Jane Morgan's First Record

Jane Morgan

I was saddened to see that the singer Jane Morgan died yesterday, just a day after she was featured in a post on movie songs from 1957. She was 101. I stumbled across news of her death while researching an article about her early recordings. 

I knew that Morgan had been a vocalist for Art Mooney's band in the mid-1940s, when she was in her early 20s. Searching on the holdings of Internet Archive led me to what is probably her first appearance on record, and it's an interesting one, less so for the performance, more so for the disc.

Mooney was one of the first signings to the new Vogue label, a Detroit start-up that had a different slant on the record as product. As you can see at left, Vogue issued colorful picture discs. The artwork was pasted onto a aluminum core, which was coated with clear vinyl and then stamped with the record's grooves.

In this example - issued in 1946 but probably recorded in late 1945 - Mooney and vocalist "Janie" Morgan performed "Seems Like Old Times," a popular end-of-war song written by Carmen Lombardo and John Jacob Loeb, although based on an earlier song by Sam Stept and Charles Tobias.

The hit versions were by Guy Lombardo and several others, not including Mooney. The reason is not hard to figure out - the Mooney version cost more than double the Lombardo disc and all other versions . Vogues were not only priced much higher than conventional 78s, their distribution was haphazard. So if you wanted to hear Mooney and Morgan, you had to pay for the privilege - if you could actually find the record.

Billboard December 22, 1945

So the Vogue label didn't last long - barely more than a year and 60-80 releases. Then to bankruptcy court they went. Morgan - and Mooney - did much better. Art transformed his troupe from the standard-issue big band heard on this record to an old-timey brigade that had hits with "I'm Looking Over a Four Leaf Clover" and "Baby Face" in 1948.

Morgan eventually became one of the most popular singers of the 1950s and 60s, with the Kapp label seemingly issuing a new LP with every change of the season.

This early effort shows her to be a competent, if stiff singer even at an early age. Vogues have a reputation for good quality, but this recording is anything but that. The sound was dead with no bass and Morgan's voice buried in the mix, all of which I have attempted to address in this mastering.

If you are interested in Vogue recordings, I've included two old issues of Record Research that tell the story of the label and provide a discography. The records are still highly collectible.

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Songs from the 'My Sister Eileen' Musicals

When Ruth McKenney started writing about moving to New York with her sister Eileen, she began a multimedia enterprise that spawned New Yorker articles, a book, a play, a film, a Broadway musical, a Hollywood musical, and a television show. And perhaps some other things I've missed.

Today we'll concentrate on the musical offspring of the My Sister Eileen stories - the 1953 Broadway production Wonderful Town, and the 1955 Hollywood film issued under the original title. The two musicals had different scores - Wonderful Town by Leonard Bernstein, Betty Comden and Adolph Green; My Sister Eileen by Jule Styne and Leo Robin. (Columbia Pictures apparently didn't want to pay for the Broadway score.)

Wonderful Town has sired a series of albums, including one by the original cast and another from the 1958 television production, both with Rosalind Russell as Ruth. There was no cast album from the film, possibly because the score was too skimpy. In that production, only Betty Garrett (Ruth) was known as a singer. (Yes, I realize that Jack Lemmon issued a few vocal LPs.) For me, the high point of the film is not a song but a spectacular dance duel between Bob Fosse and Tommy Rall, who were competing for Eileen.

This post is not concerned with any recordings by the original casts; rather it examines the records that appeared in the market covering songs from these musicals. Most are from Wonderful Town, but the few from My Sister Eileen are worth hearing as well.

Wonderful Town

Let's start with Wonderful Town and my favorite song from either score - "Ohio," in a heartfelt version by the superb Lisa Kirk. The work has witty lyrics by Comden and Green and a loping tune (possibly inspired by Gershwin's "Bidin' My Time") that suggests Bernstein thought that Ohio is out West where the tumbleweeds blow. Rosalind Russell and Edith (Edie) Adams introduced the song.

The Hi-Lo's (Gene Puerling, Bob Strasen, Clark Burroughs, Bob Morse)
and Lisa Kirk

"A Quiet Girl" is a hymn-like Bernstein creation here in a uncharacteristically restrained - and very beautiful - reading by the Hi-Lo's. Frank Comstock suggests the composer's debt to Aaron Copland in his arrangement. This song was done first by George Gaynes as Bob Baker, Ruth's eventual love interest.

In Wonderful Town, Eileen betrayed her feelings for Frank in the excellent and unaccountably neglected "A Little Bit in Love." Here we have the talented Sandy Stewart several years before her big hit "My Coloring Book." The song comes from an Epic EP devoted to songs from the score.

Sandy Stewart and Lena Horne

The most popular song from either musical was possibly "It's Love," here in a typically polished version from the great Lena Horne. Edie Adams and George Gaynes introduced it.

One of Bernstein's most felicitous inspirations was the "Wrong Note Rag," near the end of the Wonderful Town score. Pianist Jack Fina, who made his name with Freddy Martin, has some fun with the piece, although he seems almost pained by the wrong notes.

Jack Fina and Arthur Fiedler

Finally, we have a medley of the Wonderful Town songs from the Boston Pops and Arthur Fiedler. The conductor was more attuned to musical humor than Fina, and he nails the manic quality of the "Wrong Note Rag." Arranger Dave Terry comes back to it a few times in this exceptionally well-done compilation. It comes from the LP Curtain Going Up, available newly remastered on my other blog.

My Sister Eileen

We switch to My Sister Eileen for "There's Nothin' Like Love," here in a effective arrangement by Ralph Flanagan that features baritone saxophonist Stan Webb and the smooth vocalist Johnny Amaroso, who also played trumpet in the band. On film the singers were Bob Fosse (Frank) and Janet Leigh (Eileen).

Art Mooney and Johnny Amaroso

Next, some old-style corn called "Give Me a Band and My Baby," just the thing for Art Mooney and his crew, who specialized in such material. The bandleader's biggest success was "I'm Looking Over a Four-Leaf Clover" in 1948. His hits in 1955 were "Honey-Babe," a march from the film Battle Cry, and "Nuttin' for Christmas," the lament of a juvenile Barry Gordon.

Sammy Davis, Jr.

Finally, Sammy Davis, Jr. does wonders with the Styne-Robin "It's Bigger Than You and Me," a crass tune that the vulpine Bob Baker (Jack Lemmon) croons to Ruth (Betty Garrett). With Davis, arranger Sy Oliver provides a brassy introduction, followed by Sam embarking on some jaunty vocalese that sets the tone for the number.

These selections were cleaned up from my collection and Internet Archive.

About the McKenneys

Ruth and Eileen McKenney

Ruth (1911-72) and Eileen (1913-40) McKenney grew up in East Cleveland, Ohio. Ruth wrote her stories for The New Yorker in the 1930s. They became a book in 1938. She was more multi-dimensional than the film suggests, being socially aware and a member of the Communist Party for quite a few years.

Eileen moved to the West Coast in the 1930s and worked as a Disney artist. She married the writer Nathanael West (Miss Lonelyhearts, The Day of the Locust). She and West were killed in an automobile accident a few days before the play My Sister Eileen opened on Broadway.

Ruth's daughter believed her mother never quite recovered from Eileen's death.

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