Dick Robertson | Old Time Blues

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.

President Franklin D. Roosevelt in the early 1930s. As pictured in Man’s Advancing Civilization, 1934.

On March 4, 1933, former Governor of New York Franklin Delano Roosevelt was inaugurated thirty-second President of the United States of America, having won the election of 1932 by a wide margin. Following more than a decade of Republican control, Roosevelt ushered in an era of liberal Democrat presidencies (most of them his own) that would last nearly twenty years. His marked the last inauguration to be held on that date, as the twentieth amendment to the United States Constitution had been ratified earlier in the year, moving the event to its current January 20th date. Over the preceding winter, the Great Depression had driven the United States’ economy to its lowest depths, with unemployment rated peaking at almost twenty-five percent. President Hoover, to his credit, was trying in his own way to stimulate recovery, but his efforts proved rather slow to work at best. Roosevelt offered America a New Deal, and he delivered it. Mere months after assuming office, Roosevelt got right on it, pushing passage of his first “alphabet soup” New Deal programs, including the TVA, the CCC, the PWA, and the NRA, soon to be followed by the WPA, the FSA, and others. Granted, Roosevelt’s New Deal was far from a perfect be-all and end-all solution, some programs worked better than others, some were pretty poorly conceived, but they did provide a “Band-Aid” (to quote a former history professor of mine) to the economic ruin, and give thousands of men a job.—and ol’ FDR proved popular enough to be re-elected an unprecedented three times.

Perfect 15754 was recorded in New York on March 16, 1933 (less than two weeks after Roosevelt’s inauguration) and March 4, 1930 (exactly three years prior to the inauguration), respectively. The personnel of the Gene’s Merrymakers side includes Bunny Berigan on trumpet, bandleader Gene Kardos on alto sax, and Sam Weiss on drums. The Hollywood Dance Orchestra is a pseudonym for Adrian Schubert’s Salon Orchestra, which may include Bob Effros on trumpet, Miff Mole on trombone, Tony Parenti on clarinet and alto sax, and Charlie Magnante on accordion. The identities of the remainders of both bands (pianos, basses, etc.) are unknown.

The 1929 song “Happy Days are Here Again”—originally featured in the 1930 M-G-M motion picture Chasing Rainbows—became associated with F.D.R. when his staff made the impromptu decision to play it at the 1932 Democratic National Convention in Chicago. After that, it became his official campaign song, and thereafter became indelibly associated with New Deal Democrats. In apparent celebration of Roosevelt’s election, the American Record Corporation opted not to reissue Vincent Lopez’s January, 1930 recording of the song (a rather odd, highly syncopated rendition with a “Lopez speaking” introduction which would have sounded somewhat dated a whole three years later), but rather to record a very jubilant new version, albeit a stock arrangement, played by Gene Kardos’ excellent New York-based dance orchestra, with a vocal by studio guy Dick Robertson.

Happy Days are Here Again, recorded March 16, 1933 by Gene’s Merrymakers.

In keeping with the Rooseveltian theme, the reverse features “The Stein Song (University of Maine)”, no doubt celebrating Roosevelt’s promised repeal of the much reviled eighteenth amendment. Irving Kaufman sings the vocals on this 1930 reissued side.

The Stein Song (University of Maine), recorded March 4, 1930 by Hollywood Dance Orchestra.

Tag Archives: Dick Robertson

Gem 3522 – Dick Robertson and his Orchestra – 1933

Perfect 15754 – Gene’s Merrymakers/Hollywood Dance Orchestra – 1933/1930