What a busy January this has been! I recorded this Video Ramble nine days ago and I haven’t even had a chance to post it. Since then the temperature has dropped even colder and we had a wicked snow storm last week. I had a Covid scare last week and was home for a couple of days waiting on the results of a couple of rapid tests. Both were negative but then our furnace conked out again on Friday night and again Saturday afternoon. This is the third time in the past two weeks. Let’s hope they have fixed the problem this time. My Father used to do this for a living but I’m not the son who inherited any of that knowledge. Speaking of my Father, he passed away on January 19th, 2019. On January 20th of this year, I remembered the anniversary of his passing. I think that’s okay because I really don’t want remember his passing but rather his life. Love you Dad!
Have a look at the 2022 Ramble video and I’ll highlight some things below.
The Cool and Lam series are the following books written by Erle Stanley Gardner as A. A. Fair. The series consists of the following 29 books (now 30, with the discovery of an unpublished work in 2016). I have read 1-9 in the following list plus number 30 as it was written to be the second book in the series but was left unpublished until 2016. So, I’ve read exactly one third of the books in the series. This is from the Cool and Lam Wikipedia page:
The Bigger They Come (1939)
Donald Lam is hired by Bertha. His first assignment is to serve a subpoena on a man that nobody can find. This first entry in the series turned on a real loophole in the extradition laws of the State of Arizona which made it possible, under certain conditions, to commit a murder without being punished provided one remained in Arizona. After its publication, a public outcry caused the Arizona Legislature to convene in special session to plug the loophole.Gardner had used this device earlier in his ‘Ed Jenkins’ stories, locating the loophole in California law (this time, fictitiously) so that Jenkins (though a known crook) could operate in California without being extradited for crimes in other states. The Cool and Lam stories were written under the pen name “A.A. Fair”, and Gardner’s authorship was not revealed till the 1940s.
Turn on the Heat (1940)
William Morrow and Company, January 1940
Dr. “Smith” is looking for his wife who left him 20 years before. It was made into a 1958 TV pilot for an unproduced show called Cool and Lam.
Gold Comes in Bricks (1940)
William Morrow and Company, September 1940
A blackmailing gambler, a corrupt lawyer, and an expert in salting gold mines, all are grist to Donald’s mill.
Spill the Jackpot! (1941)
William Morrow and Company, March 1941
Set in Las Vegas. A runaway bride and a slot machine-fixing ring seem to have no connection. Bertha loses the weight, and falls in love! But…
Double or Quits (1941)
William Morrow and Company, December 1941 Detectionary: “First—the missing jewelry. Second—the client found dead in his garage, and Cool and Lam are trying to get from an insurance company double indemnity for the lovely widow.” Bertha begins fishing.
Owls Don’t Blink (1942)
William Morrow and Company, June 1942
Donald has two intertwining cases: finding a lost girl and bringing to justice a murderer. Set in the French Quarter of New Orleans. America has entered the war, and Bertha thinks she has helped gain Donald’s immunity from the draft.
Bats Fly at Dusk (1942)
William Morrow and Company, September 1942
Donald has calmly volunteered for the Navy to fight the Japanese, and Bertha fumes. She works on a case involving a blind man and a pet bat, with help from Donald via telegram. Donald’s —Police Detective Frank Sellers—is introduced. Bertha gets in over her head and quits; Donald flies down on a military pass, solves it, and flies back. Bertha only finds out later.
Cats Prowl at Night (1943)
William Morrow and Company, August 1943
Bertha must locate a client’s missing wife, who controls all his money. No signs of Lam are seen at all, though he is heard of. She manages somehow, but almost fails. Frank proposes to her.
Give ’em the Ax (1944)
William Morrow and Company, September 1944
Donald returns, and takes control of the agency. The case is of a wife cheated with car insurance and blackmail.
Crows Can’t Count (1946)
William Morrow and Company, April 1946
A case involving both stolen and smuggled emeralds, the latter half of which is set in the nation of Colombia.
Fools Die on Friday (1947)
William Morrow and Company, September 1947
Donald Lam tries to put “psychological handcuffs” on a potential poisoner, but things do not work out the way he planned. “Fools Die on Friday is about the best of the series since the first two. Perhaps since the very first.
Bedrooms Have Windows (1949)
William Morrow and Company, January 1949
Case involving “a pocket edition “, in which Donald himself is suspected by the police of a serious crime. Sleazy nightspots, dubious photographs, a stay at an auto court goes wrong—could there be blackmail? More spice than usual. Gardner originally wrote this series under a pen name because he wondered if some of the plot points he intended to use with Cool and Lam would be bad for his image. However, laxer standards in the 1940s and on made him decide to admit writing the series.
Top of the Heap (1952)
William Morrow and Company, February 1952
Previously, Bertha has complained that Donald had been getting the agency in over its head lately. Donald then promptly shows the agency was used as a cat’s paw to prove a phony alibi, in a case involving gangsters, gambling houses, Point shaving, a former stripper, a money laundering scam, and phantom gold mines. Bertha is mad enough to try and dissolve the partnership. Available in the Hard Case Crime series.
Some Women Won’t Wait (1953)
William Morrow and Company, September 1953
The question is: did Donald’s beautiful young client poison her rich and decrepit husband, or didn’t she? Set in Hawaii. Bertha tries to dance the hula.
Beware the Curves (1956)
William Morrow and Company, November 1956
Suspect in the murder is trying to figure out if it is safe for him to return to his beloved six years later. The victim was her husband who had sent the suspect to die in Amazonia to marry her.
You Can Die Laughing (1957)
William Morrow and Company, March 1957
Donald clashes with a client, with whom he has a written contract to locate a certain woman. He thinks the client is lying to him, but takes the case.
Some Slips Don’t Show (1957)
William Morrow and Company, October 1957
Set in San Francisco and environs. Practically everyone ends up on a plane at one point or another, so almost anyone could have caused that guy to be found dead in his motel room. Donald knows it wasn’t him. The worry is: do the police know that? Fancy footwork with fake keys and real claim checks could help.
The Count of Nine (1958)
William Morrow and Company, June 1958
A rich dilettante “Explorer” finds his poisonous blow gun he had brought back from the Amazon used for a murder. Or so it seems … This one is notable for two things: First, Gardner re-uses a favorite trick from his Perry Mason series; juggling duplicate bits of evidence. Instead of guns or bullets, Lam has a more interesting set of twin jade Buddhas with a ruby in the forehead. It will pay the reader to watch closely who has which, and when, and why. Secondly, the key plot point has a resemblance to G. K. Chesterton’s Father Brown story, The Arrow of Heaven. This may be unintentional, but arguably, Gardner has come up with a more imaginative use of the concept.
Pass the Gravy (1959)
William Morrow and Company, February 1959
Stacked blondes, hitch hikers and trips by several people to Reno to gamble are incidental to the two main points. 1. What are the legal issues surrounding the exact way the assets of a spendthrift trust are to be distributed? 2. And what are the exact legal circumstances surrounding the death of a man with a double indemnity policy on his life? If he is dead.
Kept Women Can’t Quit (1960)
William Morrow and Company, September 1960
An armored car is robbed while one of the two guards are inside having donuts and coffee and ogling the waitresses; and when Police Detective Sgt. Frank Sellers catches one of the robbers, he is accused of pocketing the loot for himself. Naturally, he puts the pressure on Donald to solve the case for him, gratis, and get him off the hook. Much money floats about – in fact, a little too much. Whose? (At this time, thousand-dollar bills were still in fairly wide circulation, making it possible to use only a little space to hide fairly large sums.
Bachelors Get Lonely (1961)
William Morrow and Company, March 1961
Industrial espionage, a Peeping Tom, little is what it seems. More than one woman falls for Lam in the course of this investigation, due to his habit of playing square and treating them like human beings. Sgt. Sellers is a little dense at first, taking Lam for the Peeping Tom. The investigation moves to Arizona at one point.
Shills Can’t Cash Chips (1961)
William Morrow and Company, November 1961
Bertha lands a nice, respectable insurance adjustment claim, and hands it to Donald. Donald uncovers assorted ulterior motives, pretends to be an ex-con, hot-wires his own car to impress a gorgeous witness and gets leaned on by a gangster. Then one of the parties involved ends up dead.
Try Anything Once (1962)
William Morrow and Company, April 1962
A worried heel of a husband is hand-wringingly anxious to keep his late night visit to a motel with a cocktail hostess quiet. Unfortunately for him, the deputy D.A. in a hot murder trial was found dead in the motel pool the same evening. The resulting investigation will expose the husband. Donald smells a rat lurking within this story, but finally accepts the fat fee offered to keep Bertha happy. The attempt to protect the client has unexpected side effects, including several women removing their garments for one reason or other, a horrifically false accusation against the straight-shooting Donald and the exciting courtroom climax he engineers in the above-mentioned trial.
Fish or Cut Bait (1963)
William Morrow and Company, April 1963
When Cool and Lam are hired for day-and-night coverage of a harassed woman, a tortuous tale involving a high-class ‘escort service’ unfolds. Donald is dismissed from the case, but inserts himself back in self-defence after the madam comes to an untimely end. He must convince the police it wasn’t him.
Up for Grabs (1964)
William Morrow and Company, March 1964
Insurance again, this time a company that wants to set up an ongoing project to expose phony whiplash claims. Big ongoing retainer, big fees for each claim – Bertha’s eyes glitter at all the legit dollars up for grabs. Donald is packed off to a dude ranch in Arizona to investigate the plaintiff in the first claim, with stern instructions not to stir this one up. It’s not his fault someone’s wife ends up dead in the Sierras, or that Sgt. Sellers is so annoyed at his ‘amateur’ interference that he throws away a key piece of evidence at the scene of the death.
Cut Thin to Win (1965)
William Morrow and Company, April 1965
Gardner has Lam himself review the case – from the back of the 1966 Pocket Books edition. Bertha has her doubts about taking a certain case, “…but I talked her into it when our client laid twelve one-hundred dollar bills on his desk. ‘Fry me for an oyster’, Bertha said. ‘It’s your baby, and you can change the diapers’. Less than a week later, Sgt. Frank Sellers announced he was going to take away my license, Bertha Cool announced that our partnership was dissolved and my secretary was crying on my shoulder. ‘Donald, please – please be careful’. ‘It’s too late to be careful now’ I told her. ‘I’m dealing either with a crooked lawyer, a jealous boyfriend, a scheming daughter, one hell of a wealthy father or a combination of any number of them. When you go up against a combination of that sort, you can’t be careful'”.
Widows Wear Weeds (1966)
William Morrow and Company, May 1966
Blackmail was a dirty business, and Donald Lam liked to stay clear of it. But for his partner, Bertha Cool, no business was too dirty to handle at the right price. And the price for this job was certainly right. What was wrong, though, was a payoff for pictures that weren’t worth a dime, a free dinner that cost the blackmailer his life, and more than a couple of double-crosses that framed Donald Lam quite neatly for a charge of murder.
Traps Need Fresh Bait (1967)
William Morrow and Company, March 1967
Someone is advertising for a witness to an auto accident in such a way as to seem to be suborning perjury. Also, an earlier claim was settled with evidence obtained in this way. The client wants Cool and Lam to find out what is back of it all. Gardner kept up with the law, and knew of the implications of the recent Miranda Rights decision of the Supreme Court for gathering evidence. He believed he had found a loophole allowing evidence improperly gathered under the new rules to be admissible, if obtained investigating another incident, such as a private detective searching a flat without permission. When Donald introduces the loophole, it brightens up Sgt. Sellers’ day no end.
All Grass isn’t Green (1970)
William Morrow and Company, March 1970
Dope smuggling and a witness who is both more, and less, than he seems. It all starts when a client wants to find a missing writer – just to talk to him. A little digging (with descriptions of tracing techniques) shows his girlfriend has vanished too, and the trail goes south, to the Mexican border. Crossing the trail, going north, is a shipment of cannabis. Unsurprisingly for this business, someone ends up dead and the whole thing lands in court. Sorting out who did what and why taxes even Donald Lam’s talents to the limit. Lam shows his considerable ability in courtroom manoeuvring, which reminds the reader that he was a lawyer once.
The Knife Slipped (1939)
Hard Case Crime, December 2016
Originally written to be the second book in the Cool and Lam series but rejected by Gardner’s publisher, The Knife Slipped was found among Gardner’s papers and published for the first time in 2016. Assigned to prove a philandering husband’s infidelity, Donald Lam uncovers a scheme to enable a certain type of municipal corruption. As well as a dead body.
I won’t talk about the Weepies in this blahg. I’m saving that. I do mention Dottie Reid who will also be the focus of an upcoming blahg but here’s a teaser of her singing with Muggsy Spanier and his orchestra on “More Than You Know”:
In my previous blahg, 2021 – WHAT DID I ACCOMPLISH THIS YEAR?, I posted about attending the Transformers convention in December in Mississauga. I was lucky enough to be selected for the annual script reading when I auditioned for the character of Tripredacus even though I didn’t know who that was. Later research from the Transformers Wiki for Tripredacus, https://tfwiki.net/wiki/Tripredacus, explains that he’s a character from Transformers Beast Wars. Here’s their explanation:
Tripredacus is a slimy “Battle Master” who prefers to emerge from underground to attack Maximal fortresses in the dead of night, tenaciously crushing all before him, spreading plague-like destruction wherever he goes. The weapons of his composite members form a slashing mega-missile launcher that he uses to tear his way into battle.
Tripredacus is composed of the three-member Tripredacus Council:
Ram Horn
Sea Clamp
Cicadacon
Abbie had recorded the audio of the script reading and I finally got it from her last week and here’s the reading:
That’s about it for unpacking the 2022 Ramble. It’s still cold but I’m still going strong. Enjoy the day! Enjoy your life! Live, love, and be happy!
Well, it’s December 23rd and I’m glad to say the 2021 Dead From The Neck Up Christmas Special is in the can. In my last blahg, BUILDING A CHRISTMAS SPECIAL, I posted the sketches I had written and posted my reads on each of them. I mentioned that I was working on an additional sketch but that one didn’t come together. I did manage to write one more sketch called “Roy’s Poultry Outlet”. That is the last sketch in the Christmas special. I think Stephen Dafoe nailed Roy’s voice in that one.
Here’s the new special:
I liked Stephen’s vocals and I had to record Bryan in person this year. I’m fairly happy with the show. It’s tough writing, recording vocals, mixing vocals, and adding all of the music and sound effects. Two years in a row have me wondering if I want to do this again next year. Last year was unique because we hadn’t done this in 25 years but I had so much fun I decided we should do it again this year. Next year? Too early to tell.
Well, that’s it for my quick blahg for this Christmas season. Merry Christmas everyone!
Well, it happened again. Another milestone snuck up on me. No, it’s not my birthday. It’s also not my wife’s birthday which is this Saturday and yes, before anyone asks, I’m already prepared for that. The milestone I’m talking about is my 100th blahg. If you checked out my first blahg of this year, THE FALSE DUCKS VIDEO BLAHG #4: OH, DIDN’T I RAMBLE, I mentioned that it was possible to complete the 100th blahg sometime in September if I doubled down and started writing two blahgs a month. I did that but I still came out ahead. I guess I didn’t count correctly back in January. Don’t worry, I know how to count and I’m not stupid enough to count out the corresponding number of candles for my wife’s birthday cake and then put them on there. I want to stay happily married.
The first blahg that I wrote was THE BLAHG & THE MOST HAPPY SOUND, which I published on October 2nd, in 2011. I reached the 50 blahg mark on December 12th, 2015. Here’s what I said back then about reaching the 50 blahg mark:
Fifty blahgs in 4 years? I’m sure that’s not a record to boast about. I remember when I started this blahg that I had high ambitions. I deluded myself into thinking I could write two blahgs a week. I then amended that goal to write 50 blahgs before I turned 50. I turned 50 in September of 2012. I guess I missed that goal as well. To tell the truth, I’m just glad that I’m still writing; even if I don’t know if anyone is reading.
I know for a fact that someone is reading because in the past few months I’ve been contacted about two different blahgs. I don’t want to talk about those because there’s a big project in the works and I’m hoping to be a part of it. More, hopefully, on that later.
So, 100 hunh? What do I write about to commemorate that triple digit accomplishment? When I wrote the 50th blahg, it was long enough that I had to split it into two blahgs: THIS IS 50, PART ONE. and THIS IS 50, PART TWO, I reviewed a number of topics I had covered in the first 49 and then added a few. It took me just over four years to reach the 50 mark and it’s taken just over five and a half years to get to 100. That’s almost ten years cumulatively to get to this point. If anyone is asking, I guess I’ve strove for quality and not quantity. I think this blahg should be another retrospective of this second set of 50 blahgs. Of course, I’ll leave off number 51 because that was THIS IS 50, PART TWO and was a summary of the previous 49 or 50. So let’s see how I do encapsulating the past blahgs in so many words.
51. This is 50, Part Two. I said I wasn’t going to look back on that one but I did add a few extra topics to round that one out. One of those was “Donald Trump”. Little did we know that five and half years later we would finally be rid of him. Let’s hope, like Covid 19, we don’t see a second wave of him. If there is a big new wave then hopefully he’s standing in front of it.
52. The Balancing Act. I had started a new job and was trying to balance a work and home life. I wasn’t doing so well. I was letting my wife pick up my slack. I hope I’ve done better since then. Ask me again after her Birthday. At least I wrote a new poem for it, “the balancing act”:
the balancing act
take a boy in a tree legs akimbo aware of sky and ground trying to be somewhere in the middle years pass boy becomes older bigger maybe taller maybe just bigger around the middle maybe married maybe children maybe job trying to stay balanced on his limb his own limbs flying flying objects in the air trying not to let anyone or anything come crashing down
there’s no prize to keep your eyes on you can’t look away or everything falls away maybe steal a glance here or there at other boys in the tree more likely other girls but don’t let anyone catch you looking certainly not the wife sometimes you get a glimpse of another part of the tree the branch not taken and you wonder
and in that instance you drop something your guard your focus and you shift direction maybe weight to another foot and you pick up someone else’s load maybe that parent who climbed up after you and now there’s things on your shoulders more to bear bear down stay centered
some boys jump walk way from the jumble around the trunk see the brass ring maybe a selfish one a way down hide among the bushes and be someone else another boy
can’t be that way this boy’s staked a spot defend it cherish it wave off birds other intruders other boys those other girls glimpsed from a distance
the balls are still in the air plates spinning head erect eyes forward no longer balancing part of the tree maybe the tree rooted beckoning to the other boys catching their kites so they have to come nearer see this boy’s foliage
reaching out
calling out
climb up climb up
stay awhile
53. It’s Never Too Late. I finally got the Micronauts Rocket Tubes I always wanted. That was in early 2016. I haven’t pulled them out since. I guess I didn’t want it all the much. Still, there’s the Canadian version from Sears that had the gliders. I’d really like that. Maybe it’s still not too late.
54. If I’d Be A Superman. I’ve always had a fascination with Superman. That blahg was not inspired by the film “Batman V. Superman, Dawn of Justice” which came out around the same time as that blahg. Nor is this blahg inspired by “Justice League – The Zack Snyder Cut.” Earlier this year I watched the 2015 documentary, “The Death of “Superman Lives”: What Happened?” Fascinating story of what might have happened if Nicholas Cage and Tim Burton had got together to make a Superman film. Unlike my last blahg, it’s far too late for that project.
55. A Class Act. That blahg was primarily about my experience with the band “I Fight Dragons” and trying to purchase some of their music for my daughter Abbie. Their lead singer Brian emailed me personally and made the transaction happen in time for Abbie’s birthday. Later this year, “I Fight Dragons” will release a new album “Side Quest: B-Sides And Rarities.” You can bet I’ll get that for my daughter’s birthday unless she buys it first. She’s still waiting for them to do a concert in Toronto but she’s still waiting on that. It might happen. It’s never too late. Sorry, I just had to put that in.
56. R.I.P. Jerry Lewis 2017. Jerry Lewis also had a blahg in the first 50, I SHINED JERRY LEWIS’ SHOE. This second blahg was another homage to a great comedian. We are lucky that a few more of his films have been released since his passing in 2017. In 2013, Jerry Lewis starred in the film “Max Rose”. It has yet to be released on DVD in North America. Here’s a trailer:
Come on people, RELEASE “MAX ROSE”!
57. Bridge City Again, Pirates, And Happy Birthday To Canada! It was Canada’s 150th Birthday in 2017 but the focus of that blahg was more about the music; specifically The Bridge City Dixieland Jazz Band and the Pat Riccio Quartet. Neither of those bands played together but it would have been truly thrilling if they had. Tom Caldwell, son of Bob Caldwell, the leader of The Bridge City Dixieland Jazz Band had read one of my blahgs where I had mentioned the band and he reached out to let me know how much Bob had enjoyed knowing there was someone still listening to the band. Bridge City only put out one album with 10 tracks but Tom Caldwell sent me a homemade CD of 21 tracks from the Band. Here’s one of those extra tracks, “Hindustan”:
Another portion of that blahg was dedicated to the Pat Riccio Quartet and I posted a YouTube video of them performing in the 1960s. It deserves to be reposted:
58. Happy Birthday To Me, 2017. I had an accident around my 55th Birthday. I had been riding my daughter’s scooter and wiped out. I don’t want to dwell on that. The last half of that blahg presented some tracks from a newly acquired copy of the album “The Pat Riccio Quartet Featuring Teddy Wilson” put out by Canadian Talent Library. Someone has posted the entire album on YouTube. You have to give this one a listen:
By the way, my Birthday is next month on September 23rd. I think I’ll avoid any scooter rides.
59. Celebrating Paul Quarrington. A great writer and a great musician who died too soon. He is missed. Back to YouTube for another tribute. I sing this song sometimes when I talk about my old body. It’s “This Old Body” by Paul Quarrington:
60. Being Sick On Christmas Is No Fun. True story. I was incredibly sick on Christmas Day 2017. I had to break my previous 55 year record of not going to the hospital on Christmas Day. Lots of meds and days of rest took away the worst sore throat I ever had. I lost Christmas that year. Last year we had to scale back Christmas due to Covid 19 and my daughter Emily and her husband Charlie couldn’t be with us. I’m hoping everyone will be home for Christmas this year. I think I’ll have to double down on the Fireworks for this year.
61. Goodbye 2017, The Year That Tried To Kill Me. It didn’t. There was that scooter accident and being sick on Christmas. There was also a strange back pain that sent me to a chiropractor. I’ve had worse since then. Did I mention that I fell and hurt my neck two weekends ago and was in the hospital overnight? I guess that story’s for another blahg.
62. A Funny Thing Happened On The Way To The Election. That was about the spring 2018 provincial election. Little did I know that Doug Ford would be elected Premier. When pigs fly or a cold day in July. Put on your parkas and watch the skies. Next year we vote him out.
63. Have You Read Any Good Books Lately? Yes, I have. I won’t review the books again that I reviewed back then. Instead, I’ll mention two that I recently read, “The Bigger They Come” and “The Knife Slipped” by Erle Stanley Gardner writing as A.A. Fair. Gardner is famous for creating and writing about Perry Mason. Cool and Lam is a fictional American private detective firm run by Bertha Cool with Donald Lam as her main operative. Gardner published 29 books in the series from 1939 to 1970. I first became interested in the Cool and Lam series due to my interest in Frank Sinatra. The second book in the series “Turn On the Heat” was adapted for the June 23, 1946, broadcast of Hour of Mystery with Frank Sinatra as the first actor to portray Donald Lam. Unfortunately that broadcast does not appear to circulate. I always thought about reading the book from the series, “Turn On The Heat”, that the broadcast was based on. That meant starting with the first book, which you can see to the left, “The Bigger They Come.” I thoroughly enjoyed it. It’s the late 1930s into the 1940s gritty detective novel.
I was then going to turn my attention to “Turn On The Heat” which was the second published book in the series. I discovered, however, that this wasn’t the second book written in the series because Gardner had written “The Knife Slipped” after “The Bigger They Come.” Here’s what Wikipedia says about it: “Originally written to be the second book in the Cool and Lam series but rejected by Gardner’s publisher, The Knife Slipped was found among Gardner’s papers and published for the first time in 2016.” Hard Case Crime published “The Knife Slipped” and after reading it, and enjoying it even more than “The Bigger They Come”, I was drawn back in again to that gritty thirties Los Angeles noir. Hard Case Crime also republished “Turn On The Heat” and that’s the copy I have to read next. I took a bit of a break after reading the first two because I already know the basic plot of “Turn On The Heat.” In 1958 there was a pilot filmed for a “Cool and Lam” TV series and the plot of the pilot was taken from “Turn On The Heat.” I’ve watched the pilot but I’ll get around to reading the book. Below is that pilot for what could have been a fascinating series. I still think Cool and Lam would be a good TV or movie series.
64. What Happened To Mr. Henderson? Pass. That was the start of my Dad’s health problems and a battle with Belleville General Hospital Dad died as a result of their negligence. To the left, is a picture of my Father in 2015 when he had better care from that hospital.
65. “16 Inches Of Trouble” Or “Like Father Like Son”. This was one I enjoyed writing. It was about purchasing a 16 inch transcription record of Frank Sinatra and learning how to eventually play it and record it. You should read the whole blahg, “16 INCHES OF TROUBLE” OR “LIKE FATHER LIKE SON”, because it explains everything step by step. If you just want the introduction and then the finished solution, check out the two videos below.
In the last part of the blahg, the “Like Son” refers to my son Noah and his fascination and continued career in producing videos about analog film technology through Super 8mm, 35mm photo, and Polaroid instant film and into other forgotten film technologies. You can check out his YouTube channel here at https://www.youtube.com/channel/UCL9A6v7YSOOVXwCpao6Bszg. You can also find links to sponsor him at Patreon. I make a cameo or two.
66. The Jazz Band That Wasn’t…But Was! This is also another of my post 50 blahgs that I really like. It’s all about The Left Bank Bearcats who were a mysterious french band doing New Orleans style jazz recorded after hours at the Maison Diabolique in Paris. The truth was the albums actually were recorded in Philadelphia by American musicians. The three albums were Dixieland played by the Left Bank Bearcats, The Left Bank Bearcats Take George M. Cohan to Dixieland, and The Left Bank Bearcats in ‘Stereo’ (or The Left Bank Bearcats in “Hi-Fi” depending on what edition you had). I had found Dixieland played by the Left Bank Bearcats at a thrift store and that’s what started me into researching the band. It’s a fascinating story and in the blahg, THE JAZZ BAND THAT WASN’T…BUT WAS! you can find more information and links to download all three albums. Here’s the first song from that first album, “Monsieur Redwing” and it’s a swinger:
67. Some Christmas Stories. If you can’t figure out what that blahg is about by the title then maybe I shouldn’t tell you. Okay, twist my arm, I’ll tell you. For the past number of years I’ve written a new Christmas story. From that blahg, and from my Christmas collection “Proof For Believing”, here’s “Billy Built A Robot Christmas Morning.” I wrote this around 2005 and the reason I posted it in the Some Christmas Stories blahg was because I was thinking about writing a sequel Christmas story about Billy and what happened to him when he got older. I did write that sequel but I’ll get to that later.
Billy Built A Robot Christmas Morning
The first thing Billy did was to build a robot. Well, that wasn’t exactly true. The first thing Billy did was to wake up Christmas morning, open all of his presents, and express his extreme dissatisfaction at not getting the Grim Reaper 4 video game.
“It’s too violent,” his parents said. “You need something educational,” said his mother, “not something that’s all about killing and destroying stuff.”
So Billy built a robot. At first it was difficult. He didn’t grasp all of the principles of building the robot. He didn’t understand how to connect certain elements or to build a self-contained renewable energy pack to power the robot. And then there were the principles of motor control and incorporating a simulated brain with cognitive features allowing it to understand and carry out specified instructions. What did Billy know about any of these things? He was only ten.
So Billy used the Internet. There were numerous websites explaining certain codes and how to enable certain features. He even went to a chat room and talked for an hour with a guy in Canada who had managed to build a fleet of robots capable of recreating other robots in their own image. “Robots who built robots,” Billy thought. “That’s cool.”
It took quite some time for Billy to build his own Robot but when it was completed he was very pleased with himself. This Robot would be better than any others he had researched. It would obey only Billy and do his bidding.
So Billy set the Robot loose. At first it fumbled around and crashed through a few walls. It was bulky and its weight was considerable enough to cause extensive damage wherever it went. “Cool,” Billy exclaimed.
Then Billy maneuvered the Robot down the street and had it smash a few cars. People ran in terror when they saw the Robot. Billy didn’t care about the people. He could hurt them if he wanted too. He had learned from the Internet how to bi-pass certain inhibitors that would normally prevent the Robot from causing harm or even damaging things like walls and cars. But Billy would not allow his Robot to hurt any people. His parents wouldn’t like that. But eating cars and smashing buildings was cool and nobody got hurt.
Billy wasn’t sure what he should really do with his Robot. After a while he got bored of just having the Robot walk around and destroy things. He could try and build other robots like that guy in Canada but then what do you do with a bunch of robots other than having them destroy more stuff?
So Billy set his thoughts on world domination. He didn’t think about his parents anymore and he hardly even thought about Grim Reaper 4. This Robot thing was way cooler.
So time passed and Billy built more robots and appointed his first Robot as their leader. But they all followed Billy’s commands. At first they just all walked around destroying stuff but Billy soon commanded them to destroy only really important stuff so that the people would all be really scared of the robots. Sometimes some people shot at the robots but Billy had learned the trick to making his robots invincible. This just made the people angrier and they shot more stuff at the robots and there were explosions and things that made Billy more excited.
Eventually the robots destroyed all of the cities and the people followed the robots through the countryside. Some of them still shot stuff at the robots but most just followed the robots because there was nothing else to do.
The Robot that Billy built first always walked in the front. He was the biggest. Billy had made some changes to him and had given him laser eyes so he could destroy buildings and stuff from a distance. Some of the other robots looked just like the first Robot but they could do different things. Some had saw blades for hands and others had cannons in their chests. There was this one robot that Billy really thought was cool that had treads on the bottom of its feet so it could run through forests and destroy trees and stuff.
Eventually with all of the cities destroyed, there was nothing much left to do but to set up a post from where he could rule the world. That was easy. First he found a city that was all surrounded by water and he had the robots destroy all of the bridges. Then Billy had the robots build a fortress. That was cool. The robots kept anybody from going in there that weren’t robots.
All of the people who were on this new island city ran around and screamed and stuff but Billy didn’t care. He looked over this new island and thought this is probably the best spot where no one could hurt his robots. He could hear the people all yelling and stuff but he didn’t care.
“Billy!” Billy could hear one of the people calling his name. Why would someone be shouting his name?
“Billy!” Billy vaguely recognized the voice. He hadn’t heard it in a while but he was sure it was his mother’s voice.
“Billy!” Billy turned about looking for the source of the voice.
“Billy, shut off that robot video game. You’ve been playing it all day. Now shut it off and come to Christmas dinner.
The End
68. Another Christmas Memory. This one was dedicated to the first time I heard Frank Sinatra’s 1991 version of “Silent Night”. It was probably ten years ago and I was driving and listening to Warm 101.3 FM out of Syracuse, NY. They play Christmas all throughout the month of December and it’s a good way to get into the holiday spirit. I was aware that there was a version of “Silent Night” recorded by Frank Sinatra in 1991 and I didn’t have it. I had never heard it before because it had been released in 1991 on an obscure CD called “The Christmas Album…A Gift of Hope”. Well, sure enough, Warm 101.3 played it and I was amazed by the vocal. It was the elder Sinatra backed by Frank Sinatra Jr. on piano and a choir. A failing voice that was tender and cracked but with emotion that almost made me cry. Give it a listen:
There was another version recorded on the same day in 1991 with just Bill Miller on the piano. It would not be released until 2004 when it was a bonus track on “The Frank Sinatra Christmas Collection”. Thirteen years between releases? Of course, Sinatra had died by then, back in 1998, but we at least had an alternate take on the last song he ever recorded. Here’s that version of Sinatra singing “Silent Night” backed by Bill Miller:
Two Christmas songs on a hot day in August of 2021? Only here folks!
69. Welcome 2019…I’m Ready For You! I wasn’t. I had been lamenting some of my struggles in 2018 and was looking forward to 2019 being a better year. I did the Polar Dip for the first time that year. Unfortunately my Dad died two weeks later. I wasn’t ready for that at all. The only good thing to say about this blahg, was that I finished the sequel to “Billy Built A Robot Christmas Morning” and the sequel had its debut in this blahg:
BILLY’S BEST WORST CHRISTMAS EVER
This is the story of Billy but it’s not really his first story. Let me be clear I’m the author and I’m the one writing this story. I felt I needed to say that because I’m not sure if Billy is a good character or if he’s redeemable or worth redeeming. That’s what this story will determine.
We first met Billy in a story I wrote entitled “Billy Built A Robot Christmas Morning.” I guess he was about nine or ten. I never really gave it any thought. He wasn’t really likeable although I liked the story I wrote. But I’ve been thinking about Billy lately. I got to wondering how he turned out.
I was getting my hair cut not that long ago and I heard two women discussing what you get a 14 year old for Christmas. There were comments about it being a tough age and everything is electronic and gift options were limited. Really? I would think a good swift kick in the pants might be a good option. That last comment, like the good swift kick, should be aimed squarely at Billy.
Let me be clear, I don’t dislike 14 year olds or teenagers in that age range. I don’t even dislike Billy. I just think that all the stories today are about teenagers who get to save the world, as if there weren’t some more suitable older or even senior adults able to do that, or the teens are lost and struggling and you’re not really sure if they’re likeable or capable of redemption. I just would like to know where Billy fits into all of this. He’s going to be 14 in this story and we’ll see what happens.
So, I’m going to give Billy one more chance. He could be a good character but that’s up to him. When you have nothing to lose then you have everything to gain. I didn’t make that up. I’m just remembering that from somewhere. But that fits Billy. Let’s find out.
—————
Billy came home from school on at the start of his Christmas vacation on December 22nd to find a note pinned to the door of his home:
Billy, we’ve gone away for Christmas and we’ve taken Logan with us. Everything you need is at Grandma at Grandpa Thompson’s. Don’t try the door because it’s locked and we’ve armed the alarm with a new code.
Merry Christmas.
Mom & Dad
All Billy could think to say was “they took Logan?” Logan was his dog. Well, it was more the family dog. Billy had whined long and hard about having a dog and when his parents gave in, like they always did, he got a beagle for no particular occasion.
Billy was good with Logan in the beginning and did his best to feed him and walk him and clean up after him but when that became too much for him, or more to the point Billy lost interest, Mom and Dad provided for Logan. But still, “they took Logan?” What was that all about? They went away for Christmas and they took the family dog and left Billy behind?
Of course, I could tell you what that was all about. I am the author after all. Simply put, Mom and Dad had had enough…not with caring for Logan but with Billy not caring at all.
Billy tried the door. It was locked. He wondered if he should try his key. Maybe that part about changing the alarm code wasn’t true. He decided against that. No, this seemed all too real but he thought he’d better look around a bit.
Billy pressed his face up against the window in the door. He couldn’t see anything. It wasn’t dark but his view was only of the entrance hall and there was nothing there. He tried the living room window. Nothing there either. Oh, he could see the Christmas tree and all of the decorations but no sign of Mom and Dad.
“This makes no sense,” he said aloud to no one in particular. It really didn’t make any sense as far as he was concerned. Throughout the month of December his parents had been fools about Christmas. The decorations and the lights came out early and the tree went up and the holiday specials annoyed Billy for the whole month. Of course Billy had nothing to do with any of it. He shook his head at all that holiday nonsense. It had been too much for him and he had retreated to the sanctity of his room and his video games.
Of course, you and I can see it plainer than Billy. His Mom and Dad had tried to make a Christmas but Billy didn’t want to be a part of it. He wanted Christmas day and the presents and the dinner and that was it. No wonder Mom and Dad had split with Logan.
“What about the presents and the dinner?” Billy was getting good at talking to himself.
Mom had been baking all month and there had been cookies and squares and tarts and all kinds of things that Billy did indulge enjoy. He didn’t help bake anything but he really liked sampling them. He always ignored his mother’s pleas to “leave those alone” or “save some for others” or “you’ll spoil your dinner.” It was like a game to Billy. He never thought his mother was really upset. That was just what mothers do or say. The truth is that’s what Billys do or say. And Billys never think. But boy was he thinking now.
“Grandma and Grandpa’s?” His utterings would have been comical to anyone walking by who heard this all coming from a 14 year old boy with his nose pressed against the living room window of a house that was armed and alarmed by owners who took their dog and left for Christmas and left their son to Grandma and Grandpa.
“Grandma and Grandpa’s?” he asked himself again. It was a fate worse than death. They had no internet and no cable television. They had rabbit ears and got three channels and one of those was public broadcasting. Public broadcasting, Billy thought, was for toddlers and old people. He wasn’t any of those. “Great, more Christmas specials,” he said to the window. Billy thought that with his parents gone he’d at least dodge that bullet. He called that wrong.
Grandma and Grandpa’s house was on the other side of town. It was a long walk and it would not help much with Billy’s mood. Maybe they’d be gone too. Maybe there’d be another note pinned to the door passing him on to other relatives until he came full circle back to his own home and it would all have been a cruel joke and his parents with Logan would be there to greet him.
No such luck. Grandma and Grandpa were home.
“Your parents dropped off what they thought you needed. We put everything up in the spare room,” Grandma said. “Oh, and they left this note.”
Great, another note, Billy thought. Here’s where the gag would be revealed and they’d all have a good laugh…at his expense. Again, no such luck.
Billy, listen to Grandma and Grandpa. Their house, their rules. We have left you no electronics. Don’t even try your phone. We’ve cancelled your plan. No texts, no data, no calls. Don’t forget to wear your boots.
Merry Christmas.
Mom & Dad
Billy reeled with the horror. He tried his phone. Nothing worked. Emergency Service only. Would 911 consider his plight an emergency? He dashed up the stairs to the spare room. The note didn’t lie. There were no electronics. No game consoles. No hand-held game systems. No tablet, no laptop. But there were boots.
“I’m not wearing those,” he said to the room. Surprisingly, the room didn’t answer.
The next day, Billy wore the boots.
It had been a rough night. He had pressed Grandma and Grandpa for answers but they gave none. All they would say was that he was there for Christmas and they’d see about New Year’s. Nothing about Mom and Dad and Logan and his cancelled Christmas. Nothing about the presents and the dinner. Nothing about anything. He had hid out in the room. The blankets were wool and itched. Oh, and it snowed.
Overnight the landscape had turned to white and Billy’s expensive running shoes were useless. Two feet of snow and climbing.
“Doesn’t beat the seven feet of snow they had in Buffalo a few years ago,” Grandpa said as he shook Billy awake the next morning.
“What?” was all Billy could manage at seven o’clock. His eyes were hardly open and the room was too cold. “Why do old people always like it so cold”, he thought. He knew better that to at least say that out loud.
“Shovelling first,” Grandpa went on, “and then Breakfast and then shopping. Get a move on.” Grandpa whipped off the blankets before flipping on the lights and leaving the room.
“Could this get any worse?” Billy said to the room. The room was a good listener. It was not much on small talk but it didn’t laugh at him for talking to himself.
Billy struggled out of the bed and into his clothes. At least his parents had provided him with what seemed like enough clothes for a long stay. And he put on the boots and a toque and gloves and a scarf. All provided courtesy of his parents. Bundled that way, no one would recognize him. At least he had his anonymity to cling to if he wanted it…oh and he wanted it.
“This is my grandson, Billy, and he’s going to shovel your driveway. Merry Christmas.” Grandpa didn’t know anything about anonymity.
Not only did Billy have to shovel Grandma and Grandpa’s driveway but they insisted on introducing him to every elderly neighbor on the block and extending them the courtesy of Billy’s free labor. Billy wasn’t one for good deeds but Grandpa kept an eye him until everything was done. Five driveways and aching arms later, it was time for breakfast.
“Oatmeal, there’s nothing like it on a cold morning,” Grandma said as she spooned out a good sized bowl’s worth. Billy glared at it. There was no sugar. The milk was skim or non-fat or something he’d rather avoid. At least they let him have some coffee. It was too strong. There was no sugar. The milk was skim or non-fat…you get the drift.
This was really shaping up to be an awful holiday for Billy. First, no Christmas and now no sugar and some liquid that passed almost as white water. At least he had the shopping to look forward to. He had some money on him and maybe he could buy himself something to make it all passable.
They drove to the Bulk House. Everything was in bulk. Grandma and Grandpa bought fifty rolls each of paper towels and toilet paper. Oh, but there were vegetables. Billy had to heft a fifty pound sack of potatoes out to the car. That didn’t include the 20 pounds of carrots or the big bag of onions. Billy had to huddle in the back with groceries. Grandpa said his summer tires were in the trunk.
That evening, dinner consisted of fish with, you guessed it, boiled potatoes, carrots, and onions. The evening also consisted of watching a Christmas movie with Grandma and Grandpa. They insisted. It was A Christmas Carol. Of course it would be. This story is about redemption and what better tale happens at Christmas about redemption than Ebenezer Scrooge’s own? I don’t mean to hit the reader over the head with this but I thought that Billy might need some poking.
The next morning, being the day before Christmas, Billy did indeed wake to some poking. It was Grandpa again.
“Up and at ‘em, boy, it snowed another foot in the night. You know the routine. Shoveling first, then breakfast, then shopping.” Grandpa jerked the covers back again before leaving the room.
“What time does he even get up?” Billy muttered. Again, the room had no response.
Five more driveways plus Grandma and Grandpa’s. Breakfast was fried potatoes and toast. The margarine was cheap and hard. It tore the toast. Billy flavored his semi-milk with some coffee this time. It wasn’t a welcomed change.
Shopping consisted of another trip back to the Bulk House. This time it was just Grandpa and Billy. They did not go inside. Grandpa bought a Christmas tree from the man who sold them at a corner of the parking lot. There was some haggling between Grandpa and the vendor. Billy tried to hide among the pre-cut forest. Apparently this was a ritual for Grandma and Grandpa. They waited until the 24th before buying their tree. At least Billy didn’t have to suffer that too much.
Billy, however, did suffer. He counted his scratches. Guess who had to help lift it on the roof and drag it in the house and crawl underneath the tree and help balance it in the stand until Grandma declared it was perfect? Not Grandpa, I can tell you that.
You know I hate to see anyone suffer; especially at Christmas. I’d like to say I take no joy in seeing my boy Billy suffer but I don’t want to lie to you reader. Billy has to suffer. Without the suffering there’s no motivation for change. After all, haven’t I caused him enough anguish by cancelling his Christmas and packing him off to his Grandparents and then having him break his back with a shovel only to suffer yet another fruitless trip to the Bulk House where he got nothing for himself again except the scrapes he’s now counting? I thought the message of A Christmas Carol would have been plain enough for him. What’s it going to take?
After the tree decorating, Grandpa delighted in beating Billy twice at Cribbage. Billy hadn’t played in years and Grandpa made sure to collect all of the points for himself that Billy missed in error.
“Your head’s not in the game, boy,” Grandpa stated after the second defeat. At least Billy was only skunked in the second game. The first game had ended in a double skunk with Grandpa declaring that Billy should study harder in school because math obviously wasn’t his strong suit if he couldn’t realize what cards added up to fifteen.
Billy escaped. After the game he wore the boots again and trudged down the block to the corner store. Grandma had sent him there twice the day before for bread and then the watered down milk. Not only did she forget to stalk up on these when she was at the Bulk House, she couldn’t even remember everything she needed so she wouldn’t have to send him out more than once.
This time, Billy went for himself. He still had his money. He bought a soda and rejoiced in the sugar. He eyed the magazines but found he was not old enough for some and the others were nothing he’d care to read. Your corner store doesn’t usually stock in the latest gamer magazines.
While Billy was enjoying the sweetness of the soda he thought about the lack of sugar at Grandma and Grandpa’s. He bought some sugar cubes, a carton of good milk possibly 50 proof, and some coffee creamer. Given the exorbitant prices at the corner store, Billy soon found his spending money well depleted. He bought a Christmas bag with his loose change. He’d put the sugar, milk, and creamer in that and that would be his gift to his Grandparents.
Dinner was cabbage and pork-roll. Oh yes, and baked potatoes and more carrots.
The movie that night was “It’s A Wonderful Life.” It had been a while since Billy had sat through it in its entirety.
Billy lay awake long into the night. You would think that redeeming thoughts of histories of his youth or a life lived by others without him or visions of sugar plums at the very least would have been dancing in his head. No, instead he thought of this Christmas lived without him. Mom and Dad and Logan were probably on some beach somewhere or at some mountain resort thinking of anything but Billy. He began to wallow in his own misery. He piled on everything from the cancelled Christmas to the pine needles he had had to shake from his hair. Grandpa had said that wouldn’t have happened if Billy got a haircut once in a while.
Billy finally drifted off to sleep feeling thoroughly sorry for himself and wondering what type of potato would greet him for Christmas dinner…if there was a Christmas dinner.
The room was very warm when he awoke. No one had whisked away the covers. He had kicked them off himself. And it was still dark.
Billy looked about the room. There was a glow from the street light but he could only see shadows in the room.
“Hey room, Merry Christmas,” Billy called out in the dark. It was meant as sarcasm.
“Merry Christmas yourself Billy,” the room replied.
Billy bolted up in the bed. He reached over and turned on the lamp beside his bed. The light was suddenly too bright in the close darkness. Eventually the shadows became blurs and then shadows again and then he saw it…saw him…Santa Claus
“Merry Christmas Billy,” Santa said.
Billy rubbed his eyes. No, this couldn’t be. He closed his eyes tight for a few seconds and then opened them again. It was no use. He was still there. And it was Santa. Billy knew this right off. It wasn’t Grandpa or anyone else dressed up like Santa. It was the real Santa.
Billy looked Santa over. Red suit and real beard. He looked just like a thousand images of Santa he had seen in print or on television or in the movies. The image was immediately recognizable and true to his own memories of what he thought Santa looked like. Not that Billy ever thought of Santa Claus these days. That was kids’ stuff.
“Merry Christmas Billy”, Santa said again.
“You said that already,” Billy pointed out. Billy didn’t mean to be flippant but what do you say to Santa when he shows up in the middle of the night at your grandparents’ house after you’d been dreaming of your thoroughly miserable Christmas.
“And would it kill you to say it back?” Santa asked. Apparently Santa was not opposed to being flippant.
“Merry Christmas,” Billy replied, “but you can’t be…” Billy trailed off what he was going to say. Why couldn’t he be Santa Claus? Nothing else that had happened to him lately made any sense.
“Oh, but I can be and I am.” Santa looked around the room. “What, no cookies and milk?”
“I’m not a kid you know”, Billy found himself answering. “That stuff’s just for kids.” Again it was the kids’ stuff guiding his thoughts. Substitute Bah Humbug and you will understand what Billy was getting at.
“The cookies aren’t for the kids, they’re for me. I’m for the kids. But I’m not just for children Billy. I came because you need me.” Santa shook a mittened hand in Billy’s direction.
“I don’t need anything”, Billy replied in defiance. “I’ve got everything I need.” Billy shook his own hand back at Santa.
“No Christmas, potatoes galore, scratched up arms, and pine needles in your hair. I guess you do have everything.” Santa was good at stating the obvious.
Billy ran his fingers through his hair. It was true. There were still some pine needles clinging to his scalp. At least he could thank Santa for that.
“You see Billy, you really don’t have anything. Listening to me might just change that. When you have nothing to lose then you have everything to gain.” Santa sat down on the bed. “I heard that somewhere and it bears repeating.” Told you so, reader.
Billy couldn’t think of anything to say. Santa was right…on all accounts.
“You once needed me Billy and I used to come to you every year. You were always a delight when you were sleeping. Still are. I bet your parents would say that about you now. It’s the waking times that need a little polishing.”
“Thanks a lot Santa,” Billy snapped.
“It’s only the truth. Don’t blame the messenger,” Santa replied without buying into Billy’s anger. “Then you grew up. You thought you knew it all. You didn’t want anything. Or if you did, your parents gave it to you. I blame them for expelling me from your life. What do you need me for after they break the illusion? Still, you didn’t have to buy into it all and let it run your life.”
“I thought you said I needed you?” Billy asked. The sarcasm was creeping back in.
“You do. You did and then you didn’t and now you do.”
Billy looked confused.
“It’s like this”, Santa continued. “When you are little you need the magic and the wonder and I’m there for that. When you got older you didn’t need that anymore or maybe you didn’t want it. But boy do you need it now.” Santa was shaking his hand at Billy again. “You’ve lost something and it isn’t just this Christmas. You’ve lost all your Christmases. You gave them up. Thought you didn’t need them. There’s an emptiness in you that you can’t find a way to fill. No video game’s going to give you back that.”
Billy stared at Santa. He had cut Billy to the core; only because it was true. Santa was right. It wasn’t just this Christmas. Billy had walked away from all of that the first Christmas he didn’t get everything he wanted. The memory of not getting the Grim Reaper 4 video game came back to his mind. That was the morning he had built the robot. But that’s the other story.
Santa reached over to pat Billy on the arm. Billy thought about quickly pulling his arm away but he didn’t. Billy felt the touch. It was real. It was true. Everything Santa had said was true. There was truth in the words and Billy knew it. The truth was the one thing that Billy would never have thought to ask for but the one thing he needed most.
“Don’t think on it too much kid”, Santa went on. “I’ve given you a gift. It might not have been anything you wanted but sometimes it’s the things we need that are the best gifts received.”
Santa stood up and stood beside the bed for the moment looking into Billy’s eyes. He reached out to shut off the lamp. Just before he did he turned back to Billy and said “and that was a nice touch about the sugar cubes, milk, and creamer. Now go and find your own Christmas.” The light went out, the room grew colder, and Santa was gone.
Billy lay in the bed trembling for a long time. He wasn’t sure if it was the coldness of the room or what had just happened. He pulled up the blankets and hunkered down. He couldn’t be sure if what just happened really happened or if he’d been dreaming. Soon he slept again.
In the morning Billy woke to a strange sound. He didn’t recognize it right away. It was like bells in the distance and it stirred him. Church Bells? Christmas Bells? No, it was his phone. The chiming signified he had a message.
Billy snatched up his phone. It was working again. The service was back on. There were about a dozen texts from friends wondering where he was or what he got for Christmas or bragging about their own gifts. And there was a text from Mom and Dad:
Billy, there’s a gift for you at the house. We’ve disarmed the alarm and we’ve restored your phone service.
Merry Christmas.
Mom & Dad
Billy practically flew out of bed. It was Christmas and there was a gift. After dressing he ran down the stairs and called out to Grandma and Grandpa. They must have gone out or were sleeping in. He left his gift bag for them on the table. They’d find it.
Billy didn’t care that it was cold out or that it had snowed again. He was just glad he hadn’t been awoken by Grandpa hovering over him with a shovel. There was a spring back in Billy’s step and the walk home didn’t seem half as long as normal.
Billy tried his key in the lock. It opened. No alarm went off to spoil it all. But there was something. Billy smelled bacon. And there was music. Okay, it was Christmas music but he’d take that over alarms ringing. And then Logan was there jumping up at him. And Mom. And Dad.
“What?” Billy started. But it stuck in his throat.
“Merry Christmas son.” Dad was at his side pulling off Billy’s toque.
“Stamp that snow off your boots,” Mom said appearing in the hall with Grandma and Grandpa.
“Merry Christmas boy,” Grandpa said. “More snow hunh? Still, it doesn’t beat what they got in Buffalo a few years ago.”
“I know, seven feet of snow in Buffalo,” Billy replied. Billy found himself chuckling at what he said.
“You’re just in time for breakfast,” Grandma said. “Bacon and eggs and toast and waffles if you want them.”
“What, no hash browns or home-fried potatoes?” Billy asked. Billy gave off with another laugh.
“Thought you’d had your fill of potatoes?” Grandma replied.
But there were potatoes. Mashed potatoes with dinner. And turkey, And stuffing. And gravy. And just about everything that makes Christmas dinner Christmas dinner. And pie for desert. Mom’s apple and Grandma’s pumpkin. He hadn’t missed them.
Before dinner but after breakfast, there were presents. Billy hadn’t expected anything so no matter what he got, he thoroughly welcomed the presents. There was even the Grim Reaper 4 video game. Dad had found it in a retro game shop. Billy put it away. He didn’t need it right now.
In the afternoon he beat Grandpa two straight games of Cribbage. He loaded the dishwasher. He even walked Logan.
That night, Billy lay in bed and thought back on the day. He hadn’t even asked his parents what it had all been about. Had they been there the whole time? Should he have tried his key that day after school? He didn’t care. He had lost something and now he had got it back. He had found his Christmas.
Billy didn’t really know if Santa Claus had really come to him. It might have been too many potatoes or too many movies with Christmas spirts or angels. He couldn’t be sure.
“Merry Christmas room.” Billy waited for a reply. There was none and that was okay. Still, he wish he knew for sure.
The next year he took no chances and he hung up his stocking and left out cookies and milk. Logan ate them all.
The End.
70. The Passing Of George Arthur Henderson. Hard Pass. I don’t want to talk about it. Here’s a picture of my Father in the years before he died, I’ll just remember his life.
71. Me And My Grief. I still don’t want to talk about it. It took me over a month to write another blahg and two months before I processed my grief by writing a poem about it.
when my father died
when my father died
sorrow eluded me
the anger at an unexpected
yet accepted passing
two day decline
to death
shadowed
by the chaos
of this life
and to do
forcing the stack
higher
pushed to the side
hoping for each thing
to be swallowed
as natural compost
when my father died
there were no services
no prolonged goodbye
no chance at words
an anagram perhaps
of a life summed up
rearranged to a sign post
that way onward for him
or this way for the living
when my father died
I carried on
tackled some things
tossed others to the tower
tried facing forwards
sometimes a sideways glance
to the pile
checking that it was still there
all the things that still bound me
to my father
weeks passed
after he passed
and the pile shifted
fell
trapping me beneath
grief appearing
finally
again unexpected
yet accepted
all consuming
a sad song
purposefully on repeat
all things
that were just things
collapsing over me
grief and I became close
buried together
hating and fighting
biting and scratching
hating mostly
everything and everyone
selfishness and pain
my true friends
nothing else
then someone sat with me
learned of
his death
my struggles
heard the spewing
took it all in
listened
to the stories
and all the grief
given out
in gasping breaths
until it had been shared
and the rubble was just
rubble
flotsam
easier to pick through
sort into importance
or not
when my father died
I had no time
no
made no time
to break
to grieve
to fashion truths
into a grave marker
or a trail marker
when my father died
I accepted
what needed to be done
the list
at once unsurmountable
but somehow
manageable
until that last thing done
releases him from me
and all I have
is memories
and my grief
that guides me
from here to there
this place to that place
where he has gone
and sends his beacon
72. P.M.R. Polymyalgia Rheumatica. Look it up. It’s nasty at any age. I was on Prednisone for two years before weaning off at the end of June this year. I took the initials and made puns. If I had to sum it up, I’d say the Pain’s Mostly Receded but I’m always afraid it Possibly Might Return. If it does call for me again I’ll go into hiding and Post My Regrets. P.M.R. sucks. ‘Nuff said.
73. Emily’s Wedding. A Hell Of A Tether. I was floundering around with my grief and my pain and had forgotten that Emily was getting married. I managed, with the Prednisone, to get my pain under control and with the help of a Grief Counselor I addressed my grief. She suggested I find something to tether myself to and the goal of walking Emily down the aisle became that tether. If you want to see/hear a funny and moving speech from a Father who wrote nothing down, then check this out:
74. Polymyalgia Redux And More Polly Tics. Enough about the Polymyalgia and how it came back in the fall of 2019 with a vengeance. The other part of that blahg was dedicated to the fall 2019 Federal election. Now we’re going to have yet another Federal election next month. Andrew Scheer of the Conservatives is gone but Erin O’toole is leading that party now. I don’t trust him. The Liberals under Justin Trudeau are going to try to change their minority to a majority. Is it the right time to hold an election? There is still that pandemic and some people don’t want to go to the polls. Politicians Might Rally and some Politicians Might Reel. We’ll soon find out.
75. Who I Am. That’s a good question and a good place to leave off with Part 1 of This Is 100. Who I Am isn’t really a question but rather a declaration. I’m a son, a husband, a Father, a Father-In Law, a friend, a writer, a pain sufferer, a griever, a music fan, and a hundred or thousand or million other things rolled into this old body. I tried to encapsulate everything in that one blahg. I think I fell short. I also posted a 2000 video by the singer Jessica Andrews with the title “Who I AM”.
Who I am is defined and undefined. The truth is, however, like this blahg, “This Is 100”, I am a work in progress. Stay tuned.
Recently I had to do a computer repair for my friend Bryan and it got me thinking about a blahg I wrote in 2012 when I had to do my own computer repair and was given some bad advice from a computer salesperson. Needless to say, I didn’t take the salesperson’s advice and figured out for myself the repair, which he said couldn’t be done, and I was successful and got a blahg out of it. The original blahg was ADVICE FOR THE NEXT 50: THINK FOR YOURSELF. It was a blahg not only about the computer repair but celebrating the fact that I had turned 50 and that I could still think for myself with positive results. Next month, I will turn 59 and I’m still thinking for myself but my body has other ideas of it’s own when it comes to pain and arthritis. Too early to write about that stuff here.
Before I get too far off topic, or into the topic, let me talk about the repair I did on Bryan’s laptop. First, his laptop is a brick. It’s a few years old and large and heavy and running Windows 10. After a recent Windows update it would no longer load into Windows. Bryan just kept getting the spinning blue wheel of death. I know, I know, the image to the left is not a spinning blue wheel but it belongs to death so who am I to argue. Bryan got the spinning blue wheel of death and his laptop would no longer load into Windows. He asked for my help. In the past, when he had the same error he was able to fix it himself so I knew that this time would be a bit of a challenge.
I took his laptop home and tried to load it up but I too got the spinning blue wheel. I left it alone and eventually an error message similar to the one below was displayed:
That gave me a reference point to try and begin to fix the problem. By the way, clicking OK or CANCEL did nothing and the same error eventually came up again. Searching for different answers suggested trying to do a System Repair or a System Restore. Of course if you can’t load into Windows then how do you get to these options. There is another way.
What Windows doesn’t tell you is that getting into these extra options or even a Safe Mode of Windows is not like it used to be. I remember with Windows XP and I believe Windows 7 all you needed to do was tap F4, F8, or some Fn’ key (get the play on words) and you would get some other options to boot your computer. Pressing any of those keys didn’t help. What I found was you had to power on the laptop then turn it off once it started to load into Windows. Do this two times and on the third reboot, the Advanced Options loads. Choose “Troubleshoot” then “Reset This PC” if you want to Reset PC without repairing or choose “Advanced Options” after “Troubleshoot” to get to “System Restore” or “Startup Repair”. Unfortunately neither “System Restore” or “Startup Repair” worked for me.
It was at this point that some websites were suggesting getting into Safe Mode to try some other options. So getting into Safe Mode is another set of instructions I had to research. So, when you get into “Advanced Options” you have to choose “Startup Settings”, Windows 10 then will say that you can restart your device to change advanced boot options, including enable Safe Mode. Press Restart. After Windows 10 restarts one more time, you get a screen that lets you choose boot options. Select 4 or F4 to start in Safe Mode. Once I had Safe Mode, I was able to look at all of the options that other websites were suggesting.
The LogonUI.exe error message was very specific and some technical support sites were suggesting that I could rename the LogonUI.exe file to LogonUI.old and then copy a fresh version from a different directory and paste it into the Windows/System folder. You can research that for yourself but I’ll tell you right away that you can’t do any of that from Safe Mode. The suggestions tell you to enter Command Prompt in Safe Mode but these system files such as LogonUI.exe are protected. I couldn’t even run a “chkdsk” (this is actually CheckDisk that verifies the logical integrity of the file system) because it too won’t run in Safe Mode.
In my previous blahg, ADVICE FOR THE NEXT 50: THINK FOR YOURSELF, I talked about a disk called a Hirens Boot CD. It allows you to run a mini-version of Windows XP from the disk. I still had that Hirens CD from 2012 and I was able to boot into the mini version of Windows XP and rename the LogonUI.exe and copy a fresh version over from a different folder and put it in the Windows/System folder. Unfornately that didn’t change a thing. I still would get the LogonUI.exe error when I tried to boot into Windows 10. I even tried “chkdsk” while in the mini version of XP but that wouldn’t work either. It was at this point that I put the laptop away for the night.
I thought about the problem the next day and all of the suggestions I had tried and that failed. I had emailed Bryan and he told me not to bother further and he was just going to remove everything and reinstall Windows 10 fresh. I didn’t want to give up that easily. It meant that I had to accept defeat and, like 2012, I wasn’t prepared to throw in the towel. It was a battle of wits against the computer with the computer taunting me and me wondering what it would take to get this computer working properly again.
The solution to the problem was easier than I thought. I had eliminated all of the things that didn’t work and it was a matter of finding a method that would work. I was sure that running “chkdsk” was the answer because usually “chkdsk” would find errors and repair them. The problem was finding a way to get “chkdsk” to run in Safe Mode. The quick answer is you can’t do that. The error I was getting when trying to run “chkdsk” in Safe Mode was:
“A function call was made when the object was in an incorrect state for that function. A snapshot error occurred while scanning this drive. Run an offline fix.”
Before you begin reading all the posts on that Forum, let me just draw your attention to a post by a user by the name of “Jason Dale” dated July 2, 2017. His reply was almost four years after the Forum was created with the problem of trying to run “chkdsk” in Safe Mode. Here’s what he posted:
The /scan option might not be available in safe mode. Use chkdsk /f c: if a virtual disk (VM) or chkdsk /r c: if physical (if you don’t know, it’s probably physical). /r implies /f – /f fixes file system issues, /r repairs sectors.
I know this is 4 years old but all these BS answers are frustrating.
Focus on the direction to go into a Command Prompt in Safe Mode and type “chkdsk /f c:” (without the quotes). The problem is that your system is using C:, and “chkdsk” can’t repair things that are in use. You will get a message that looks like this:
Answer Y for Yes and then reboot your system. CHKDSK will run before Windows starts so it can repair the drive before Windows starts using it. That’s what I did. Bryan’s laptop restarted and started to run “chkdsk”. It was going to take some time so I walked away and watched television for an hour. When I walked past the laptop, I tapped a key to wake it up and was very surprised to find that it had booted into regular Windows 10. I shut it down and restarted it and it booted into Windows 10 again. Success!
So what did I learn from this? First, never give up, never surrender. That’s a reference to a line from the movie “Galaxy Quest” in case you were wondering. Second, stop overthinking. All of the suggestions I tried were other people’s suggestions and were sending me down the wrong rabbit hole. Third, think for yourself. When I started thinking about “chkdsk” and believing it was the key then all I had to do was find the way to run it. Then user “Jason Dale” may have offered me the right solution but I was the one who found it after placing my faith in the notion that there had to be a way run “chkdsk” outside of Safe Mode. Think For Yourself. I said 9 years ago and it’s still working for me today.
When I went back and re-read ADVICE FOR THE NEXT 50: THINK FOR YOURSELF, I discovered something else that I was recommending in that blahg besides thinking for yourself. I talked about a singer I had discovered by watching the television series ‘Stargate Universe.’ I wrote that “one of the great talents I have discovered from watching Stargate Universe is the singer, Deb Talan. In one episode, they used Deb Talan’s song ‘Comfort’… If you research Deb Talan you will learn she is a member of the group “The Weepies”. I didn’t know that and I don’t know who they are but I’ve listened to a few of their tracks and I enjoy them… As always, if you like a singer, especially an independent artist who doesn’t get the airtime like some of those others who should go back to street singing, in my humble opinion, then go out and buy their CDs or attend their concerts…I don’t know if she’s going to come to Canada anytime soon but if she does, you can bet I’ll be there.” Nine years later and I’m still listening to Deb Talan and I’m still listening to The Weepies. In that time, they have released the album “Sirens” and Deb released her solo CD “Lucky Girl.” They’ve also performed in Toronto twice and you can bet I was there.
On the album “Sirens” The Weepies did a cover of Tom Petty’s “Learnin’ To Fly.” I was skeptical when I heard they were doing a version but I think it works for them, the way they did it. Check it out:
It’s funny that Deb Talan would revisit the flying motif on her album “Lucky Girl.” Give a listen to “Losing My Fear Of Flying”:
I could go on an on about Deb Talan, Steven Tannen, and The Weepies but you need to think for yourself and see if they’re for you. Here’s another track to try and convince you. This is their cover of Bruce Springsteen’s “Back Streets” from the CD “Born To Uke.” This time Steve’s taking lead vocal:
The Weepies only did the one song for “Born To Uke” but if you like it, maybe you’ll like the entire CD. Check it out…or don’t. Think For Yourself. Never stop.
What do you write a blahg about when you’re not sure what to write about? Does that make sense? Here it is the first full week of July, 2021, in a heat-wave and I need a brain-wave. I’ve done the inspirational recently and looked at the world situation until I’m tired of looking at it. I got my second vaccine last week, Moderna, and had no reaction. So that story is put to bed. By the way, get a vaccine. So what do I want to talk about? Well you know me, it’s all about the music.
This blahg is going to be another of those, “gee, I haven’t even heard of them” blahgs. At the end of April I published “SOME FORGOTTEN BANDS…WITH A NOD TO LINDA KEENE” and brought to life some information and songs by some long lost bands. This time I thought I would look at some of the lost singers from around the big band era. Recently I was cleaning out an email folder and there was this email that I had sent myself with the subject “Kay Foster.” I don’t know when I sent it to myself or even why. That was probably the inspiration for this blahg so I’m going to start with her. This is her obituary from The Washington Post on April 20th, 2002:
Katherine Peterson
Big Band Singer
Katherine Peterson, 84, who as Kay Foster sang in the 1930s and 1940s with the big bands of Artie Shaw, Tony Pastor, Les Brown and Benny Goodman, died April 14 at her home in Madison Heights, Mich., after a heart attack.
Mrs. Peterson, a soprano, was married to Chuck Peterson, a trumpet player in bands led by Shaw, Pastor, Tommy Dorsey, Woody Herman and Benny Carter.
She made headlines in 1937 when Bruno of Hollywood, the photographer, told reporters Mrs. Peterson had “the best-looking legs of any girl band vocalist in America.”
If you look at Kay Foster’s Discogs entry, you get this:
I know this isn’t complete by any means because I found the following song, “It Never Entered My Mind” that Kay Foster did with Tony Pastor in 1940.
I wasn’t able to find a location to stream “Louisiana Purchase” or “On A Simmery Summery Day” which Kay Foster also recorded with Tony Pastor. Moving on to her recordings with Georgie Auld and staying with 1940, I was able to find “Angel”:
Here we’ll have to rely on a YouTube Audio Video:
The flip-side of “Angel” was “I Want My Mama”:
Here’s another one that Kay Foster also recorded with Georgie Auld, “Imagination”:
If you check the limited discography for Kay Foster from Discogs, listed above, “Imagination” is listed with the notation following “and 4 more.” As far as I can tell, the “4 more” were “With The Wind And The Rain In Your Hair” and “Shake Down The Stars.” In this case, the “4 more” also included “Angel” and “I Want My Mama.” So here are the two I haven’t covered from the “4 more”, “With The Wind And Rain In Your Hair” and “Shake Down The Stars”:
Apparently in 1943, Kay Foster was appearing with Jan Garber and His Orchestra because I found two songs she performed on the Treasury Star Parade radio program in 1943. They are both on YouTube and they are “May In Mexico” and “I Don’t Want Anybody At All”:
There isn’t much else I could find on Kay Foster and I couldn’t find a picture of Kay Foster showing off her famous legs. From her heyday, however, here’s a nice clipping of her from July of 1940 when she was appearing in Cleveland, Ohio:
Moving on to another forgotten songstress, next up is Ruth McCullough. Again, we find another obituary from the Washington Post but this time it’s June 18, 2001:
Ruth McCullough Dyer, 80
Ruth McCullough Dyer, 80, a Washington and former Hyattsville resident who under the name Ruth McCullough had been a singer with big bands in the 1940s, died of congestive heart failure June 15 at a hospital in San Diego. She had lived in San Diego since leaving the Washington area in 1995.
Mrs. Dyer, a graduate of Eastern High School and the Washington School for Secretaries, began singing professionally as a teenager. After singing with such local groups as the Rod Raffell band in the 1930s, she went to New York. There, she performed with the Sonny Dunham and Isham Jones bands as well as the Mitchellaires before joining the Tony Pastor Band.
Pastor, himself a novelty singer whose work often highlighted his Italian heritage, led a band until 1959. In the early and mid-1940s, Mrs. Dyer was a leading singer with the band, recording such hits as “Bell Bottom Trousers.” Other songs she recorded with the band included “I’m Beginning to See the Light” and “Walk a Little, Talk a Little.” Another song the band recorded featured Mrs. Dyer and her husband, Richard Dyer, on vocals. He was a singer and trumpet player with the band.
In addition to singing with the Pastor Band, Mrs. Dyer also had opened for her friends the Andrews Sisters on some of their singing engagements. When Mrs. Dyer left the Pastor Band in 1946 to raise a family, she was replaced by two Ohio sisters, Betty and Rosemary Clooney.
Mrs. Dyer was a member of St. Mark’s Catholic Church in Hyattsville.
Her husband, whom she married in 1944, died in 1989.
Survivors include two sons, James and Steven Dyer, both of San Diego; a daughter, Joan Marks of Spotsylvania, Va.; and four grandchildren.
Note that the obituary mentions Ruth McCullough was another singer who had recorded with Tony Pastor. The main song they mention is “Bell Bottom Trousers”:
“Bell Bottom Trousers” is the only entry that Discogs has for Ruth McCullough despite her obituary mentioning other recordings with Tony Pastor. The obituary does mention that Ruth McCullough recorded “I’m Beginning To See The Light” with Pastor but I could only find a live version that appeared on an album of live songs released on the Onwards To Yesterday Label. The album is “Tony Pastor And His Orchestra – (1945-49) Selections Never Before On Record”:
From that album comes “I’m Beginning To See The Light” with an air date of March 13, 1945:
Keeping with Tony Pastor, I found another recording of Ruth McCullough on “Walk A Little, Talk A Little”:
In 1944 Ruth McCullough was performing with Sonny Dunham and his Orchestra. I do not believe they made any recordings together but there exists a recording of a radio performance that Ruth did with Sonny Dunham from the Hollywood Palladium on August 17th, 1944. The song is “I Lost My Sugar In Salt Lake City” and appears on the album “One Night Stand With Sonny Dunham.” The majority of the album is devoted to Sonny Dunham’s appearance at the Hotel New Yorker on July 16th, 1945 but the last three tracks on the second side of the album are from the Palladium date. Here’s Ruth McCullough singing “I Lost My Sugar In Salt Lake City”. Pay particular attention to that song title because it will surface again in this blahg.
I found another listing for the song “Shoo-Shoo Baby” which Ruth McCullough performed with Mitchell Ayres and His Fashions in Music. I don’t know the date of this performance, although it appears to be from a live radio show, and I could only find one release containing that version. It is a CD put out by the Collector’s Choice label appropriate titled “Spotlighting Mitchell Ayres and His Fashions In Music”:
The song can be heard on YouTube:
I could find no other songs related to Ruth McCullough but found this lovely picture of her when she was appearing with Tony Pastor in 1945:
I mentioned earlier in this blahg that Kay Foster recorded a song called “On A Simmery Summery Day” with Tony Pastor. I couldn’t find that recording but in my research I turned up a version sung by Sally Richards, the next artist to be featured in this blahg. Before we get into any information about Sally, here’s her recording of “On A Simmery Summery Day” with Tommy Reynolds and His Orchestra from 1940:
Sally Richards recorded a number of sides with Tommy Reynolds and His Orchestra. Below is what I could piece together as a discography of the tunes Richards and Reynolds recorded together. In this discography, vSR represents a vocal by Sally Richards.
From this discography we can see that Richards performed vocal on 13 songs during her time with Tommy Reynolds. From her first session, February 28th, 1940, here is “Whispering Grass”:
From her second session with Reynolds on April 17th, 1940, I’ll offer up “Sierra Sue” and “I Can’t Love You Any More”:
From the May 14th, 1940 session that brought “On A Simmery Summery Day” comes “I Love To Watch The Moonlight” followed by a YouTube Audio/Video of “The Sailor With The Navy Blue Eyes” from June 10th, 1940:
From her final session with the Tommy Reynolds Orchestra are her last two recordings. The first is a YouTube Audio/Video of “Stop Pretending” followed by the audio for “I’ll Tell It To The Breeze”
So, who was Sally Richards? Where did she come from? What happened to her? I can find very little information about her. Here’s a quote from a website entry on Tommy Reynolds and His Orchestra: “Sally Richards had taken over as the band’s female vocalist, and Gene Sanders was hired as male singer that June; they were replaced by Mary Ann McCall and Ralph Young, respectively, no later than September.” I found references to her up in Boston in 1946 appearing at a couple of nightclubs but nothing substantive. I couldn’t find an obituary nor any photos when she was with Tommy Reynolds. There was a Sally Richards making the rounds in 1934 and 1935 as a blues singer. Check out the advertisement to the left from February 12th, 1934 in Saint Cloud, Minnesota. Sally Richards, Blues Singer, was on the bill at the Breen Hotel Winter Gardens. If anyone knows anything else about Sally Richards, let me know. For now, we’ll have to leave off with Sally.
Dorothy Claire, my next entry, had more recognition than our previous songbirds. She even has a Wikpedia entry, although very limited:
Dorothy Claire (born Marietta Wright, January 5, 1925) is an American former singer on Broadway and with big bands.
Early years
The daughter of Mr. and Mrs. Nelson Wright, Claire was born in La Porte, Indiana. At age 4, she began singing, joining her sisters to form a trio that performed at parties and on WSBT radio in South Bend, Indiana. She later attended La Porte High School, where she was a cheerleader.[1] Career
Orchestra leader Ayars Lamar hired Claire as a singer when she was 16, changing her name from Marietta Wright to Dorothy Claire. Two of her sisters later adopted that last name for their own professional work. She debuted professionally when she appeared with Lamar’s orchestra in Indianapolis at the Indiana Roof. She went on to sing for notable band leaders including Glenn Miller, Tommy Dorsey, Sonny Dunham, and Bob Crosby. Her rendition of “Perfidia” with Miller’s orchestra sold more than 1 million records.
Breaking away from orchestras, Claire began singing in night clubs in Chicago, including Chez Paree and The Palmer House, then performed at the Copacabana in New York. She sang on Bing Crosby’s radio program and on Don McNeill’s Breakfast Club. She also had her own program on radio station WJZ in New York City and toured in vaudeville. Her work on television included appearances with Jack Carter and Paul Winchell.
On Broadway, Claire performed in Face the Music (1932), Finian’s Rainbow (1947) and Jimmy (1969).
Further research on the Bandchirps.com website added the following:
As the 1950s rolled around, Claire began billing herself as both a singer and a comedienne. She played heavily on the nightclub circuit and in 1950 also began appearing regularly on television’s The Paul Winchell Show. She made guest appearances on many other television programs as well. She continued performing into the 1970s, mainly in nightclubs, also appearing in two films, as a singing prostitute in Cat Ballou (1965) and in the low budget 1970 Lenny Bruce biopic Dirtymouth. Dorothy Claire passed away in 1982, age 62.
On another site there was information from a cousin who added “Dorothy moved back to LaPorte in the late 1970s and opened her own restaurant, “Dorothy Claire’s Place.” She passed away in the mid 1980s. ‘She was a great lady.’ “ The following is a discography that I found at https://adp.library.ucsb.edu/index.php/mastertalent/detail/308658/Claire_Dorothy:
Recordings
Company
First Recording Date
Title
Primary Performer
Description
Role
Victor
2/19/1941
A little old church in England
Dorothy Claire ; Ray Eberle ; Glenn Miller Orchestra ; Modernaires
Jazz/dance band, with female-male vocal duet and male vocal quartet
vocalist
Victor
2/19/1941
Perfidia
Dorothy Claire ; Glenn Miller Orchestra ; Modernaires
Jazz/dance band, with female vocal solo and male vocal quartet
vocalist
Victor
2/20/1941
The air minded executive
Tex Beneke ; Dorothy Claire ; Glenn Miller Orchestra
Jazz/dance band, with female-male vocal duet
vocalist
Decca
12/14/1939
Two little doodle bugs
Bobby Byrne Orchestra
vocalist
Decca
12/14/1939
How many times?
Bobby Byrne Orchestra
vocalist
Decca
2/14/1940
Easy does it
Bobby Byrne Orchestra
vocalist
Decca
2/14/1940
Busy as a bee
Bobby Byrne Orchestra
vocalist
Decca
4/2/1940
‘Deed I do
Bobby Byrne Orchestra
vocalist
Decca
4/2/1940
If I could be the dummy on your knee
Bobby Byrne Orchestra
vocalist
Decca
4/2/1940
Slow freight
Bobby Byrne Orchestra
vocalist
Decca
6/24/1940
Can’t get Indiana off my mind
Bobby Byrne Orchestra
vocalist
Decca
6/24/1940
Stop pretending
Bobby Byrne Orchestra
vocalist
Decca
7/19/1940
That’s for me
Bobby Byrne Orchestra
vocalist
Decca
9/4/1940
Take care (of you for me)
Bobby Byrne Orchestra
vocalist
Decca
4/29/1941
Nighty night
Bobby Byrne Orchestra
vocalist
Decca
4/29/1941
I found a million-dollar baby
Bobby Byrne Orchestra
vocalist
Decca
6/18/1941
You started something
Bobby Byrne Orchestra
vocalist
Decca
6/18/1941
Down, down, down
Bobby Byrne Orchestra
vocalist
Decca
7/18/1941
It’s you again
Bobby Byrne Orchestra
vocalist
The earliest entry in the discography is from December 14th, 1939 with the Bobby Byrne Orchestra when she recorded “Two Little Doodle Bugs” and “How Many Times.” Here they are:
Dorothy Claire continued to record with Bobby Byrne and His Orchestra in 1940 and 1941. I want to offer up some well known songs performed by Dorothy Claire. Here are ” ‘Deed I Do” and another version of “Stop Pretending” from YouTube which you can compare to the one I posted above recorded by Sally Richards.
Here are a couple of her 1941 recordings with Bobby Byrne. From April 29th, 1941 we have “I Found A Million Dollar Baby”, on which she duets with Stuart Wade, and her last recording with Byrne from July 18, 1941, “It’s You Again.”
Dorothy Claire’s obituary information mentions her time with Glenn Miller but the discography only details three recordings, “A Little Old Church In England,” “The Air Minded Executive,” and her million copy selling rendition of “Perfidia.” Here are the three recordings she did with Glenn Miller and his Orchestra.
There exists a radio recording of Dorothy Claire’s first live appearance with Glenn Miller and His Orchestra on January 11, 1941 from the Cafe Rouge of the Hotel Pennsylvania in midtown Manhattan. In it, Dorothy Claire performs “Swingin’ at the Seance.” Here it is from YouTube:
I found the following photo of Dorothy Claire when she was a vocalist with Boyd Raeburn and his Orchestra. I believe that Dorothy was with Raeburn around 1944.
The only recording that I could find of Dorothy Claire with Boyd Raeburn and His Orchestra was a V-Disc she did with his outfit in 1944. Here’s a YouTube Audio/Video of the song “Who Started Love?” with Dorthy Claire and Boyd Raeburn as well as the flip-side featuring Harry James on “Crazy Rhythm.”
I could not find any other recordings of Dorothy Claire with Boyd Raeburn but I did find that she recorded at least 4 songs around 1947 with Emmett Carls and his Orchestra. Here are “Love Makes The World Go Round,” “The Coffee Song,” “Sooner Or Later,” and “Does Your Heart Beat For Me?”
Dorothy Claire also sang with Sonny Dunham’s band around 1943 and 1944 but the only recordings I could find were issued on a CD on the Circle label, shown at left. The two songs on the CD sung by Dorothy Claire are “Wo Ho” and “I Lost My Sugar In Salt Lake City.” “I Lost My Sugar In Salt Lake City” was presented earlier in this blahg as a live radio transcription of Ruth McCullough singing it with Sonny Dunham. The band is the same this time but the vocal is by Dorothy Claire. Luckily someone has uploaded these to YouTube:
The only information I could find about these two recordings of Dorothy Claire with Sonny Dunham comes from the back of the CD: “Originally recorded for Lang – Worth Transcription in New York City December 21, 1943.” This means that Dorothy Claire sang “I Lost My Sugar In Salt Lake City” with Sonny Dunham almost eight months before Ruth McCullough warbled it live with Dunham at the Hollywood Palladium in August of 1944. Other versions of “I Lost My Sugar In Salt Lake City” have been recorded by Julie London and Peggy Lee. Julie London’s version makes you wonder why this blues song has all but disappeared. Dorothy Claire’s version of “I Lost My Sugar In Salt Lake City” is a good note to end off her entry here and move on to another by picking up a thread inspired by the same song.
When I was researching the song “I Lost My Sugar In Salt Lake City,” I came across another version recorded by a singer by the name of “Frantic” Fay Thomas. Here again is another singer that seems to have been lost to time. Again, however, she is someone with a limited Wikipedia entry:
Fannie Crawford (September 14, 1922 – July 5, 1978), known as “Frantic” Fay Thomas, was an American pianist and vocalist. She recorded for Exclusive Records in the 1949.
As a teenager, her family moved to Detroit, Michigan. Her father Elijah Crawford and her brother Bayless Crawford were cooks. On March 12, 1940, she married George Thomas in Cleveland, Ohio.
Thomas began performing at Detroit’s Four Horsemen Club in 1940. She was discovered by Earl Carroll, who gave her the stage name “Frantic Fay.” Thomas was featured with Earl Carroll’s Vanities in the spring of 1944 and played eight months at Harry’s Show Bar in Detroit. She was managed by Delbridge & Gorrell. Thomas played piano by ear. Billboard magazine described her style as “individual, with a jive touch,” adding that “she is at her very best in an interpretation of the deep blues.” Through the 1940s, she had appearances at hotels and bars around the country.
In 1949, Thomas recorded four songs for Leon René’s Exclusive Records in Los Angeles: “I’m In Town,” “Waga-Waga,” “I Don’t Want Your Money, Honey,” and “Lover Man.” Her first single “Waga-Waga” / “I Don’t Want Your Money, Honey,” was released in June 1949. Reviewing the single, Billboard wrote: “New thrush-88er packs a dynamite live style with something of Rose Murphy and Nellie Lutcher and plenty of her own. Her piano work is of pro caliber, too. The record “I Don’t Want Your Money, Honey” was Cash Box magazine’s Race Disk O’ The Week. They noted that track was a “surefire clickeroo if ever there was one. Jut listen to this gal skim thru the 88’s and gurgle, chuckle, giggle and sing, and make more sounds than you’ve heard in a month of Sundays.” The single did well in local markets, but it did not chart nationally. Her second single, “I’m In Town” / “Lover Man,” was released in September 1949. Later that year, Thomas had another session with Exclusive and recorded four more songs. The single “Thinking Of You” / “I Lost My Sugar In Salt Lake City” was released in December. That month, Exclusive declared bankruptcy and ceased operations in January 1950. Thomas never released another record.
In the 1950s, Thomas performed gigs around California. She married Lonnie I. Riggs in 1954. By the 1960s, Thomas had relocated back to Detroit; she performed around the Midwest. She died in Detroit on July 5, 1978. Years after her death, Thomas’ songs were featured in the soundtracks of a few movies. “I’m In Town” was used in the films Men Of Honor (2000), Lonely Hearts (2006), and Trumbo (2015). One of her unreleased Exclusive tracks, “I Only Want You” was used in the films Lovelife (1997) and Second Skin (2000).
The author of the website, http://www.uncamarvy.com/FranticFayThomas/franticfaythomas.html, Marv Goldman, supplies a little more information about Fay Thomas but even admits there isn’t much out there to draw on. So, I’m going to focus on the music. Her Wikipedia entry states that in 1949, “Thomas recorded four songs for Leon René’s Exclusive Records in Los Angeles: “I’m In Town,” “Waga-Waga,” “I Don’t Want Your Money, Honey,” and “Lover Man.” Here are three of those songs:
Unfortunately I could not find a source from which to stream “Lover Man.” Her later 1940 session at Exclusive Records produced “Thinking of You” and the aforementioned “I Lost My Sugar in Salt Lake City.” Here are those two songs:
The Wikipedia entry for Fay Thomas also mentioned that “one of her unreleased Exclusive tracks, “I Only Want You” was used in the films Lovelife (1997) and Second Skin (2000).” Here is Faye Thomas’ rendition of “I Only Want You”:
There isn’t much else to say about Fay Thomas. Even Marv Goldman from his website ends with these words:
“I like Fay Thomas’s music; I wish she’d made more recordings (and I really wish she weren’t so difficult to research). There were relatively few documented appearances and sometimes huge amounts of time elapsed between them. (This is really strange because she never seemed to have gotten a negative review.) She must have been working somewhere, else how could she support herself? Frantic Fay Thomas: a true enigma.”
I guess I can’t add anything more.
Getting back to the female big band vocalists, I want to first offer up the following video. It is a Soundie that was filmed August 2nd, 1943:
The band in this short is Johnny Long and His Orchestra and the girl singer is Helen Young. She will be my final entry in this blahg. Here’s a nice photo of Helen Young when she was associated with Johnny Long:
The earliest listing here are for two sides she did with Ted Hanson and His Normandie Orchestra in 1934. Here are those two songs, “I Met My Waterloo” and “My Old Flame”:
It was difficult to find any biographical information on Helen Young. I had to start by searching old newspapers and I found an article from the Patriot Ledger, Quincy, Massachusetts, from December 4th, 1935 that provides some good information on the then young singer
Working ahead, I found the following information from the April 10, 1943 issue of Billboard:
DAVIES- YOUNG -Cpl. Ogden Davies, former member of Johnny Long’s ork, to Helen Young, vocalist with the same band, last year in New York, it was revealed last week.
Having now established that she was married to Ogden Davies, I was able to track down Helen Young’s obituary:
I found that obituary in the September 19, 1966 issue of “Broadcasting – The Business Weekly of Television and Radio.” Searching a little more, I found a full obituary published in the September 8th, 1966 edition of The Morning Call from Allentown, Pennsylvania:
It is sad that she died so young. Her longer obituary mentions her singing with the Raymond Scott Orchestra but I could not find any recordings that she did with that band. Raymond Scott did have a radio program in the fall of 1943 and I found reference to four shows where Helen sang the following songs: “In my arms,” “You’re Either Too Young or Too Old,” “Thank Your Lucky Stars,” and “Put Your arms Around Me.” Unfortunately I could not find anywhere to stream these programs.
Helen Young’s longest association with any band was with Johnny Long’s Orchestra from 1937 to 1942. The video I posted earlier in this blahg of Helen Young with Johnny Long’s Orchestra performing “My Girl Loves A Sailor” is only one of a few videos on YouTube attributed to Young and Long. Here’s another entitled “Daddy”:
This next video is audio only, another Soundie, this time from October of 1943, with Helen Young and Bob Huston singing “Let’s Get Away From It All” with Johnny Long and his Orchestra:
According to “The Soundies Book – A Revised and Expanded Guide to the ‘Music Videos’ of the 1940s” by Scott MacGillivray and Ted Okuda, Helen Young appeared in other Soundies with Johnny Long including “Johnny Peddler” March 1941, “Swingin’ at the Seance” from May of 1941 (yes, the same song that Dorothy Claire performed live with Glenn Miller in January of 1941), as well as the aforementioned “Let’s Get Away From It All” and “My Girl Loves A Sailor.” I could not find a place to stream “Johnny Peddler”or “Swingin’ at the Seance.”
The remainder of the selections I will offer up now are from Helen Young’s recording years with Johnny Long. From her first session with Long in 1940, here are “Stars Over The Campus” and “Swing Me Bach”:
From May of 1941 come two selections, “Miss Johnson Phoned Again Today” and “I Take To You”:
And finally two selections from July of 1942 before Helen Young left Johnny Long’s Orchestra. Here are “Constantly” and “Why Don’t You Fall In Love With Me?”:
Helen Young had a pleasant voice but if you look at the titles of her songs, they were mostly novelty tunes with hardly a standard among the songs she recorded with Johnny Long. There is one exception, her singing on the ballad song “I Give You My Word” of October of 1940 is beautiful. I just wish she had recorded more of these types of songs.
In case you’re wondering about the 1934 recordings that Helen Young did with Ted Hanson and His Normandie Orchestra, she would have had to have been 13 or 14 when she recorded those. Maybe she did or maybe it’s a different Helen Young. Take it all with a grain of salt.
I hope you enjoyed this blahg. I try to do my best to cobble together information from different sources to provide an enjoyable reading experience. I learned from my three blahgs on Linda Keene that there is information to be found if you dig for it. There’s also great music out there if you only look for it. Check out some of the other recordings of the great singers I’ve presented here. Time may have forgotten them but in this blahg, at least, I’ve heralded their return.
The inspiration for this blahg is two fold. I’ve been meaning to post a blahg about a certain jazz musician ever since my first blahg, THE BLAHG & THE MOST HAPPY SOUND. That was back in October of 2011. I mentioned in that first blahg the name of the artist and said a blahg dedicated to him was coming soon. I next referenced the band in a November 2013 blahg entitled ZOEY, FRANK, JUNE & ALL THAT JAZZ. I even promised in that blahg that I was going to dedicate a blahg very soon to the artist/band. The first inspiration for this blahg was when during this past week I pulled out some homemade CDs that someone sent me of the band many years ago and that got me thinking that I was overdue on dedicating a blahg to this artist/band.
The second inspiration is WHAT ON EARTH IS A SCOBEYFAN? which I derive from a recent video that was posted by my son on his Analog Resurgence YouTube page. I have mentioned my son, Noah, and his Analog Resurgence page in a previous blahg, 16 INCHES OF TROUBLE OR LIKE FATHER LIKE SON. Here’s what I had to say about him in that blahg:
So about now, you’re probably wondering about that alternate title to this blahg “Like Father, Like Son”. Well, recently my son Noah posted the first in his Youtube video series about Analog Resurgence. While I’m all about the old records and the technology to play them, Noah’s all about old cameras for filming and photography.
You can check out all of Noah’s videos at https://www.youtube.com/channel/UCL9A6v7YSOOVXwCpao6Bszg. He makes money by the number of views so check out all of his videos and don’t skip through the ads because he makes more money if people view the ads as well. He also has a Patreon account where you can support him and get links for exclusive content. That’s also available through the above YouTube link.
Getting back to the second inspiration for this blahg, specifically with the title, I was inspired by one of Noah’s most recent videos:
About 49 seconds in Noah shows a clip of a 16mm film he had purchased at a thrift store. The film is “What On Earth And In The Sea”. There were a number of “What On Earth” shorts produced in the early 1970s and I remember seeing a few over the years. There’s a website, What on Earth… (partially lost animated shorts that is dedicated to the What On Earth series. Here’s some information from that website:
What on Earth… was a series of approximately 60 animated vignettes featuring postage stamps from around the world. The shorts were produced for Canadian television by Crawley Films in around 1970 and originally aired on CBC between programs. In the late 1980s, the series was repurposed as filler content for Canadian channels YTV and TVOntario.[1]
Concept:
In each 2-minute vignette, a narrator (possibly Chris Wiggins, according to some recollections) would recount a historic event or read through a poem over a musical background. The shorts were illustrated with postage stamps from around the world.
The vignettes’ production was sponsored by the Canada Post Corporation.
Apparently there are not many of these to view online so I’ve asked my son to do some sort of scan of the film and post it to YouTube. I think there are many fans of these shorts out there. I took the inspiration for this blahg from What On Earth and tipped it at the end to match the subject of this blahg. Here is one of the What On Earth films:
Okay okay, enough about the inspiration What On Earth Is Scobeyfan? I guess to be truthful, a third inspiration is the fact that the word Scobeyfan is my username on a number of websites. I have used Sinatrafan in the past but as the Internet has grown, there are more people using that one and I think I’m the only one that uses Scobeyfan. Nobody has ever asked me what it means but it’s a tribute to the late great trumpeter Bob Scobey. I don’t want to fill this blahg up with a full biography because that’s available elsewhere, which I will speak to in a little bit. Here’s an excerpt from Bob Scobey’s Wikipedia page:
Robert Alexander Scobey Jr. (December 9, 1916 – June 12, 1963) was an American jazz musician. He was born in Tucumcari, New Mexico, and died in Montreal, Quebec, Canada.
He began his career playing in dance orchestras and nightclubs in the 1930s. In 1938, he worked as second trumpeter for Lu Watters in the Yerba Buena Jazz Band. By 1949, he was leading his own band under the name Bob Scobey’s Frisco Band. From 1950 the group continued to play a three-year residency at the Victor & Roxie’s, where their popularity grew. Clancy Hayes joined the band to sing, play banjo and had his own compositions such as “Huggin’ and a Chalkin'” recorded. The collaboration recorded over two hundred tracks until he left in 1959 to follow a solo career.
From 1954-57, African-American blues singer Lizzie Miles recorded and toured with the band.
In 1955, Scobey and his band played dates at San Quentin Prison and at the Rancho Grande in Lafayette, California—a sizable roadhouse with a dance floor. In 1957 he recorded for Verve Records and RCA Victor. An important and successful album for RCA was Bing with a Beat recorded with Bing Crosby in 1957. From early in 1956, he toured colleges and universities, and in 1958 he recorded many of the student favorites in New York, the album College Classics (RCA Victor LPM 1700).
In 1959 Scobey opened the Club Bourbon Street, Chicago.
Death:
Scobey died of cancer in 1963 in Montreal, Canada. His wife Jan produced a biography entitled “He Rambled!” and arranged for his band to form again and record some blues songs. She also saw to the reissuing of his albums.
I want to highlight two things from the Wikipedia entry, the album “Bing With A Beat” that Bob Scobey did with Bing Crosby and the biography “He Rambled!” written by his widow, Jan Scobey. The full title of the book is “He Rambled! ‘Til Cancer Cut Him Down.” It’s a beautiful hardcover book with a full discography, of LPs only, and chock full of great facts and photos. I’m not sure if you can still purchase this book. Jan Scobey once ran a mail-order Jazz company and I would receive catalogues like the one below from 2000:
I lost track or rather stopped communicating with Jan in the early 2000s but, at that time, she was still selling copies of the book. I’ll talk more about that later.
It’s an interesting but backwards story of how I became interested in Bob Scobey. I’ve always been a Bing Crosby fan as well and when I attended Trent University in Peterborough, Ontario in the early 1980s, I purchased a Bing LP at a local store called “Bing Crosby A Legendary Performer.” Below is a picture of the cover and some details from the inner sleeve:
If you click on the inner sleeve image you will get more details of the track listing. In case you can’t make it out, here are the tracks from both sides:
Side A:
Ol’ Man River Recorded January 11, 1928
Three Little Words Recorded August 26, 1930
It Must Be True Recorded October 29, 1930
Wrap Your Troubles In Dreams Recorded March 2, 1931
Just A Gigolo Recorded March 2, 1931
I’m through With Love Recorded September 2, 1931
Just One More Chance Recorded September 2, 1931
Side B:
Some Sunny Day Recorded February 19, 1957 in San Francisco with Bob Scobey’s Frisco Jazz Band
I’m Gonna Sit Right Down Recorded February 19, 1957 And Write Myself A Letter in San Francisco with Bob Scobey’s Frisco Jazz Band
Mack The Knife Recorded February 20, 1957 in San Francisco with Bob Scobey’s Frisco Jazz Band
Dream A Little Dream Of Me Recorded February 19, 1957 in San Francisco with Bob Scobey’s Frisco Jazz Band
Whispering Recorded February 20, 1957 in San Francisco with Bob Scobey’s Frisco Jazz Band
Down Among The Recorded February 20, 1957 Sheltering Palms in San Francisco with Bob Scobey’s Frisco Jazz Band
Now, I do like Bing’s earlier material but after hearing these tracks from 1957 with Bob Scobey’s Frisco Jazz Band, I was hooked. I found myself not just listening to Bing’s vocals by straining to just hear the band. Who was this band? I had never heard of Bob Scobey. This was 1982 or 1983 and there was no Internet (maybe the military had the Internet but they didn’t share it with me) so I couldn’t look up the band. I knew a guy that ran a local music store so I had him keep an eye out for a Bing Crosby album with Bob Scobey. I don’t think I even knew the title. Eventually the store owner located a copy of Bing With A Beat:
What a fantastic collaboration. It’s easily my favorite Bing Crosby album and definitely up there as one of my favourite Bob Scobey albums. Just give a listen to Bing and Bob on “Mack The Knife”:
It’s so difficult to offer up other tracks from this great album and totally neglect others. The whole album is an experience and I’m not doing justice by not referencing all of the songs. I decided I’d link to a YouTube video of the song “Whispering” because there’s a great interaction between Bing Crosby and Bob Scobey where Bing talks to Bob about his trumpet playing. Here’s a hint, search YouTube for Bing Crosby and Bob Scobey and you’ll find links to all of the songs on the album.
The rest of my story as it relates to discovering Bob Scobey is very vague after that. I might have acquired some of his other albums through my local record store but the details are a little fuzzy to me. Age will do that. With the advent of the Internet and Ebay, I’ve been able to acquire all of his albums and then some. I do remember somehow finding out that there was this great book about Bob Scobey, the one I referenced written by Jan Scobey, but I tried to borrow it from my local library to no avail. I was trying to use an inter-library loan where another library that has it lends it out to our local library who lends it to me. I was told that it was a new book and couldn’t be used for inter-library loan. I found that odd because the book was published in 1976. My library did provide information about the publisher so I contacted them and they forwarded my request on to Jan Scobey. Eventually, I would buy the book from her but not before I sent her a letter about my interest in Bob Scobey and she sent me back the following postcard in September of 1995:
As I have mentioned, Jan Scobey’s book is a wonderful resource on the life of Bob Scobey with a full discography of albums. Here are some cover shots of all of the albums associated with Bob Scobey. Click on any of them for a larger view.
Some of these albums have been issued on CD. The Good Time Jazz issues such as Scobey & Clancy (L-12009), Bob Scobey & His Frisco Band With Clancy Hayes (L-12006),
Scobey Story, Vol. 1 and Vol. 2 (12032 & 12033), and Direct From San Francisco (12023) have each received a CD issue. The Yerba Buena Jazz Band records are also available on CD as is the Bunk & Lu album and the three Jansco issues of Scobey and His Frisco Band! and the two volumes of The Great Bob Scobey. Scobey & Clancy Raid the Juke Box and Bing with a Beat are available on CD as is the Claire Austin album “When Your Lover Has Gone.” None of the other RCA releases or the three Verve albums have been reissued on CD. Of course the Sesac release and the Kraft album, Jelly ‘N Jam and Jazz are still only vinyl releases and the early tracks of Bob Scobey as Alexander’s Jazz Band have only been compiled on LP.
So, where does this blahg go from here? I was thinking about that and thought I would concentrate on the rarities. The CD issues are excellent albums and worth tracking down or many can be found on YouTube. I’m going to put up some tracks from the rare to find albums and some comments of my own. Before I do that, I want to offer up a couple of scans from the 2000 issue of Jan Scobey’s Hot Jazz that I previewed earlier in this blahg. These two pages reference Jan Scobey’s great book but give some historical context and insight into the legend of Bob Scobey. Make sure you click on both images for larger readable scans.
Here’s a collage of the handmade CDs that I’m going to use for some samples
Some of the earliest recordings on which Bob Scobey performed were with the Yerba Buena Jazz Band. Here’s the very minor Wikipedia entry on the Yerba Buena Jazz Band:
Lu Watters & the Yerba Buena Jazz Band is the name of the Traditional Jazz revival band founded by Lu Watters. Notable members include singer and banjoist Clancy Hayes (from 1938 to 1940); clarinetist Bob Helm; trumpeter Bob Scobey; trombonist Turk Murphy; tubist/bassist Dick Lammi; and Watters himself.
I wanted to include some of the tracks from the homemade CDs but the volume on the Yerba Buena tracks is very low. Instead, I’ll post here a couple of YouTube videos of early Yerba Buena Jazz Band. First up is “High Society” that the group recorded on March 29, 1942. The ensemble consisted of Lu Watters – Coronet, Bob Scobey – Trumpet, Turk Murphy – Trombone, Ellis Horne – Clarinet, Wally Rose – Piano, Clancy Hayes and Russ Bennett on Banjos, Squire Girsback – Tuba, Bill Dart – Drums.
Here’s another Yerba Buena track with Bill Dart on drums, Bob Helm on Clarinet, Lu Watters and Bob Scobey on trumpets, Dick Lammi on Bass Guitar, Harry Mordecai on Banjo, Turk Murphy on Trombone and Wally Rose on Piano. This time it’s “Pastime Rag No. 5”:
For a while Bob Scobey appeared as a member of Turk Murphy’s Bay City Stompers with Turk Murphy on trombone, Bob Scobey on trumpet, Bob Helm on clarinet, Burt Bales on piano, and Harry Mordecai on banjo. In December 1947 the band recorded four songs that were issued on a pair of 78s on the Jazz Man label. Eventually Good Time Jazz put the four songs out on an EP (at left). The songs were “Shake That Thing”, “Brother Lowdown”, “Yellow Dog Blues”, and “Kansas City Man Blues”. From the December 1947 session, here are “Shake That Thing” and “Kansas City Man Blues”:
“Shake That Thing”:
“Kansas City Man Blues”:
Bob Scobey would play again with Turk Murphy’s Jazz Band in 1950 and all sides were issued on the Good Time Jazz label as Turk Murphy’s San Francisco Jazz. The entire album has also been released on CD. In addition to Turk Murphy, Bob Scobey, and Burt Bales, they were joined by Bill Napier on clarinet, Bill Newman on Banjo, Stan Ward on Drums and Squire Girsh on bass. Here’s a YouTube sample of the 1950 band on “Irish Black Bottom”:
I don’t really want to concentrate on the years Bob Scobey spent with the Yerba Buena Jazz Band or as a member of Turk Murphy’s Band because my fondness for his music comes from his fronting his own band. In 1948 Bob Scobey had a band called “Alexander’s Jazz Band” and he recorded a number of sides in 1947/1948 for the Trilon and Rag Time Records label. These have been compiled on a couple of LPs with the main one being the one below:
The line-up for the band consisted mainly of Bill Dart on drums, Bob Helm on Clarinet, Bob Scobey on trumpet, Squire Girsback on Bass, Harry Mordecai on Banjo, and Wally Rose on Piano. Here a couple of samples of the early Bob Scobey sound on “Alexander’s Ragtime Band” and “Doin’ The Grizzly Bear”:
“Alexander’s Ragtime Band” with vocal by Bob Scobey:
“Doin’ the Grizzly Bear”:
Now here are a couple of live tracks of “Alexanders’ Ragtime Band” when they appeared at the Oakland Public Library in 1947. These are from the handmade CDs and the sound quality is not perfect. The band consisted of Bob Scobey on trumpet, Jack Buck on trombone, Jack Crook on clarinet, Burt Bales on piano, and Pat Patton on bass and banjo. Here are “Blues My Naughty Sweetie Gives To Me” and “Tin Roof Blues”:
“Blues My Naughty Sweetie Gives To Me”
“Tin Roof Blues”
I really think that Bob Scobey started to have a great sound in the 1950s when he was recording for Good Time Jazz. Those are all officially licensed recordings and I want to steer clear of violating any copyrights so I’m going to post a few live tracks here from around that time as well as some alternate takes from released material that is not available on CD. Here’s one of the unissued tracks from a 1950 Good Time Jazz session. The band now consists of Bob Scobey on trumpet, Jack Buck on trombone, George Probert on clarinet, Wally Rose on piano, Dick Lammi on bass, Clancy Hayes on banjo, and Fred Higuera on drums. Here’s “Long Gone” with Clancy Hayes on vocal:
“Long Gone”:
Here’s a sample of the live ensemble in 1951 at Jenny Lind Hall in Oakland California. Bob Scobey, Jack Buck, Clancy Hayes, and Fred Higuera are still in the band but Darnell Howard is on clarinet, Burt Bales is on piano, and Squire Girsback is on the bass. Here’s “Panama” and “Clarinet Marmalade”:
“Panama”:
“Clarinet Marmalade”:
The sound quality on some of these old live recordings vary so I’m going to move onto some recorded material that is very rare and in much better shape. A real treat is up next. In October of 1953 Bob Scobey was fronting a band that appeared at the 1953 Dixieland Jubilee in Los Angeles. Bob Scobey was joined on stage by the late great Sidney Bechet. Four songs from that appearance have been issued on three different EPs from the United Kingdom, France, and Sweden.
I own the one on the top left. After I purchased it, I contacted Jan Scobey because it had not been included in her discography. I mailed her a scan of the cover. She later wrote back and said she had been aware of the session but had never seen the EP. The songs were “On The Sunny Side Of The Street”, “Muskrat Ramble”, “Saint Louis Blues”, and “Summer Time.” I could not find a lot of details on the members of Scobey’s band at the time other than Bob Scobey, Clancy Hayes was on banjo, Jack Buck on trombone, Bob Hotaling on drums, Burt Bales on piano, and Ellis Horne on clarinet. We are lucky that someone has created videos of the four songs from the Dixileand Jubilee using photos from that date.
“On The Sunny Side Of The Street”
“Muskrat Ramble”:
“Saint Louis Blues”:
“Summer Time”:
I hadn’t listened to the Scobey/Bechet tracks in a while but last night when I heard “Summertime” again, I said out loud “It Doesn’t Get Better Than That!”
In 1957 Bob Scobey started recording for Verve. The three albums he produced for Verve were “Bob Scobey’s Band”, “The San Francisco Jazz of Bob Scobey”, and “Bourbon Street.” The ensemble changed a bit from album to album.
—“Bourbon Street” was Bob Scobey, Ralph Sutton on piano, Clancy Hayes on guitar and banjo, Bob Short on bass and tuba, and Fred Higuerea on drums. Jack Buck on trombone on some tracks and Bill Napier on clarinet. Vocals by Lizzie Miles
—“The San Francisco Jazz of Bob Scobey” was Bob Scobey, Clancy Hayes, Jesse “Tiny” Crump on piano, Bill Napier on clarinet, Jack Buck on trombone, Fred Higuera on drums, and Hal McCormick on bass
—“Bob Scobey’s Band” was Jack Buck, Will Sudmeirer & Jack Sudmeier on trombones, Frank Snow & Bob Scobey on trumpets, Bill Napier & Leon Ratsliff on clarinet, Jess “Tiny Crump on piano, Fred Higuera on drums, and Hal McCormick on bass, Bob Short on tuba, and Clancy Hayes on banjo, guitar, and vocals.
None of these records, to my knowledge have had CD releases. From “Bourbon Street” here are “On Revival Day” and “Deep Henderson” (not named after me):
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“On Revival Day”:
“Deep Henderson”:
From “The San Francisco Jazz of Bob Scobey” here are “Copenhagen” and “Getting My Boots” with a great Clancy Hayes vocal.
“Copenhagen”:
“Getting My Boots”:
The last of the Verve albums to present here is “Bob Scobey’s Band.” I’m not sure of the order in which the three Verve albums were released but I think the sound of the band is phenomenal on the Verve albums and really needs to rediscovered with CD pressings. From the album “Bob Scobey’s Band” here are “Dardanella” and a fantastic version of “Stardust” featuring Bob Scobey’s horn. I’m also going to throw in “Stars Fell On Alabama” because of Clancy Hayes’ vocal.
“Dardanella”:
“Stardust”:
“Stars Fell On Alabama”:
In 1955 Bob Scobey backed the vocalist Claire Austin on her album “When Your Lover Has Gone. The band included modern jazzmen Barney Kessel on guitar and Shelly Manne on drums, as well as studio/Dixieland musicians Stan Wrightsman on piano and Morty Corb on bass. It’s hard to listen for Bob Scobey on this album because Claire Austin’s vocals are so lush and draw your attention. Bob does have a nice solo though on “I’ll Never Be The Same” and the title track “When Your Lover Has Gone”. Both are very haunting.
Moving on to the RCA albums, which I mentioned have never had CD releases except “Bing With A Beat”, it’s a shame that there have been no CD releases of the other five albums. The remaining RCA releases are “Beauty And The Beat”(1957), “Between 18th And 19th On Any Street” (1957), “College Classics” (1958), “Something’s Always Happening On The River” (1959), and “Rompin’ And Stompin'” (1960). I really like these albums and Bob Scobey and Clancy Hayes are sensational together. I’ll present some songs from all five albums but I encourage anyone to track down the original vinyl releases.
First up is “Beauty And The Beat.” The band on this album is Bob Scobey and Mannie Klein on trumpets, Clancy Hayes on banjo and vocals, Abe Lincoln, Warren Smith, Elmer Schneider, Jack Buck on trombones, Matty Matlock, Bill Napier, and Wayne Songer on clarinet, Ralph Sutton on piano, Phil Stephens on bass, Bob Short on tuba, and Freddie Higuera on drums. Here are “Miss Annabelle Lee” and “Lulu’s Back in Town”:
“Miss Annabelle Lee”:
“Lulu’s Back in Town”:
“Swingin’ On The Golden Gate” was the second album released by Bob Scobey on RCA in 1957 . The band here is Bob Scobey and Dick Cathcart on trumpets, Matty Matlock on clarinet, Abe Lincoln, Warren Smith, and Jack Buck on trombones, Ralph Sutton on piano, Red Callender on bass, Bob Short on tuba, Sammy Goldstein on drums, and Clancy Hayes on gutiar, banjo and vocals. Again, another great RCA album and here are “New Orleans” with that great Scobey trumpet and “Let’s Dance The Ragtime, Darlin'” with Clancy’s great vocal:
“New Orleans”:
“Let’s Dance The Ragtime, Darlin’ “:
Next is an album that has a bit of a mystery to it. The album is “Between 18th And 19th On Any Street” released in 1958. The first time I came across this album was an EP (4 song 45rpm) that I picked up in the late 90s or early 2000s at a record store in Toronto. Here’s what the cover to that EP looks like:
Note the 4 tracks listed on the front cover. When I finally tracked down a copy of the full album, the song “My Bucket’s Got A Hole In It” was not on the album. I eventually bought another copy and the song was missing from that copy as well. I wrote to Jan Scobey about it because in her book, the discography mentions the full album but does not list “My Bucket’s Got A Hole In It.” She replied to me saying that she was unaware that this extra song existed and all copies of the album that she had seen did not list the song. I eventually discovered that there were Stereo and Mono issues of the album and “My Bucket’s Got A Hole In It” is missing on all Stereo issues. I guess my EP was a mono release because the song is there but my two LP copies are both Stereo issues. So, the song “My Bucket’s Got A Hole In It” is a bit of a rarity so I’ll present it here along with “Bob’s Blues”. The band on this album is Bob Scobey on trumpet, Jack Buck and Doug Skinner on trombones, Pete Dovidio on clarinet, Clyde Pound on piano, Tom Beeson on bass, Dave Black on drums, and Clancy Hayes with banjo and vocals.
“My Bucket’s Got A Hole In It”:
“Bob’s Blues”:
The next 1958 release for Bob Scobey was “College Classics.” The album is reminiscent of 1920s college tunes at a tavern or sung by a college vocal group. The band consisted of the same musicians that appeared on “Between 18th And 19th On Any Street,” Bob Scobey on trumpet, Jack Buck and Doug Skinner on trombones, Pete Dovidio on clarinet, Clyde Pound on piano, Tom Beeson on bass, Dave Black on drums, and Clancy Hayes with banjo and vocals. Here are “I’ve Been Floating Down The Old Green River” and “Shine On Harvest Moon” with nice vocals by Clancy Hayes:
“I’ve Been Floating Down The Old Green River”:
“Shine On Harvest Moon”
The last 1958 album for Bob Scobey on RCA was “Something’s Always Happening On The River.” Bob Scobey is back of course on trumpet as well as Clancy Hayes on banjo and vocals. This time they’re joined by Rich Matteson on tuba and bass trumpet, George Duvivier on bass, Jim Beebe on trombone, Gene Schroeder on piano, Brian Shanely on clarinet, Dave Black on drums, and Toni Lee Scott along with Bob Scobey on other vocals. I really like the title track “Something’s Always Happening On The River” so I’m going to offer up that as well as “Alexander’s Ragtime Band” which features vocals by Clancy Hayes, Toni Lee Scott, and Bob Scobey.
“Something’s Always Happening On The River”:
“Alexander’s Ragtime Band”:
The last RCA album was released in 1960 and was Jan Scobey’s favorite of the RCA albums. The album is “Rompin’ And Stompin’ ” and here’s what Jan Scobey had to say about it in her book:
“It features a wide library of ‘Jelly Roll Morton’ tunes, all fine classics of Dixieland Jazz. There are tremendous intricacies in the solo playing; as well as an outstanding ensemble performance. RCA has discontinued issuing this album. Sometimes they are available through jazz societies or record collectors. Perhaps with enough requests RCA may find it lucrative to re-issue.”
Yeah, RCA, why don’t you reissue it or better yet put out a box set of CDs of all of Bob Scobey’s records? The final RCA band was Bob Scobey, Rich Matteson on tuba, Brian Shanely on clarinet, Jim Beebe on trombone, Art Hodes on piano, Dave Black on drums, and Clancy Hayes on banjo and vocals. Here are “Kansas City Stomp” and “Fidgety Feet”:
“Kansas City Stomp”:
“Fidgety Feet”:
Before I move on to some other rare material, it would be a shame not mention another 1958 release but on the California Records label. The album was “Scobey & Clancy Raid The Juke Box.” It was an attempt to have Bob Scobey record some more contemporary, for the time, songs. Not all of the songs worked for Scobey and Clancy but there are a couple that I really enjoy. Here are the track listings:
Bye Bye Love
Singing the Blues
Yellow Dog Blues
Tammy
Round and Round
All Shook Up
Love Letters in the Sand
Marianne
C. C. Rider
So Rare
Blueberry Hill
Don’t Forbid Me
The band has some familiar player other than Bob Scobey and Clancy Hayes. Pud Brown is on clarinet, Jack Buck and Doug Skinner on trombones, Stan Wrightsman on piano, Bob Short on string bass and tuba, and Dave Black on drums. My favorite instrumental on this album is “Tammy.” Many may be familiar with Debbie Reynolds’ version on record and from the film. This time it’s Bob Scobey’s horn and the rest of the band joining in on their version of “Tammy.” I’ll have to rely on a YouTube link because this album has been issued on CD.
As for Clancy Hayes’ vocals on this album, I don’t think the contemporary songs of that time suited him. There is of course one exception for me and that’s Clancy’s version of “Round and Round.” This was a hit for Perry Como but I think Clancy does an excellent job with the vocals and the band does well backing him.
Keeping with 1960, when Bob Scobey’s last RCA album “Rompin’ And Stompin’ ” was released, I’m going to move on to the two rare albums that were released that year and were not distributed to the public at large. The first of these albums contains recordings that Bob Scobey did for Sesac in 1960. The album is “Bob Scobey and His Frisco Jazz Band Featuring Clancy Hayes.” Here is what Jan Scobey had to say about the Sesac recordings in her book:
“At a new high-water mark in Bob’s career, Sesac recorded Scobey’s band. In the recording industry they provided piped-in music for shopping centers, office buildings, dental offices, and everywhere that continuous, canned ‘musak’ is needed
Scobey’s recordings for the Sesac Transcribed Library (about 12 were issued) are rare since these selections were never recorded on any other label available to the buying public. Fortunately, every so often, on a jet over Kansas, leaning back in a barber’s chair, or having your teeth drilled at the dentist’s, you will suddenly, out of the blue, hear the Happy Sounds of Scobey’s dixieland music–‘Memories of Bunk’ or ‘Sudan’!”
The band on the Sesac recordings consisted of Bob Scobey on trumpet, Doug Skinner & Ralph Hutchinson on trombones, Jack McConnell on clarinet, Floyd Bean on piano, Clancy Hayes banjo and vocal, Bob Short on tuba and bass, and Dave Black on drums. From the Sesac album here are the two songs that Jan Scobey mentioned, “Memories of Bunk” and “Sudan”:
“Memories of Bunk”:
“Sudan”:
After I had purchased the 12″ Sesac record I later discovered that Sesac had issued a couple of EPs:
The one above on the left is “Frisco Jazz in Hi-FI” and contains 4 songs from the full album, “Frisco Jazz Parade”, “Too Much Mustard”, “Bourbon Street”, and “Sudan”. The second EP, “Shades of Blue” only contains the song “Hobo Blues.” I bought them from an ex-disc-jockey. They had been sent to the radio station where he worked and were tossed out so he fished them out of the garbage. Imagine, throwing out Bob Scobey! There was even one more Sesac EP released, that I later purchased on Ebay, that contained the song “My Heart’s In Dixie” by Bob Scobey. The EP was “Did You Say Dixie.” The front and back covers are below, followed by the song “My Heart’s In Dixie”:
“My Heart’s In Dixie”:
Until recently, in fact as of the writing of this blahg, I thought the 12 songs on the 12 inch Sesac record were all there were from the Sesac sessions. I discovered today that Sesac also issued a transcription record that contained some of the recordings from the 12 inch record and four additional songs. Here are images of the transcription record:
The four additional songs are “Southern Comfort”, “Clarinet Capers”, “While You Were Far Away”, “Along The Wabash” and here they are:
“Southern Comfort”:
“Clarinet Capers”:
“While You Were Far Away”:
“Along The Wabash”:
Now, I’ll move on to one of the last extremely rare albums also recorded and released in 1960. This wasn’t a record you could hear in an elevator or at the Dentist. This was a promotional record for Kraft Foods. Jan Scobey included it in her discography but provided no other details other than listing the musicians and the songs. The album is “Jelly ‘N’ Jam And All That Jazz.’ On side one of the record, Kraft’s spokesmen Perry Como and Ed Herlihy talk about what’s in store for advertising and sales promotion for Kraft Jellies and Preserves for the coming year. The second side is all Bob Scobey with Dave Black on drums, Buddy Lee on banjo, Tommy Smoot on piano, Connie Milano on bass, Bill Hanck on trombone, and Bill Napier on clarinet. The songs are “When The Saints Go Marching In” “Under The Double Eagle”, “Maple Leaf Rag”, “Georgia Camp Meeting” and “Peshtigo Court Stomp.” Here’s a scan of the information on the back cover. Click on the image to read from a larger version.
It would be a shame not to offer up all five songs from this album so here they are:
“When The Saints Go Marching In”:
“Under The Double Eagle”:
“Maple Leaf Rag”:
“Georgia Camp Meeting”:
“Peshtigo Court Stomp”:
You may have noticed that by the time of the Kraft album, Clancy Hayes was no longer performing with Bob Scobey. This was a shame because the Bob Scobey and Clancy Hayes sound fit well together. To explain what happened, we have to back up a little in 1960 to before the Kraft LP. From Jan Scobey’s book she cites the following:
“Bob decided early in his career to handle his own bookings because of mishaps with agents, in the past. Bob sold his band to the Marlboro cigarette people for a television commercial. His band was featured and the commercial was televised all over the world.”
At the time of the Marlboro cigarette commercial both Clancy Hayes and Toni Lee Scott were still performing with Bob Scobey. I am not sure if Toni Lee Scott is still alive, I think she is, but she has a YouTube page at https://www.youtube.com/channel/UC4ESSEnQhcpZF8BrP0mrbBg where she hosts some videos of her performing and in 2017 she posted the Marlboro advertisement with herself, Clancy Hayes, and Bob Scobey and his band:
So why did Toni Lee Scott and Clancy Hayes part company with Bob Scobey? According to Jan Scobey’s book, Bob Scobey received more money for doing the commercial than the other performers. Jan argued that there was nothing shady about the deal but because it was Bob’s band and he did all of the organization and booking and performed then he was entitled to a larger share. Other members of the band disagreed and would eventually leave the band. Unfortunately, that was the end of the band that once featured Clancy Hayes and Toni Lee Scott.
While I’m on the subject of Bob Scobey on film or video, there exists other footage of Bob Scobey and his Band. Bob Scobey appeared on the “Playboy Penthouse” program in 1959/1960 and there are a couple of wonderful photos of Bob, Clancy, and the band appearing on the program:
Apparently Bob Scobey and his Frisco Jazz Band played “The Colonel Bogey March” and “The Black Bottom Stomp” and Clancy Hayes joined them and sang “Travellin’ Shoes” and “Ace in the Hole.” Unfortunately the video is not available to view.
There exists other footage of Bob Scobey and his 1961 band that is available to view. Bob and the band can be viewed performing at a party scene in the film “Living Venus”. The description of the film is that “Man and his partner, a photographer, start up a men’s magazine called “Pagan.” The magazine becomes a success, he leaves his fiancee, marries his star model, and complications ensue.” The first song that the band performs is appropriately titled “Pagan Party”:
The second video from the film is the title song “Living Venus”:
I’m not sure of the other musicians who performed with Bob Scobey in “Living Venus.” It might have been the same crew that appeared on the Kraft album. It may be the same band members that appeared on his last album he ever recorded.
In 1960 there would be one more album from Bob Scobey and his band. The album was “Scobey And His Frisco Band!” The album was recorded in 1960 and was issued on the Ragtime Label. Jan Scobey purchased it outright from Bob Scobey’s estate and the label changed to Jansco Records. The full album has not had a CD release but all the tracks were bonuses split over the two CDs of “The Great Bob Scobey and His Frisco Band, Volume 1 and Volume 2. Jan Scobey rated this as her favorite album. “This album is an instrumental. The sounds cover a wide range of feeling; from Misty, a mood tune, to the rip-roaring excitement of Bourbon St. Parade! I believe it successfully captures the entire range of Bob Scobey’s musical skills and types of playing.” Turning back to YouTube, here are the two songs that Jan mentions, “Misty” and “Bourbon St. Parade.” This was the last recorded album of Bob Scobey, although I don’t know if it follows or precedes the Kraft album, and the band features Bob Scobey on trumpet, Richard Nelson on trombone, Bill Napier on clarinet, Tommy Smoot on piano, Buddy Lee on banjo, Dickie Phillips on electric bass, and Dave Black on drums.
“Misty”:
“Bourbon St. Parade”:
Unfortunately, all great things come to an end. Bob Scobey would survive the breakup of his band after the Marlboro commercial arguments and would go on to form a new band. We have seen videos of that new band in “Living Venus” and heard them on the Kraft album and the last recorded album “Scobey and His Frisco band!” What Bob Scobey could not survive was cancer. He was in Montreal to try a new experimental drug when his heart gave out in the wee small hours of June 12, 1963. From 1961 to 1963 he continued to perform and even toured Europe in 1962. I have another postcard in my collection which I keep inside my copy of Jan Scobey’s book. Before I display it, I want to explain that Bob Scobey opened a club in Chicago in 1961 called “Bourbon Street”. It was to be a base of operation when he was not out on the road. Other bands would perform there when Bob Scobey was touring. In fact, when he toured Europe in 1962, Kenny Ball and his band subbed for Scobey. When Bob Scobey returned from his European tour he sent out postcards to fans about his return to Bourbon Street. My postcard is one of those he sent out to a fan in Canada:
I believe that is Bob Scobey’s signature on this July 19th, 1962 postcard. It is sad to think that he would be dead less than a year later.
I don’t want to end this blahg on doom and gloom. For me, it’s all about the music. The Bob Scobey sound with Clancy Hayes is so special and even the later bands without Clancy had an awesome sound. For me, it started with that “B” side of that Bing Crosby album that would lead me to a pursuit of Bob Scobey. The first song I offered up in this blahg was the version of “Mack The Knife” that Bob Scobey did with Bing Crosby. I’m going to end this blahg with a different version of “Mack The Knife” with Clancy Hayes on vocal. Jan Scobey, on her Jansco label would also issue two volume LPs called “The Great Bob Scobey.” These were recorded in 1956 at The Jenny Lind Hall in Oakland, California. This was the earlier band of Bob Scobey and Clancy Hayes with Bill Napier on clarinet, Jack Buck on trombone, Jesse “Tiny” Crump and Ralph Sutton on piano, Bob Short on tuba, Hal McCormack on bass, Freddie Higuera on drums, and other vocals by Lizzie Miles. From Volume 2 here is “Mack The Knife”:
By the way, the correct answer to “What On Earth Is Scobeyfan” should always be “I AM!”
It’s been three weeks since that little poke in the arm laid me out flat. You can read more about all of that in my previous blahg ASTRAZENECA VACCINE — MY CAUTIONARY TALE. I don’t want to revisit that but now that they’ve halted AstraZeneca, I’m not sure what will be my second dose. Hopefully, whatever it is, it won’t make me ill. I’m moving on.
Recently, I was contacted by a fellow Canadian, currently in England, who had read my AstraZeneca blahg as well as a previous blahg that I wrote in October of 2011 about Frank Sinatra at the Canadian National Exhibition (CNE) in September of 1984. That previous blahg was SINATRA ALMOST GOT ME KILLED and you’ll really have to read that blahg in order to understand the title. The blahg was more about my experience with the concert and not Sinatra’s or Toronto’s experience. My Canadian colleague was doing some research on that concert and had emailed me about some articles from that time period. In responding, I realized there was really more of a back-story to the 1984 concert that had to be taken into consideration. So, I’ve decided that this blahg will be the chance to provide more insight into the 1984 concert and why Sinatra was behind the eight-ball before he even appeared on stage.
In the email, explaining about the back-story, I had only backed up to 1983 and explained some of the events leading up to the 1984 concert. To be fair, I need to back up as far as 1949 so I can provide true context. A quick note about 1940 and 1941 would provide even more insight. This is all about Sinatra in Toronto and his first appearance with the Tommy Dorsey Orchestra was at the CNE in September of 1940. The band would play from September 4th-7th, 1940. Sinatra would not receive credit in any of the news clippings during his appearance at the CNE. Here’s one of the ads that ran in the Toronto Star on September 5, 1940. You can click on the advertisement to view a larger image.
A rare 15 minute radio transcription of Sinatra and Dorsey’s performance from September 5th, 1940, the same day as the above advertisement, has recently surfaced. Give it a listen:
The Tommy Dorsey Orchestra with Sinatra would return to the CNE again in August of 1941. That year, it was only for two days on August 22nd and 23rd, 1941. Again, Sinatra’s name would not appear in local media advertisements. The following ad appeared in the Globe and Mail, Toronto, August 21st, 1941.
By September of 1942, September 3rd, 1942 being his last day, Sinatra had left Dorsey and the band did not play the CNE in Toronto that year. Dorsey and Sinatra would only make one Canadian stop in 1942 and that was on May 6th at the Forum in Montreal.
Are you still wondering about 1949? Wait no longer. The explanation is that Sinatra’s first appearance as solo vocalist in Toronto was at the Mutual Arena on August 7th and 8th, 1949. It had been eight years since his last visit to Toronto at the CNE in August of 1941. Finally, Sinatra would make a two evening performance in the city.
Reviews for Sinatra at the Mutual Arena were good.
One article even mentioned Sinatra’s previous Toronto appearance with Dorsey in 1941:
Sinatra even got his picture in the Globe and Mail newspaper on July 8th, 1949 noting how he flew in to a local airport and was met by fans and still how it had been eight years since he was last in Toronto.
And you’re probably still asking, “what’s the significance about 1949?” Well, I’ll tell you. After the 1949 concert, Sinatra would not return to Toronto until 1975. Yes, 26 years would pass before Sinatra would perform again in Toronto. During those 26 years Sinatra had appeared from February 6th to 15th, 1953 at the Chez Paree in Montreal and gave two concerts at the Vancouver Forum in Vancouver on June 8th, 1957. The 1957 Vancouver concert would be issued on CD on the Acrobat label in 2010, mistaking the venue as the Orpheum, and is a splendid example of the 1950s swinging Sinatra. Toronto missed out on the swinging 1950s Sinatra and the 1960s Summit Sinatra with pals Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop. When Sinatra retired in 1971, it probably left Sinatra fans thinking they would never see the great singer perform in their city again. It would be a new generation or maybe the old generation waiting for him to come back.
Jump to 1975 and on January 28th, the Toronto Star runs a two part article announcing Sinatra’s return to Toronto on May 10th. The first part would mention Sinatra’s 25 year absence from Toronto. The second part of the article would talk about the absence and some animosity towards Sinatra.
The Toronto Star ran a full-page spread on Sinatra on May 5th, 1975 and provided some details about the previous 1949 appearance in Toronto. You could tell by the article that some excitement was building regarding his appearance and that it was in part due to his long absence from the city.
The stage was set for an exciting evening.
So what went wrong? It started with an editorial by Gary Lautens in the Toronto Star on February 25th, 1975; less than a month after it had been announced that Sinatra would appear at Maple Leaf Gardens in May.
Mr. Lautens wanted to dig up the whole issue Sinatra had had with the press in the past.
Then there was the issue with tickets. Before tickets went on sale, most of the top seats were already gone:
But that issue was quickly solved by Sinatra agreeing to add another show on May 10th.
Of course there was that “50-cent service charge” added to tickets that made some people angry. It was the issues of service charges and ticket scarcity that made some angry but the press wasn’t finished with Mr. Sinatra.
On the day of the concert, May 10, 1975, an incident of violence was reported in The Toronto Star:
This was the type of press Sinatra didn’t need. Gary Lautens had already taken on Sinatra about violence towards reporters and now it was being alleged that Sinatra’s bodyguards were attacking media persons. So what was Sinatra to do? Well, he gave his concert that people paid to see and hear but he also took the opportunity to call out the media and suggest that the punching incident never happened.
The Canadian Press wire service even picked up the thread and published a picture and article of Sinatra holding a copy of the Toronto Star before ripping it up to cheers from the audience.
Of course, the media took shots at Sinatra as well in their reviews of the two concerts. The Globe and Mail said Sinatra was a “vocal has-been” but acknowledged that he still held sway with his fans:
Two days later, on May 12th, 1975 the Globe and Mail acknowledged even more so that Sinatra was no “has-been” to his fans:
On May 12th, the Toronto Star also finally got around to covering Sinatra’s appearance by publishing a full page with three articles and photos. The articles covered everything from the fan adoration, the press thinking Sinatra’s performance was lacking, and that punch or no punch incident.
Frank Sinatra would return to Toronto later in 1975 to perform at the CNE on August 21st. Just a few months after the May concert and none of the articles make reference to any of the issues that occurred while Sinatra had appeared at Maple Leaf Gardens.
There was no mention of the earlier 1975 concerts or the problems associated with Sinatra’s appearance at Maple Leaf Gardens. This was the first time that Sinatra had appeared at the CNE since his 1941 performances with the Tommy Dorsey Orchestra. Even the reviews of Sinatra at the CNE in 1975 were better. The Toronto Star said this was the concert he should have performed at the Gardens earlier that year.
The Globe and Mail also praised Sinatra at the CNE:
Definitely, the CNE was a better venue for Sinatra in 1975.
Sinatra came back again to Maple Leaf Gardens on May 1st of 1976 with very little fanfare.
Reviews were mixed again for his 1976 engagement at Maple Leaf Gardens.
Notice that The Star felt Sinatra had given a better performance at the CNE the previous year. The CNE Grandstand was an open-air venue where the Gardens had been closed in. Was that the secret of his success? The Globe and Mail gave a similar review:
So now we get to what went wrong with the 1984 CNE concert. Sinatra had performed well and the reviews were good for his August 1975 concert at the CNE compared to the ones he performed at Maple Leaf Gardens. But 1984 is a considerable time after 1975 and 1976. Again, people were starting to wonder if Sinatra was ever coming back to Toronto. The rumour of his return started again in 1983 and concluded with a scheduled date in 1983. On June 3rd, 1983, Peter Goddard with the Toronto Star reported on rumours of Sinatra appearing at the CNE in 1983 although Sinatra’s office denied any plans of Sinatra returning to the CNE that year:
By June 30th, 1983, both the Toronto Star and the Globe and Mail reported that Sinatra was indeed appearing at the CNE in 1983 and the date had been set for August 27th:
On August 5th, however, it was announced that Sinatra had to cancel, or postpone, his performance at the CNE that year.
To be fair, Sinatra did not have another gig on August 27th of 1983. Sinatra’s last summer performance was at the Universal Amphitheatre on June 19, 1983 and he would not perform again until September 20th at the Waldorf Astoria in New York. There was one exception and that was August 5th at the Sporting Club in Monte-Carlo, Monaco which was a benefit for the Red Cross and he performed with his pal, Sammy Davis Jr.
I have yet to find any other reason for Sinatra’s cancellation of the 1983 CNE appearance but his cancellation started to raise a furor in Toronto.
The first suggestion of any backlash over the cancellation of the 1983 concert started with an article in the Toronto Star on August 11th, 1983.
Bob Yuill the North York Controller was the one spouting off. Remember the name Bob Yuill because his voice will be heard again in 1984 when Sinatra returned again to the CNE. It should be noted that not everyone associated with the CNE was as angry as Bob Yuill. David Garrick, with the CNE Entertainment Committee, and the person who was responsible for booking Sinatra at the CNE in 1975, wrote a letter to the Toronto Star disagreeing with Bob Yuill’s position.
Garrick’s rebuttal of Yuill seemed to quiet things down because there was no further mention of Sinatra or even a Sinatra ban during the rest of 1983.
In April of 1984 the first rumour started that the CNE was looking to have Sinatra back in 1984. On April 11th, 1984 Sinatra’s name appeared briefly in a Toronto Star article reporting on possible acts for the 1984 CNE:
On July 18, 1984, the Toronto Star announced Sinatra’s appearance at the CNE that year to be official. The date was set for a September 2nd concert by Sinatra but the Toronto Star still had to drag out some of the press issues Sinatra had prior to the 1975 concert at Maple Leaf Gardens:
Ticket prices were much higher for Sinatra in 1984 with the top seats going for $75 compared to the top price of $25 when he last appeared in Toronto at Maple Leaf Gardens in 1976. Notice as well that Bob Yuill’s name popped again with Yuill doubting that Sinatra would follow through with his September concert. He was even waging money that Sinatra would not appear. The Toronto Star followed up with another article on July 19th dedicated to Yuill’s skepticism toward Sinatra’s concert at the CNE:
The wagering of money offered by Yuill was taken up by someone two days later as noted in an article in the Toronto Star on July 20th, 1984
This time, Frank Sinatra’s defender was Bill Ballard who was head of the Concert Productions International who had booked Sinatra into the CNE for 1984. Bill Ballard was also the son of Harold Ballard who was instrumental in booking Sinatra into Maple Leaf Gardens in 1975. Even fans came to Sinatra’s defence and asked that things be left to the past. The following letter to the Editor of the Toronto Star appeared on July 27th, 1984:
Tickets finally went on sale on on July 30th, 1984:
In my previous blahg about the 1984 concert, SINATRA ALMOST GOT ME KILLED, I detailed my ordeal to secure tickets to this concert. It’s a fun read and since I’ve mentioned that blahg and linked to it twice in this blahg, then you really should check it out. Despite my own issue with trying to obtain a ticket to the concert, the issues that plagued fans at previous concerts didn’t seem to occur in 1984. One fan was happy he only had to wait 4.5 hours to get his ticket. This article comes from the August 3rd, 1984 edition of the Toronto Star:
The remaining articles leading up to Sinatra’s appearance were relegated to advertisements and nothing critical from Bob Yuill nor anything more about his possible wager with Bill Ballard.
I don’t think I’ll detail much more than I’ve said about the actual concert. If you haven’t checked out my previous blahg, SINATRA ALMOST GOT ME KILLED, now plugging it for a third time, then I’ll re-post what I said then about the concert:
The concert was great despite what you can read in the reviews. Here was Sinatra, in the pouring rain, no protection, with lightning flashing all around, and him just singing as if this was all commonplace to him. I kept thinking “my god, he’s standing in a puddle, it’s pissing down rain, and he’s holding a metal stand, he’s going to get electrocuted.” If there’s anything to the old adage that the show must go on, Sinatra lived by it. It was as if nothing phased him. He sang some of the songs from his new album, “L.A. Is My Lady” and thrilled the audience with some great standards. I think the greatest thrills were when he sang songs that mentioned the rain. When he sang “Come Rain or Come Shine” and “Pennies From Heaven” with the opening line, ‘Every time it rains, it rains, pennies from heaven’, more cheers went up from the crowd than when he belted out “New York, New York.” The only thing that would have made it perfect was if he had performed “September in the Rain” or “Stormy Weather.”
The whole concert only lasted 46 minutes. Sinatra left the stage and within a minute, you could see his limo, followed by a police car, driving off to drier parts unknown. Many people were upset about the shortness of the concert but not me. I had almost died and I had gotten soaked by rain but those were the only downsides. In the plus column, I had lived, I had made it to the concert, I had sat beside a beautiful girl, and I had seen and heard Sinatra live in concert. I had no complaints.
I still don’t think I could have summed it up better than that. I mentioned that opening line of “Pennies From Heaven” and this is what it sounded like almost 37 years ago. This is actually Sinatra singing “Pennies From Heaven” at the CNE on September 2nd, 1984:
If you thought the storm on the night of the concert was bad enough, the storm of bad press that followed the concert took everything to the next level. The review from the Toronto Star on September 3rd, 1984 tried to be kind but hinted at the anger towards Sinatra:
The Toronto Star also devoted their front page of the September 3rd edition to the problems associated with the shortened concert and how fans felt:
The Globe & Mail’s coverage was very much like the Toronto Star’s leaning on the disappointment of the fans:
Notice that in the Globe & Mail article from September 3rd, that the North York Controller is mentioned but this time it’s Esther Shiner. Was there more than one North York Controller? The Globe & Mail at least published a defence of Sinatra by the CNE in the September 4th edition:
Risking his life in a thunderstorm by holding a microphone? Didn’t I say that? Of course the Globe & Mail had to add their two cents worth about that issue in the September 5th issue:
The United Press article from September 8th, 1984 was even less kind:
The Toronto Star, meanwhile, published an article on September 4th that highlighted the blame game of who was not taking responsibility for the problems with the concert, putting some of the blame on Sinatra, and even invoked Bob Yuill’s name again:
And what of Bob Yuill? He obviously lost his bet that Sinatra would not appear. In the same September 4th edition of the Toronto Star, Bob Yuill is heard from again and this time he’s proposing another ban on Sinatra:
Of course Bob Yuill did not get his ban. Personally, I can understand the anger of some fans but Bob Yuill had complimentary tickets so what did he have to complain about? Me? I was one fan who was happy. But what did other fans think of the concert? Here are some the letters to the Editor of the Toronto Star:
For the record, I think Roger Wyatt is mostly correct. In 1975 Sinatra was heralded for his appearance at the CNE but it didn’t rain then. If Sinatra had appeared indoors, maybe not Maple Leaf Gardens, then the story would have been quite different. Other fans continued to support Sinatra:
The question about whether Sinatra would be invited back or if Bob Yuill would have his way was finally answered in a Globe & Mail article on November 22, 1984:
There was one more article that dealt with some disgruntled fans who had organized a rally to try and get refunds. The following article from the Globe & Mail on September 24th sums up how that fizzled out:
So what have we learned from all of this? Toronto had a love/hate relationship with Sinatra. Certainly the press never made it easy for him. His long absence from Toronto between 1949 and 1975 was one strike against him. The attacks from the media because of Sinatra’s own love/hate relationship with the press was another strike. You’d think issues with ticket sales and venues would have been the third or more strikes against him. But this is Sinatra. He might have received three strikes but he never struck out. Would you have called out on Sinatra? The die-hard fans never did and to most he put on great shows. And he kept coming back.
Sinatra would return to Toronto again in 1989 with Liza Minnelli at the then Sky Dome and again in 1991 with Steve and Eydie at Maple Leaf Gardens. I’ve detailed about those in another blahg SINATRA:TORONTO, ROUND 2 or “DO YOU WANT FRIES WITH THAT?” so you can check that out and read also about his last Canadian concert in Hamilton in 1993. I’m lucky to have seen Sinatra three times in Toronto in 1984, 1989, and 1991. I also attended that Hamilton concert in 1993 and have copies of fan recorded versions of those concerts so I can relive the memories.
I started out once to detail information about all of Sinatra’s appearances in Canada and even finished part one. The first part provides information, clippings, and reviews starting with his very first appearance as part of “The Hoboken Four” with the Major Bowes touring group at the Capitol Theatre, Victoria, B.C., November 6th and 7th, 1935 and concluding with the famous June 8th, 1957 concert at the Vancouver Coliseum. The file also includes artwork for posters for concerts that were cancelled as well as extensive information on Sinatra’s USO tour with Phil Silvers when they spent ten days touring military bases throughout Newfoundland in May and June of 1945. I’m going to post the link here for the PDF of part one but in doing so, I noticed that I must have included some material for what would have been part two. The current file actually starts with the Victoria 1935 appearances and ends with his appearance at The Forum, Montreal, Quebec, May 9th, 1975. The link to read or download is http://falseducks.com/theblahg/images/SinatraInCanada(2021).pdf. Maybe I’ll get motivated and eventually finish part two which includes not only the Montreal Forum concert in 1975 and all of the Toronto concerts I’ve mentioned in this blahg but also other concerts in Montreal as well as Vancouver, Calgary, Hamilton, and a cancelled concert in Edmonton from 1991.
I hope you enjoyed the story behind the 1984 ill-fated CNE concert. Me, I think it was fine. I paid for my ticket and had nothing to complain about. I think Sinatra showed great class in going on that night. I wonder if Bob Yuill would have been happier if Sinatra had cancelled or if Mr Yuill would have been outraged by the cancellation. I don’t think Sinatra could have won either way. The real fans support his memory and I’ve said it before, “It’s Sinatra’s World, We Just Live In It.”
Here it is mid-may and I have a tale for you. I haven’t spoken much about Covid 19 and the vaccines but I finally have something to say. First let me say that I am pro-vaccine and I certainly encourage everyone to get whatever vaccine they can get. I’m not anti-mask or anti-vaccine and I believe we should all follow all of the safety precautions and do our social distancing and not gather when it’s not safe to do so. This isn’t rocket science folks. Do the right thing! Moving on.
I have been trying to get a vaccine for more than a month now. I live in a rural area but I’m very close to a populated city, Belleville, Ontario and I even work in Belleville. I’m 58 and I’ve been on numerous wait-lists and have signed up through our Health Unit and on a local pharmacy’s website. I was casting my lines but getting no nibbles. On April 27th, I happened to stop into one of the Shopper’s Drug Mart on my way to work to purchase stamps when I thought to stop by the pharmacy section to ask about the vaccine. It was just before 10am and they hadn’t started giving out their daily doses so they asked me if I wanted one then and there. Of course I jumped at it and even convinced them to schedule my wife for later that date. I was just in the right place at the right time.
I was informed that it was the AstraZeneca vaccine but I didn’t care. I know there’s been some people who have died of rare blood clots but the smart people were saying that was extremely rare and to get the first vaccine that is offered. We have to get that herd immunity. Like I said, I didn’t care. I was given the information about the vaccine and agreed to it and got the jab in my left arm. I even texted my wife and children and my employer stating that I was no longer a vaccine virgin. I was happy that I did it.
Jump to later in the day and my left arm is very sorry and I have a slight headache. That evening the headache got worse and I started to feel unwell. I knew this was a possibility and I didn’t worry. I went to bed feeling ill and woke up in the middle of the night with the chills and shaking vigorously. My wife had to share her body heat to keep me warm and to stop the shivering. It wasn’t foreplay. Luckily she only had a slight headache from her vaccine. I eventually got back to sleep and then awoke later in the morning just soaked from sweat. I had to lie in my underwear on top of the blankets to try and cool down. I know, that’s an image you’ll never get out of your head.
I had received my vaccine on a Tuesday and I didn’t have to work the next day. Good thing, too, because I felt like I had been hit by a truck and not the nice kind with an ice-cream cache inside. I still had the headaches but I generally felt like I had the flu. That night, the buzzing in my ears started. The next day I felt a little better and by Friday I was running at about 90% of my old self but still with the ear buzzing and a slight headache. Friday afternoon, on my way home from work, my nose started running strenuously for about 30 minutes then stopped. Then the headache increased with dizziness, blurred vision, and chills and sweats again. The next day, Saturday, I was run over again by the same truck.
In the afternoon on Saturday I thought maybe I should get a Covid test because it was possible I had been infected before my vaccination and the current symptoms were from that. I managed to get into a drive-through Covid testing site and the results were back the next day and they were negative. I was still not feeling well on the Monday, May 2nd so I called the pharmacy that gave me the vaccine and they said to call my Doctor. I called my Doctor and told them I had been sick since getting the vaccine but I also had a Covid test but it was negative. The receptionist at my Doctor’s office said I wasn’t supposed to call her but to call “them.” I said, “who’s them?” She said, “the Covid testing center.” I explained again that I didn’t have Covid but everything had happened since getting the AstraZeneca vaccine. She took a moment to consult with my Doctor and said my Doctor would call me on Thursday afternoon, May 6th.
Meanwhile, I felt awful. I had the never-ending headache, buzzing in the ears, I had no energy and I was tired all the time. There was no fever and no cough. By the time my Doctor called me on Thursday, there had been no improvement. The pharmacy had recommended either Tylenol or Ibuprofen but neither did anything for me. My Doctor listened to me explain my symptoms over the phone and then basically said it was a side-effect of the vaccine and that I would have to tough it out. Five minutes later she called me back and asked for more details about when certain symptoms had started and intensity. She said she would call me back. Five minutes later, her receptionist called me and said the Doctor wanted to see me in her office right away.
I live 30 minutes away from my Doctor’s office so the drive was a little stressful. In fact, I was already dizzy and probably shouldn’t have driven myself. My wife was at work and I texted her but when the Doctor tells you to come to her office when she’s not seeing anyone in person then you don’t delay. By the time I got to her office, my heart was pounding and I was exhausted. I had to sit in an exam room for 10 minutes and I fell asleep.
When my Doctor finally came in she could see I wasn’t well but she asked me why I had come in. Duh, you told me to. She then asked why I had waited until today to report my symptoms. I explained that I had actually called her office on Monday and was told she would call me back Thursday. She was surprised by that and said they had some things to learn in her office…yeah, at my expense. I’ve had this Doctor for almost thirty years. She should know that I don’t usually come in unless I’m really ill. The Doctor then took my blood pressure, temperature, and then had me do some hand-eye coordination tests. She also had me try to walk a straight line with heel to toe but I kept stumbling because I was dizzy. She then told me to sit down because she was going to call the hospital because she wanted me to get to the Emergency department and get blood work and an MRI or Cat Scan if possible. If I wasn’t feeling ill before, that news sent me into a spin.
After five minutes, the Doctor came back and said the Hospital didn’t want to see me. She said they felt it was probably a reaction to the vaccine and that I would have to tough it out. Wasn’t that what she had said on Monday? Why all the tests and causing my anxiety to max out? Apparently the hospital was sure I hadn’t had a stroke and didn’t have a blood clot. This was after no blood work or xrays or even seeing me and they could diagnose me second-hand through my Doctor. I wasn’t impressed. I was drained and the ride home wasn’t much better than the drive in. I was exhausted when I got home and went and lay down for two hours. Sheesh!
The next day, Friday May 7th was no better and I was even worse on the Saturday and had to spend a lot of time in bed. Sunday was Mother’s Day and the sun shone and our son came to visit. I felt better but tired. Monday I had a dentist appointment and rallied enough to attend that. The dizziness and headache were still there. Today is Tuesday and I still have the headache and ear-ringing but I’m toughing it out and came to work. I’m off now until Friday. I’d love to wake up without the headache and ear-ringing but hopefully that will fade too. Yesterday, my local pharmacy notified me that I could come get my AstraZeneca vaccine. I phoned and told them I had it already. I didn’t tell them what they could do with the one they were holding for me.
Nothing is ever simple with me. I kept telling people I was glad I got the vaccine but if I knew I’d have this kind of reaction, I’d have waited for Pfizer or Moderna. It’s been a tough two weeks. I think my Doctor has learned something or I hope she has. Still, there’s talk about discontinuing AstraZeneca in Ontario so I’m wondering what that means for my second shot. There’s also talk about mixing and matching. I didn’t think you’re supposed to do that with medicine. I know you’re not supposed to mix your drinks. Honestly, this is like the magician asking you to pick a card and you hope he guesses right. Again, I’m encouraging everyone to get a vaccine but maybe read my precautionary tale and then put yourself on every list and get the one that you feel the most comfortable receiving. When the magician asks you to take a card and put it back, hide an extra one up your sleeve and screw up the whole trick. Stay home. Stay safe. And get a vaccine…I’m just not going to say which one.
Well it’s the last part of April 2021 and it’s a snow day. That shouldn’t happen. Oh well, it will all melt in a few days. And to think I assembled a porch swing the other day and the next day cut my grass. You have to love Canada weather! If you have read my two previous blahgs, 12 MONTHS – 12 RECORDS – 12 SONGS & 12 MONTHS – 12 MORE RECORDS – 12 MORE SONGS, you would know that I’ve been having fun posting about some of the vinyl LPs I’ve purchased over the past year. I had a lot of fun assembling those two blahgs but I was busy at the same time looking ahead to this blahg.
I’ll mention three other blahgs I wrote last year that helped to inspire this current blahg. My three part Linda Keene series, TRACING LINDA KEENE, PART 1: THE FLORENCE SUTTLE YEARS, TRACING LINDA KEENE, PART 2: THE MOMENT IN MY LIFE,TRACING LINDA KEENE, PART 3: ONE MORE FOR THE ROAD, was very labour intensive. I spent a great deal of time researching Linda Keene and perusing through old newspaper articles to assemble a narrative of Linda Keene’s career. One thing I learned, outside of all of the things I learned about Linda Keene, was that there were many big bands and orchestras in the mid and late 1930s and through the 1940s that we no longer remember. So, I thought I would look at some of those forgotten bands that specifically were associated in some way with Linda Keene. I’ll try to provide some information of these orchestras and some recordings where I can. This blahg will be an assemblage of information and recordings and images from various sources. I’ve done the research and now you get to enjoy reading it.
In part one of my Linda Keene series I detailed how she was born Florence McCrory in December of 1911 and later married Sturgeon Suttle in September of 1931. She performed under her married name of Florence Suttle in the early 1930s and toured with her husband who billed himself as “Frank Suttle.” The first reference I found for the couple performing with any orchestra was from the August 3, 1934 Detroit Times, below, where they were performing at the Oriole Terrace as part of a floor show including Bob Chester and His Music. It is not clear if Florence Suttle performed with Bob Chester and His Orchestra but for the purposes of this blahg, Bob Chester’s band will be the first forgotten band we’ll look at.
With some of the bands I’ve tracked, there is very little information about the orchestra or what might have happened to them. Not so with Bob Chester. There is even a Wikipedia entry for Bob Chester although there isn’t more than really a page of information”
Bob Chester (March 20, 1908 – June 14, 1977) was an American jazz and pop music bandleader and tenor saxophonist.
Chester’s stepfather ran General Motors’s Fisher Body Works. He began his career as a sideman under Irving Aaronson, Ben Bernie, and Ben Pollack. He formed his own group in Detroit in 1939, with a Glenn Miller-influenced sound. This band was unsuccessful in local engagements and quickly dissolved. He then put together a new band on the East Coast under the direction of Tommy Dorsey and with arrangements by David Rose. This ensemble fared much better, recording for Bluebird Records.
Chester’s group, billed “The New Sensation of the Nation,” had its own radio show on CBS briefly in the fall of 1939. The twenty-five-minute program aired from the Hotel Van Cleve in Dayton, Ohio late on Thursday nights (actually 12:30 am Friday morning, Eastern Time); the September 21, 1939 edition can be heard on the famous One Day In Radio tapes, archived by Washington D.C. station WJSV.
Chester’s Bluebird records have proved excellent sellers, both for retail dealers and coin phonograph operators such as “From Maine to California”; “Wait Till the Sun Shines, Nellie”; “Madelaine”; and two songs from “Banjo Eyes” – “Not a Care in the World” and “A Nickel to My Name”. His only national hit was “With the Wind and the Rain in Your Hair” (b/w “I Walk With Music”; Bluebird 10614), which featured Dolores O’Neill on vocals and went to #18 on the charts in April 1940.
Chester’s orchestra included trumpeters Alec Fila, Nick Travis, Lou Mucci, and Conrad Gozzo, saxophonists Herbie Steward and Peanuts Hucko, drummer Irv Kluger, and trombonist Bill Harris. His female singers included Dolores O’Neill, Kathleen Lane, and Betty Bradley; among his male singers were Gene Howard, Bill Darnell, Joe Harris, Stu Brayton, Hall Stewart, Peter Marshall, Bob Haymes, and Al Stuart.
The orchestra disbanded in the mid-1940s, due in part to the shrinking market for big band sound. After a stint as a disc jockey at WKMH radio, Chester assembled another band for a short time in the early 1950s, but after it failed he retired from music and returned to Detroit to work for the rest of his life in auto manufacturing.
Looking at this output from 1939-1942, Bob Chester recorded more than 110 songs onto 78 rpm records. Many of these have not been reissued on CD. Below is a discography, of sorts, of the recordings Bob Chester and his Orchestra made between 1939 and 1942. If you click on any of the images then you will be able to view a larger image of the listings.
This is a fairly significant output for an orchestra that we barely know. For my money, this was a fantastic orchestra with some great recorded songs. Luckily some collectors of original 78rpm records have compiled and posted many of Bob Chester’s early recordings. You can see the list and listen to the recordings here: https://archive.org/search.php?query=creator%3A%22Bob+Chester+and+his+Orchestra%22. Choosing from the extensive selection is difficult so I’m going to offer up a few different recordings. Here’s their first recording, “Just For A Thrill”:
Next up is their only national hit, “With the Wind and the Rain in Your Hair.” This time someone has posted the recording on Youtube:
Now for one from their middle years, “The Moon Won’t Talk:”
Here are two tracks from their last listed session of June 30, 1942, “By The Light Of The Silvery Moon” and “He’s My Guy.” Note that “He’s My Guy” is listed in the discography as “Yes My Guy” but “He’s My Guy” was the flip-side of “By The Light Of The Silvery Moon” from the same session.
The discography that I posted above stops at 1942 but from the Wikipedia article we know that “The orchestra disbanded in the mid-1940s…Chester assembled another band for a short time in the early 1950s.” We are lucky that some of the 1950 recordings were also posted on Archive.org. Here’s “Frenzy” and the flip side of that 78, “Mad About Love.” Both songs were recorded in March of 1950.
Before I finish with Bob Chester, I want to post some other exciting material by this band. In one of my Linda Keene blahgs, I wrote about the Soundies she did with Henry Levine and his band. In case you haven’t read that yet, here’s my explanation about Soundies:
“Soundies are three-minute American musical films, produced between 1940 and 1947, each containing a song, dance, and/or band or orchestral number. Produced professionally on 35mm black-and-white film, like theatrical motion pictures, they were printed in the more portable and economical 16mm gauge.
The films were shown in a coin-operated “movie jukebox” called the Panoram, manufactured by the Mills Novelty Company of Chicago. Each Panoram housed a 16mm RCA film projector, with eight Soundies films threaded in an endless-loop arrangement. A system of mirrors flashed the image from the lower half of the cabinet onto a front-facing screen in the top half. Each film cost 10 cents to play, and there was no choice of song; the patron saw whatever film was next in the queue. Panorams could be found in public amusement centers, nightclubs, taverns, restaurants, and factory lounges, and the films were changed weekly. The completed Soundies were generally made available within a few weeks of their filming, by the Soundies Distributing Corporation of America.”
We are lucky that Bob Chester and His Orchestra filmed some Soundies. We are also lucky that someone has posted these on Youtube. The first is Bob Chester and the band performing “B-I-BI” which they recorded for Bluebird on September 10, 1941:
The second is a compilation of songs by Bob Chester and his Orchestra, “Octave Jump”, “On The Sunny Side of the Street”, “Deep River”, and “Chesterwoogie.” The orchestra recorded “Octave Jump” on March 4, 1940 but I don’t know if they recorded the other three songs.
Finally, I want to jump back to something else that was referenced in the Wikipedia article:
Chester’s group, billed “The New Sensation of the Nation,” had its own radio show on CBS briefly in the fall of 1939. The twenty-five-minute program aired from the Hotel Van Cleve in Dayton, Ohio late on Thursday nights (actually 12:30 am Friday morning, Eastern Time); the September 21, 1939 edition can be heard on the famous One Day In Radio tapes, archived by Washington D.C. station WJSV.
The reference here is to the “One Day In Radio” which was broadcast by the WJSV radio station. Here’s another Wikipedia explanation:
On September 21, 1939 radio station WJSV in Washington, D.C. made an audio recording of its entire 19-hour broadcast day. This undertaking was a collaboration between the station and the National Archives,
Bob Chester and his Orchestra were part of the schedule and a twenty-five minute program of their music was included in the “One Day In Radio” recordings. The entire 19 hours is also available on Archive.org at https://archive.org/details/001WakeUpMusic. Here’s the entire Bob Chester program as broadcast on September 21, 1939:
Moving on, the next major outfit that was associated with Florence Suttle was George Duffy and His Orchestra. Florence Suttle would tour with Duffy from April to December of 1935. Duffy and his band seemed to be a big deal in Ohio in the mid-1930s. Look at this article below from The Cincinnati Enquirer (Cincinnati, Ohio), June 21, 1935 announcing the opening that evening of the George Duffy Orchestra at the Gibson Roof Garden:
It was a a fairly significant advertisement announcing George Duffy and His Orchestra. But what happened to George Duffy? It should be noted that there was also an Irish Show Band, the George Duffy Orchestra in the 1940s but it’s not the same organization. I could find very little about the American Duffy and his Orchestra. There is a website/blog dedicated to Duffy at http://georgeduffyandhisorchestra.blogspot.com/ with some wonderful photos but no real information. Here’s one of the photos of George Duffy and his Orchestra:
Unfortunately there are no other details about the photo or even a date for the image. I could not find a discography for George Duffy and His Orchestra but did find some sheet music images of songs that had been attributed to Duffy:
I could find nothing to suggest that George Duffy even recorded these songs. I scanned through old newspapers and found that Duffy continued to front an orchestra and was busy making public appearances from the mid-1930s to as late as the early 1960s. In fact, Duffy was still performing as late as 1962 as can be attested by this advertisement from the Cleveland Plain Dealer, August 3, 1962:
George Duffy passed away on March 29th, 1963:
As I have said, I cannot find a discography for George Duffy and His Orchestra but it is possible that the band made at least one recording. I have found images for a 78 rpm record on the Quaker label for George Duffy and His Orchestra. The record features the songs “Love Is Just Around The Corner” backed with “The Ice Cream Song”
Unfortunately I could not find any music files to offer of George Duffy and His Orchestra. I know they also performed a number of live radio remotes but I haven’t come across any of these either. George Duffy and His Orchestra did perform at the Cleveland Auto Show in November of 1935. The Cleveland Automobile Show ran for a week from November 23rd to November 30, 1935 and one of the big attractions was the appearance of George Burns and Gracie Allen in a stage show. Burns and Allen did broadcast from the Cleveland Automobile Show but I haven’t found a radio transcription of the show so I do not know if Duffy made an appearance on the Burns and Allen show.
The next band I wanted to explore was an Orchestra that Florence Suttle appeared with in January of 1936. The following advertisement is from the Cleveland Plain Dealer on January 25, 1936:
The name of the Orchestra is referred to as Pinkey Hunter and his Orchestra. This is another Orchestra that seemed to have roots in Ohio but again very little is known about them. In searching for a discography for Pinkey Hunter and his Orchestra, I could only find reference to Pinkey Hunter as a member of Emerson Gill and His Castle of Paris Orchestra. The following discography section notes Pinkey Hunter as a member of Gill’s Orchestra and that Hunter performed vocals on some of the recordings.
The last credited song for Pinkey Hunter with Gill’s Orchestra was “Ready For The River” from March 27th, 1928. This song is also available on Archive.org.
From the same March 27, 1928 session that produced “Ready For The River”, we have Emerson Gill & His Bamboo Garden Orchestra with “That’s What I Call Keen” with Pinkey Hunter doing vocal:
Someone has posted on Youtube the first Emerson Gill track that credits Pinkey Hunter on vocal. It’s “That’s My Girl ” from the February 17th, 1925 session.
Youtube also brings us two tracks from Emerson Gill’s March 1st, 1926 session that also have Pinkey Hunter vocals. They are “My Bundle of Love” and “The Roses Brought Me You”:
I could find no recordings for Pinkey Hunter and his Orchestra or any information that suggests that Pinkey Hunter recorded with his own Orchestra. One of the last news articles that I could find about Pinkey Hunter was from the Cleveland Plain Dealer, March 13, 1949 that shows an elderly Hunter:
In 1949 Pinkey Hunter was the program director at WHK in Cleveland, Ohio. I could not find an obituary for him.
Skipping ahead to 1936, we find the next reference to Florence Suttle was that she was appearing at the Mayfair Room of the Book-Cadillac Hotel in Detroit beginning on April 17th, 1936. This time she was with the Sam Jack Kaufman Orchestra. I’ll work backwards in that I found Sam Jack Kaufman’s obituary from the February 11th, 1990 Washington Post:
MUSICIAN S.J. KAUFMAN DIES AT 88
Sam Jack Kaufman, 88, president of the D.C. Federation of Musicians Local 161-710 from 1955 until he retired in 1985, died of cancer Feb. 7 at his home at Leisure World in Silver Spring.
Mr. Kaufman was born in Rochester, N.Y. He was a musician and bandleader in New York, Chicago, Detroit and elsewhere before moving to the Washington area in 1940.
He was the conductor and then the music director at Loew’s Capitol Theater from the time he came here until 1954, when the Capitol discontinued its vaudeville programs. Mr. Kaufman became head of the musicians union the next year.
His wife, Helen Kaufman, died in 1985.
Survivors include two children, Carol Chappelear of Landover and Noel Kaufman of Burke; two grandchildren; and three great-grandchildren.
So, what we know of Sam Jack Kaufman was that he was a bandleader up to 1940. Here’s a picture of him:
His obituary contains the most detailed information I could find on Sam Jack Kaufman. I could find no discography for the Sam Jack Kaufman Orchestra but Archive.org did offer up a 78 rpm of “Washington” sung by Jimmie Dodd and backed by Sam Jack Kauman and his Capitol Theater Orchestra.
Seeing as the band is billed as “Sam Jack Kaufman and his Capitol Theater Orchestra,” this recording would have to been made after 1940 when Kaufman relocated to Washington. Of course we should also take note of the fact that the song is the “Motorola Song for Washington Contest 1st Prize Winner.” There may be some earlier recordings of Sam Jack Kaufman because I did find the following 78 of “My Confession” backed with “My Love For You”:
I could not find any other information about these recordings nor when they were issued.
The last forgotten band that I want to look at associated with Florence Suttle is Coleman Sachs and his Orchestra. After Florence finished with Sam Jack Kaufman in the Mayfair Room in Detroit, she was next spotted in Birmingham, Alabama on May 22, 1936 at the Club Rex on the same bill with “Coleman Sachs and his 14-Star Band.”
Like Pinkey Hunter, most of the recordings I could find of Coleman Sachs were with another orchestra. In this case it was the Jack Linx Orchestra. There is a website of sorts, https://www.angelfire.com/ga/benningcobbrussel/coleman_sachs_orchestra.html, dedicated to the Coleman Sachs Orchestra but, like the one dedicated to George Duffy, it consists mainly of photos and old articles. This is another case of working backwards. Two of the articles were from later in life when he was retired from the music business. If the images are not very clear then click on them to open a larger and clearer image. The first apparently comes from 1956 because it has a handwritten notation of that year:
So, the big thing we learn is that the orchestra disbanded in 1944 and may not have got around to making any recordings. The second article doesn’t have a date but it references Coleman Sachs as being 74 years old. He died in 1985 at the age of 79 so this next article was either 1979 or 1980:
The only way we get to hear Coleman Sachs play is by listening to early recordings of Jack Linx and his Society Serenaders. This was the band that Sachs took over in 1930 and by 1932 he had hung up his trumpet to concentrate on leading the band. Before I get to the Jack Linx recordings, I want to post some pictures of Coleman Sachs and his Ochestra and one of the Jack Linx orchestra. These come from the website I mentioned earlier dedicated to Coleman Sachs. First, here’s Sachs and his band:
There is no date for that picture but it’s probably early 1930s. Here’s Jack Linx and his Society Serenaders (again no date):
I’ve been able to put together a small discography of Jack Linx recordings. I do not know if this is complete:
The very first recording listed is “How Come You Do Me Like You Do?” from August 28th, 1924 and we are lucky that is available to hear:
Someone has posted on YouTube, the other two tracks from that first session, “It Ain’t Gonna Rain No Mo” & “Doodle Doo Doo””:
A year later in August of 1925, Jack Linx recorded “She’s My Sheba, I’m Her Sheik”:
And finally two songs from the March 13th, 1926 session, “Tie Me To Your Apron Strings” and “Fallen Arches” :
Somewhere in these almost 100 year old tracks is the long gone trumpet of Coleman Sachs. I may not have found any recordings for Coleman Sachs and His Orchestra but the Jack Linx Society Serenaders is essentially the same group of musicians but with Coleman Sachs on trumpet and Jack Linx conducting.
Our story as it relates to bands associated with Florence Suttle ends and then begins anew with a very small notice in the Birmingham News on December 4th, 1937. The article relates to Frank Suttle, her then husband, but there is a mention that his wife “Flo, is singing with Nye Mayhew’s Band in Boston under the name of Linda Keene.” Florence Suttle had finally made the transition to Linda Keene. The next few forgotten bands all came to my attention because of Linda Keene. To be accurate, Linda Keene had been appearing with Nye Mayhew since September 30th of 1937. The article to the left from The Boston Globe (Boston, Massachusetts), September 25th, 1937 states “Nye Mayhew and his orchestra will open at the Hotel Statler, Thursday evening,” which would make the opening on September 30th, 1937.
I wish someone had created a website dedicated to Nye Mayhew. The little that I could find in the way of a biography comes from old newspaper articles and from this excerpt from “”American Big Bands” by William F. Lee:
I know the excerpt is short on details but I found an interview that Mayhew gave in 1956 about his early career and association with Bix Beiderbecke. The article comes from the January 5th, 1956 edition of the Dallas Morning News.
We can piece together from this article and the excerpt from “American Big Bands” that Nye Mayhew started out with Paul Whiteman. In fact I found references of Nye Mayhew recording with the following bands:
–Hale Byers and His Orchestra February 25, 1926
–Paul Whiteman 1927
–Hoagy Carmichael and His Pals October 28, 1927
–Fred Rich and His Hotel Astor Orchestra, May 4, 1928
–The Dorsey Brothers’ Concert Orchestra July 16, 1928
–Carolina Club Orchestra March 27, 1929
Nye Mayhew’s Orchestra has a discography that starts on July 27th, 1933 as Nye Mayhew and his Westchester Biltmore Orchestra:
Note that the September 7th, 1933 session that produced “Thanks” and “The Day You Came Along” were issued under Will Osbourne and His Orchestra but supposedly Osbourne was only the vocalist with the accompaniment actually being Nye Mayhew’s Orchestra. Also, the January 19th, 1934 session produced recordings by Mayhew being issued under another Orchestra’s name.
For this blahg, I’m not going to offer recordings that Mayhew did with earlier orchestras. I want to stick to the above discography because quite a number of his recordings are available on Archive.org and YouTube. Someone has posted to Archive.org thirteen selections of Mayhew’s 78rpm output, https://archive.org/details/NyeMayhewOrchestra78rpmCollection. Mayhew had a nice sound in the 1930s. From the first listed session, July 27, 1933, here are “Blue Roses” and “It Isn’t Fair”:
Blue Roses:
It Isn’t Fair:
From the September 7, 1933 session here are the two recordings that were actually Nye Mayhew and His Orchestra issued as Will Osborne and His Orchestra. Here are “Thanks” and “The Day You Came Along”:
And finally, from the last session on April 9, 1934 here are “This Is Our Last Night Together” with a vocal by Douglas Newman and “Baby, Take A Bow!” which has a Russ Morgan vocal:
Nye Mayhew was still fronting an Orchestra under his name into the late 1950s. I do not know if Mayhew made any other recordings after his April 9th, 1934 session. There were some radio remotes of his Orchestra over the years which might have included Linda Keene as well but I have not come across any remotes by Mayhew. I could not find an obituary for Mayhew but I found references to him leading an orchestra well into the late 1950s.
I’m skipping ahead a little bit with Linda Keene’s association with big bands. In 1938 she had a short stint with Glenn Miller’s Orchestra and then Bobby Hackett’s Dixieland Orchestra. Seeing as these are relatively known bands, I want to stick to the forgotten orchestras that had some association with Linda Keene. Just before Christmas in 1938 Linda Keene landed in Bermuda for a stint at the Silver Grill, in the Hotel Bermudiana. The band she was appearing with was Scott Fisher and His Orchestra.
Here’s another band for which there is very little information. I had to really search for any information on Scott Fisher and His Orchestra. The following information comes from the website https://jazzagemusic.blogspot.com/2020_06_15_archive.html:
1905
‘Bud’ Fisher, Leader
aka: “Scott Fisher and his Orch.”
b. New York, NY, USA
York, NY, USA.
d. August 2, 1972, Flemington, NJ, USA
Winfield Scott (“Bud”) Fisher was born in the Bronx, New York on June 16, 1905. He moved to Bogota, Bergen County, New Jersey at age 13. He and younger brother William Hardy “Billy” Fisher, known in 1923 as “The Musical Fishers,” made one of their earliest appearances at “The Sphinx Club” in New York’s Waldorf Astoria Hotel on the same bill with the legendary Will Rogers. Scott was only 17, while Billy was just 9.
Using a foundation of himself on piano and kid brother Billy on sax and clarinet (and later handling orchestrations), Scott organized his first band as a teenager. Eventually, they became known in the New York/New Jersey area as “Bud Fisher & His Commodores.”
Into the early 1930s, Scott’s orchestra became known throughout New York and New Jersey, playing numerous dates on area radio stations like WABC, WEAF, WAAT, WJZ, and WADA. Scott, Billy, and company also performed at New Jersey’s legendary “Rustic Cabin” for two years, among their numerous other club appearances. “Bud Fisher & His Commodores” were regulars on Cunard Line cruise ships, performing on runs to Cuba and Bermuda, and were winter mainstays at Bermuda’s “Bermudiana Hotel.” The band also recorded several commercial pressings, and performed at the famous Coconut Grove Room at New York’s Park Central Hotel.
Around 1935, the band went on several two-month tours, only to return to the New York area without a gig. As a result, the orchestra split up. Had they been able to survive that period, the Fisher band may well have become one of the top names in the business as the movement of individual band members shortly after the breakup illustrates:
Harold Mooney, the piano player, went on to arrange for Hal Kemp; Gordon Griffin found a place for his horn with Benny Goodman; “Toots” Camarata became Jimmy Dorsey’s arranger; the third trumpet player (name unknown) joined up with Casa Loma; while Billy Fisher became sax/clarinet man and arranger for Russ Morgan. (Billy later filled a similar role for Al Donahue, before becoming Ray Bloch’s “right-hand man” for roughly 35 years, the bandleader for whom he arranged the music of “The Ed Sullivan Show” for all 24 seasons.)
Scott Fisher later became Head Copiest for Ray Bloch. He also worked in this capacity for numerous Broadway shows including “How to Succeed in Business Without Really Trying,” “Golden Boy,” “The Apple Tree,” “My Fair Lady,” and “The Music Man,” mostly under the direction of Elliot Lawrence. He died on August 2, 1972 in Flemington, New Jersey at age 67. Billy Fisher died in Greenwich, Connecticut on April 24, 1972.
I was able to find a small discography for the 1935 Scott Fisher and His Orchestra:
I apologize for the image above but it was presented that way at the source although I was able to enhance the January 10, 1935 session. A handful of the Scott Fisher and His Orchestra recordings are available on Archive.org at https://archive.org/search.php?query=creator%3A%22Scott+Fisher+and+his+Orchestra%22. What is noteworthy about the Archive.org available recordings is that some are from the 1935 sessions and there are later ones from 1949. I cannot find a discography for Scott Fisher in 1949 but we can assume this is the same Scott Fisher from 1935 but probably fronting a new orchestra.
Now, I’ll offer the remaining tracks from the January 10, 1935 session. Here we have “In A Blue And Pensive Mood”, “Just A Fair-Weather Friend”, and “Haunting Me”. The vocals on the three songs are all performed by Lee Johnson. These tracks also come from the Soundcloud.com source.
The 1949 tracks of Scott Fisher and His Orchestra are also available on Archive.org. Of course, by 1949 the sound of the Scott Fisher Orchestra is quite different.
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Again, I have no proof that the 1949 Scott Fisher and His Orchestra is the same as the 1935 band. Here’s another mystery to add to the Scott Fisher Orchestra from the later years. Betty Clooney, sister of Rosemary Clooney, apparently recorded the song “In the Cool, Cool, Cool of the Evening” with Scott Fisher and His Orchestra, also for the Hi-Tone label in 1953
Unfortunately I was not able to find a source from which to download or listen to this track.
Here is Scott Fisher’s obituary from August 2nd, 1972:
After leaving Scott Fisher and His Orchestra in Bermuda, Linda Keene returned to America to do some recordings and touring with Jack Teagarden and His Orchestra. Teagarden and his band are famous enough that I don’t need to include them here. Linda Keene was with Teagarden from May to July 1939 but by August she had moved on to touring with Willie Farmer and His Orchestra.
Like some of the other bands detailed in this blahg, I had never heard of Willie Farmer and His Orchestra until I started researching Linda Keene. I will again start with the obituary to try and provide some information about Willie Farmer. This is from the April 7th, 1990 edition of The Morning Call out of Lehigh Valley and Allentown, Pennsylvania
WILLIAM FARMER, 84; HAD 65-YEAR MUSICAL CAREER THE MORNING CALL
William “Willie” Farmer, 84, formerly of 1622 Liberty St., Allentown, a musician for more than 65 years, died Thursday at the Leader Nursing and Rehabilitation Center, Bethlehem. He was the husband of Hilda (Solomon) Farmer. They observed their 60th wedding anniversary last October.
Farmer began his career at the age of 13 as a drummer with the Carl Fenton Orchestra. He later played with many of the big bands, including Glen Gray and the Casa Luma Band, Red Nichols and Tommy Dorsey. In 1932 he took over the Larry Siry Band at the Simplon Club, New York City, and the band was known thereafter as Willie Farmer and the Farmer-in-the-Dell Orchestra.
Born in New York City, he was a son of the late Abraham and Celia (Dorsky) Farberman.
During the 1930s, Farmer’s orchestra toured throughout the East and Midwest and made more than 30 recordings, mainly for the Bluebird/Victor label. The band was well-known in New York night spots, including The El Murrocco, Tavern-on-the Green and Rainbow Room at Rockefeller Center.
They also played locally at the former Castle Gardens at Dorney Park, the former Mealey’s Auditorium, Allentown, and Flagstaff, Jim Thorpe. The band also performed for many early radio broadcasts of the era.
Farmer moved to Florida in 1975 and continued to work as a musician until retiring in 1985.
He was a past board member of Associated Musicians Local 802.
Survivors: Wife; son, Dr. H. Stephen of Princeton, N.J.; daughter Judith, wife of Morton Miller of Allentown, five grandchildren and two great-grandchildren.
Graveside services: 2 p.m. Sunday, Beth Israel Cemetery, U.S. 1, Woodbridge, N.J. Arrangements, David J. Boyko Funeral Home, Macungie.
The takeaway information from the obituary is that Farmer’s orchestra “made more than 30 recordings” and that “the band also performed for many early radio broadcasts of the era.” Unfortunately I cannot find any live remotes for Willie Farmer and His Orchestra but from two different sources I was able to assemble the following discography:
I apologize again for some of the images for the 1937 and 1938 discography as they were cropped at the source. Note that in 1933 the Orchestra was known as Willie Farmer and His Simplon Club Orchestra. We are indebted again to people who have posted some of the 78 rpm records of Willie Farmer to Archive.org. You can listen to many of them through this link: https://archive.org/search.php?query=creator%3A%22Willie+Farmer+and+his+Orchestra%22. Willie Farmer and His Orchestra also had a nice sound on their recordings. None of the 1933 tracks are available on Archive.org so we will have to rely on YouTube. Here are two songs from that first session, “Love Is Love, Anywhere” and “Let’s Fall In Love”
Love Is Love, Anywhere
Let’s Fall In Love
From the Archive.org postings are two tracks from the June 11, 1937 session, “Stop! You’re Breaking My Heart” and “Scattin’ At The Kit-Kat”:
The following selections are simply because I like the titles. From September 9, 1937 comes “Midnight In The Madhouse” followed by “Tarzan” from July 15, 1938.
I’ll finish off with this band’s 1930s output by offering two tracks from their last session on September 1st, 1938. Here are “A Pretty Girl Milking Her Cow” and “Yes Ma’am I’m The Guy”:
As with some other artists, like Scott Fisher, Willie Farmer appeared to have fronted another Orchestra in the 1940s. I have found listings for at least three songs that Willie Farmer and His Orchestra released on Jubilee in 1947, “I Found Gold”, “Louisa Learned The Roomba From Her Goomba”, and “Why Do They Fall In Fallsburg”. All three songs had vocals by Lee Tully. Luckily, someone has posted the last two songs on Archive.org:
In 2016 a digital album of Willie Farmer and His Orchestra, “Perfect Jazz For Dancing” was released to digital platforms. None of the tracks match the 1930s discography so we have to assume these might have been from the late 1940s or later or quite possibly this is some other Willie Farmer and His Orchestra.
At last, we come to the final Forgotten Band for this blahg. After Willie Farmer and his Orchestra, Linda Keene was next spotted with Lennie Hayton and His Orchestra. At some point in November 1939, Linda took up with Lennie Hayton and his Orchestra and was appearing with him at Loew’s State theatre in New York starting November 24th. Billboard magazine reviewed Hayton at Loew’s State on November 24th and ran their review in the December 2, 1939 issue.
Now, I know some might say that Lennie Hayton is a very recognizable name. That is true. He has a good entry on Wikipedia at https://en.wikipedia.org/wiki/Lennie_Hayton. He started out with Paul Whiteman and His Orchestra and then joined the Charles Previn Orchestra for a time. Hayton in his history as a band leader recorded two numbers as a leader in 1928 and then led a big band that recorded from 1937-40. When the band broke up in 1940, Hayton settled in Hollywood, where he worked for MGM as an arranger, conductor and musical director. He married the singer Lena Horne in 1947 and thereafter served as her pianist, arranger and musical director. Between 1937 and 1940, the Hayton band, booked by Mills Artists Incorporated, toured coast-to-coast, playing one-nighters and extended stay locations with a lineup that ranged from 12 to as many as 20 musicians.
As mentioned, Lennie Hayton’s Orchestra recorded 24 tracks between 1937 and 1940. None of these tracks have been reissued on CD to my knowledge. It is that forgotten band that I want to focus on here. Here is the discography for the 1937-1940 Lennie Hayton and His Orchestra:
Carelessly (Chas. & Nick Kenny ‑ Norman Ellis). Vocal by Paul Barry. Decca 1248‑A (62144‑A). NY, 4/22/1937. E. Sid Stoneburn, clarinet solo. 3:10
It Looks Like Rain In Cherry Blossom Lane (Edgar Leslie‑Joe Burke). Vocal by Paul Barry. Decca 1248‑B (62145‑A). NY, 4/22/1937. E. 3:13
The Lady Who Couldn’t Be Kissed (from the Warner Bros. production “The Singing Marine”) (Harry Warren‑Al Dubin). Vocal by Paul Barry. Decca 1268‑B (62146‑A). NY, 4/22/1937.(Seems as if Hayton recorded practically the entire score of “The Singing Marine”, a musical that starred Kenny Baker. I’ve seen it on TCM). E+ 3:05
Night Over Shanghai (from the Warner Bros. production “The Singing Marine”) (Harry Warren‑Johnny Mercer). Vocal by Paul Barry. Decca 1268‑A (62147‑A). NY, 4/22/1937. E+. 3:19
I Know Now (from the Warner Bros. production “The Singing Marine”) (Harry Warren‑Al Dubin). Vocal by Paul Barry. Decca 1267‑A (62148‑A). NY, 4/22/1937. E+. 3:12
You Can’t Run Away From Love Tonight (from the Warner Bros. Production “The Singing Marine”) (Harry Warren‑Al Dubin). Vocal by Paul Barry. Decca 1267‑B (62149‑A). NY, 4/22/1937. E. 3:03
Gone With the Wind (Allie Wrubel‑Herb Magidson). Vocal by Paul Barry. Decca 1341‑A (62320‑A). NY, 7/1/1937. E. 3:05
What A Beautiful Beginning (from the 20th Century‑Fox production “Sing And Be Happy”) (Harry Akst‑Sidney Clare). Vocal by Paul Barry. Decca 1341‑B (62321‑A). NY, 7/1/1937. Looks rough, plays E (especially after restoration). 2:38
Can I Forget You (from the Paramount picture “High, Wide And Handsome”) (Jerome Kern- Oscar Hammerstein II). Vocal by Paul Barry. Decca 1348‑A (62324‑A). NY, 7/1/1937. N‑. 3:13
The Folks Who Live On the Hill (from the Paramount picture “High, Wide And Handsome”) (Jerome Kern‑Oscar Hammerstein II). Vocal by Paul Barry. Decca 1348‑B (62325‑B). NY, 7/1/1937. E+ to N‑. 3:05
That Old Feeling (from the Walter Wanger production “Vogues of 1938”) (Lew Brown‑Sammy Fain). Vocal by Paul Barry. Decca 1354‑A (62326‑A). NY, 7/1/1937. Superb side; solos from Sid Stoneburn‑clarinet, and either Ralph Muzzilo or Red Hymie‑trumpet. E to E+. 2:54
Lovely One (from the Walter Wanger production “Vogues of 1938”) (Manning Sherwin‑Frank Loesser). Vocal by Paul Barry. Decca 1354‑B (62327‑A). NY, 7/1/1937. E+ 3:06
Once In A While (Michael Edwards‑Bud Green). Vocal by Paul Barry. (American) Decca 1443‑A (62582‑A). NY, 9/8/1937. E. 3:00
Once In A While (Edwards‑Green). Vocal by Paul Barry. (Canadian) Decca 1443‑A (62582‑B). NY, 9/8/1937. This record looks E‑ to E, but has rim chip 2 grooves in (ends before music starts) and 1 1/2″ hairline crack. It has excellent quality shellac, so all defects are unnoticeable after restoration. E . 3:02
15. The Morning After (Dorsey‑Jaffe‑Boland). Vocal by Paul Barry. (American) Decca 1443‑B (62583‑B; an”X” has been stamped through take “A”, with the “B” take stamped next to it !!). NY, 9/8/1937. E. 3:01
So Many Memories (Harry Woods). Vocal by Paul Barry. Decca 1437‑B (62584‑A). NY, 9/8/1937. E+. Sid Stoneburn‑clarinet; ? Ralph Muzzilo‑trumpet. 3:07
Make A Wish (from the Principal Production “Make A Wish”) (Straus‑Alter‑Webster). Vocal by Paul Barry. Decca 1437‑A (62585‑A). NY, 9/8/1937. E+. 2:45
At the Balalaika (from “Balalaika”). Vocal by Linda Keene. Varsity 8125 (US‑1130‑1) NY, c. 12/7/1939. E. 3:15
The Starlit Hour (Parish‑DeRose). Vocal by Linda Keene. Varsity 8125 (US‑1131‑1; as above). NY, c. 12/7/1939. E (slight scuff removed by restoration). 2:53
Peg O’ My Heart (Bryan‑Fisher). Varsity 8134 (US‑1132‑2). NY, c. 12/7/1939. Slats Long ‑ clarinet. N-. 3:00
As Long As I Live (Koehler‑Arlen). Varsity 8134 (US‑1133‑2). NY, c. 12/7/1939. N‑. 3:20
I Love You Much Too Much (Olshey‑Raye‑Towber). Vocal by Linda Keene. Vocalion 5421 (W‑26541‑A). NY, 2/20/1940. E. 3:00
Times Square Scuttle (Hayton). Vocalion 5471 (W‑26542‑A). NY, 2/20/1940. That trumpet sounds like Yank Lawson to me, but wasn’t he still with Crosby at this time??? or not??? N‑. 2:32
One Cigarette For Two (Metzger‑Dougherty‑Ryan). Vocal by Linda Keene. Vocalion 5421 (W‑26543‑A). NY, 2/20/1940. E. 2:56
Note that 13 and 14 are the same song but it appears that number 14, a Canadian issue of “Once In A While” appears to be an alternate take. Not all of the 24 songs are available on Archive.org. Certainly, the Canadian issue of “One In A While” is not there and remains a rarity but the American release is available. The four tracks that had vocals by Linda Keene from late 1939 and early 1940 are also not there. Those I have included in a previous blahg, TRACING LINDA KEENE, PART 2: THE MOMENT IN MY LIFE. Of the remaining tracks, I was unable to find a listening source for “Peg O’ My Heart” and “As Long As I Live”. One of his last recordings, “Times Square Scuttle” will be presented as a YouTube post.
From the April 27th, 1937 session, here are “Carelessly” and “You Can’t Run Away From Love Tonight” with vocals by Paul Barry:
From July 1st, 1937 are two songs that I’ve particularly enjoyed by other artists as well, “The Folks Who Live On The Hill” and “That Old Feeling” with Paul Barry again providing the vocals:
Here are two tracks from the September 8, 1937 session, the aforementioned American release of “Once In A While” and “Make A Wish” with Paul Barry vocals:
I won’t present anything from the December 7th, 1939 session because “Peg O’ My Heart” and “As Long As I Live”are not available and I have already posted “At The Balalaika” and “The Starlit Hour” in my previous blahg, TRACING LINDA KEENE, PART 2: THE MOMENT IN MY LIFE so you can head over there to listen to those two songs. I am going to present three tracks from the last session on February 20th, 1940. Linda Keene also did vocals at that session and I will repost one of those tracks because I think it’s one of the most haunting vocals that she performed with Hayton. Here are “AC-DC Current”, which the Angelfire website claimed was a Magnificent side, probably Hayton’s best! Following that is Linda Keene doing the vocal on “I Love You Much Too Much” and a Youtube post of “Times Square Scuttle.”
That’s it. I hope you’ve enjoyed these Forgotten Bands. There’s some good music here and I hope you take some time to follow the links and listen to some of the other recordings by these bands that are almost lost to time.
Well it’s April and we’re in another lockdown/stay at home situation here in Ontario. I’m not complaining. Covid-19 cases are on the rise again and we need to do this to bring the case numbers down. What a perfect time to enjoy some more music that I’ve collected over the past year. In my previous blahg, 12 MONTHS – 12 RECORDS – 12 SONGS, I offered up samples from some albums I had purchased over the past 12 months either at local thrift stores or purchased over the Internet. I’m talking about LPs. Vinyl! The good stuff! I have another batch of 12 albums that I purchased over the past month so I’m basically doing a part two with these new to me albums. Sit back and enjoy some good music
As I’ve said before, many of these records have not had CD releases so they’re a bit on the rare side. I’ve done another good job of scanning the covers so if you click on the rear covers then you get full images with all of the great jacket notes. I’ve tried to clean the audio and remove any clicks and crackle sounds. I think you might just find something interesting this time around. Wait, I didn’t mean the last batch of 12 records were not any good but I’m just saying I’m continuing with the vinyl and there’s bound to be something here that’s enjoyable. There was only one album in the batch that wasn’t as good as the rest. You’ll have to read on to find out more.
The first up is an album called “Vic Lewis Featuring Tubby Hayes – In Concert.” This was released in 1978 on the Hep Records label.
There’s an interesting documentary about Tubby Hayes from 2015. I haven’t seen it yet but here’s the official trailer:
From the album “Vic Lewis Featuring Tubby Hayes – In Concert, here’s “Moonlight In Vermont”:
Next up is another album by The Kenny Clarke-Francy Boland Big Band. In my last blahg, I featured a track from the 1965 album “Now Hear Our Meanin’ ” by the same group. This time the album is “Live At Ronnie’s, Album 2, Rue Chaptal” by The Kenny Clarke-Francy Boland Big Band on the Polydor label from 1969. This is a gate-fold album so the middle two pictures are what you see when you open up the album jacket.
The interesting track here is “The Girl & The Turk”:
The next album is probably my most recent purchase before stores shut down again this spring due to the pandemic. I had never heard of Bernadine Read but the first track that caught my eye was “Rhode Island Is Famous For You.” I knew this song from the late great Blossom Dearie but did not know anyone else had recorded a version. The album is “Bernadine” on the Epic label from 1958
Here’s Bernadine Read’s version of “Rhode Island Is Famous For You”:
I think the following album was another thrift store find from earlier this year. It’s the great Lionel Hampton and “Hamp’s Big Band.” This is on the Audio Fidelity label from 1959
This album really swings and it was tough to choose just one track. Some of the tracks are quite lengthy so I chose one of the shorter ones coming in at 3:37. It’s Hamp and the band with “Red Top”
The selections up to now in this blahg were thrift store purchases but I confess that the next album was ordered after I downloaded and listened to the second album by this group. I read online somewhere about a jazz album with a very interesting cover, “Music To Lure Pigeons By” by the Night Pastor And Seven Friends. Luckily someone had posted the whole album on Youtube:
I think I came across it because I was researching Dave Remmington. In my previous blahg I had offered a selection from “Dixie On The Rocks” by Dave Remington and The Dixie Six. Dave Remmington was also a member of the Night Pastor’s Seven Friends. After hearing “Music To Lure Pigeons By”, I had to order the first album which is “The Night Pastor And Seven Friends Play Chicago Jazz.”
The track I have selected here is the first track on side one because the Night Pastor does a spoken intro and explains a little about himself and a little about the album. The song is “Beale St. Blues.”
The next album was just another whim purchase from a thrift store. The album is “TV Action Jazz!” by Mundell Lowe and His All Stars. It’s on the RCA Camden label from 1959.
My selection from this album is one of the most iconic instrumental theme songs to any TV show. It’s Mundell Lowe and His All Stars with their interpretation of “Peter Gunn”:
I think this next album might have been another thrift store purchase as well. When you see a compilation album with the title “Jazz Hall Of Fame, Volume II” then you know you’re getting something good. Of course, it’s a sampler album and you get tracks by bands led by Charlie Shavers, Jack Teagarden, Charles Mingus, Al Haig, Osie Johnson, Josh White, Ralph Burns, Django Reinhardt, and Big Bill Broonzy. This is on the Design label from 1959.
The track I have selected is “Osie’s Oasis” by Osie Johnson And His Orchestra.
Now we get back to another vocal performance. This is another female vocalist (I swear I also listen to males) with the same initials as Bernadine Read. This time it’s Betty Reilly and her “The Explosive Betty Reilly” album on the Golden Tone label from 1960. Neither the front cover nor the rear cover are very exciting…unless the cannon goes off.
I had mixed emotions about this album. The first track was “The Saga Of Elvis Presley” which almost turned me off to the album. I think Betty Reilly performs best when she sticks to the standards, so I’ve chosen an old chestnut, “When The World Was Young”
Returning to Dixieland Jazz, it’s Phil Napoleon’s Emperors of Jazz with their Emarcy label 1955 album “Dixieland Classics Volume 1”
Give a listen to a great version of “Never Be The Same.”
It’s time for another Dixieland sampler. This time it’s “Jubilee Dixieland Sampler” on the Jubilee label. I couldn’t find a release year but the album features such great bands as the Salt City Five, Conrad Janis And His Tailgate Jazz Band, Stan Rubin And His Tigertown Five, David Bee, The Spring Street Stompers, and the College All Stars.
There were lots of great artists and tracks to choose from but I think I purchased this album because I’m a huge fan of the Salt City Five. The band later became the Salt City Six. There’s a great website dedicated to the group where you can listen to some of their material and live performances: http://www.saltcity56.com/. I decided to offer up “Baby, Won’t You Come Home” by the Salt City Five.
The next album intrigued me because I’m a fan of the musical “My Fair Lady.” The late great Nat King Cole put out an album with his take on the songs from the musical so I thought this next album would be another delight. I wasn’t disappointed. The album is “Modern Jazz Performances Of Songs From My Fair Lady ” by Shelly Manne & His Friends. To be clear, the friends consist of Andre Previn on piano, Leroy Vinnegar on bass, and of course Shelly Manne on drums. Shelly Manne and friends also put out albums of music from “L’il Abner” and “The Bells Are Ringing”
Here’s Shelly Manne & His Friends with their version of “Get Me To The Church On Time”:
Would you believe I have another Jazz Sampler to offer up? Believe it! This time it’s a live album featuring Billy Butterfield and his band. I bought “College Jazz Sampler” at a local DVD store that also sells used records. It contains live performances from the colleges listed on the cover. On the REO label from 1956, this album turned me on to Billy Butterfield and I’ve been listening to a lot of his music over the past year.
To close out the last of the 12 albums I selected “Willow Weep For Me”. Listen to that Butterfield horn!
Before I close this blahg, I want to offer up a bonus. To prove that I don’t always buy Jazz or Vocal albums, I recently picked up the following at a thrift store:
This album has the original voice talent from the cartoon. I really like Quick Draw McGraw and have the funko pop figures of Quick Draw and Baba Looey and the Vnyl two pack figures. They look like this:
I also have the Funko release of Quick Draw’s secret identity El Kabong:
I have a couple of plush Quick Draw figures as well but I won’t post those here. I don’t want to come across as a fanatic. I was going to post the audio here but I found that someone had posted it to Youtube. Here it is:
That’s it for this time. I hope you have enjoyed some of these selections. I have a few more but I’ll save those for another time. Stay safe and stay home and listen to the music.