love" / "Give It Up".

In January of 1953 Varetta is back in Detroit appearing at the Flame Show Bar. There are also plans to record in the motor city. A tour is booked to travel through the South and Midwest which also features Larry Darnell and Wynonie "Mr. Blues" Harris. "Getting Ready For My Daddy" / "Three Lies" is the latest pairing released by Savoy in late February. In April Varetta does a week at the Club Downbeat in Providence, Rhode Island. In May "Mercy Mr. Percy" / "You're No Kinda Good" is out on Savoy. In May Varetta appears in Atlantic City. Meanwhile "Percy" seems to be the big hit record that has so far eluded her and Savoy reports it is selling well in all areas. "I Love You" / "I Love You Just The same" is released to try and ride the coat tails of "Percy". In late October Varetta is again teamed up with Wynonie Harris this time for a week at the Apollo Theater. Even though "Percy" is still selling well by late November, Savoy releases "I Ain't Gonna Tell" / "My Mind Is Working".

1954 opens for Varetta Dillard with a two week set at the Royal Peacock in Atlanta. However not much more is heard from Varetta until the summer when she appears at a WNJR show and picnic in New Jersey over the July 4th weekend. Savoy issues the first release in some time by Dillard "Send Me Some Money" / "Love". Later in the year she plays the Club Baby Grand in Harlem, and then takes time off for impending motherhood. Soon after the tragic death of singer Johnny Ace on New Year's Eve 1954, Varetta records a tribute eulogy on Savoy called "Johnny Is Gone". It immediately takes off and is the first charted record by the singer in more than a year and a half. It is by far the most popular of the number of recorded tributes to Ace, and it sells well across the country. In March Dillard is part of George Woods "Rock & Roll 55" show in Philadelphia, and then appears at another all star show at St. Nicholas Arena in New York. The very first in person rock and roll show in New Jersey is presented by WNJR deejay Danny "Cat Man" Stiles in Passaic on Memorial Day weekend, and the star is Varetta Dillard. Mainly because of the sales performance of Varetta Dillard and Nappy Brown, Savoy Records has its biggest quarter in its history for the first three months of 1955. In a throwback to "Percy", Savoy releases "Promise Mr. Thomas", and the flip is "You're The Answer To My Prayer". The last record release of the year by Savoy is "I'll Never Forget You" and "I Can't Stop Now".

The first event to take part in 1956 for Varetta Dillard is her leaving her label of five years, Savoy. Her new label is the RCA subsidiary label Groove. her first outing for the new label is "Mama Don't Want" and the flip side is a cover of Ruth McFadden and The Royaltone's "Darling Listen To The Words Of This Song" originally on Old Town. During the spring Varetta appears at a number of in person shows with radio personality Ramon Bruce. During the summer Groove releases "Cherry Blossom" and then "Got You On My Mind" / "Skinny Jimmy" but both go nowhere. Dillard tries to capture her past success on the tribute eulogy to actor James Dean who dies in a car crash. "I Miss You Jimmy" is paired with "If You Want To Be My Baby". By the end of the year Varetta Dillard has one more try with (appropriately) "One More Time" and "I Can't Help Myself". In 1957 Varetta is moved to the parent label RCA Victor when the Groove label is disbanded, and does a session with R & B greats Lieber and Stoller on their first RCA production. "Time Was" and "I Got A Lot Of Love" is released on RCA #6936. In October of 1957 "Undecided" and "That's Why I Cry" on #7057. In November Varetta joins The Jive Bombers on the Joe Bostic television show in New York. In January of 1958 RCA #7144 is released featuring the tunes "Star Of Fortune" and "The Rules Of Love". The Cookies sing backup on the record, and despite a good push from RCA the record does not do well. During the summer RCA releases #7285 - "What'll I Do" and "Just Multiply" which disappears almost immediately. By the end of the year RCA does not renew her contract and she is signed to a new label Triumph Records, which is started by former Atlantic Records co-founder Herb Abramson. The label releases "Good Gravy Baby" and "Scorched" in late 1959. The changing demographics and styles of the record buying public have R & B performers like Dillard labelled an "adult" oriented performer, and her chance to attract pop music fans is almost an impossible task.

Varetta Dillard was another female performer who spent most of her time on the R & B periphery, but she did enjoy brief periods of national fame due to her two lasting recordings - "Mercy Mr. Percy" and "Johnny Has Gone".

The square dance rock
If (You Want To Be My Baby)
Got You On My Mind
Mama Don't Want (What Papa Don't Want)
One More Time
That's Why I Cry
I'm Gonna Tell My Daddy On You
Skinny Jimmy
Leave A Happy Fool Alone
See See Rider Blues
Them their eyes
I got a lot of love
Johnny has gone
Undecided
Pray for me Mother
I Miss You Jimmy (Tribute To James Dean)
Star of fortune
The rules of love
Falling
Old fashioned
Honey
Easy easy baby
Just multiply
Give me the night
Time was
I can't help myself
That old feeling
Mercy Mr. Percy
Cherry blossom
Pennies from heaven
The night is never long enough
I ain't gonna tell
So many ways
(That's the way) my mind is working

http://www.mediafire.com/?6wduti2w0i86np5