Make mine ala mode, please!

Hey, everyone—it’s National Pie Day! Here’s hoping you find the time to enjoy a slice (or two) with your pals—or even your best guy or gal!

And while you’re at it, why not enjoy this rendition by Fred Waring and the Pennsylvanians of Irving Berlin‘s ode to pie, coffee and a positive outlook!

Tell us, Cladrite readers, what’s your favorite kind of pie? (We’ll readily confess a weakness for pumpkin.)

You’ve Got to Have a Gimmick

Sometimes, no matter how silly an idea is, you just have to go for it. Sell it like you mean it, brother, and there’s no telling how far your idea might go.

We were recently musing on how committing to a concept can pay off as we listened to a song we’re fond of, though we can’t deny it’s sheer fluff.

“‘Way Back Home” was written in 1935—the corny but infectious lyrics are by Al Lewis (not the actor who played Grandpa on The Munsters, but he did write the lyrics for “Blueberry Hill”) and music by Tom Waring, Fred‘s brother—and though it uses the same lyrical idea over and over and over, it is one catchy ditty.

You may not think so at first listen, but believe us, the gimmick grows on you.

To prove it, we’re offering five versions of the song. Listen to them all, and believe us, you’ll be hooked but good.

We start you off with a recording by Irving Aaronson and His Commanders, featuring Skippy Carlstrom on vocals. This one’s nice and bouncy and relatively straightforward.

Next up are the Boswell Sisters, and they were never straightforward, but they did include the intro verses in their version of the song.

Ambrose and His Orchestra, with Jack Cooper on vocals, recorded the third among the renditions we’re sharing with you, followed by the Decca All-Star Revue, which is a two-sided recording featuring the Victor Young Orchestra, with Bob Crosby, Ella Logan, Johnny ‘Scat’ Davis, Cleo Brown, and the Tune Twisters taking turns on vocals.

The final recording is the Victor Young Orchestra again, this time with Milton Watson on vocals.

Which one’s your favorite?

Irving Aaronson and His Commanders—‘Way Back Home

The Boswell Sisters—‘Way Back Home

Ambrose and His Orchestra—‘Way Back Home

The Decca All-Star Revue—‘Way Back Home

Victor Young and His Orchestra—‘Way Back Home

* * * * *

‘Way Back Home

I wrote a little song, a homesick little song,
About a place I never should have roamed from;
Skies are just a little brighter there,
Hearts are just a little lighter there.

A wanderer am I, beneath a foreign sky,
A lonely soul among a world of strangers;
From the pages of my memory,
I can hear a voice reminding me.

The roads are the dustiest; the winds are the gustiest;
The gates are the rustiest; the pies are the crustiest;
The songs, the lustiest; the friends, the trustiest,
‘Way back home!

The trees are the sappiest; the days are the nappiest;
The dogs are the yappiest; the kids are the scrappiest;
The jokes, the snappiest; the folks, the happiest,
‘Way back home!

Don’t know why I left the homestead, I really must confess.
I’m just a weary exile, singing my song of loneliness.

The grass is the springiest; the bees are the stingiest;
The birds are the wingiest; the bells are the ringiest;
The hearts, the singiest; the arms, the clingiest,
‘Way back home!

The sun is the blaziest; the fields are the daisiest;
The cows are the graziest; the help is the laziest;
The boys, the wittiest; the girls, the prettiest;
‘Way back home!

The pigs are the snootiest; the owls are the hootiest;
The plants are the fruitest; the stars are the shooiest;
The grins, the funniest; the smiles, the sunniest,
‘Way back home!

Don’t know why I left the homestead, I really must confess.
I’m just a weary exile, singing my song of loneliness.

The food is the spreadiest; the wine is the headiest;
The pals are the readiest; the gals are the steadiest;
The love, the liveliest; the life, the loveliest,
‘Way back home!

Fridays with Rudy: Vagabond Dreams Come True, pt. 6

In Chapter Six of Rudy Vallée’s 1930 memoir, Vagabond Dreams Come True, Rudy continues his tutelage on organizing and leading a dance orchestra in the 1930s (we can’t help but wonder how many of Rudy’s “lessons” would still apply today).

Rudy discusses the role showmanship, and especially clowning, plays in a successful orchestra’s performance. And it’s interesting to note from Rudy’s remarks that, even in 1930, most fans attending a live show by their favorite performers made it a practice to request the orchestra’s most popular hits. We wonder if they held up cigarette lighters when requesting an encore at show’s end?

P.S. If you read till the end, you’ll find a streaming recording of one of the songs Rudy discusses in this chapter, “You’ll Do It Someday, So Why Not Now?” (He cleans up the title a little in the book, calling it “You’ll Love Me Someday, So Why Not Now?”, but he’s not fooling us.)

Chapter VI


Closely indentified with showmanship, in fact practically part of showmanship (and vice versa) is what the professional terms “hokum”; that is, something to amuse, to attract the eye and to tickle the sense of humor. Very few dance orchestras really use hokum at all, or at least to any extent, and most of those that do use it put it in either between dances or at intermission.

A few, however, were wise enough to realize that as the couples dance around there is very little to occupy their minds unless they are engaged in conversation. Usually I find that the fellow and girl do not converse as they dance; rather does the eye seek something to engage its attention. Of course one may watch the other couples, or those on the side-lines, or the orchestra.
I firmly believe that the dance orchestra will never be replaced by any form of mechanical music, regardless of how lifelike the mechanical orchestra may be; and the reason is not hard to find. The dancers want to watch the music being made and in turn enjoy being watched by the producers of the music. Put several couples in a room with a large orthophonic phonograph and see how quickly they become tired of dancing. Unless it is absolutely impossible to secure a dance orchestra composed of human beings, a crowd will not be content to dance to mechanical forms of music.
That is where hokum comes in. The band that can put on little skits and comedy numbers with props and apparatus while the crowd is dancing has a tremendous edge on dance orchestras that simply produce beautiful, rhythmic music. Such an orchestra may rightly be termed an entertaining orchestra because they engage the eye while they entice the feet to dance and soothe the mind with music.
After the success of our first comedy number I saw that we had the ingredients for a “hokum” band as well as a “sweet” band, and proceed to develop this side of our work.
My little violinist, De Vorzon, is a sort of buffoon. He has a personality that bubbles over and expresses itself in a dozen and one crazy antics and ideas, and as we play up to each other in our comedy numbers he reacts upon me and makes me quite a different individual for the moment.
Then my drummer, Toland, with his extreme size and happy-go-lucky personality, and Miller, my tenor sax, who has a mania for making almost as faces as Lon Chaney, have help make many a comedy number extremely laughable.
The germ of the idea is often mine and the subsequent outline I usually develop, but it is the little extemporaneous bits that the boys themselves think of, that top off or complete the comedy sketches which we present even while the crowd is dancing.
Our first comedy number was a tune which I had been playing for several years. It was an old college tune which had only been played by two bands, our own and the orchestra directed by the boy who wrote the tune. Years before I heard it with each word and or line capable of illustration in pantomime in songs at dances.
The first tune which gave me this idea was a number from one of the early editions of the “Scandals” called “The Gold Diggers.” In this number the word “dig” was illustrated by pantomime digging; the word “swim” by the movement of swimming; “Fifth Avenue” by five fingers of the hand held upright, etc.
Gestures done by one man alone are hardly noticed, but when done by the front line of the band in perfect unison they hold the audience quite spellbound, and it was nothing unusual for the crowd to stop dancing and gather around us during the course of such a chorus.

Read More »

Fun Facts to Know and Tell

Did you know Fred Waring, the popular bandleader of the 1920s and ’30s so often heard on Cladrite Radio, was the man behind the Waring blender?

We didn’t.

Mind you, Waring didn’t invent the blender, but he financed it and promoted it, eventually lending his name to the company that produced it.

And originally, they were called Waring Blendors — the O was Waring’s idea.

Waring’s dance orchestra was very popular and lots of fun, but he eventually went with more of a choral sound, using “glee clubs” and choruses on his records. And though by doing so, he lost us as listeners (sorry, Fred), it paid off for him in the long run, as he expanded into television with “The Fred Waring Show” on CBS. The popular program ran from 1948 to 1954.

To celebrate this new (to us) tidbit of trivia, we’re offering two of our favorite Waring recordings and a video of Waring’s Pennsylvanians backing up Morton Downey, Sr., on a peppy little number.

Fred Waring and His Pennsylvanians — “Picnic for Two”

Fred Waring and His Pennsylvanians, feat. Chick Bullock — “Let’s Have Another Cup of Coffee”