Sunrise S-3269 – The Girls of the Golden West – 1933

The Girls of the Golden West, Dolly and Millie Good, pictured on an advertisement for XER, Villa Acuña, Mexico, circa 1932-’33.  Possibly previously unpublished online.

Probably the obscurest of any of Victor’s Depression-era offshoot labels, Sunrise was produced by the RCA Victor Company in conjunction with Bluebird and Electradisk for a period of nine months, from August of 1933 up to May of ’34.  Timely Tunes—Victor’s previous foray into the world of budget records—supposedly lasted only three, but they seem to turn up a whole lot more often!  No one seems to really know for certain exactly why they were made at all.  Electradisks were produced for Woolworth’s stores, so perhaps they were made for sale at some store that folded because of the Depression.  Another leading hypothesis suggests that they were made for sale at gigs by the artists appearing on the label, a known practice in the 78 era.  What is known about them is that they are exceedingly difficult to find.  There are a total of 386 issues assigned to the label according to the DAHR, including popular, jazz, blues, and hillbilly music, but not all of them have been confirmed to have any existing copies—eight of them are explicitly noted as “not issued.”

That’s not to say, however, that the appeal of the label outweighs the musical content of the record.  The Girls of the Golden West were top names in radio game of the Great Depression-era, when America got bit by the Western bug.  Sisters Mildred and Dorothy Goad, born April 11, 1913 and December 11, 1915, respectively, were born in southern Illinois and reared in East St. Louis (though they later claimed to hail from the west Texas town of Muleshoe). They took up singing while children, and when they turned professional they changed their names to Millie and Dolly Good, and a family friend proffered that they call themselves the “Girls of the Golden West”, probably after the 1905 play of the same name or any of the three motion picture adaptations of it.  While still teenagers, the Girls of the Golden West began singing on local St. Louis radio stations KIL and KMOX, before taking their act to goat gland doctor John R. Brinkley’s “border blaster” station XER in Villa Acuña, Coahuila, Mexico, which was powerful enough to broadcast their music across most of the United States.  The Girls’ big break came in 1933, when they got a ritzier gig on the Prairie Farmer Station, Sears-Roebuck’s WLS, in Chicago to perform on the National Barn Dance, a predecessor to the WSM’s Grand Ole Opry.  Along with that came their first recording session for RCA Victor, in which the duo cut nine sides to be released on the company’s new Bluebird label.  They continued to record for RCA Victor through the end of 1935, after which they had a session with the American Record Corporation in 1938.  Their success on the Barn Dance brought them as guests onto Rudy Vallée’s NBC radio program, and they stayed on WLS’s roster until 1937, after which they moved to Cincinatti’s WLW to appear on the new Boone County Jamboree, where they remained until after World War II, by which time the show had become the Midwestern Hayride.  The Girls of the Golden West continued singing professionally until their retirement in 1949, after which they focused on homemaking for their families.  They recorded a final time, late in life, for the Fort Worth, Texas-based Bluebonnet Recording Studios.  Millie Good died on November 12, 1967; Dolly survived her by fifteen years, passing on August 4, 1982

Sunrise S-3269 was recorded in Suite 1143 of the Merchandise Mart in Chicago, Illinois on July 28, 1933 by the Girls of the Golden West: Dolly—who plays the guitar—and Millie Good; their first session for RCA Victor.  As suggested by the label, it also appears on Bluebird B-5189, as well as Electradisk 2082, and Montgomery Ward M-4412.

On the first side—with Dolly strumming that guitar like an automobile engine—the Girls sing “Listen to the Story of Sleepy Hollow Bill”, a fun little prohibition-era outlaw ditty written by the “Melody Man” Joe Davis and published under the pseudonym “Harry Lowe”.

Listen to the Story of Sleepy Hollow Bill, recorded July 28, 1933 by the Girls of the Golden West.

On the flip, the Girls sing a classic song of the Golden West right out of John A. Lomax’s Cowboy Songs and Other Frontier Ballads, Harry Stephens’ “Hi O, Hi O (The Night Herding Song)”, in an arrangement by one V. Adams, as Lomax’s published song included no written melody.

Hi O, Hi O (The Night Herding Song), recorded July 28, 1933 by the Girls of the Golden West.

Gem 3522 – Dick Robertson and his Orchestra – 1933

Dick Robertson, as pictured on the cover of Decca’s 1941 catalog.

Alongside Chick Bullock as one of the most prolific vocalists of the 1930s, though perhaps even more so, the voice of Dick Robertson was near omnipresent during the years of the Great Depression.  Though easily dismissed due to his nature as a studio vocalist, and the sheer volume of his work, Robertson was a competent singer who contributed countless excellent performances over a career stretching more than twenty years.

Dick Robertson was born on July 3, 1903, in Brooklyn, New York (though some sources assert 1900).  Prior to entering the show business, he worked in construction as a foreman.  Robertson began his career in music in the second half of the 1920s, entering the recording industry in 1927, partnered with recording veteran and career duet partner Ed Smalle.  He continued to record with Smalle for a time before striking out on his own as a jack-of-all-trades vocalist.  At different times, he played most every role a singer could: crooner, jazz singer, hillbilly, and many others.  As did many, Robertson used a variety of pseudonyms throughout his career, some more memorable ones being “Bob Richardson”, “Bob Dickson”, and “Bobby Dix”.  He recorded as a solo vocalist for Brunswick in the last two years of the 1920s and Victor in the first few of the 1930s.  At the same time, Robertson began recording extensively with dance and jazz bands on virtually every label, with orchestras ranging from those of Leo Reisman and Ben Selvin to Duke Ellington and Fletcher Henderson, and frequently with Gene Kardos’ band.  In the early 1930s, he began fronting various bands to record as “Dick Robertson and his Orchestra”, first on the ARC and Crown dimestore labels, then for Bluebird from 1933 to ’35, and finally graduating to Decca in 1935, for whom he recorded steadily until 1944, promoted as one of their many top artists.  Still, he continued to sing as a studio vocalist with other groups all the while, up until the middle of the 1940s, racking up hundreds of vocal credits (and many more uncredited performances).  Robertson also proved to be quite a capable songwriter, his most notable composition being “We Three (My Echo, My Shadow and Me)”, which became a hit for the Ink Spots in 1940.  He made his last recordings in 1949 on Decca’s subsidiary label Coral, after which he disappeared into obscurity.  Dick Robertson reportedly died on July 13, 1979, ten days after his seventy-sixth birthday.

Gem 3522 was recorded in July of 1933 by Dick Robertson fronting a studio band, probably that of Walter Feldkamp.  It was also issued on Crown with the same catalog number.  Gem was a short-lived offshoot of the Crown label, which itself only existed for three years.  Much like RCA Victor’s Sunrise label, it lasted only for several months, and its purpose is uncertain.  Presumably it was pressed as a client label for some retailer, though, to my knowledge, no one knows for whom they were made.

First, Robertson gives a fine delivery of Billy Hill and Peter DeRose’s “Louisville Lady”, a haunting tale about a jilted lover who threw herself into the Ohio River, sung from the perspective of her man, who comes to the riverside to beg forgiveness from his lost love.  Certainly this must be one of Robertson’s best, at least of the sides he recorded under his own name.

Louisville Lady, recorded July 1933 by Dick Robertson and his Orchestra.

On the “B” side, Dick croons the Andy Razaf and Reginald Foresythe penned Dixie melody “Mississippi Basin”, another jim dandy.

Mississippi Basin, recorded July 1933 by Dick Robertson and his Orchestra.

Bluebird B-5181 – Bill Scotti and his Hotel Montclair Orchestra – 1933

Sheet music cover for “The Road is Open Again”, featuring Dick Powell and FDR, 1933.

When Franklin D. Roosevelt was inaugurated President of the United States in 1933, the vice grip of the Great Depression that was strangling the nation was at its tightest, having peaked over the winter of ’32 to ’33, and the new president got right to work trying to alleviate that condition.  On June 16, 1933, only three months after taking office, Roosevelt signed into law the National Industrial Recovery Act (or NIRA), rolling out his first wave of New Deal programs, including the Federal Emergency Administration of Public Works and the National Recovery Administration.  The latter of those two, christened the NRA (sweet thing, sweet thing), was unveiled with great fanfare under the zealous leadership of its director Hugh S. Johnson.  In addition to an enormous parade dedicated to the Administration, Hollywood churned out a number of promotional films to support the NRA.  One such film saw Jimmy Durante enthusiastically pleading that employers “give a man a job.”  Another starred Dick Powell (in a role reminiscent of his part in Gold Diggers of 1933) as a frustrated songwriter tasked with composing a ditty dedicated to the NRA, but unable to produce any satisfactory results until he is visited in a dream by Presidents Washington, Lincoln, and Wilson, who explain the patriotic tenets of the National Recovery Administration and provide Powell’s character the inspiration needed to come up with “The Road is Open Again”.

Bluebird B-5181 was recorded on September 15, 1933 in New York City by saxophone player Bill Scotti’s orchestra from the Hotel Montclair in Montclair, New Jersey, featuring vocals by pianist Larry Murphy, Tom Low, and Larry Lloyd.

On side “A”, Larry Murphy sings the solo refrain on an iconic Great Depression melody, Yip Harburg, Billy Rose, and Harold Arlen hit from the Paramount motion picture Take a Chance: “It’s Only a Paper Moon”.

It’s Only A Paper Moon, recorded September 15, 1933 by Bill Scotti and his Hotel Montclair Orch.

On “B”, the trio of Larry, Tom, and Larry sing the patriotic “theme song” of President Roosevelt’s NRA, “The Road is Open Again”, as featured by Dick Powell in the short film of the same name, recorded only two days after “NRA Day.”

The Road is Open Again, recorded September 15, 1933 by Bill Scotti and his Hotel Montclair Orch.

Vocalion 02605 – W. Lee O’Daniel and his Light Crust Doughboys – 1933

It has come time once again to pay tribute to a legend lost, to the greatest of them all, America’s Blue Yodeler, and the Father of Country Music: Jimmie Rodgers.  At the time of this posting, it has been eighty-five years to the day that Jimmie walked through those pearly gates, a victim of the white plague at only thirty-five years old.

In the wake of Jimmie Rodgers’ tragic demise, numerous songwriters published melodies eulogizing him.  Among the most successful of these were Bob Miller’s “The Life of Jimmie Rodgers” and “The Death of Jimmie Rodgers”, recorded by Gene Autry and Bradley Kincaid, the latter of whom also sang “Mrs. Jimmie Rodgers’ Lament”, composed by Rich Kuster.  But those were far from the only ones.  Songwriters Dwight Butcher and Lou Herscher, who had collaborated with Rodgers in composing “Old Love Letters”, which Jimmie cut at his last session, penned the popular “When Jimmie Rodgers Said Goodbye”, recorded by a fair number of artists, including Autry and radio yodeler Kenneth Houchins, and by Grand Ole Opry performers Asher Sizemore and his son Little Jimmie under the title “Little Jimmie’s Goodbye to Jimmie Rodgers”.  Three years after Rodgers’ passing, Ernest Tubb made his recording debut backing Mrs. Jimmie Rodgers (the former Carrie Williamson) on a weepy performance of “We Miss Him When the Evening Shadows Fall”, then he sang “The Last Thoughts of Jimmie Rodgers” and “The Passing of Jimmie Rodgers” himself.  Even decades later, Rodgers was still being honored in song by devotees such as Tubb and Hank Snow, two of the countless many whose lives his music had touched.

Vocalion 02605 was recorded on October 11th and 10th, 1933, respectively, in Chicago, Illinois.  The Light Crust Doughboys are Herman Arnspiger and Leon Huff on guitars, Sleepy Johnson on banjo, Leon McAuliffe on steel guitar, and Ramon DeArman on string bass.  Leon Huff provides lead vocals.  W. Lee O’Daniel was there, too, but he didn’t do anything on this record.

Opening out with a guitar run reminiscent of Rodgers’ signature style, Leon Huff sings and yodels W. Lee O’Daniel’s own tribute to the Blue Yodeler, “Memories of Jimmy [sic] Rodgers” (though either he or the record company misspelled Rodgers’ name).

Memories of Jimmy [sic] Rodgers, recorded October 11, 1933 by the Light Crust Doughboys.

Lightening up considerably from the more solemn tone of the previous song, the Doughboys sing a humorous number poking a little fun at the Depression on the flip, “I Want Somebody to Cry Over Me”, punctuated by Sleepy Johnson’s tenor banjo.

I Want Somebody to Cry Over Me, recorded October 10, 1933 by the Light Crust Doughboys.

Bluebird B-5403 – Delmore Brothers/Allen Brothers – 1933/1930

The Delmore Brothers, Rabon and Alton, as pictured on a WLS Grand Ole Opry publication, circa 1935.

Now what we have here is a good old-fashioned split release; one artist on one side, a different one on the other.  Not just any old split release though, these two sides happen to contain a couple of the hottest hillbilly performances of the Depression years.  Two of my own personal favorites at least.

Bluebird B-5403 was recorded on December 6, 1933 in Chicago, Illinois, and November 22, 1930 in Memphis, Tennessee, respectively, and was released on April 4, 1934.  The two sides also appeared together on Montgomery Ward M-4750.  The Delmore Brothers are Alton on guitar and Rabon on tenor guitar, vocals by both; the Allen Brothers are Austin on tenor banjo and vocals and Lee on guitar and kazoo.

The Delmore Brothers were born into a family of poor farmers in Elkmont, Alabama—first Alton on Christmas Day in 1908, then Rabon on December 3, 1916.  Their mother Mollie wrote and sang church songs, and soon Alton joined, publishing his first song with his mother in 1925.  They started out their musical career singing at local fiddle contests, and cut their first record for Columbia on October 28, 1931 in Atlanta.  Two years later, they secured a contract with RCA Victor’s Bluebird records, and spot on WSM’s Grand Ole Opry.  They found their greatest success as Opry members, playing alongside Fiddlin’ Arthur Smith and Uncle Dave Macon, and remained on the show until a dispute in 1939.  After parting ways, they continued to   The Delmores switched to the King label in 1944, shortly after the label’s inception, with whom they had some of their greatest record successes, including “Freight Train Boogie” in 1946 with harmonica player Wayne Raney, and “Blues Stay Away from Me” in 1949.  The Delmore Brothers’ career ended with Rabon’s early death from lung cancer on December 4, 1952.  Alton lived on for twelve more years, dying of a heart attack on June 8, 1964.

First up, from their first Bluebird session, Alton and Rabon Delmore sing and play up a real masterpiece on their spectacular and widely imitated hit composition “Brown’s Ferry Blues”, one of twelve sides recorded that day.  The Delmores followed up two years later with “Brown’s Ferry Blues-Part 2” and “Part 3” two years after that, and re-recorded the popular tune all the way in 1946 for King Records.

Brown’s Ferry Blues, recorded December 6, 1933 by the Delmore Brothers.

Not to be confused with the Australian duo of the late 1960s, the Allen Brothers—Austin, born February 7, 1901, and Lee, born June 1, 1906—originated from Sewanee, Tennessee, and got their start in music playing in medicine shows and coal mining towns.  Sometimes called the “Chattabooga Boys” for their frequent references to the Tennessee town, the duo made their first records for Columbia in April of 1927, and followed up with two further sessions for them until one of their records was mistakenly issued in their 14000-D “race” series rather than the 15000-D “Old Familiar Tunes” series, which seems to have offended the pair, because they threatened to bring a lawsuit against Columbia Records.  Instead, they switched to Victor for the vast bulk of their recorded output between 1928 and ’32.  They concluded their recording career with a series of sessions for Vocalion in October of 1934 (little did they know, apparently, that around that same time, Vocalion was under the same parent company as their forsaken Columbia).  After that, the vice grip of the Great Depression forced them to end their musical careers, and seek employment in the construction game.  Austin died on January 5, 1959, while Lee survived into the folk revival of the 1960s, when he was persuaded to perform once again, before his own death on February 24, 1981.

Here, the Chattanooga boys, Austin and Lee Allen sing their second take on this old folk ditty with “A New Salty Dog”.  This one was originally issued in Victor’s “Old Familiar Tunes” series, number 23514, in 1931.  Their old “Salty Dog” was recorded for Columbia in 1927; in my opinion, the “new” one’s better.

A New Salty Dog, recorded November 22, 1930 by the Allen Brothers.