From the Back Room: Gloria Wood

Gloria Wood was a supremely talented singer who had the misfortune of being best known for the novelty records she made with Kay Kyser and later for Capitol records, although her career was far more diversified than those outings.

Today's "From the Back Room" post is the completed version of a project I started more than a decade ago, devoted to bringing together most of her singles output from the 1940s and 50s.

For these "Back Room" posts, the transfers, etc., are prepared with the usual care, but my commentary may be less elaborate than is sometimes the case.

This particular post includes 33 songs.

About Gloria Wood

Wood (1923-95) was the daughter of a professional singer, which set a career path both for her and for her older sister Donna. The elder sibling sang with Horace Heidt and then with Kay Kyser. When Donna died of a heart ailment at age 29, Gloria succeeded her in the Kyser band. Gloria would go on to be one of the most in-demand studio singers, for her rare virtuosity and range.

First Records with 4 Star

These days 4 Star records is mainly remembered as a country and western outfit, but the small West Coast outfit also recorded other types of music in its early days, mainly Latin outfits but also a few jazz and big band records as well. Wood's first records, dating from 1945 and 1946, were with these ensembles.

The 4-Star-5 was a traditional jazz combo with such well-known musicians as Zutty Singleton and Gus Bivona. Gloria's first record with that crew was a cover of Hoagy Carmichael's new "Memphis in June," followed by three songs by the obscure West Coast singer-composer Slim Coates: "Hitch Your Wagon," "Some Guy" and "Toy Boy." The first is, predictably, the best of the lot, but Coates' songs are not bad.

Wingy Manone

Wood's next assignment was with another traditional jazz figure, Wingy Manone, who led a raucous band backing her in the standard "My Blue Heaven" and the trumpeter's own "I Must Be Dreaming." She acquits herself well in both songs.

Finally, big band vet Ted Fio Rito used her voice on two songs, his own "Now That You're Gone" and the standard "East of the Sun." She's particularly impressive in the former.

With Kay Kyser

Kay Kyser

Kay Kyser had a polished and versatile band, but it was known for novelty records. Gloria's first record with the group in 1947 was a notable and catchy example. "The Possum Song" has the subtitle "Six, Tall, Slim, Slick, Sycamore Saplin'," which I cannot explain to you. This song was the work of singer-songwriter Terry Shand, working with a Dunham, who might or might not be bandleader Sonny Dunham.

Next was one of several duets with longtime Kyser singer Harry Babbitt, a polished performer. Gloria works well with him on Jack Brooks' "Saturday Date." Gloria then worked with the Campus Kids vocal group on the mock calypso "There Ought to Be a Society (For the Prevention of Cruelty to Poor Unfortunate Lovers)."

Now comes the big hit - "Woody Wood-Pecker," by Ramey Idriss and George Tibbles. Wood (who would have seemed to have been preordained to sing this song) manages to avoid having to imitate Woody's annoying laugh, and is otherwise charming.

Another Hoagy Carmichael song (and another faux calypso), "Too Much-a Manana" also did well for Gloria and Kyser.

Babbitt and Wood combined for another major hit, Frank Loesser's "On a Slow Boat to China." Finally, we have 1949's "I'll Wait," with Gloria billed over Harry Babbitt for the first time.

Kyser would soon wind down the band and Wood was off for a freelance career, working with Jud Conlon's Rhythmaires among others.

Capitol Recordings

Gloria recorded several songs for Capitol records in 1953. These started with two songs with keyboard player Buddy Cole, notably Vincent C. Fiorino's "Red Canary," which Cole (presumably) gave an African feel. Percussion is prominent, along with piccolo and a fascinating bass line produced in a manner unknown (to me).

"Hello Sunshine" has an old-timey feel that is accentuated by Wood's virtuosity, a tuba, banjo and some effects that Cole probably produced from his organ.

The next song is something of a classic. "Hey Bellboy" has Gloria singing insanely high (and loud), both by herself and in duet with Pete Candoli's trumpet, alternating with sexy calls of "hey bellboy!"

"Hey Bellboy" EP

"By the Waters of Minnetonka" has Wood singing the melody quite high both in harmony with her own voice and with Candoli's trumpet. She also sings a chorus conventionally.

"Anybody Hurt?" has her scatting both extremely high and fast. Both this and "Hey Bellboy" were written by Candoli and Tom Mack.

Finally, for "Oh, Honey" she moved on to Dave Cavanaugh's semi-R&B outfit. Dave's band plays a riff over and over while Gloria alternately pleads "Oh, honey, please!" and again ascends into the stratosphere vocally.

Capitol's Music Views magazine devoted a two-page spread to Wood's vocal heroics in 1953. The pages are below - click to enlarge them.

With Decca-Coral

Wood recorded several songs for Decca-Coral in 1955. First was "Lover-Lover (Why Must We Part?)" written by Charles Wolcott for the film Blackboard Jungle, but not, as far as I know, used as such in the film. It is, unexpectedly, a country tune, which Gloria does idiomatically.

This was backed by "Teen-Time," which, far from being adolescent fare, is boppish high harmony vocalese accompanied by vibes, clarinet and rhythm.

Coral got in on the "Hey" songs with "Hey Mister," which leaves out the vocal pyrotechnics in favor of a simple ballad accompanied by growl trumpet, tenor sax groans and clarinet. The flip side is "I Keep Telling Myself," a nice tune with a good arrangement from George Cates.

Finally, Wood moved from Coral to the main Decca label for a single with another former Capitol artist, Jimmy Wakely. "Are You Satisfied?" melds Gloria's vocalese with some awkward harmony with Wakely. "Mississippi Dreamboat" is semi-R&B. Neither Jimmy nor Gloria seem convinced.

A Few Unpolished Diamonds

Billboard ad

In 1956 Gloria surfaced on the rejuvenated Diamond label, once headquartered in New York and headed by Irving Gwirtz. That concern went under in the 1940s, leaving a trail of lawsuits, but Gwirtz and Diamond seem to have be resurrected in Hollywood in 1956. At least a "Gwirtz" is listed as co-author of the tune "The Rock and the Roll," which apparently was the B-side of the record. "Honey Bee" (with the "vocal magic of Gloria Wood") was the plug side.

"The Rock and the Roll," as you might imagine, is rock 'n' roll. The label proclaims this to be a Billy May arrangement, and there are some trumpet squeals that might suggest his hand in the charts.

"Honey Bee" is an awful song, a marriage of "Be My Little Baby Bumble-Bee" of Doris Day infamy with the vocal approach of Teresa Brewer.

There are a few other Diamond sides that I don't have, and at least one 45 on Zephyr.

The Columbia Singles

Billboard ad

Wood was back with a major label in 1957, landing at Columbia Records, where she made a few singles and one LP that came out in early 1959. All were with Jerry Fielding.

The first item, "Back Door," is rock 'n' roll, although sung at a high level. The flip, "Mr. Sorrow," is a downcast ballad. At least this one gives Gloria a chance to be expressive, which she does beautifully. Fielding wrote both songs. 

The second single coupled a song co-written by Wood and Fielding, "Heartless Kisses," another R&R effort, with "I Won't Be a Fool Again," which is even more rock-lite.

The material on Gloria's Columbia LP, Wood by the Fire, is better than the singles. I have the LP if there is interest.

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Trudy Erwin

Trudy Erwin (1918-2000) was a talented singer mostly remembered for her movie dubbing assignments and appearances with Bing Crosby. She had a lovely mezzo voice, perfect diction, careful intonation and great warmth. Her career lasted from the mid-1930s into the 1950s. 

This post, a comprehensive overview of her most productive period (1940-52), includes 35 commercial recordings, airchecks and soundtracks.

Early Experience

A native of Los Angles, Erwin was singing in ensembles in her teens. Among her first professional jobs was as period as a member of the Music Maids singing group on Bing Crosby's radio show, starting in 1939. At that time she was known as Virginia (Jinny) Erwin.

The Music Maids, with Jinny Erwin at center

Her first individual professional job, to my knowledge, was doing the singing for Lucille Ball in 1940's Too Many Girls, where she had the dubious honor of introducing the great Rodgers and Hart song "You're Nearer" without a credit. Our collection starts off with her performance from the soundtrack. (The noises you hear in the background are crickets - the scene takes place outside at dusk.)

Also from that film is "I Didn't Know What Time It Was," with a brief concluding vocal by Ball's co-star Richard Carlson.

With Kay Kyser

In 1941, Erwin joined Kay Kyser's band as a replacement for Ginny Simms, making her first recording in November. This was after Simms and Kyser had a personal and professional split, and the bandleader didn't want any more Ginnys (or Jinnys). So Jinny Erwin became Trudy Erwin.

Most of her singing was done as a member of the Kyser vocal ensemble, but she was featured on two records, the first of which was a giant hit -"Who Wouldn't Love You," written by future Frankie Laine music director Carl Fischer with Bill Carey. Trudy shared billing with Kyser mainstay Harry Babbitt. (They were credited as "Trudy and Harry" on the label.)

Like much of Kyser's output, the song veered toward the novelty side of the bandbook, as did her other feature, "There Won't be a Shortage of Love," which traded on the empty market shelves of wartime. Again, "Trudy and Harry" were the singing lovebirds, appropriate considering that the arrangement called for drum effects that sounded like Kyser had hired a woodpecker. (Come to think of it, he would later record the "Woody Woodpecker Song" with Gloria Wood.)

Trudy Erwin in 1942

Trudy's two songs were set down in January and March 1942, respectively. The Musicians Union embarked on a pointless two-year strike in July, and by the time that was over, Erwin had moved back to the Crosby show, as a soloist this time.

With Bing Crosby

This set includes her three commercial recordings with Bing and many high-quality airchecks from his Kraft Music Hall show.

Like other leading artists, Crosby had a big success even during the union ban by recording without union members. He and Trudy had a double-sided hit with songs from the new Rodgers and Hammerstein show Oklahoma! - "People Will Say We're in Love" and "Oh, What A Beautiful Mornin'."

The recording session managed to evade the union ban by not employing any instrumentalists - vocalists did not belong to the union. So the duo's accompanists were the members of "The Sportsmen Glee Club," an expanded version of the Sportsmen Quartet. The performances are pleasant if lugubrious, with the Sportsmen sounding more mournful than gleeful.

Because Trudy also was a member of the Kraft Music Hall cast, she and Bing also had a chance to perform both Oklahoma! songs with orchestral accompaniment.

The "People Will Say We're in Love" performance comes from a September 1943 broadcast. I wish I could say that John Scott Trotter's arrangement is much of an improvement over the Sportsmen, but it just plods along.

In December, another broadcast included a version of "Oh, What A Beautiful Mornin'" with accompaniment by Trotter's crew. Here the band chart is perhaps more flossy than the song and setting deserved.

Bing and Trudy

Also from that broadcast, Bing and Trudy sang "One Alone" from Sigmund Romberg's operetta The Desert Song. Bing calls the song new, probably because it was used in a recent film adaptation. The work itself dates from 1926.

Another 1943 broadcast allotted Erwin a solo spot on a Burke-Van Heusen song that Crosby had recorded the year before - "Constantly." I've included the lead-in to the number, which includes an amusing bit with Bing imitating Kyser and his North Carolina drawl.

"Wait for Me Mary" was the flip side of one of Dick Haymes' first big hits - "You'll Never Know." Bing and Trudy handled the piece sensitively during a September broadcast.

The unlikely 1943 hit "I Heard You Cried Last Night" was the subject of an superb Erwin performance. Written for the B-movie Cinderella Swings It, Helen Forrest and Harry James had recorded it in summer 1942, but Columbia delayed its release for a year. After it became a hit, Dick Haymes followed with an a capella version. Trudy's Kraft Music Hall rendition comes from another September show.

Also that month, Bing and Trudy combined for "The Way You Look Tonight," the Kern-Fields song from 1936 and Fred Astaire's Swing Time. This is one of the best songs and performances in the set. Bing had recorded it with his wife Dixie Lee in 1936.

"My Ideal" comes from an early December show. It's a revival of the 1930 Richard Whiting, Newell Chase and Leo Robin song that was introduced by Maurice Chevalier. The version by Bing and Trudy probably was suggested by the Capitol recording by Whiting's daughter, Margaret. Trudy's obbligato in this performance is strikingly effective.

Rodgers and Hart wrote the standard "My Heart Stood Still" for a West End review in 1927, then had to buy the song back so they could use it in A Connecticut Yankee. Bing and Trudy did well with this classic number.

"The Right Kind of Love," a new song by Mabel Wayne and Kermit Goell, was recorded by a number of artists in 1943, not including Bing. He did program it for an August show as a duet with Trudy. The composition is just OK, but the singing is fine.

Erwin left Crosby's show when she and her husband, Crosby's engineer-producer Murdo MacKenzie, were expecting a child in 1944.

Commercial Recordings

In 1945, Trudy was the featured vocalist on bandleader Ray Noble's summer replacement radio program. Noble also brought in Trudy for one of his many Columbia sessions. One side was "The Wish That I Wish Tonight," a lovely song by M.K. Jerome and Jack Scholl from the classic film Christmas in Connecticut. David Rose and Leo Robin came up with the other side, "So-o-o in Love," another film song, this one from the Danny Kaye specialty Wonder Man. On the film's soundtrack, Virginia Mayo's vocals were dubbed not by Erwin but June Hutton, the subject of an upcoming post.

Both Noble songs are attractive numbers in polished performances. Erwin (misspelled "Irwin" on the labels) is in good form. The trumpet soloist on "The Wish That I Wish" is ex-Miller hand Clyde Hurley. "So-o-o in Love" was even nominated for an Academy Award. Its formidable competition included "It Might as Well Be Spring" (the winner), "Ac-Cent-Tchu-Ate the Positive," "Aren’t You Glad You’re You?," "I Fall in Love Too Easily," "I’ll Buy that Dream," "Sleigh Ride in July," "More and More" and "Some Sunday Morning."

Trudy's next record was her only one as the featured performer - songs for the mainly country label 4-Star in 1946. The result is sterling performances of the well-remembered "To Each His Own" and of "Whattya Gonna Do?" These came out on two different 78s, backed by instrumentals from bandleader and sometime actor Opie Cates. 

"To Each His Own" is a Livingston and Evans song from the film of the same name, and is best known these days for its Ink Spots recording, although it was a hit for Eddy Howard among others. This pressing is noisy, unfortunately.

There may be a third Erwin release on 4-Star - "Would You Believe Me?" - but I haven't found a copy.

At about the same time, Bing came through with another task - a commercial recording of "See You in Cuba" from his 1946 film Blue Skies, which had an Irving Berlin score. The composer called the piece "See You in C-U-B-A" when he wrote it as a prohibition song in 1920. Crosby's partner in the film was the charming Olga San Juan, but Erwin was a better singer.

More Movie Dubs

Crosby became a film producer with the 1945 release of The Great John L., based on the life of boxer John L. Sullivan and set in the late 19th century. Bing engaged Trudy to dub the vocals for Sullivan's love interest, played by Linda Darnell. Jimmy Van Heusen and Johnny Burke provided two songs for the character. "A Perfect Gentleman" is a brief period piece. The main event was "A Friend of Yours," a high quality ballad that should be better remembered. Erwin is in prime form for both.

Erwin dubbed the singing voice of Lucille Bremer in two films. There were two numbers in the 1945 musical fantasy Yolanda and the Thief, where Bremer was the love interest of Fred Astaire -"Angel" and "Will You Marry Me?" Both were by Harry Warren and Bremer's patron, producer Arthur Freed. The former is a pleasing melody, wonderfully well performed by Trudy, beginning with her excellent vocalese. The second song is lyrically insipid, reflecting the fantasy aspect of the film. 

The 1946 Jerome Kern filmic bio Till the Clouds Roll By was the source of another opportunity to dub Bremer's vocals: a short but sonorous solo from Trudy on "The Land Where Good Songs Go." The song is briefly interrupted by comments from Robert Walker as Kern, the best friend of the father of Bremer's character. (Walker sounds oddly like Ronald Colman in the part.)

More Radio Spots

In 1946 Trudy made one of the "Personal Albums" that the Armed Forces Radio Service produced for several years. She included "The Coffee Song," a hit for Bob Hilliard and Richard Miles that several artists recorded. It's a shame that she was saddled with an awful backing combo. The pianist thinks he is accompanying a dancing class; his rhythm could not be less suggestive of Brazil.

Trudy Erwin in 1947

The next song is quite a contrast. It comes from the Jack Paar Show, a 1947 summer replacement for the Jack Benny Show. Erwin's relaxed singing blends well with the modern sounds of a band led by the young Jerry Fielding, who himself had been associated with Kay Kyser, as an arranger. Trudy and Jerry present "I Believe," a terrific Cahn-Styne song introduced by Frank Sinatra in It Happened in Brooklyn.

Paar, later a television star, was just starting on network radio with the show. He did so well that the network continued the program in the fall. Our second selection comes from a September 1947 program, again with Fielding's band. The number is "Ivy," which Hoagy Carmichael wrote as the title song for a film starring Joan Fontaine. The melody is memorable but awkward to sing. Trudy handles it deftly.

Erwin also starred on other radio shows, and even an early television program that she shared with old friend Harry Babbitt.

More Songs from Films

Erwin appeared on screen in 1947 in a typical Jack Carson comedy, Love and Learn, where she helped to introduce the main song from the film, "Would You Believe Me?", a relatively popular number that attracted several commercial recordings. The song is presented by a montage to show how popular it had become. (Carson was a songwriter in the film.) The sequence leads up to Trudy as a glossy nightclub singer. M.K. Jerome, Ray Heindorf and Charles Tobias wrote the song.

In 1951, Erwin sang for Lana Turner in the Ezio Pinza starrer Mr. Imperium. Three selections were included. Her own solo was the unusual "My Love and My Mule," by none other than Harold Arlen and Dorothy Fields. Trudy shared the lively Arlen-Fields "Andiamo" with Pinza. Finally, the duo performed Augustin Lara's fabulous "Solamente una vez" (You Belong to My Heart). The great bass has most of the vocal line in the latter two songs.

Intended for Mr. Imperium?

The next item is the one that gave me the idea of doing this post devoted to Erwin. It is "Hello, My Lover, Goodbye," written by Johnny Green and Edward Heyman for the 1931 musical flop Here Goes the Bride. Frances Langford introduced the number in her only Broadway appearance. It's a striking composition that Erwin elevates with her soulful performance in this 1951 recording for M-G-M. 

My unproven theory is that this performance was intended for Mr. Imperium. It could have been used as a Turner/Erwin solo as the climax of the parting scene when Pinza (as a crown prince) is called back to his country to take over from his dying father. Johnny Green was the conductor both of the Mr. Imperium soundtrack and this song, and they are from the same year. I will say it's a better number than "My Love and My Mule."

Finally, another soundtrack assignment, also issued on record with Erwin credited. It is Frank Lehár's "Merry Widow Waltz," with the addition of Paul Francis Webster lyrics. For some reason, the studio's leadership thought Fernando Lamas and Lana Turner would make people forget Maurice Chevalier and Jeanette MacDonald's performances in the earlier Merry Widow film. Oh well, at least they engaged Erwin to double Turner's singing voice again, partnering Lamas in the recording.

This sampling of Erwin's artistry comes primarily from Internet Archive and my collection.

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A Visit to the Record Shop, 1939

If you were a Cleveland record collector in 1939, you might well have put Moore's Magazine & Music Shoppe on your itinerary. For one thing, it had an inventory of relatively cheap used records - and this was one of them, two worthy items from Kay Kyser's band, which came in the record sleeve above touting all the many features of Mr. Moore's emporium.

Step Up and Shake My Hand (vocal by Harry Babbitt) and Tears from My Inkwell (with Ginny Simms) were not among Kyser's many hits, so that's probably why this record was available inexpensively. The sleeve says Moore's received a fresh stock of records twice a week, likely from a distributor or juke box outfit offloading old stock.

That would be enough to keep me coming back, and indeed Moore's sounds like my kind of place in many ways - besides used records, it had magazines, newspapers, and books, and it was open until midnight. You also could rent a camera, order scratch pads, buy a greeting card, and get a Lock-a-Phone to make people pay to use your telephone.

If you had been the one to purchase this Kay Kyser disk back in 1939, you would be in possession of two enjoyable if unexceptional tunes, with arrangements would have seemed dated even 70 years ago. Both songs are well played, nonetheless, and Ginny Simms does wonders for Tears from My Inkwell. Listen via the link below.

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