While drummer-singer-bandleader Ray McKinley had a long career, the 1940s were his heyday. Today we'll look at his longest-lasting band via a selection of 32 recordings he made for RCA Victor from 1947-50.
McKinley (1910-85) became a band musician in his middle teens, joining the Dorsey Brothers at 24. Will Bradley brought him on board in 1939 as a featured artist, labeling his recordings of the time as the "Will Bradley Orchestra Featuring Ray McKinley." Their big hit was "Beat Me Daddy, Eight to the Bar" with a vocal by McKinley, who wrote the piece with Don Raye and Hughie Prince.
McKinley went out on his own in 1942, making records for Hit and Capitol before joining old friend Glenn Miller's Army Air Force Band. After Miller's disappearance in 1944, McKinley co-led the band with arranger Jerry Gray.
McKinley re-started his civilian band in 1946. The group first made records for the small Majestic company, then switched to RCA Victor in 1947.
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| Saxophonists Deane Kincaide, Billy Ainsworth, Ray Beller, Peanuts Hucko, Pete Terry circa 1947 |
It was quite a talented ensemble, including at various times Nick Travis, Vern Friley, Ray Beller, Chuck Genduso, Buddy Morrow and Mundell Lowe, among others. Among those handling the charts for McKinley during this period were Deane Kincaide and Eddie Sauter, two notable names among big band arrangers.
One Band, Two Styles LP
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| Ray McKinley, Eddie Sauter, Deane Kincaide |
The first "style" was represented by six compositions by Eddie Sauter recorded at the end of 1947. These surely were earmarked for an album, but it was one that RCA never issued. Only "Idiot's Delight" - one of the more abstruse compositions in the set - was pressed on 78. The rest remained in the vaults until the Camden LP.
Sauter, who made his name with Red Norvo and Benny Goodman, went on to form the Sauter-Finegan Band with Bill Finegan, That band has appeared on this blog a number of times.
The second "style" on the Camden LP encompassed a reissue of the 1950 set Ray McKinley Plays Rodgers and Hart for Dancing. This was one of 15 albums that RCA issued simultaneously in an attempt to hypo the band business, which had hit the post-war doldrums. RCA's promotional campaign was called "Here Come the Dance Bands Again," even though the release encompassed everyone from Spade Cooley to Miguelito Valdes. The record company labelled the records as being "Designed for Dancing" - certainly a contrast to the Sauter compositions, which for many listeners might have been designed for head-scratching.
There are two vocals among the Rodgers and Hart songs, one by McKinley, the other by the excellent Dale Nunnally. The Sauter materials are entirely instrumental.
Sauter, who made his name with Red Norvo and Benny Goodman, went on to form the Sauter-Finegan Band with Bill Finegan, That band has appeared on this blog a number of times.
There are two vocals among the Rodgers and Hart songs, one by McKinley, the other by the excellent Dale Nunnally. The Sauter materials are entirely instrumental.
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| Dale Nunnally |
As noted, neither side of the Two Sides LP was characteristic of the McKinley band of the period - at least of its recorded repertoire. To give you a better idea of how the band sounded on record and presumably in its live appearances, I've put together 20 songs derived from RCA Victor singles of the period.
The first thing you may notice is that while only two of the 12 songs on the LP have vocals, 17 of the 20 singles do. Most of the vocal chores are handled by McKinley himself, who often abandoned the drum kit to step out in front of the ensemble. He was an engaging entertainer - I've linked before to a band short from 1946 in which he sings "Hoodle Addle" and introduces the band, including Beller, Friley and Lowe. The "Hoodle Addle" arrangement was by a decidedly more relaxed Eddie Sauter, who even throws in a few "hey baba-re-bop" licks into the mix.
McKinley was always more of a performer than a crooner. He has very little range and doesn't change his approach much from song to song.
McKinley was always more of a performer than a crooner. He has very little range and doesn't change his approach much from song to song.
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| Jean Friley |
Heard on two vocals are Marcy Lutes, who a decade later made a well-regarded LP for Decca, then essentially disappeared from the scene. She was succeeded by Jean Friley, who is good but gets little chance to shine. The final vocalist was the previously mentioned Dale Nunnally.
Most of the arrangements are unattributed, although Kincaide does get two label credits, being billed as Deane "Look, Ma, No Zither" Kincaide on "The 3rd Man Theme." Much of the repertoire consists of the usual pop songs from the time - "Put 'Em in a Box," "Sunflower," "Little Jack Frost Get Lost" and so on. "The Irish Washerwoman" makes an appearance as "Boogie Woogie Washerwoman."
The sound on all 32 sides is quite good. The One Band, Two Sides LP was drawn from my collection. I remastered the 78s from lossless needle drops found on Internet archive. The download includes label scans, more photos, etc.
McKinley folded his band in 1950, then became a part-time bandleader until the Glenn Miller revival took hold following the release of The Glenn Miller Story in 1954. In 1956 Miller's widow asked him to organize a new band under Miller’s name using the original library and style. McKinley led that band for a decade, making quite a few LPs for RCA Victor.
The sound on all 32 sides is quite good. The One Band, Two Sides LP was drawn from my collection. I remastered the 78s from lossless needle drops found on Internet archive. The download includes label scans, more photos, etc.
McKinley folded his band in 1950, then became a part-time bandleader until the Glenn Miller revival took hold following the release of The Glenn Miller Story in 1954. In 1956 Miller's widow asked him to organize a new band under Miller’s name using the original library and style. McKinley led that band for a decade, making quite a few LPs for RCA Victor.
Note (August 2024): these recordings have been remastered in ambient stereo.
