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| Willard Robison |
If you have any affinity for the so-called Great American Songbook, you likely are familiar with Robison's songs, if not his name. He wrote "A Cottage for Sale," "Old Folks" and "Don't Smoke in Bed," among many others.
To honor his memory, David has put together a collection of early recordings of Robison compositions, along with helpful notes, while promising more to come. His selections include renditions by Fletcher Henderson, Charlie Barnet, Paul Whiteman, Bix Biederbecke, Bing Crosby, Nat Shilkret, Jimmy Noone, Smith Ballew, Phil Spitalny and Robison himself. You can find the link and David's descriptions in the comments to the "Historic Gershwin Recordings" post below. Please note that these recordings will be available only for the next week via David's upload, although I will reupload them if there is demand.
I am happy to contribute to the celebration by posting an LP that David requested because it contains a couple of Robison songs not otherwise recorded. Teresa Brewer's 1964 LP Moments to Remember is mostly an homage to the songwriter. Among the better-known works, it includes "A Cottage for Sale," "Old Folks," "Don't Smoke in Bed," and "Guess I'll Go Back Home This Summer." It also features the lesser-known "Moonlight, Mississippi" and the even lesser-known "I See Wheatfields in the Moonlight" and "Old Brownstone in Brooklyn."
Brewer is far from my favorite singer, but she does well by the rare songs and the others are listenable. The generic Alan Lorber arrangements and indifferent recording quality don't help matters, but don't hurt much either.
For contrast, I've added the classic Peggy Lee recording of "Don't Smoke in Bed," which she commissioned from Robison in 1948. It's been said that Lee and her then-husband, Dave Barbour, actually wrote most of the song, but I wonder about that. It's a startlingly bleak piece in Lee's reading, tilting into melodrama in the accompaniment. Nonetheless, it displays the depths that Teresa Brewer doesn't reach, whatever her merits.
Finally, please don't miss the two Robison LPs that have been shared here. Willard Robison's Deep River Music, with Johnny Mercer and Loulie Jean Norman on Capitol Records, can be found here. And on Coral Records, Willard Robison and His Deep River Music can be found in the comments to this post. (I'll also include direct links in the comments below.)
Thanks to David for this great contribution. He also has prepared a Gershwin compilation, which I will feature soon, along with additional Gershwin delights from the indefatigable 8H Haggis. I will compile all these in a few days, I hope.



25 comments:
Links (Apple lossless):
Teresa Brewer - Moments to Remember
https://mega.nz/#!vUExFaYb!L4QiIEihfNZHjzViu31vZM8rv_hnJfgnHNHPqldpDkQ
Willard Robison - Capitol LP
https://mega.nz/#!acFUzSJb!WYvuY2tyCgqLisbSoob14ing8Gz33rj1kT1wzQ-4ZLA
Willard Robison - Coral LP
https://www3.zippyshare.com/v/bmuND31V/file.html
Note - For David Federman's Robison compilation, see the comments to this post:
http://big10inchrecord.blogspot.com/2018/09/historic-gershwin-recordings.html
Robson is unique in the world of American songwriting and a huge influence on Johnny Mercer and Hoagy Carmichael (particularly). Thanks so much Buster and David Federman for this wonderful share.
Hi Phillip - Great observation about Mercer and Carmichael. Talented people, but very much artistic sons of Robison.
Yes Buster it's hard to imagine "Memphis in June" or "Rockin' Chair" without thinking of Robison's earlier songs as exemplars. Sorry about my missing "i" earlier.
HAPPY BIRTHDAY, WILLARD ROBISON, Part Two: The 1930s
Willard Robison was probably better known as a performer than a composer in the 1920s. But by the end of the 1930s, he was known principally, if not solely, as one of the most respected composers in American music--revered during an era when America's restlessness and rootlessness were widely expressed and embraced in what I'll call rural terms. Robison's evocations of country towns and people resonated strongly in a decade which saw unionism and social organizing reach its zenith in city and countryside. There were also constant reminders of the great farmer diaspora West when drought and wind turned much of the South into a Dust Bowl. How could Robison's songs like "'Round My Old Deserted Farm" not speak to a country at its most radicalized, disenfranchised and aware? Much-recorded songs like "Old Folks" were universal and seemed to be about every Civil War veteran and freed slave ("Did he fight for the Blue or the Grey?" the song asks). But already those old folks were a vanishing species. All in all, if Mark Twain had written songs, this well could have been one of them; the same for Sherwood Anderson. Is it any wonder that I found so many versions of "Old Folks"--as well as "Guess I'll Go Back Home This Summer." This latter song is perhaps my favorite Robison song--and the one that always makes me think of Thomas Wolfe. Hometown, as defined by Wolfe, was the central place for which you longed and yet were never quite at home. No wonder "Guess I'll Go Back Home This Summer" had a strong revival in the 1950s (as you will hear later).
My Robison bouquet starts with a song I think he wrote in the 1920s, "Harlem Lullaby," recorded in 1933 by the Dorsey Brothers Orchestra, featuring one of Willard's greatest champions, Mildred Bailey. She returns five years later, in 1938, with two Robison masterpieces: "'Round My Deserted Farm" and the classic "Old Folks." Then there's a flurry of recordings of this hallowed song--Larry Clinton's Orchestra featuring Bea Wain; Fats Waller on the radio, and two takes by Bing Crosby--all from 1938. I then launch a barrage of versions of "Guess I'll Go Back Home This Summer," starting with the Canadian Crosby, Dick Todd, then moving to three big band vocal versions by Gene Krupa (Irene Day, voc.), Glenn Miller (featuring Tex Beneke) and Tommy Dorsey (featuring Sinatra's predecessor, Jack Leonard). I end the medley as it began--with a Mildred Bailey triple play. After "Guess I'll Go Back Home," we have two Robison obscurities: "Barrelhouse Music" and "Don't Dally With the Devil." On this last recording, Mildred is accompanied by one of the first great African-American spiritual-to-pop vocal groups, the Charioteers. I'm willing to bet this was also written in the 1920s.
https://we.tl/t-Fi5e8O8rkQ
Thanks so much, David, for this valuable series. "Guess I'll go Back Home This Summer" is my favorite Robison song, too.
Many thanks for the Robison songs. Unfortunately, tracks 1 (unnamed on my download) and 14 (also unnamed on my download)
Is the problem at my end or yours?
Best
Howard Kitt
Sorry--I forgot to add "did not download." Hope that makes sense
HAPPY BIRTHDAY, WILLARD ROBISON, Part Three: the 1940s
From a discographical perspective, the 1940s present far slimmer pickings for Willard Robison devotees like me. I wasn't quite sure why since I had no reason to believe--except, understandably, for his chronic alcoholism--there was any significant diminution of output. Then I stumbled on a Stan Kenton transcription, recorded on December 20, 1945, of Robison's "Never Too Late To Pray." The Hot War in Europe was over, but the Cold war was about to begin. As Pete Rugolo's savage arrangement makes clear, we are in the Age of Anxiety. Despite vocalist Gene Howard's assurances about the everlasting efficacy of prayer, Kenton's brass section makes this song sound as if it were being sung from someone in purgatory, or maybe being sung by someone having PTSD memories of a foxhole. It is an incredible meeting of Robison's music with the bop era and shows how much of a demarcation there was between the avant-gardism of the 1920s, which nourished Robison, and that of the 1940s. More attuned to Robison's optimism are the Sunday morning versions by Mildred Bailey and Randy Brooks that follow. Their recordings were made in 1946 and are so much more bucolic in spirit.
Overall, I think Robison's music in the 1940's becomes much more introspective and socially aware. Just listen to Kay Starr's vocal on Charlie Barnet's 1944 recording of "Sharecroppin' Blues." It's an incredible protest song--one that looks backwards to WPA days and forward to Civil Rights. "Book At My Bedside," is totally psychological and seems, to me, a precursor of "Don't Smoke In Bed," for which Peggy Lee takes credit, but which I think is an accurate self-penned portrayal of Robison's own private struggles. Since Buster has posted Lee's recording, I'll send you to him for it. But the bed in "Book At My Bedside," holds a pre-breaking point person who shares smoking and bible reading in the midnight hours. Ella Logan's recording is superb, although imagine what this song might have become in Billie Holiday's hands.
I don't want people to believe that all of Robison's songs are autobiographical or deeply personal. He was, after a tunesmith--and a good one. Or so both Artie Shaw and Freddy Martin thought when they recorded his pop tune, "Now We Know," in 1940. Alas, I've only been able to find Shaw's recording, featuring Martha Tilton. Martin's still eludes me. I end with two of 7 songs Tony Pastor recorded, I am told, at his own expense, for an 4-record Robison tribute album in 1946: "Old Folks" and "Peaceful Valley." Pastor sings on both. The album was made for Cosmo Records and has proven the hardest Robison rarity to find--in its entirety. As you will hear, this transfer was taken from a fairly messed-up record. But Pastor's must-hear version of "Peaceful Valley" elevates this song to the high plateau of excellence where it belongs.
Let me just say here, it is both an honor and a pleasure to salute Mr. Robison. On Tuesday, I eagerly visited "From The Vaults," hoping that wonderful blog would finally pay tribute to him. Nothing posted that day. And nothing posted anywhere else but here. Sorry, Willard, you are owed far more than you have received. Maybe next year when you turn 125.
More tomorrow. Meanwhile, remember these files are available for 7 days and will expire on September 27th.
https://we.tl/t-WyhXTtUE2r
Howard - This is not my upload, but I downloaded all 14 from David's link without a problem.
So many Robison treasures! Many thanks David. I missed your "Rhapsody in Blue" wave but I understand Buster may re-post it. Such generosity!
I am working on Part Four of my Robison tribute and still discovering treasures from the 1920s and 30s. Wait till you people hear Lee Morse sing "There Must Be A Silver Lining" from 1928. In any case, I'm glad you're enjoying this music. Buster is kind to lend me his facilities to indulge a private vow to honor an unjustly neglected genius.
Oh well--probably at my end, since I've had no problem with the rest of this or part 2
David - Looking forward to that post - I love Lee Morse! And you are the one who is kind in sharing these recordings.
Thank you, David. I had no idea Fats Waller recorded an instrumental version of "Old Folks." It's quite straightforward, with no vocal interpolations. Very interesting.
HAPPY BIRTHDAY, WILLARD ROBISON, Part Four: The 1950s
I know this tribute is taxing attention spans and starting to make it feel like a month where every day is small-town, nothing-to-do Sunday. However, for the sake of posterity (if there's any left), I genuinely feel that your children and grandchildren should have a collection of Willard Robison songs to aid and abet cultural maturation.
Admittedly, the 1950s were not a period of peak output--quantitatively or qualitatively--for the composer. Whether it was his drinking or the Cold War or the beginning of America's cultural dumbing down, Robison wrote few masterpieces that I can find in this decade. Indeed, most of the songs here sound like they were written for venal not visionary reasons. (Hey, Fats Waller is said to have sold the melody to "Sunny Side of the Street" to Jimmy McHugh for $15--enough for a night of boozing.)
Has the composer's well run dry? Possibly. Or are the times so different and the world so changed that Robison just doesn't find it as inspiring? The first three songs here are not Willard's best. Indeed, the opener, "Crime Does Not Pay," recorded by Gene Autry in 1951, may be his worst. The follower, "Empty Promises," is a piece of country fluff that sounds like every other bad country song you've heard. Singer Dolph Hewitt is as much a parody of the genre as this song. Even Robison's spiritual roots are rotting as you will hear in Phil Harrris' 1949 recording of "Thank the Man Upstairs."
But don't give up hope. The fourth selection is a 1958 return to finest form. Rosemary Clooney sings one of Willard's later masterpieces, "Moonlight Mississippi." I'm so taken by the song I've included a second version, from 1964, from sausage salesman and country singer, Jimmy Dean. Even this flypaper-sticky commercialized version cannot weaken this great song's strength. I follow with two Robison songs that belong in a miscellany: Louis Armstrong's version of "That's What The Man Said" from 1950, and Woody Herman's version of "Sorry 'Bout The Whole Darned Thing," recorded for his own Mars label in 1953 and released as a single.
Then comes a Peggy Lee quintuple play--spanning from 1946 to 1955: two Capitol transcriptions, "Cottage for Sale" (1946) and "'T'aint So, Baby, T'aint So" (1949). Next come three gems, all released, I believe, as singles: "Run for the Roundhouse, Nellie" and "The Christmas Spell" (both released on Capitol in 1949) and "Guess I'll Go Back Home This Summer," recorded for Decca in 1955.
As usual, these are available at WeTransfer for a week. Get them while they're hot (or even cold).
https://we.tl/t-BU7J0DyqYw
I type the name Robison into the composer field on a lot of the music I digitize, but I have to say I really had no idea who he was. Thanks for this overview!
Thank you!
Would appreciate a re-up of all the we transfer material, if at all possible.
Joe - I will collect these into one upload in the next day or so.
Thanks for doing that. Got them. Never heard of Robison before.
Jack Teagarden recorded a number of Robison songs most notably on an LP called "Think Well of Me" which is devoted exclusively to his songs. Available (briefly) here https://we.tl/t-g0D5cpZrhT
I may be being a bit dense here but could you please direct me to part 1?
Oh just noticed this is included in David's anthology volume 5
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