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”.
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.