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1943 #1s: Helen Forrest

Harry James

I noticed that in 1943, Helen Forrest was the singer of three #1 songs with two big bands. Here’s a bit from Wikipedia: “Helen Forrest (born Helen Fogel, April 12, 1917 – July 11, 1999) was an American singer of traditional pop and swing music. She served as the ‘girl singer’ for three of the most popular big bands of the Swing Era… earning a reputation as ‘the voice of the name bands.'”

Here’s a 1982 quote from her: I live for today, but it is nice sometimes to look back to yesterday. We did not know that we were living through an era – the Big Band Era – that would last only 10 years or so and be remembered and revered forever…it’s hard to believe, but the best times were packed into a five-year period from the late 1930s through the early 1940s when I sang with the bands of Artie Shaw, Benny Goodman, and Harry James… They seem to symbolize my life…that was when the music of the dance bands was the most popular music in the country, and I was the most popular female band singer in the country, and Harry had the most popular band in the country. It didn’t last long, but it sure was something while it lasted. Everyone should have something like it at least once in their lives. I’m grateful I did.”

The songs

I’ve Heard That Song Before – Harry James with Helen Forrest on vocals, thirteen weeks at #1, gold record. Written by Styne/Cahn for Youth On Parade.

Paper Doll – Mills Brothers, twelve weeks at #1, gold record. The biggest hit by a vocal group in the decade.

Sunday, Monday Or Always – Bing Crosby with the Ken Darby Singers, seven weeks at #1, gold record. From the film Dixie.

There Are Such Things – Tommy Dorsey with Frank Sinatra and The Pied Pipers on vocals, five weeks at #1, gold record

You’ll Never Know– Dick Haymes and The Song Spinners, four weeks at #1, gold record. A Cappella! From the movie Hello, Frisco, Hello.

In The Blue Of Evening – Tommy Dorsey with Frank Sinatra on vocals, three weeks at #1

Comin’ In On A Wing And A Prayer – The Song Spinners, three weeks at #1; A Cappella!

Taking A Chance On Love -Benny Goodman with Helen Forrest on vocals, three weeks at #1. From the film Cabin In The Sky.

I Had The Craziest Dream – Harry James with Helen Forrest on vocals, two weeks at #1, gold record, From the film Springtime In The Rockies.

That Old Black Magic – Glenn Miller with Skip Nelson and the Modernaires on vocals. From the film Star Spangled Rhythm

Pistol Packin’ Mama – Al Dexter and His Troopers, gold record. “It is said that the massive popularity of this ‘hillbilly’ tune… that was also covered successfully by Bing Crosby and the Andrews Sisters, was a major factor in Billboard’s decision to begin publishing a weekly record chart devoted to the country music genre.”

1933 #1s: Stormy Weather

Forty-Second Street

There was stormy weather politically in 1933. From A Century of Pop by Joel Whitburn: “Adolph Hitler’s rise to power as Chancellor of Germany coincided with FDR’s inauguration.”

Meanwhile, the Great Depression raged on. “Mirroring the national economy, the record industry underwent an almost total collapse.” It sold only “six million discs in 1932 – compared to the peak of 140 million just five years earlier. The opportunity to hear all popular songs on the radio for free… also contributed to the desperate slump.”

The Last Round-Up – George Olsen with Joe Morrison on vocals (Columbia), nine weeks at #1

Stormy Weather – Leo Reisman with Harold Arlen on vocals (Victor), eight weeks at #1, from Cotton Club Parade. Arlen co-wrote it with Ted Kohler.

Love Is The Sweetest Thing– Ray Noble with Al Bowlly, vocals (Victor), five weeks at #1. From the film Say It With Music

Lazybones – Ted Lewis (Columbia), four weeks at #1. Purportedly written in only 20 minutes by Hoagy Carmichael and young Johnny Mercer.

You’re Getting To Be A Habit With Me– Guy Lombardo with Bing Crosby, vocals (Brunswick), four weeks at #1. From the movie musical Forty-Second Street

Forty-Second Street – Don Bestor with Dudley Mecum, vocals (Victor), three weeks at #1. From the movie musical of the same name.

Stormy Weather (Keeps Rain’ All The Time) – Ethel Waters (Brunswick), three weeks at #1

The Last Round-Up – Guy Lombardo with Carmen Lombardo, vocals (Brunswick), three weeks at #1. From The New Ziegfeld Follies.

Did You Ever See A Dream Walking? – Eddy Duchin with Lew Sherwood, vocals. (Victor), three weeks at #1. From the film Sitting Pretty.

Shadow Waltz– Bing Crosby (Brunswick), two weeks at #1. From the movie Gold Diggers of 1933.

Repeating Top 3 hits

The charts showed a lot of repeating songs. Stormy Weather also got to #2 by Guy and Carmen Lombardo and #4 as an instrumental by Duke Ellington. The Last Round-Up reached #2 by Don Bestor/Neal Buckley and separately by Bing Crosby. Did You Ever See A Dream Walking? reached #2 with the Lombardos.

Who’s Afraid Of The Big Bad Wolf made it to #2 by Don Bestor with Florence Case, Frank Sherry, and Charles Yontz, vocals. It got to #3 by Victor Young. Yes, the song from the 1933 Disney cartoon The Three Little Pigs was reused often.

Finally, Shuffle Off To Buffalo reached #2 with two different recordings: Hal Kemp/Skinny Ennis and Don Bestor/Maurice Cross. It was also from Forty-Second Street

1923: We Have No Bananas

Parade Of The Wooden Soldiers

There were 13 #1 songs in 1923, 100 years ago. Yes! We Have No Bananas was two of them. Frank Silver and Irving Cohn wrote the song for the 1922 Broadway revue Make It Snappy. Eddie Cantor sang it in the revue.

The Wikipedia page offers context. “Silver explained the origin of the song to Time Magazine: ‘I am an American, of Jewish ancestry, with a wife and a young son. About a year ago, my little orchestra was playing at a Long Island hotel. To and from the hotel, I was wont to stop at a fruit stand owned by a Greek, who began every sentence with ‘Yes.’ The jingle of his idiom haunted me and my friend Cohn. Finally, I wrote this verse, and Cohn fitted it with a tune.'”

In addition to those listed below, recordings by the Great White Way Orchestra with Billy Murray got to #3, Benny Krueger to #8, and Sam Lanin to #15 that same year.

It was later covered by Benny Goodman and his Orchestra, Spike Jones & His City Slickers, and at least five dozen other versions.

The tune also inspired a response song, “I’ve Got the Yes! We Have No Bananas Blues”, recorded by Cantor, which got to #2, and Belle Baker to #11, also in 1923.

Songs

Parade Of The Wooden Soldiers– Paul Whiteman, #1 for seven weeks, instrumental

Swingin’ Down The Lane – Isham Jones, #1 for six weeks, instrumental

That Old Gang Of Mine – Billy Murray and Ed Smalle, #1 for six weeks

Yes, we Have No Bananas – Billy Jones, #1 for five weeks, comedy

Down-Hearted Blues – Bessie Smith, #1 for four weeks, gold record

Toot, Toot, Tootsie! Goodbye – Al Jolson, #1 for four weeks

Carolina In The Morning – Van and Schenck, #1 for three weeks

Love Sends A Little Gift Of Roses – Carl Fenton, #1 for three weeks, instrumental

Dreamy Melody – Art Landry, #1 for three weeks, gold record, instrumental

Yes! We Have No Bananas – Ben Silvin with Irving Kaufman, #1 for two weeks, novelty

I’ll Build A Stairway To Paradise – Paul Whiteman, instrumental written by George Gershwin

Bambalina – Paul Whiteman, instrumental

Besides Bananas, three of these songs are very familiar to me: Wooden Soldiers, Tootsie, and Carolina.

1932 #1: Depression music

ten cents in 1932 is about two dollars today

Here are the songs that reached #1 in 1932 in the United States. From A Century of Pop Music by Joel Whitburn: “The record industry underwent an almost total collapse to the point of selling only six million discs in 1932 – compared to the peak of 140 million just five years earlier.”

The growth of radio, in addition to the economic woes, contributed to this phenomenon. Some of the songs reflect the difficulties of the era.

Night and Day– Leo Reisman with Fred Astaire. 10 weeks at #1. A song by Cole Porter from the musical The Gay Divorcee. I became much more familiar with the works of Porter after I bought the original Red Hot + Blue album in 1991. This song was also covered by Peter Sprague and Rebecca Jade on Planet Cole Porter
In A Shanty In Old Shanty Town – Ted Lewis and his band, 10 weeks at #1

Please – Bing Crosby with Anson Weeks and his orchestra, 6 weeks at #1
Paradise – Leo Reisman and his orchestra with Frances Maddux, vocals, 6 weeks at #1. From the film, A Woman Commands

We Just Couldn’t Say Goodbye – Guy Lombardo and His Royal Canadians with Carmen Lombardo, vocal, 5 weeks at #1

Paradise – Guy Lombardo and His Royal Canadians with Carmen Lombardo, vocals, 3 weeks at #1
All Of Me – Paul Whiteman and his orchestra, with Mildred Bailey, vocals, 3 weeks at #1. The song was written by Gerald Marks and Seymour Simons. It was given the Towering Song Award by the Songwriters Hall of Fame as a result of the countless covers, including by Frank Sinatra and Willie Nelson

Deuce

All Of Me – Louis Armstrong, 2 weeks at #1
Dinah – Bing Crosby with the Mills Brothers, 2 weeks at #1
Say It Isn’t So – George Olsen with Paul Small, vocals 2 weeks at #1. Written by Irving Berlin
Lullabye of the Leaves – George Olsen, 2 weeks at #1

Too Many Tears – Guy Lombardo and His Royal Canadians with Carmen Lombardo, vocal, 2 weeks at #1
River, Stay Away From My Door – Guy Lombardo and His Royal Canadians with Kate Smith, 2 weeks at #1
Brother, Can You Spare A Dime? – Rudy Vallee, 2 weeks at #1. From Wikipedia: “Written by lyricist Yip Harburg and composer Jay Gorney,… [it] was part of the 1932 musical revue Americana; the melody is based on a Russian-Jewish lullaby. The song tells the story of the universal everyman, whose honest work towards achieving the American dream has been foiled by the economic collapse.”
Brother, Can You Spare A Dime? – Bing Crosby, 2 weeks at #1

Reisman, Whiteman, Olsen were on Victor
Lewis, Armstrong, and Vallee were on Columbia, though I also found the Armstrong recording on Okeh
Crosby and Lombardo were on Brunswick, except the Kate Smith cut, on Columbia

1922: King Tut’s tomb; these #1 hits

Fanny Brice

As the book says, “The discovery of King Tut’s tomb in 1922 opened up new realms of the ancient world.” More relevant to music, “radio swiftly evolved from a novelty into a nationwide phenomenon, with 500 stations established by 1922 and over 1,000 three years later.”

April Showers – Al Jolson, eleven weeks at #1, gold record. He was on Columbia Records. The song was written for the Broadway musical “Bombo.” It has also been covered by Cab Calloway, Bing Crosby, and Judy Garland.

Three O’Clock in the Morning – Paul Whiteman, eight weeks at #1, gold record. A waltz. All of the Whiteman hits were instrumentals. I wrote about him last year. Almost all of the remaining hits on this list were on Victor.

Hot Lips (He’s Got Hot Lips When He Plays Jazz) – Paul Whiteman, six weeks at #1. This is labeled a blues foxtrot. Foxtrot is always spelled fox trot on the labels.
Stumbling – Paul Whiteman, six weeks at #1. A foxtrot.
Mister Gallagher and Mister Shean “Positively, Mr. Gallagher?” – Ed Gallager/Al Shean, six weeks at #1, gold record. This is a “comedy” record. Shean was an uncle of the Marx Brothers. The dialogue is transcribed and contains…problematic references to blacks and especially women.

Angel Child – Al Jolson, five weeks at #1

In The Alamo – Isham Jones, four weeks at #1. An instrumental on Brunswick Records. A foxtrot.

Gershwin

Do It Again! – Paul Whiteman, two weeks at #1. The George Gershwin-Buddy DeSylva song was introduced on-stage by Irene Bordoni in the 1922 Broadway comedy “The French Doll.”
Mr. Gallagher and Mr. Shean – Billy Jones/Ernest Hare, two weeks at #1. A comedy record on Okeh Records

My Man (Mon Homme) – Fanny Brice (pictured). Originally the French-language song “Mon Homme,” Fanny performed it with the new English lyrics in “Ziegfeld Follies Of 1921”. Music-Maurice Yvain, English lyric by Channing Pollock. Orchestra conducted by Rosario Bourdon. “Thirteen years after her death, she was portrayed on the Broadway stage by Barbra Streisand in Funny Girl.”
My Buddy – Henry Burr. Gus Kahn and Walter Donaldson wrote this melancholy post-WWI ballad. This is the song I best recollect of this bunch.

THEN I come across the article about recorded music from 1922 and earlier, which touts pieces now in the public domain, with many of the same songs.