e.g. mix 2007.09: Feel Like Blowin'

The idea here was to expose people to what radio was like in the 40's and 50's. While you almost certainly never would have heard this wide a range of tracks on the radio, I like to think that the general idea gets across. It is my hope that the listener comes with me on the premise that there was some cool-ass music happening during that period.

"A" You're Adorable by Jo Stafford and Gordon MacRae (1949). Believe it or not, this song was intended for adults. It peaked at number 4 on the Billboard charts. A more famous version of the track was recorded by Perry Como and the Fontane Sisters.
Goofus by Phil Harris (1950). This is a voice you might recognize from some Disney films: The Jungle Book (Baloo), The Aristocats (Thomas O'Malley), or Robin Hood (Little John). Before he did work for Disney, Phil Harris was a band leader and radio star. I like the goofy rambunctiousness of this track.
Pompton Turnpike by Charlie Barnet (Early 40's?). This particular recording of this song is my favorite big band track ever. I wish I knew when it was recorded. The thing about most big band tracks is that they were typically recorded dozens of times by multiple bands for multiple labels. So not all of Charlie Barnet's versions of Pompton Turnpike are created equal. In my opinion, this is the best of the lot.
The Hut-Sut Song (A Swedish Serenade) by Horace Heidt (Early 40's). Since you asked, it's, "Hut-Sut Rawlson on the rillerah and a brawla, brawla sooit." What does it mean? Who cares? It's a great little tune.
Basin Street Blues by Clyde McCoy and his Orchestra (1951). My favorite version by Clyde McCoy of this song is a recording done in 1947 for one of those old picture disks. The grooves were on clear vinyl and there was a circular illustration beneath. This version is from 1951, because the '47 recording was never transferred to CD. This is close to the '47 version but not quite as tight. But it's at CD quality. When you get into the really old stuff, you learn to make trade-offs like that.
Knock Me a Kiss by Gene Krupa and his Orchestra (Vocals: Roy Eldridge) (1942). I love the cheesiness of this track. I just find the lyrics hilarious. And I love the trumpet solo, also by Roy Eldridge. It's not a technically sophisticated solo-- far from it, in fact. But it feels so good.
Boog It by Jimmy Dorsey Orchestra (Lead vocal: Helen O'Connell) (1938?). This is one of the earliest tracks on the mix. It's on here because I think it's cool, and fits in well with the later stuff. I like the big band era convention of featuring the band members themselves as back up vocalists. This is not my favorite version of "Boog It." I have another version that's got a more laid back groove to it, with better sax solos. However, this version is CD quality, and the other version is a CD transfer of a tape-recorded 78. Again, when dealing with music this old, you often have to compromise.
Flight of the Bumble Bee by Harry James and his Orchestra (Early 40's?). Harry James was a well-known trumpet virtuoso. Listening to this track, it's easy to understand why.
One Sweet Letter from You by Jimmy Dorsey Orchestra (Lead vocal: Helen O'Connell) (Early 40's?). Another selection from Helen O'Connell backed by Jimmy Dorsey. I love the intro trumpet solo; it's got great personality. Helen O'Connell, though not the greatest vocalist by any means, was quite popular and from Ohio.
Jezebel by Frankie Laine (1951). You may recognize Frankie Laine as the guy who sang the theme song to Blazing Saddles. Of this whole mix, "Jezebel" is probably my favorite track, because it's fucking awesome. A friend of mine once played me a cover of this song by Reverend Horton Heat. I had a difficult time convincing him that it was a song from the early 50's.
Temptation by Perry Como (1945). This was one of Perry Como's first hits. It's quite a performance. A friend once described Como's work as some of the blandest songs ever. That may be true, but it's not how he started.
Kiss of Fire by Georgia Gibbs (1952). I've heard other versions of this tune recorded by other singers, but Georgia Gibbs just owns this sultry tune. This was a number one hit. The bombastic brass at the end is kinda funny.
Because You're Mine by Mario Lanza (1951). This song is fucking hilarious.
As Time Goes By by Rudy Vallee (Early 40's?). This is a pleasant rendition of a classic.
You'd Be Surprised by Orrin Tucker (Vocals: "Wee" Bonnie Baker) (Early 40's?). This selection is an example of the era's equivalent to light rock. I like this song because it's playful, suggestive, and Bonnie Baker has such a funny little voice.
So Round, So Firm, So Fully Packed by Ernest Tubb (Sometime in the 40's). This tune is fairly indicative of what was going on over on the country and western station. Ernest Tubb is one of the classic greats of country music. This track is pretty amusing. Practically all of the lyrics come from advertising slogans of the time. For example, "I'd walk a mile" was for Camel cigarettes. "Ask the man that owns one" was for Packard automobiles. I only get a few of the references, though.
(I've Got a Gal in) Kalamazoo by Glenn Miller (Sometime in the 40's). More alphabetical word-play for your enjoyment. Glenn Miller was popular as all fuck, and for fairly good reason. This is far from being an iconic selection, or even particularly indicative of the rest of his catalog. But I dig it.
My Sugar is So Refined by Johnny Mercer (Sometime in the 40's). This is another tongue-in-cheek number. Silly songs were popular in the 40's. I like the nod to "Let's Call the Whole Thing Off."
Let Me Off Uptown by Gene Krupa and his Orchestra (Vocals: Anita O'Day and Roy Eldridge) (1941). Anita O'Day was one of the heavy hitters in the big band era. That's not her real name, incidentally; she chose to call herself O'Day because it's pig latin for money. Joining her is Roy Eldridge (whom you may remember from "Knock Me a Kiss" earlier), and this trumpet solo is one of my favorites from the era.

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