Margaret Whiting Meets Hopalong Cassidy

Back in 1950, televisions were finding their way into more and more American homes, and a great number of those sets were tuned in to Hopalong Cassidy western films, which had achieved new life on the new medium. Veteran actor William Boyd had originated the Hopalong character as early as 1935 for a long series of programmers that depicted his character as a clean-living, sarsaparilla-drinking hero who defeated a parade of bad guys with the aid of his horse Topper and a juvenile accomplice.

The explosive interest in Hopalong Cassidy led to an exhaustive parade of exploitation items - guns, clothes, lunch boxes, watches, dishes, and even Capitol kiddie records. Songwriters Nacio Herb Brown and L. Wolfe Gilbert, who had penned the theme music for Boyd's TV show, decided they wanted in on the action, and in 1950 they went to Capitol, who held rights to the character, with a request to record their "Hopalong Cassidy March" along with a lullaby they had written called "Hoppy, Topper and Me," in which the young protagonist dreams of riding as the cowboy's sidekick.

Hoppy, Maggie and
Johnny Mercer (?)

Only trouble was, as Billboard put it, the label showed "no eagerness to record the Hoppy numbers." Undeterred, Brown, Gilbert and their partner Boyd had the songs recorded independently, using Capitol artists Margaret Whiting and Frank De Vol. Capitol then agreed to ship out 500 copies of the promo single to the nation's disc jockeys. If the reception was good, a commercial release would be considered, per Billboard's November 25, 1950 issue.

The DJs must have liked the tunes well enough, because Capitol did eventually put them out in its regular series - the march coupled with another Frank De Vol side called "Circus Days," and the Whiting version of "Hoppy, Topper and Me" suitably backed by "This Little Piggy Went to Market."

This post combines the original Capitol promo single version of the Hoppy theme music with both sides of Whiting's regularly issued single. Personally, I can do without the march music, but the Whiting songs are predictably excellent, beautifully performed without ever seeming mawkish, nicely backed by De Vol and by Whiting's husband Lou Busch on "This Little Piggy." Boyd himself makes a cameo at the end of "Hoppy, Topper and Me," confusingly saying good night to the young cowpoke, after Whiting has made it clear that the tyke has just awakened from a night's sleep.

You also are invited over to my main blog, where I have just devoted a long post to early and rare Whiting 78s from the first several years of her career, before she encountered Hoppy and the horse he rode in on.

The Road to Minnesota with Bing and Bob

Bing Crosby and Bob Hope churned out seven of their popular "Road" movies over the years, starting with Road to Singapore in 1940, and ending up with The Road to Hong Kong in 1962. Just about the time the last one was coming out, the pair combined for this coda, "Vacation Road to Minnesota," a promotional EP sponsored by the state's Department of Business Development.

With many of us packing our bags for a getaway this time of year, I thought it might be appropriate to share this Hope-Crosby aural tour of the Land of 10,000 Lakes. It's enjoyable, but does not come without some painful anachronisms - chief among them (so to speak) is Hope's fake American Indian lingo ("You speakum English? You wanna be guide for white brother?"). But generally the two display their familiar rapport, evident even though it sounds like they were not in the same place when their lines were recorded.

Bing and Bob

Bing also appears on a similar travelogue record sponsored by Oregon and issued around the same time. I have a copy of that one, but the pressing is defective, so I can't supply a transfer. Fortunately the sound on the Minnesota disc is good.

The "Vacation Road" was a product of Capitol Custom Records, and that label's Les Baxter composed and conducted the background music, making this, I suppose, an obscure Baxter collectible as well.

'Hello, Lyndon!'

This being Presidential election season in the US, I thought I might take a musical look back at the year 1964, when Democrat Lyndon Johnson, who had taken over from the assassinated John F. Kennedy the previous November, was battling arch-conservative Barry Goldwater, nominated by the Republicans.

In 1960, the Dems had enlisted Frank Sinatra to refashion his hit single of "High Hopes" into "High Hopes with Jack Kennedy," with lyrics reworked by Sammy Cahn. This was then pressed on a promotional 45, backed with a male chorus doing a custom version of Sinatra's "All the Way," another Sammy Cahn-Jimmy Van Heusen product.

The party apparently did not have Frankie, Sammy or Jimmy to call on in 1964, so they lit on the idea of doing a version of the hit song of the day from the hit musical of the day - "Hello, Dolly!" Louis Armstrong had quite a success with his rendition of the song, which was dominated by his incandescent vocal personality. Pops apparently was not available to the Dems; instead they enlisted singer/actor Ed Ames to sing new lyrics by composer Jerry Herman. Ames was a good vocalist who had had many hits with his family group the Ames Brothers, and would again as a single act in years to come, but incandescent he was not.

Ed Ames

The result is forced bonhomie, not helped by the stentorian Hello, Dolly! male chorus ("The whole world says that he's the one! The whole world says that he's the one! The whole darn world says that he's the ONE!!!").

Oh well - just as Kennedy was a tough act to follow, so was Sinatra.

This is a brief one-sided single, and so is the shortest offering I've ever had on one of my blogs.

Check my other blog for more music inspired by the world of politics - the soundtrack from the 1964 exploitation film The Candidate.

Chop Suey from Frankie Yankovic

The is a spin-off from the post on my main blog of Malcolm Arnold's score for the 1958 war drama The Key. Included in the music was a theme confoundingly called the "Chop Suey Polka." The Columbia honchos decided it made sense for their prize polkateer, Frankie Yankovic, to take up the tune, and he dutifully etched it for this single release.

Arnold was a fine composer, but polkas were perhaps not his main line of interest, so this one, while insistently memorable, did not result in one of Yankovic's best records.

Fortunately, the flip side is a superb number called the "Roseann Polka," which shows off the bandleader's crack musicians to great effect. Unfortunately I don't know who plays on these particular cuts.

I enjoyed this so much that I plan to feature some of Yankovic's early Columbia LPs on my main blog in the near future.

A Pajama Party with Julius La Rosa!

Julius La Rosa was not with RCA Victor records very long (only in 1956-57), but he was popular enough to be chosen as the face of the promotional efforts for the label's spring 1957 release. Considering that Elvis Presley's first LP was among those releases, this was quite an honor.

As part of its campaign, RCA saw fit to release a promotional EP and call it the "Julius La Rosa Pajama Party," an almost excessively odd idea until you consider that it was co-sponsored by the folks from Schrank's Dreamware, a pajama company. You received the EP with each purchase of a nightie. Also on board for the promotion were Canada Dry ginger ale and Coty cosmetics.

The Life magazine ad below ties all these themes together, while displaying La Rosa's LP along with those from Perry Como, Eddie Fisher and Elvis, who do not appear on the promotional record. The EPs in the background are by Ralph Flanagan and Teddi King, who are represented on the promo.

I suppose I could imagine La Rosa, Flanagan and King as entertainment at a pajama party. But Bob Scobey and his clunky Frisco Jazz Band? Dennis Farnon and his "Mother Magoo Suite"? The Three Suns and Pipe Organ?? Having been a young person in good standing during the 1950s, I cannot conceive of any situation that would have caused me to play the any of these records for my friends.

Anyway, I do love the portrait of Julie on the wall. And I especially love his spoken introductions to each number, the texts of which must have been thrust in front of him about 30 seconds before they was recorded. Only Bing Crosby and occasionally Frank Sinatra could make such scripted nonsense work - but nonetheless I find it endearing. The truth is, I avidly enjoy all such promotional items.

The download includes RCA's trade ad for this promotion, which utilizes the grim-looking La Rosa portrait from his sole Victor LP. Please head on over to my main blog for a transfer of that LP along with 12 sides taken from Julie's single output for the label.

The Rit(t)man Baptist Singers

This item is in effect a counterpoint to the recent post of commercial gospel music on my main blog. Featured there were recordings from the Rangers Quartet from 1939, the Blue Ridge Quartet from 1950, and the Foggy River Boys from 1954-55.

This privately pressed 78, in contrast, comes from a church group largely unaffected by the trends that influenced the bigger groups and innocent of the showmanship that they increasingly displayed.

That is not to imply that the two songs here are poorly presented - far from it. The performance is secure and the effect is both impressive and charming.

The record comes from Rittman, Ohio, a town of 6,000 people about 15 miles southwest of Akron. (The label says "Ritman," but that is almost certainly a misprint because I found the record not far from the city with two "t"s.) Today there is no Rittman Baptist Church, but there is a Rittman Community Free Will Baptist Church (see below), and it or a predecessor may be the source.

The 78 speed was largely obsolete by the late 50s, which would suggest that this record comes from the mid-50s at the latest. I have to say, though, that my own sense is that this particular record may have been pressed in the anachronistic format as late as the early 60s. The sound is good for a private recording.

Rittman Community Free Will Baptist Church

Wiggling with Jack Paar

Jack Paar was a American late-night television personality whose tenure at the helm of The Tonight Show was sandwiched between those of Steve Allen and Johnny Carson. Those two may be better remembered today, but Paar was very famous in the U.S. during his 1957-62 heyday.

Unlike Allen, Paar was not a musician, and so he did not make hundreds of records like his composer-pianist predecessor. As far as I can tell, he only made three - this sole single for RCA Victor from 1958, a single with singer Jack Haskell for Columbia in 1956, and a 1961 comedy LP that was given out to those who purchased a $1.47 tube of Jiffy Sew (the Liquid Mending Miracle). More of the LP were distributed than you might think - it still turns up in thrift stores.

This RCA 45 is actually quite good, no thanks to Paar. As the title "Blue Wiggle" might suggest, that side is the aural equivalent to a Jonah Jones LP cover, and this vaguely sexist theme carries through to the flip side, "Funny What You Learn from Women." Paar's role is limited to a monotone voice over the music tracks, which are largely the work of Jerry Teifer, a professional whistler and songwriter. "Blue Wiggle" - the better of the two tracks - combines Duane Eddy-style twangy guitar with Teifer's whistling to great effect.

Jerry Teifer

Teifer himself made records with Chuck Sagle in 1955 and a few for Epic under his own name in the 1960s. He also recorded "Bananas - What a Crazy Fruit!" with Rusty Canyon and the Banana Boys.

Although Paar himself seldom recorded, the featured acts on his show were active in the studio. My other blog has just published Ruth Olay's Easy Living, Jack Haskell issued the unfortunately named Swings for Jack Paar on Strand in 1961 (I think I have that one somewhere), and pianist Jose Melis was very popular for a time, making any number of LPs that thrift stores have been throwing out for the past 50 years.