Rodgers and Hart's 'By Jupiter' Reconsidered

The final full-length collaboration of Richard Rodgers and Lorenz Hart was their longest-running Broadway success, yet very few recordings were made of its songs at the time - none by the cast - and almost no trace remains of the musical itself, save for a few numbers that are still heard today.

The show was 1942's By Jupiter, the pair's second foray into the land of the ancient Greeks (The Boys from Syracuse was its predecessor). The musical does not deserve its obscurity, as I hope this post will demonstrate via the few contemporary recordings that were produced and a 1967 LP derived from an off-Broadway revival.

Thanks to the ever-imaginative Dave Federman for suggesting this post to me. Like me, he is a great admirer of Larry Hart - and Dick Rodgers, of course.

The Story

Ray Bolger and Benay Venuta - he gave her plenty of nothin'

Hart's book for the show was based on Julian Thompson's 1924 Broadway play The Warrior's Husband. The title couple are Hippolyta, queen of the warrior Amazons, and her stay-at-home husband Sapiens - played in the original production by Benay Venuta and Ray Bolger.

Ronald Graham and Nanette Fabray

The other couple is Theseus, a leader of the Greek soldiers who have arrived on the scene, and Antiope, head of the Amazon warriors. In the first production, these were Ronald Graham and Constance Moore (later replaced by Nanette Fabray, as in the photo and in poster at top).

This is a simplistic description, but it's enough to get our bearings.

The 1967 Cast Recording

The most complete account of the score can be found in the cast recording of the 1967 off-Broadway revival, which ran for four months. In this production, Bob Dishy was Sapiens and Jackie Alloway was Hippolyta. Theseus and Antiope were played by Robert R. Kaye and Sheila Sullivan.

Critic Paul Kresh of HiFi-Stereo Review offered this critique: "Although Bob Dishy cannot hope to compete with the original performance by Ray Bolger in the 1940's as Sapiens, Hippolyta's non-hero husband, he is certainly winning enough. In addition, Jackie Alloway as Hippolyta, Sheila Sullivan as Antiope, and Robert R. Kaye as Theseus all have lovable ways and forthright, pleasant voices."

Bob Dishy, Jackie Alloway
Sheila Sullivan, Robert R. Kaye

The production - or at least this recording - utilized bare-bones orchestrations, presumably not Don Walker's original charts. The LP's sound was cramped; I've opened it out a bit.

The recording allows you to hear nine pieces not discussed below: "For Jupiter and Greece," "Ride Amazon Ride," "Life with Father," "In the Gateway of the Temple of Minerva," "Here's a Hand," "The Boy I Left Behind Me," "Bottoms Up," and the finales for both acts.

Next we'll discuss the principal songs; that is, the ones that were commercially recorded back in 1942, most of which have retained some currency today, however slight. They are "Jupiter Forbid," "Nobody's Heart," "Ev'rything I've Got," "Wait Till You See Her" and "Careless Rhapsody."

"Jupiter Forbid"

"Jupiter Forbid" is a rousing ensemble piece of a type that is or was a staple of musical comedy. The lyrics were inspired at least in part by patriotic sentiment in wartime America:

Maybe there's a place where people never laugh 

Maybe there's a place where kids don't kid

Maybe there's a place for just the upper half

Not here, Jupiter forbid

 

Maybe there's a place whеre people nеver sing

Where you have to hide each thing you did

Where they have a sign "Keep Off the Grass" in spring

Not here, Jupiter forbid

This is the second least known song in the group. It merited one recording in 1942, and only a few since - by Jackie and Roy, Andrea Marcovici and Peter Mintun (all not included in this set).

The 1942 recording was by Hildegarde, a popular cabaret performer of the time who sounds vaguely continental despite being from Milwaukee. It was one of four she sang for a Decca album of the time, which had backing by Harry Sosnik, also of the time. The other three songs are discussed below.

Hildegarde may not be not the first name that springs to mind when you think of rousing ensemble songs, but she does "Jupiter Forbid" very well.

"Nobody's Heart"

Lorenz Hart and Richard Rodgers at a By Jupiter rehearsal

In the musical, "Nobody's Heart" is a lovelorn lament by Antiope. The song is still heard in cabarets, few that they may be. It's perhaps most notable for how the lyrics and melody support one another. The words are unremarkable, although I have always admired this verse:

Nobody's arms belong to me

No arms feel strong to me

I admire the moon

As a moon

Just a moon

Nobody's heart belongs to me today

This is another song selected by Hildegarde for her set. She dispatches it smoothly. As far as I can tell, "Nobody's Heart" then went unrecorded until several singers took it up in the mid-1950s. For this collection, I've added the 1955 reading by Audrey Morris, recently the subject of a post here.

"Ev'rything I've Got"

"Ev'rything I've Got" is perhaps the most notable example of sex-role reversal in the score. Queen Hippolyta threatens hubby Sapiens in a manner that today might be considered macho:

I've a powerful anesthesia in my fist

And the perfect wrist to give your neck a twist

Hammerlock holds, I've mastered a few

But ev'rything I've got belongs to you

 Meanwhile, Sapiens has his own method, expressed in one of my favorite Hart stanzas:

Then at night we'll sleep and sleep

Sleep and sleep and sleep and sleep

Sleep and sleep, sleep and sleep

I'll give you plenty of nothin'

At the end of the musical, by the way, the sex roles revert to "normal".

"Ev'rything I've Got," perhaps surprisingly, was the most recorded song from the score in the early days. In addition to Hildegarde's performance, we have a version from the band of Freddy Martin - with a male singer bragging about the "powerful anasthesia" in his fist, which today sounds grotesque.

In the years since, it's mainly been performed by women, although the next recording would appear to be a Betty Garrett and Milton Berle duet from 1947 (you can listen to it here, assuming you can stand Uncle Miltie). Note that both Berle and Garrett sing the lines threatening violence; the "sleep and sleep" stanza is left out.

Hart wrote the song for Benay Venuta, who told the lyricist's biographer Frederick Nolan: "He [Hart] told me, 'I'll write a big number for you, babe, you'll stop the show with it.' And he did. He wrote 'Ev'rything I've Got' while we were in rehearsal, and it turned out to be one of the smash hits of the show."

"Wait Till You See Her"

In the play, "Wait Till You See Her" is a waltz declaring Theseus' love for Antiope. The song as written has a verse that is seldom used by singers today. It sets the warrior Theseus' infatuation in relief:

My friends who knew me

Never would know me

They'd look right through me

Above and below me

And ask, "Who's that man?

"Who is that man?

"That's not my lighthearted friend"

Meeting a girl was the start of the end

Love is a simple emotion a friend should comprehend

You can hear the verse in the 1967 cast album, which also uses a chorus effectively.

David Allyn

This song, somewhat familiar today, was ignored by the recording artists of 1942. The earliest version I've found was David Allyn's from 1949, which can be found in this post from a few years ago, and which I've also included in the present set of early recordings.

Also in that set is a relatively early (1952) instrumental version from Andre Kostelanetz. His recording treats the number as if it were a precursor to Rodgers' sweeping "Carousel Waltz" of 1945.

Frederick Nolan asserts that the song "was one of the prettiest waltzes Rodgers ever wrote, and Larry's lyric, with its unconventional rhyming scheme, had a lovely, matching tenderness. They all loved it, [director Joshua] Logan especially."

That said, there was some thought that it didn't fit the show. I've read both that it was dropped after opening night and that it was cut late in the run.

"Careless Rhapsody"

"Careless Rhapsody" is not a lost masterpiece, but it doesn't deserve its oblivion. The song, written as a duet for Antiope and Theseus, merited two recordings when the show opened, both solo. One, by Hildegarde, includes the opening verse. The second, by Clyde Rogers with Freddy Martin's band, does not do so.

The lyrics link music and love - heartstrings, etc. Nolan says Logan claimed that "Careless Rhapsody" doesn't sound like Hart's work at all. While it's not the best effort of the lyricist - or Rodgers - it's entirely pleasing.

To my knowledge the song has not been recorded since the show closed, except in a By Jupiter medley done by pianist Peter Mintun many years ago.

* * *

Why isn't the show better remembered? The simplest reason is that it is eclipsed by both the earlier Rodgers and Hart hits and the later Rodgers and Hammerstein blockbusters. It's about on the level of I Married an Angel, but not as remarkable as Babes in Arms, both of which have been discussed on this site.

Second, a Musicians Union recording ban began not long after the show opened, killing any additional recording plans that might have been contemplated.

Here's critic Paul Kresh's 1967 judgment of the show: "The score of By Jupiter is not as likely to stir your pulses as often as that of The Boys from Syracuse, but it has its moments, and the best of them are in the second act: the graceful, hummable 'Wait Till You See Her,' the casual 'Careless Rhapsody,' and the exuberant 'Ev'rything I've Got.' They don't make 'em like that any more. Not lately, anyhow." Still true nearly 60 years later.

LINK to 1967 cast recording

LINK to contemporary recordings

A Tribute to Buddy DeSylva

Songwriter-producer Buddy DeSylva was one of the three founders of Capitol Records in 1942, so when he died in 1950, the record company issued this  memorial LP, presumably sending it to the company's executives and business associates. It was not in general circulation, as far as I can tell.

DeSylva first made his name as a lyricist, although he also wrote music at times. His first successes were writing material for Al Jolson, and it wasn't long before he was working with the illustrious George Gershwin. The song "Somebody Loves Me," featured here recently, was among the Gershwin items, dating from 1924, when DeSylva was still in his twenties.

Ray Henderson, Lew Brown and Buddy DeSylva

Shortly thereafter he formed a team with lyricist Lew Brown and composer Ray Henderson. Their most famous product was the 1927 musical Good News.

In the 1930s, he transitioned to movie production, including Shirley Temple's films (although we won't hold that against him), becoming executive producer at Paramount from 1941-44. Betty Hutton was a protégé.

During this period he also produced shows on Broadway, at one time being responsible for Panama Hattie, DuBarry Was a Lady and Louisiana Purchase.

Johnny Mercer, Glenn Wallichs and Buddy DeSylva

At Capitol, DeSylva's co-founders were composer Johnny Mercer and music store exec Glenn Wallichs. DeSylva was president from 1942-44 and remained a director until his death.

As a memorial, Capitol pressed an aircheck of a radio show dating from 1943 that spotlighted DeSylva's gifts as a lyricist. This edition of the Fitch Bandwagon was one of a number that focused on well-known songwriters.

The band on the Fitch Bandwagon at the time was that of Freddy Martin, a musicianly group if hardly avant garde. Martin was well respected in the business, particularly as an alto saxophonist. The host of the show was Tom Reddy.

Freddy Martin and Buddy DeSylva,
possibly at this show's broadcast

Martin, Reddy and DeSylva combined to produce a breathless 25 minutes, managing to cram 23 songs into the alloted space along with all manner of stiff, under-rehearsed banter. The only singer credited in this barrage was Gene Conklin, who was with Martin for several years.

This particular show in the Fitch Bandwagon series appears not to be in general circulation - so there's that for those of you who fancy OTR. The sound is good.

One wonders why Capitol didn't have its own people record a tribute to DeSylva - after all, they ran a recording studio and had a library of songs. But this is what transpired. At least they excised the ads for Fitch Shampoo. For those who feel cheated by this editing, I've enclosed several print ads in the download - including the one below. Also included are many additional photos.

Scared by Freddy Martin's music

An Easter Bouquet from Buster

Buster looks a little glum here, doesn't he? Not that the Great Stone Face smiled much, and really there may not seem to be much to grin about these days. But it is spring, and with it comes the Easter holiday, a celebration of renewal that is all the more pertinent in a time of pandemic.

To help make the time pass, I've put together "Buster's Easter Bouquet of Hits" themed to the holiday. As usual it is an eclectic bunch, including 32 samples of jazz, country, pop, polka, boogie, religious material and ethnic fare. Believe me, my designation of most of these as "hits" is more than a little optimistic. But they all have their points of interest, which I elucidate below, covering the collection in chronological order.

The first item is the oldest record ever presented on this blog. It is "Hosanna," an Easter song dating from 1901-4. The exact date is uncertain because Columbia recorded it with two different singers at different times, using one on some pressings and the other on others. I believe this singer is Bernard Bégué, a Met baritone who somehow makes this lugubrious hymn even more dreary. Not a stellar start to the collection, I know, but historically notable.

The prolific tenor Harry Macdonough recorded "The Palms" twice, once in 1906 and once in 1913. I believe this transfer emanates from the latter date, and is taken from a circa 1920 pressing. Macdonough was the head of Victor's New York studio in addition to being one of its top artists. Again, this is hardly what you would call lively, but things improve later on.

Joel Mossberg

But not right away. I wanted to include a few items from the important ethnic catalogs that the record companies were building at the time. The first is "Hosianna Davids Son" from the Swedish-American baritone Joel Mossberg. It dates from 1916.

Next we have a pleasant spring interlude, complete with bird calls, called "Down In Lily Land at Easter Time," with your guides Billy Burton and James Hall (pseudonyms for the popular recording artists Charles Harrison and Andrea Sarto, the latter of whom appeared in my Valentine collection). This comes from 1917.

"The Old Rugged Cross" is one of the most famous songs associated with Easter. Here is an 1921 recording from Oscar Seagle, a prominent musician and music teacher active in the early 20th century. He looks kind of rugged himself, I'd say.

Oscar Seagle

From 1922 comes the Trinity Quartet, another busy recording ensemble, here comprising soprano Lucy Marsh, contralto Elsie Baker, tenor Lambert Murray and baritone Clifford Cairns. Believe me, these folks were all over the Victor catalog for some time. They present "Christ the Lord is Risen To-day," an Easter song penned by Charles Wesley some 200 years earlier.

Another ethnic number for you - "Zlozcie Troski (Take Care)," a Polish song with Karol Dembek singing and Wincenty Czerwinski speaking, dating from 1922. I wanted to include this because of the Lady Liberty motif on the OKeh label. Immigration to the U.S. was becoming much more restricted during these years, with increasingly stiff quotas being imposed several times.

Frieda Hempel

The prominent German soprano Frieda Hempel regales us with "Alleluia - A joyous Easter Hymn" on a 1924 HMV recording with an anonymous backing.

Finally we come to a lively number that could actually be called popular, even if not strictly (or at all) Easter-related. It is "Hallelujah!" from the Youmans-Grey-Robin score for the 1927 Broadway smash Hit the Deck. Our rendition is courtesy of two of the busiest recording artists of the time - the talented tenor Franklyn Baur and Victor director of light music Nat Shilkret. Note that although Shilkret is credited on the label, the ledgers say that Leonard Joy directed the session. Regardless, it's a wonderful song.

The Westminster Central Hall

We're back in England for the next number, coming from the Choir of the Westminster Central Hall, a prominent Methodist church in London. Arthur Meale directs a good 1928 reading of "When I Survey the Wondrous Cross."

Also from England, an old friend, tenor Steuart Wilson, who has appeared on this blog before. Here he takes up "This Joyful Easter-tide" in an arrangement by Arthur Somervell. I believe the anonymous accompanist is Gerald Moore. This comes from circa 1929.

Sir Walford Davies, 1929

One of my favorite numbers from this collection is the Sir Walford Davies Easter processional "O Filii et Filiae," conducted by the composer in St. George's Chapel, Windsor. As usual with such on-site recordings of processionals, the choir sounds distant at first, becoming more prominent as the hymn proceeds. Here, the engineer made them much too dim, so I have adjusted the gain so you can at least hear what is going on. The recording dates from 1931.

Clifton Webb, 1934

One of the two most famous pop songs associated with Easter comes from 1933 and the Irving Berlin revue, As Thousands Cheer. Introducing the "Easter Parade" were Clifton Webb and Marilyn Miller. Webb was a song and dance performer on Broadway for many years before moving to Hollywood. Victor had him record the song with Leo Reisman's orchestra.

Recognizing a good thing, Berlin reused "Easter Parade" in films several times - in Alexander's Ragtime Band, Holiday Inn and the 1948 picture named for the song. The music has a back story as well - Berlin first published it 1917 with different lyrics, "Smile and Show Your Dimple."

Webb and Reisman weren't the only contenders in the "Easter Parade" of recordings, of course. Brunswick had Freddy Martin and his soupy saxes step in for a Vocalion release that same year. An enjoyable effort, with an uncredited vocal trio, presumably plucked from the band.

Warwick Braithwaite

It wouldn't be Easter without a go at the "Halleujah Chorus" from Handel's Messiah. This 1939 recording surprisingly comes from the Sadler's Wells Chorus and Orchestra, whose main stock-in-trade was opera, not oratorio. It's a good effort, led by the then Sadler's Wells music director, Warwick Braithwaite - very broad and grand, the sort of thing you seldom hear these days.

Now we return to the other "Hallelujah!", the one from Hit the Deck. Bandleader Will Bradley revived the song for a 1939 Columbia flagwaver featuring drummer Ray McKinley. The arranger was Leonard Whitney.

Will Bradley

Kenny Baker

In a much different vein is a 1942 release, "Easter Sunday with You," from tenor Kenny Baker, who made his name on Jack Benny's radio show, then appeared in many films. Harry Sosnik leads the band in this Don Reid-Henry Tobias song. Baker made a specialty of such sweet, sincere material, in later years moving into the religious repertory. He was a fine singer.

Guy Lombardo and his brothers are most associated with New Year's Day, certainly, but they also had a shot at other holidays. Here is their 1945 plea, "I Want a Bunny for Easter," with the usual stiff vocal from a band trio. This number was from songwriter Dave Franklin, whose big hit that year was "Lily Belle."

One of the best records in this set is "Hallelujah Morning" from the Brown's Ferry Four, one of the first country super groups. The Four consisted of the Delmore Brothers, Grandpa Jones and generally either Merle Travis or Red Foley (sources differ on who appears on this recording). The Four recorded sacred material for King in the late 40s, including this Alton Delmore composition in 1946. This particular pressing has some 78 noise, but it is far superior to the commercial reissue, which is cut, off-pitch, over-filtered and has had echo added.

Freddie Mitchell could and did make anything into a boogie, and here he turns "Easter Parade" into "Easter Boogie," attributing the composition to himself and two other folks, not including Irving Berlin. It's characteristic, with the usual tinkling from the upright piano and honking from the tenor sax. Those tinkles and honks comes to us from 1949.

Vaughn Monroe

I am not a fan of the moaning of baritone Vaughn Monroe, but here he does well by an unfamiliar seasonal tune, "It's Easter Time," dating from 1950. He is backed by the Moon Maids and the Moon Men, who were named in honor of his first big hit, 1941's "Racing with the Moon."

The other big Easter song, leaving aside "Easter Parade," is "Peter Cottontail" (formally, "Here Comes Peter Cottontail"), from the team of Steve Nelson and Jack Rollins. They also wrote "Frosty the Snowman," thus providing anthropomorphic kiddie tales for two different holidays. The hit version of the Easter song was by Gene Autry in 1950, but I am partial to the work of a lesser singing cowboy, Jimmy Wakely, who was one of Capitol's biggest stars. His relaxed baritone is just right here, as always.

1950  Billboard ad

I can't resist adding another "Peter Cottontail" to the pile, this one from the usually swinging and swaying but here mostly bouncing Sammy Kaye and his vocal Kaydets. Sammy's Columbia record appeared in 1951 - late to the party but welcome nonetheless.

Tommy Sosebee

Country singer Tommy Sosebee was dubbed "The Voice of the Hills" by his management or the Coral record company - and he did have an excellent voice, in fact, displayed well in his 1951 recording of the unfamiliar "She's My Easter Lily." Well worth hearing.

Record mogul Norman Granz started a fashion for jazz soloists appearing with string accompaniment when he paired Charlie Parker's alto sax with a bed of strings in 1950. Trumpeter Roy Eldridge got this treatment in 1952 with a recording of "Easter Parade" with lush backing from arranger George "The Fox" Williams. It's not the most successful example of the genre, but not displeasing either.

The Anita Kerr Singers (Kerr at front)

I am a great admirer of the singer-arranger-composer Anita Kerr, who brings us an Easter hymn, "The Strife is O'er, the Battle Won," adapted from Palestrina. But this 1952 record is just not one of her best. A shame because she made so many good ones!

In a much different vein is "The Bunny Hop," a hit for Ray Anthony in 1954. But here we eschew Ray's Capitol platter in favor of Lee Roy and His Band, on the Epic label. "Lee Roy" was in fact Ray's brother, who sometimes played baritone sax in Ray's band. I find this sibling record rivalry to be odd, to say the least. I do love the song, though.

Duke Ellington

Capitol was not above making the great Duke Ellington record some lesser material during his tenure with the label. Case in point is the "Bunny Hop Mambo" from 1954, which is just what is seems to be, only disjointed on the Duke's end. The "hop-hop-hop" in this one is more like "lurch-lurch-lurch."

Fortunately, Frankie Yankovic's "Bunny Polka," also from 1954, is not the "Bunny Hop" in disguise, but rather a piece by the bandleader and his arranger, Joe Trolli. This is not one of the Polka King's most regal accomplishments, but pleasant even so.

Country pop singer Rusty Draper had a number of big records for Mercury in the mid-50s. The unfamiliar "Easter Mornin'" from 1954 was not one of his  successes, but entertaining in its unassuming way. The conductor is famed producer Hugo Peretti.

I hope you will not mind one final reprise of "Easter Parade," in a smooth arrangement for the Men of the Robert Shaw Chorus, here conducted by Ralph Hunter, who succeeded Shaw as conductor of the Collegiate Chorale at about the same time as the record came out (1954).

Our final number is the little-noticed "Two Easter Sunday Sweethearts," the flip side of English singer Vera Lynn's 1954 pressing of "Du Bist Mein Liebshoen." But even "Du Bist" was a minor record compared to Lynn's big hit that year, "If You Love Me (Really Love Me)." In the ad at bottom, Lynn arrives on the HMS Queen Elizabeth bearing a big present of "If You Love Me" for the American market, with the other record tucked in her handbag.

I hope everyone has a good holiday. We always host a family gathering on Easter Sunday, but not this year. Facetime will have to do. I am grateful even so for all the blessings that have been bestowed on me over the years, not the least of which are the loyal readers of this blog. My best to you all.

1954 Billboard ad (click to enlarge)

Buddy Clark with the Bands (and Hildegarde)

Buddy Clark had become one of America's leading vocalists in the years before his early death in a 1948 plane crash. But he wasn't always so popular, even though he had been making records and radio appearances for many years before his hit records on the Columbia label.

Today I am presenting a selection of Clark's records as a vocalist with the bands of Freddy Martin, Archie Bleyer, Ruby Newman and Wayne King, with the addition of a few duets he made with chanteuse Hildegarde. These are from the 1930s extending out to his 1946 Hildegarde session.

His first record (?)

I am indebted to blog follower and discographer Nigel Burlinson for sending me his Buddy Clark discography, which enabled me to identify several Clark recordings where the singer is uncredited on the label. Nigel's document also provided the recording dates noted below.

Clark's first record is often thought to be a vocal on "Evening," made with the Gus Arnheim band in 1932 for Victor. Wikipedia goes so far to note that Clark sang as a tenor for this first record, then switched to baritone for his 1934 discs with Freddy Martin's orchestra. I think that is unlikely. The 1932 Buddy sounds nothing like the 1934 Buddy - who is very recognizable as the singer heard on the rest of these sides on through his Columbia records.

So who is the Buddy Clark who sang with Arnheim? I don't know, but I will note that "Buddy Clark" was a stage name. The singer who became popular was born as Samuel Goldberg.

With Martin, Bleyer and Newman

Clark's vocals for Freddy Martin were recorded in September 1934, including polished renditions of "Stars Fell on Alabama," "Isn't It a Shame" and "In the Quiet of an Autumn Night."

Just as good are two songs with a band led by Archie Bleyer (who later ran Cadence records): "Wild Honey" and "Irresistible." These were from the month after the Martin records - October 1934.

We move on to two uncredited vocals with the band of Ruby Newman, both from the new Rodgers and Hart musical On Your Toes: "Quiet Night" and the title song, both of which Clark handles beautifully. These date from March 1936.

With Wayne King

Clark started making records \with Wayne King in 1940, and soon began appearing on radio with the King band. In October 1940 they cut the the bouncy patriotic song "He's My Uncle" and the terrific Hoagy Carmichael-Harris Robison number, "I Should Have Known You Years Ago" (Buddy has some trouble negotiating the final cadence on the latter).

Clark is credited on the label of the single above, but for the balance of his Wayne King output he is incognito. This is supposedly because OKeh gave Clark a contract as a single artist - and indeed he made his first OKeh records just a month after the October date with King.

The balance of Clark's output with King include "'Til Reveille," "Dawn," "Time and Time Again," and "Time Was," all from June 1941, "Darling, How You Lied," from September of that year, and "Amour" from October. All are nicely done.

Duets with Hildegarde

Hildegarde

In February 1946, Decca engaged Clark for a few songs with the popular supper club and radio personality Hildegarde, whose fame has dimmed to the point of her being a virtual unknown these days. Her singing now seems mannered - a contrast to Clark's conversational approach. Their only two songs together were the Kern-Hammerstein "I've Told Every Little Star" and "Why Shouldn't It
Happen to Us," a milder version of Cole Porter's 1928 song "Let's Do It" by the talented wife-and-husband team of Alberta Nichols and Mann Holiner.

The singer as slugger

These are all good records, made during a period when Clark recorded regularly, either on his own or with bands, and was featured on any number of radio shows. But while well known, he was not among the nation's most popular singers until his tenure with Columbia. I came across a poll in a 1938 issue of Radio Guide that has him as the 14th most popular male singer - just below Ralph Kirbery and just above Don Ameche. Then again, in the same poll, the 15-year-old Judy Garland was the 14th most popular female singer. And the fourth most popular was Fran (Frances) Allison, whom I only know for her appearances on the TV puppet show Kukla, Fran and Ollie.

The download includes a number of other clippings from the magazines of the time, showing Clark playing baseball (above), swimming, rehearsing and dancing with his wife.

These recordings were taken from various sources - mainly from Internet Archive - but all have been remastered and the sound is generally quite good.