In Chapter 17 of his 1930 memoir, Vagabond Dreams Come True, Rudy Vallée regales the reader with tales of the songwriting game and music publishing business.
SONGS AND SONG WRITING
In Chapter 17 of his 1930 memoir, Vagabond Dreams Come True, Rudy Vallée regales the reader with tales of the songwriting game and music publishing business.
SONGS AND SONG WRITING
Is there a better known, more revered songwriter, even today, than Irving Berlin?
We think not.
But it’s intriguing to read the following profile, which dates from 1935. Berlin was already a giant in the world of music and theatre, but many of his greatest accomplishments still lay ahead of him.
In fact, of the dozens of titles of Berlin’s hit songs mentioned in this profile, very few were familiar to us (and we bet you’ll find them as unfamiliar as we did).
It was quite a life that Mr. Berlin led. And quite a career.
This prose snapshot of songbird Ruth Etting might fairly be said to be a doctored “photo”—or at the very least retouched. For this profile, from the April 1935 issue of Popular Songs, makes no mention of Martin “Moe the Gimp” Snyder, a gangster to whom young Ruth was wed in 1922 and who had a major impact on her career.
After achieving huge success in radio, Broadway, recordings, and movies, Etting divorced Snyder in 1937, having fallen in love with her pianist, Myrl Alderman, who was nearly ten years her junior.
That old saying “Heaven has no fury like a mobster scorned” applies here, as Snyder soon plugged Alderman with a bullet, spending a year in jail before being released on appeal.
The surrounding scandal seems to have pulled the plug on Etting’s career, alas, though she would go on to marry Alderman and, one hopes, live happily ever after.
Today marks the 122nd anniversary of the birth of the great Irving Berlin. One of history’s great tunesmiths, Berlin wrote more than hundreds of songs, 19 musicals and the scores of 18 movies over the course of his lengthy career.
“[Berlin is] the greatest songwriter that has ever lived.” — George Gershwin
“Irving Berlin has no place in American music — he is American music.” — Jerome Kern
Here are some of our favorite Irving Berlin songs:
“What’ll I Do?” — The Nat “King” Cole Trio
“Say It Isn’t So” — Annette Hanshaw
Yesterday, we shared with you one of the spring-themed songs we’re playing these days on Cladrite Radio, and we’ve decided to follow that up today with one of the recordings of Irving Berlin‘s “Easter Parade” that we’ll be sprinkling throughout our broadcasts for the next two weeks or so.
Our library boasts several renditions of the song, fine performances by the likes of the Jimmie Lunceford Orchestra, Bing Crosby, Djano Reinhardt, Gene Austin, and Leo Reisman and His Orchestra (with none other than Clifton Webb on vocals).
But our favorite is a 1933 recording by violinest Joe Venuti and his orchestra. And while Venuti and his cohorts acquit themselves admirably, it’s the vocalist who most made our ears perk up.
We did a little digging to ascertain which nightingale it was who delivered the lovely, languid vocals on this recording, and as it turned out, it was Dolores Reade. If that name rings a bell, it’s likely because Ms. Reade gave it up (along with, for the most part, her singing career) to marry comedian Bob Hope.
A native New Yorker, Reade was born Dolores DeFina in the Bronx, and in the 1930s, she changed her name and began singing on the NYC nightclub circuit. One night in 1933, Hope accompanied a pal to the Vogue Club, promised only that he would get to “hear a pretty girl sing.”
Hope made it a nightly practice to be at the Vogue Club when Dolores performed, and his devotion soon paid off, as the two were married a few months later. She then joined his vaudeville act, but eventually gave up performing (except when she toured with Hope to entertain the troops) to be a mother and homemaker.
Encouraged by Rosemary Clooney and others, Dolores would eventually record four or five CDs in the 1990s, sounding much younger than a woman in her eighties, but it’s painful to think of the remarkable work she might have done had she been recording all along, from the 1930s forward.
Joe Venuti and His Orchestra, feat. Dolores Reade — “Easter Parade”