I like it!

this song works well if you replace "cents" with "bucks" in 2024

Albert ambrose

Pianist Joe Reichman's outfit certainly had the typical light, skippy sound of a society band! It is well-suited, however, to this endearing number from WB's _Dames_ , introduced by Dick Powell. Violinist Joseph Sudy coaxes gently but persuasively.

Love this wonderful singer,some must remember ❤

Never heard of this song before a minute ago. Thanks for posting. Best for you. And best for me.

One of many great things about V-Discs is that they often present artists in instrumental settings that are far different from those in which we are accustomed to hearing them -- this is certainly true of this utterly delightful affair. Most of us associate Bea with the dance band environment, chiefly the Larry Clinton orch, and the beautifully detailed arrangements that the leader crafted for his star thrush. For this torchy _Allegro_ number, sophisticated in spite of the title's colloquial _dope_ , we find Bea in spare surroundings. Of course, _spare_ refers only to number of musicians, as this magnificent trio provides all the support any vocalist could want. Julliard graduate Ellis Larkins was prominent on the jazz scene of the '40s, working in small groups with a host of jazz aces, including Edmond Hall, Coleman Hawkins and Dicky Wells. The pianist is probably best known, however, for his impeccable skill and sensitivity in accompanying singers. Ellis made some celestial sides with Mildred Bailey in this period and later backed Ella and Chris Conner. Bea -- admired, and yet still, I think, underrated -- is at once straightforward and sly in her magnificent reading of this gem. Ten years after the chanteuse was at perhaps her most prominent, she sounds just as wonderful, both technically and artistically, treating us to the seldom heard verse before launching into the chorus' famous lament about an obtuse Adonis.

From United Artists' _The Powers Girl_ , this pretty number sounds romantic in the opening instrumental chorus, but _three_ in a song title is always a bad sign. The Warren-Gordon "Two Dreams Met," as we know, turns out entirely differently from this story. Hearing Denny's rich baritone and sensitive interpretation, we must wonder what his male contender in this triangle had on the ball to throw our vocalist out of contention -- surely the lady couldn't have preferred the other guy's voice! In any case, dashing Denny and the Ambrose band in the war years is a glorious combination!

The song perfectly encapsulates the mood of post-war America. Lovers were reunited and it was time to get back to the business of settling down and raising a family. Cute line- “If you don’t think I’m a blushing bride, just look in my suitcase”

The oldies playing from another room brought me here 😭😭😭🇿🇦

This title dates itself a bit, but that's part of its charm! Back when the US was in the fight to keep the world free, the highly underrated Seger Ellis put together an extremely clever ditty to celebrate the individual charms of the states that made up our nation -- and Mildred, who was born in Tekoa, WA and grew up on the Coeur d'Alene Reservation in ID, delivered it with her distinctive joyousness, which we must read as pride. Sad to note, Mildred, who passed in '51, did not live to see Alaska and Hawaii's admittance to the union. This wonderful performance comes from the vocalist's radio show, which ran from September of '44 to February of '45 (I would never have missed a broadcast!). Paul Baron's all-star orch included in this period such luminaries as Red Norvo (Mildred's ex); Teddy Wilson (Ms Bailey's favourite accompanist) and Roy "Little Jazz" Eldridge (whom Mildred dubbed " 'Ridge").

Trank you very much is music christmas for always

Larry looks like a British royal

A great early version of a classic. Thank you!

Larry's tone and phrasing here sound remarkably like Earl Warren's, from the Basie band -- which is, of course, a compliment! Lead alto saxist Earl doubled as the Count's romantic crooner. By '42, with the US now involved in the fight, everybody -- but _everybody_ -- had gone romantic, including ol' hep cat Barnet. Audiences wanted soothing sounds -- sentimental homefront material and of course love songs -- and the bouncy tempos for vocal sides were less commonly heard, apart from on the occasional rhythm number. This tune, composed by Barnet band pianist Bill Miller, is lovely!

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Beautiful

What a lovely voice she had! Thought she was more of a comedian. She can surely sing...guess back in the day everyone had to be multi-talented as it kept you working. Really enjoyed hearing her sing this beautiful old ballad. Thank you for posting all those years ago!

Philadelphia"s Captain Noah and his Magical Ark! 👍🏻♥️🌈

was here 10:34pm Indiana

What a wonderful woman...a wonderful woman in a winter wonderland

unforgettable beauty in every way

Beautiful four-part harmony with a nice solo from Alyce.

Dating to 1924, this sentimental oldie may seem quite a departure for Herb, an alumnus of the highly sophisticated Ellington band. I find the handsome baritone most convincing, however, in this jazzed-up waltz; he sounds as if he's singing from his heart -- whether there was actually an errant Sally in it or not. The accompaniment, too, is glorious; the vibes player sounds as if he'd been listening to Norvo.

This jaunty take is unlike any treatment I've heard of this poignant 1934 number, an early success for both composer Jenkins and lyricist Mercer. I have to give the consistently excellent Anita credit for phrasing in a manner that smooths out the sing-song quality in the meter, which is brought out by the brisk tempo; compare her phrasing to that of the ensemble in the opening partial chorus -- a big difference! The vocalist, by then a veteran of several bands -- Leo Reisman; Dick Barrie; Tommy Dorsey; Artie Shaw; Harry James -- had an attractive tone and unmannered delivery and was just a fine singer. This being a V-Disc, intended for those away from home in military service, there is an apropos lyric change, from Mercer's "Nothing left for me to say/And so I'll close/But by the way... " to _somebody's_ "Nothing left for me to say/But that I pray/For you each day ..." Presumably this warmed the hearts of a few listeners. The spoken "P.S. I love you" at the end is a little hokey, but perhaps even that faux personal touch went over well, too.

Great recording! Thanks for sharing!

It's wonderful to look into your eyes And realise you care a little bit It's wonderful to know that you love me It's glorious to feel that I'm a part of you sweetheart To share your happiness It's marvelous how lovely love can be Who dreamed that I'd be allowed Through the doorway of heaven I'm drifting high on a cloud You're an angel and this is heaven It's wonderful to have your lips divine combined with mine And dream forever more It's wonderful to know that you love me!

where did you find these recordings?

One of the ones I've wondered about for a while. One of the last times Osborne officially duetted with a gal singer.

This number might actually be _for_ , not _of_ , the birds, but I do love Pinky's voice here.

The studio musician who played the kitchen foil did a great job

IMO, the Krupa orch was at its zenith in this period. The band boasted an ace arranging staff as well as extremely talented and distinctive soloists, such as tenor man, Charlie Ventura, and altoist Johnny Bothwell, both featured here. Too, Anita O'Day, so critical to elevating this outfit to the big leagues in '41, was back -- albeit briefly. Finally, in Buddy Stewart the crew had a top class balladeer and, with his wordless bop vocal style, an innovator. This sweet side shows Buddy and the GK aggregation tackling a romantic number as never before! Even suffering the loss of Ms O'Day, who struck out to try it as single, the band remained in fantastic shape through '46.

Thank you for posting. I have been looking for this single for quite some time. I hope the recording will be reissued as a vinyl or a CD...

I was 9 years old and I remember the Disney movie and the song.🥲🥲🥲🥲🥲🥲🥲🥲

I enjoyed this. The blending of electric organ and electric guitar is subtle and tasteful. It’s a great song and the cool, calm vocal is a novel interpretation. This was a very nice choice. Thanks.

👍👍👍

In instrumental form, this number served as the theme for WB's 1942 _Now, Voyager_ . (I also associate the song with a very dramatic scene in the same studio's '45 _Mildred Pierce_ -- "Monte ... the record ...")The addition of Kim Gannon's lyric, transforming Max Steiner's typically lush affair into a potential pop hit, unfortunately coincided with the infamous '42-'44 recording ban, barring union musicians from participating in commercial sessions; one sad consequence was Dick Haymes' version at Decca, with that perfectly dreadful a cappella accompaniment. I've really never cared for the song -- neither Steiner's music nor Gannon's lyric does anything for me -- except in this treatment. David's interpretation is flawless -- that vibrato is exquisite! Too, the great Johnny Richard's chart is lovely.

Thank you for sharing this excellent post. I love it.

ah! i finally found my fav version! <3

Larry did some very lovely work with Ray Noble's orch, but I'm afraid I find this performance just a little mannered and precious. ... That organ is downright lugubrious!

Introduced by Sinatra (and Gloria DeHaven) in his second acting role, in RKO's _Step Lively_ , and subsequently turning up as background music in a host of RKO films of the '40s and into the '50s, this little Jule Styne melody doesn't hide and make you seek it -- it's up front and catchy, particularly paired with Sammy Cahn's repetitive lyric. It seems always to have been the Pipers' instinct to try to inject some variety, either melodically or by changing their phrasing here and there, on insistent numbers such as this one. I would say they succeeded in this chipper rendition!

Mabel sure knows how to promote the great American pastime(s)!

👍👍

❤ Beautiful.

I didn't know that there was a Zelda Scott but I always thought that smiles were made out of sunshine.

WHEN LIFE WAS FULL AND REAL OF TRUE HEART MORALS!!:)

The announcer at the beginning seems to clearly say "our Avadon dancers." Anyone know where an "Avadon" ballroom was?

Very Sweet Christmassy Song

1940S WILL OSBORNE!!

This title sure gives away the story in the lyric -- and of course that story appeared regularly in pop of the immediate post-WWII period. Not my favourite number, but I do think that Will's band and voice were at their best at this time. Eileen, who would go on to wider fame on television's _Your Hit Parade_ , too, was a fine vocalist.