Buster's Smoochy Valentine Collection

I reckon that I am as romantic as the next blogger, and to prove it, I have put together Buster's Smoochy Valentine Collection. It consists of 23 songs from 1908 to 1955, all with "cupid" or "valentine" in the title, except for a couple of renegades as discussed below.

This is a wonderfully varied collection, but I want to caution you that even though my namesake above has been caught in the grasp of overwhelming emotion, these records are not designed to induce romantic feelings. That is, unless you and your significant other can find some erotic interest in old vaudeville routines, polkas with the likes of Bedrich Smeage and His Eight Aces, and records featuring Arnold Stang. If so, these songs will be just the thing for your special night and my best wishes to you both.

As is my custom with these assemblages, let me discuss each selection in chronological order.

Ada Jones and Len Spencer

The oldest comes from 1908 and is straight from the vaudeville stage. Ada Jones and Len Spencer, two of the stars of the day, present a well-honed German ethnic routine, "Katrina's Valentine," a "descriptive specialty" in the not-terribly-descriptive description on the Victor label. It's amazing to me how clear this 112-year-old recording sounds, but the acoustic method was better with voices than instruments.

Herbert L. Clarke

That said, cornet virtuoso Herbert L. Clarke also sounds very good in his 1909 disc of "Ah! Cupid," a number from Victor Herbert's first operetta, Prince Ananias, dating from 1894. I raised the pitch of this one - it dragged as transferred. I believe brass bands of the time did use a high concert pitch.

From 1911 comes another instrumental, "Spying Cupid," written by the "Boy Trumpet Wonder," B.A. Rolfe, here in a version by the English Gramophone Company's house band, the Peerless Orchestra.

Grace Kerns, Andrea Sarto, Reed Miller

"When Cupid Calls" was the closing number from Victor Jacobi's 1916 musical Sybil, on Broadway when this record was made. It was done for Columbia by three noted vocalists of the time, Grace Kerns, Andrea Sarto and Reed Miller.

Next is a group that has appeared before on my other blog - the English Singers, who were important both for reviving the madrigal repertoire and for championing contemporary composers such as Peter Warlock. This 1922 recording of Thomas Bateson's 17th century madrigal "Cupid in a Bed of Roses" was one of their first, made for HMV. At the time, the group included tenor Steuart Wilson, who has appeared on this blog as a solo artist.

Moving away from valentines and cupid for a moment, I did want to include an example of the famous tune "Hearts and Flowers," a sugary specialty if ever there was one, in what is perhaps the only straight-faced version I have ever encountered, dating from 1923 and coming from the Aeolian String Trio. In case you have ever wondered (and I would wonder why if you did), this melody was published by Theodore Moses-Tobani in 1894, but was lifted from a march by the Hungarian composer Alphons Czibulka.

Billy Murray

I've included two versions of "Hearts and Flowers" in this collection, also two versions of the less familiar song "Jimmy Valentine." This song-story seems to have been taken from, or at least inspired by, the 1928 film Alias Jimmy Valentine, based on a famous O. Henry story. The amazingly prolific recording artist Billy Murray and Nat Shilkret's Victor Orchestra present a polished version of the Edward Madden-Gus Edwards song. This is the first electrical recording in the collection.

"Valentine" is a ribald and somewhat distasteful song made somehow irresistible by Maurice Chevalier in this 1928 recording issued in conjunction with the film Innocents of Paris, Chevalier's first American film. This was near the beginning of the singer's career and only a few years after he introduced the song, which would be thereafter identified with him.

Fats Waller and admirers

"Valentine Stomp" is a 1929 recording from its composer, the fabulous stride pianist Fats Waller. These days the short-lived Waller is known for his outsized personality, entertaining vocals and small combo recordings, but in a just world his astonishing pianism would be the main source of his fame.

Marion Harris

The next selection, "He's My Secret Passion," is just an excuse for me to include one of my favorite vocalists, Marion Harris. This Brunswick record, made in 1930 when Harris was 34, was near the end of her recording career. Her detailed interpretation, excellent diction and complete involvement are ideal, in my view.

Cole McElroy was more of an impresario than a musician - he ran dance halls and led dance bands in the Pacific Northwest for years. Cole McElroy's Spanish Ballroom Orchestra took its name from the leader's Portland dance emporium. The vocal on its 1931 recording of "Cupid's Holiday" is by Myer Alexander, who later became Jeff Alexander, a well-known conductor and composer for radio, television and films.

Cole McElroy and band

"Hearts and Flowers" makes its second appearance in a 1938 jazz interpretation from Matty Malneck, ex-Whiteman violinist who was then leading a swing combo. It sounds like he employed harp, accordion, vibes and muted trumpet along with his violin in the attractive ensemble sound here. The discography doesn't list the an accordionist, but perhaps pianist Bobby Van Eps handled the wheeze box.

Jabbo Smith by R. Crumb

The next song, "How Can Cupid Be So Stupid," also from 1938, comes from one of the unsung greats of the swing era, Jabbo Smith. As a trumpeter, Smith was notable for his beautiful tone and lyrical approach. Smith also sings on this record. While his playing as clearly influenced by Louis Armstrong, his vocals are nothing like that of Pops. This enjoyable side marked Smith's last swing-era recording. He was to make a comeback 30 years later.

The fine swing band of ex-Miller reed man Hal McIntyre provides this set's first, inevitable reading of "My Funny Valentine." It boasts strong vocal work from Ruth Gaylor, whose singing brightened many of the big bands of the day without her ever becoming famous. Gaylor clearly has been listening to Helen Forrest - not such a bad model to follow. This Decca side dates from late 1944. Some of Hal's later recordings have appeared here.

Ruth Gaylor sings, Hal McIntyre beams in approval

Now on to a polka, which I know you have been waiting for. Bedrich Smeage and His Eight Aces were a Czech group from (I believe) Michigan. He recorded his "Valentine Polka" for Signature circa 1945. Smeage later did a few numbers for RCA and small Michigan labels.

The prolific trumpeter-vocalist Louis Prima weighs in with "My Valentine," which Majestic released in 1946. Louis surprises us (me, anyway) by turning the vocal duties over to Jack Powers, not that I am complaining.

Next, another polka (or "polka-mazurka"), this one from Joseph Snihur, proclaimed as the "Polka King" on this circa 1946 Sonart release. The decidedly more popular Frankie Yankovic would soon wrest the royal title away. Snihur, of Ukrainian descent, was based in New Jersey and often advertised in the local ethnic newspapers. This rough-and-ready performance is enjoyably gusty.

Arnold Stang

Remember "Jimmy Valentine," whom we covered back in 1928? Nineteen years later, the Lyn Duddy Swing Choir thought it might be a good idea to resurrect the song, give it some new lyrics, and employ the nasal squawk of Arnold Stang as the title character for this M-G-M recording. Stang was even then a star on the radio, and would become an even bigger star on television, where his tiny stature and bug-eyed appearance was a perfect complement to his uber-nerd voice.

Now on to a few songs that could actually be accused of being romantic. First is a 1947 recording from the great Gordon Jenkins, a superior reading of "My Funny Valentine" with a casual yet intimate vocal from Charles LaVere. The singer was by trade a pianist, whose day job at the time was in John Scott Trotter's band on the Bing Crosby radio show. Somehow he started singing with Jenkins on record, and soon they had a hit with "Maybe You'll Be There." I am preparing a post highlighting both LaVere's vocal and jazz talents.

Vocalist Jack Carroll joins us for "The Valentine Song," assisted by the Honeydreamers and Bill MacCrae's band. This was done for the small VITAcoustic label in 1947. Carroll would later become a busy studio singer. His Christmas LP appeared on this blog a number of years ago. The Honeydreamers also have been featured here.

The excellent pianist Paul Smith taped his composition "Cupid Took Me for a Ride" for the Discovery label in 1950. Tony Rizzi is the fine guitarist you hear.

Now on to one of my favorites from the set - Blackie Crawford and the Western Cherokees with their Western swing recording of "Stupid Cupid" (not the Connie Francis tune, I probably don't need to add). Blackie and the gang did this one for the Coral label in 1950. Although I doubt many of you have heard of this group, they did have a distinguished pedigree, having served as the backing band for Lefty Frizzell, George Jones and Ray Price. Read more about them in this excellent article.

We close with "Cupid" from the little-known McDonald Sisters, recorded for Modern in 1955. Although the artists' name might be unfamiliar, their sound is not - they were a vocal clone of the Chordettes.

All recordings were remastered by me from lossless originals found on Internet Archive. The sound is generally quite good - even from the acoustics.

Have a nice Valentine's Day, everyone!