Showing posts with label Thurl Ravenscroft. Show all posts
Showing posts with label Thurl Ravenscroft. Show all posts

13 December 2025

A Budget-Line Christmas

It's rare that I would feature budget recordings, but they are often interesting, giving you a chance to hear name-brand artists who were past their peak and others who were mainly professional studio singers.

Today we have two LPs on the Tops label that are good examples. The names on the two covers are Martha Tilton, famed from her work with Benny Goodman, and the Pied Pipers, who first became popular with the Tommy Dorsey band.

In true budget-label fashion, the name artists present a minority of the songs on these LPs. Most of the singing is by artists with lesser pedigrees - folks who made a living in vocal groups and in the studio setting; little-known but undeniably talented.

Before I give the details about the songs and singers, let me mention that this post is made possible through the generosity of frequent collaborator Ernie Haynes, whose Ernie (Not Bert) site is well into his annual foray into the wide world of holiday music. I told him I was looking for the Pied Pipers LP, and he not only came up with a transfer, it was the stereo version - and he sent along a stereo version of Christmas at Our House, the album that touts Martha Tilton on the cover. I had only the mono version of the latter.

Both The Pied Pipers Sing Christmas Carols and Christmas at Our House came out in 1958, at first in mono and a bit later in stereo.

The songs on these LPs are what you might expect - well-worn holiday classics, most of them in the public domain, and most repeated on both LPs, although not by the same vocalists. 

What follows are some notes about the artists involved, who were barely mentioned by Tops, except for Martha Tilton and the Pipers. The rest are only named on the labels - and even then not always accurately.

The Pied Pipers - Lee Gotch, Sue Allen, Allan Davies, Clark Yocum

Let's start off with the Pied Pipers, who as I mentioned became known with Tommy Dorsey's band - that is until one of the members made the bandleader mad and was fired. The entire group then quit the band in solidarity. The object of Tommy's ire was Clark Yocum, still in the group when this record was made.

The leading light of the Pipers back in the Dorsey era was Jo Stafford. By the time this record was made, the female lead was Sue Allen, a studio singer who had been in several well-known groups. The other members were Lee Gotch and Allan Davies. Their performances here are pleasing, and amusing when appropriate, such as their version of "Jingle Bells."

The Pipers sang on six of the 12 numbers on the LP named for them, but not at all on the other record.

Martha Tilton

The artist mentioned - in relatively small print - on the Christmas at Our House LP cover, Martha Tilton, was with Goodman's band in the 1930s, then had some hits as a recording artist for Capitol in the 1940s.

Although Martha is touted on the sleeve, she is heard only on two songs - but they are the high points of the LP. Like the Pied Pipers, she makes "Jingle Bells" fun again, even including the seldom-sung second verse. And she has a good time with "Rudolph" and his red nose as well. Tilton does not appear on the other album.

Marni Nixon

The singer with the most numbers on Our House LP is the well-regarded vocal double Marni Nixon, with three - "Silent Night," "O Little Town of Bethlehem" and "Away in a Manger." Her perfect technique is well in evidence throughout. She also does not show up on the other disc.

John Gustafson

Just as impressive is tenor John Gustafson, who was allotted two songs on Our House - "The First Noël" and "Deck the Hall." Gustafson recorded gospel music and was a choir director in the Los Angeles area. He too was not selected for the other album.

Thurl Ravenscroft

Thurl Ravenscroft's mighty bass was celebrated here recently, so it's good to hear him in holiday mode with "God Rest Ye Merry, Gentlemen," even though he is uncharacteristically subdued on that number. On the other disc - at least the stereo version - the label claims that he sings "Joy to the World," but the pleasant fellow who spreads holiday cheer is not Thurl, but a lighter-voiced singer who may be Bill Reeve, discussed below.

Thurl's version of "Joy to the World" actually does appear on the mono edition of Christmas at Our House, so I've added that track to the end of the transfer.

Doris Drew

Doris Drew had been a band singer, then recorded several singles followed by a well-regarded LP for the Mode label in 1957. She later became a voice artist. For these records she contributes charming versions of "White Christmas" and "The Christmas Song."

John Gabriel

Singer-actor John Gabriel, then in his 20s, was appearing as a guest star on television shows when he recorded "It Came Upon a Midnight Clear" and "Hark! The Herald Angels Sing" for these LPs. He later would have a long-running part on a TV soap opera, appear on Broadway in The Happy Time and become a producer.

Norma Zimmer

Norma Zimmer was a well-regarded studio singer when she recorded of "Joy to the World," "It Came Upon a Midnight Clear" and "The First Noël" for Tops. She would later become famous as the "Champagne Lady" on Lawrence Welk's television show.

Bill Reeve is the most obscure member of this cast. His credits include a vocal in Disney's Westward Ho The Wagons! and the pre-recordings for the Ice Follies of 1953 - where he worked with Norma Zimmer. He sings on both LPs - "Silent Night," "O Come! All Ye Faithful" and (I think) the stereo "Joy to the World."

Tops kept the musical background simple for these records - just "George Mather at the console," presumably handling the both electronic organ and chimes. (The latter do tend to get in the way, if truth be told.) The recording is typical of early stereo - mostly the vocalist and the chimes on the left and George and his organ on the right. It is otherwise pleasing, although too much reverb was added to the stereo vocals. Sorry, I haven't been able to find any information about the organist.

The mono artwork

Tops named its stereo line "Mayfair" and at least in these early days pressed the discs on yellow vinyl. The stereo LPs also had different covers. For record nerds like me (and Ernie), the much different mono covers are shown above.

LINK to Christmas at Our House

LINK to The Pied Pipers Sing Christmas Carols

30 September 2025

From the Back Room: Thurl Ravenscroft

This is another in a series of posts from Buster's Back Room, where I keep the many projects I have completed but never offered on this blog.

For these "From the Back Room" items, the transfers, etc., are prepared with the usual care, but my prolix commentary may be abbreviated.

Today we explore the endless reaches of Thurl Ravenscroft's basso voice. Perhaps most famous as Tony the Tiger in Kellogg's Frosted Flakes commercials ("they're GR-R-REAT!"), he also was an officially adjudicated Disney Legend for his vocal work on films, records and park audio tracks (and other things, I'm sure).

Thurl had quite a career as a backup and even lead singer, both with his group the Mellomen and as a single voice. Today's 27-track collection covers songs where he was either a solo voice, or an important contributor to the record. These items are all from the 1950s, and do not encompass his work for Disney. It also is not comprehensive. I suspect there is a fair amount of material I am missing.

Thurl lent his subterranean but perfectly focused bass to a variety of material - kiddie songs, pop, country, gospel, R&B, ads - all of which are represented in this 27-track collection.

The first selection is of the kiddie kind - "The Tubby the Tuba Song," popular among the junior set back in 1950. The label credits the Mellomen for the vocal, but with the tuba the leading character, Thurl is featured ("OOM-PAH-OOM-PAH-OOM-PAH-PAH!"). George Cates conducts.

Thurl does get a label credit for his next outing with Cates and the Mellomen. It's another children's song - "Hi-Diddle-Diddle." Old fashioned, but effective. It's interesting how when the ensemble sings, Ravenscroft scales his voice back so that it doesn't dominate. This is from 1951.

Thurl is the soloist on "Low in the Lehigh Valley" with the Norman Luboff Choir and Paul Weston. This quasi-country song seems to be by Alec Wilder.

"The Bull Walked Around 'Olay'" is a chance for Ravenscroft to adopt an accent (handy, no doubt, for his Disney assignments) which works extremely well, capped (footed?) by a low note that Thurl must have excavated from a subterranean mine. This popular item was directed by Jerry Gray.

Gray also is in charge for "Pale Moon (an Indian Love Song)," a chestnut from 1920 that had been recorded by Crosby and Sinatra, among others.

Cash Box, June 6, 1953

"In the Mood" is best known in Glenn Miller's version, which is an instrumental. Less often heard is the version with effective lyrics by Andy Razaf, which Thurl does quite well, aided by the Elliott Brothers big band.

For one of Ravenscroft's most renowned records, he received no label credit. The song is "This Ole House," in the hit version from Rosemary Clooney. Thurl sings the refrain, "Ain't gonna need this house no longer; ain't gonna need this house no more" and the coda "Ready to meet the saints!"

Two ole houses

But let me point out that the song's author, Stuart Hamblen, did the first version of the song, and it's superior. It also has a bass voice similar to the Clooney cover record, which could well be that of Ravenscroft. (I haven't been able to confirm that.)

Hamblen's version is in the first person; Rosie's is in the third. She's good (and Stan Freeman's harpsichord is all kinds of fun), but Stuart is far more involved in the song. Thurl, needless to say, is terrific in the Columbia record, as is Ravenscroft or whoever the bass may be on RCA Victor.

Next for Thurl was an assignment with Jo Stafford and another bravura singer, Frankie Laine, who sounds light-voiced next to Ravenscroft in "Back Where I Belong."

Also with Paul Weston and accompanied by the Mellomen, Thurl takes the lead on Rod Morris' country song "Bimbo," a hit for Jim Reeves. Thurl is highly effective (as are the Mellomen), but the song, while catchy, doesn't amount to much.

These last few songs are from 1954, when pop music was changing. Thurl and the Mellomen decided to swim with the R&B tide by covering several hit songs as "Big John and the Buzzards." First was a superior performance from Ravenscroft in the highly amusing Jesse Stone song "Your Cash Ain't Nothin' but Trash." This was originally by the Clovers, with the lead by Billy Mitchell.

"Oop Shoop" was an R&B hit for Shirley Gunter and the Queens, then was covered by everyone from the Crew-Cuts to Harry James - including the Buzzards.

There are at least 15 songs called "Hey, Little Girl." This one was by Richard Lewis. Big John and his fellow Buzzards couldn't resist making fun of its repetitive nature.

We're squarely (and I do mean this in both senses of the term) back in pop land with Bob Merrill's opus "Where Will the Dimple Be?" with Rosie Clooney in homey mood. This is a cheerful item with the Mellomen, Thurl and Stan Freeman. ("Where will it BEEE?" Thurl demands.)

The De Castro Sisters had just enjoyed a big hit with "Teach Me Tonight." "Boom Boom Boomerang" was the follow-up with Thurl boom-boom-booming in the background. It also did well.

Cash Box, June 18, 1955

At about the same time and also for Fabor Robison, Thurl backed up the obscure Sky Boys on "Mad, Baby, Mad," and they backed him on "Never Doubt My Love," a pleasant ballad. He was better suited to different material than this.

I don't know if the Sky Boys were actually the Mellomen, but I do know that the latter group's next appearance was as the Crackerjacks, for the Kapp label. The James Shelton song "Be Good" is a splendid outing for Thurl, the Mellomen and the talented tenor Bill Lee - himself a noted studio singer of the time. Shelton's novelty "Shiskebob" also appears. "I'll bet you never eat another fish-kebob," the group enthuses. (They are correct.)

The Mellomen/Crackerjacks: Bob Stevens,
Max Smith, Bill Lee, Thurl Ravenscroft

Also in the set, which appeared on an LP along with several tunes by the Lancers, were "Whispering Winds" (where Thurl and baritone Max Smith both have spots), and "I Wanna Go There with You." The Crackerjacks, er, Mellomen, were really good.

Thurl and the Melloman backed Roberta Linn (a chirpy singer like Teresa Brewer) on the novelty "Fee Fi Fiddlee Aye O."

Cash Box, June 16, 1956

Ravenscroft had a solo spot for the Bally label with "Oh You Sweet One," which turns out to be "Ja, das ist ein Schnitzelbank." This is all professionally done, but really.

Thurl is in cowboy-song mode for "I Ain't Afraid," which is good of its kind.

Finally, Thurl appears on the Balboa label as ol' St. Nick for the novelty "Santa's Too Fat for the Hula Hoop." Here, his basso contrasts with the juvenile-sounding Pixies. 

Thurl extricates himself from the hoop in enough time to participate in the obverse, "Kitty Kats on Parade." 

So with these kiddie tunes, we've come full circle from "Tubby the Tuba." But there's one final item in the set - a musical ad for the new Southern California development "Diamond Bar," where Ravenscroft's talking blues approach makes for one of his best performances. His commanding voice, perfect diction and excellent sense of rhythm made him an ideal spokesman. As the saying went, "He's GR-R-REAT!"

LINK