Search results for last holiday 1950
26, 
03:40, 
2008-04-22 10:50:07 Description: Holiday On Ice/Wiener Eisrevue 5, Wiener Walzer, An der schönen blauen Donau, Johann Strauss, Edith Petter, Eva Pavlik, Hanna Eigel, das Wiener eisballett, Emmy Puzinger und Fernand (More) Holiday On Ice/Wiener Eisrevue 5, Wiener Walzer, An der schönen blauen Donau, Johann Strauss, Edith Petter, Eva Pavlik, Hanna Eigel, das Wiener eisballett, Emmy Puzinger und Fernand Leemans,Following Text is by youtube user: pianomanofvienna - In this video, the opening of the Blue Danube Waltz by Johann Strauß is danced by my parents, the 1948 Olympic runner-up Eva Pawlik (in a blond whig) and the 1950 Austrian Champion Rudi Seeliger. They were a famous professional couple on the ice in the 1950s and were starring in the Vienna Ice Revue (as in this movie) and in the German Scala Ice Revue. I am about to upload some private films of my parents taken during the shows in the 1950s. Greetings from Vienna, Austria. pianomanofvienna Wiener Eisrevue "Traumrevue" 1959 Regie: Eduard von Borsody Regie der Eisrevue: Will Petter Choreographie: Edith Petter Musik: Robert Stolz Kostüme: Gerdago Eva Pawlik-Europameisterin 1949, Rudi Seeliger, Ingrid Wendl-Europameisterin 1958, Hanna Eigel-Europmeisterin 1957, Emmy Puzinger, Fernand Leemans, Inge und Willi Schilling, Herbert Bobek, Pieter van Gils, Charlotte Michiels, Waltraud Haas, Teddy Reno, Susi Nicoletti und last but not least, Das Wiener Eisballett! www.evapawlik.npage.de www.holidayonice.com DISCLAIMER: All rights reserved to the production companies and music labels that distributed and produced the music and performance respectively. I do not own the rights to the music nor the footage, I only added the footage as a tribute for historical, entertainment, and creative purposes with no financial gain. Copyright infringement not intended. (Less)
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344, 02:23, 2008-04-17 15:10:54 Description: MAE WEST : SINGLES BRUNSWICK 6495 (78rpm) MAE WEST WITH STUDIO BAND (a) / MAE WEST WITH VICTOR YOUNG ORCH. (b) I Like A Guy What Takes His Time / Easy Rider 1933 US BRUNSWICK 6675 (78rpm) MAE (More) MAE WEST : SINGLES BRUNSWICK 6495 (78rpm) MAE WEST WITH STUDIO BAND (a) / MAE WEST WITH VICTOR YOUNG ORCH. (b) I Like A Guy What Takes His Time / Easy Rider 1933 US BRUNSWICK 6675 (78rpm) MAE WEST I'm No Angel / I Found A New Way To Go To Town 1933 US BRUNSWICK 01635 (78rpm) MAE WEST I'm No Angel / I Found A New Way To Go To Town 1933 UK BRUNSWICK 6676 (78rpm) MAE WEST They Call Me Sister Honky Tonk / I Want You, I Need You 1933 US COSMOPOLITAN 7501 (78rpm) MAE WEST WITH DUKE ELLINGTON AND HIS ORCH. (a) / DUKE ELLINGTON AND HIS ORCH. (b) My Old Flame (Mi Vieja Llama) / Rockin' Chair (Mecedora) (b-side recorded in 1931 and originally issued as by The Whoopee Makers) 1934 US CYCLONE 505 (78rpm) MAE WEST, ORCHESTRA: JOSEPH CHERNIVASKY (a) / MAE WEST, ORCHESTRA: LENNY MARVIN (b) Come Up N See Me Sometime / That's All Brother, That's All 19?? US DECCA 9-29452 MAE WEST, ORCHESTRA DIRECTED BY SY OLIVER Love Is The Greatest Thing / All Of Me 1955 US DECCA 32738 MAE WEST The Saying Of Mae West / More Sayings Of Mae West 1955 US MEZZOTONE 100 (78rpm) MAE WEST Frankie And Johnny / ? 19?? US MEZZOTONE 2 MAE WEST Slow Down / ? 19?? US MEZZOTONE 3 MAE WEST Guy That Takes His Time / ? 19?? US TOWER 260 (p/s) MAE WEST Day Tripper / Treat Him Right 1966 US TOWER 261 (p/s) MAE WEST Shakin' All Over / If You Gotta Go 1966 US STATESIDE SS 2021 MAE WEST Twist And Shout / Day Tripper 1967 UK PLAZA P-506 MAE WEST Am I Too Young / He's Good For Me 19?? US DRAGONET 6 MAE WEST Put The Loot In The Boot, Santa / With Love From Me To You 1966 US 20TH CENTURY FOX 6718 (p/s) MAE WEST Hard To Handle / You Gotta Taste All The Fruit 1968 US EMBER EMBS 275 (p/s) MAE WEST & ZSA ZSA GABOR WITH KEN MOULES LONDON JAZZ CHAMBER GROUP Great Balls Of Fire / The Naked Ape 1970 UK MGM K 14491 MAE WEST Great Balls Of Fire / The Naked Ape 1972 US MGM 2006 203 MAE WEST Great Balls Of Fire / Men 1973 UK MAE WEST : ALBUMS DECCA D/DL-79016 THE FABULOUS MAE WEST (LP) Love Is The Greatest Thing / I'm In The Mood For Love / Pecado (Sin) / My Daddy Rocks Me (With One Steady Roll) / All Of Me / They Call Me Sister Honky Tonk / Frankie And Johnny / I Want You, I Need You / Havana For A Night (Vereda Tropical) / A Guy What Takes His Time / If I Could Be With You (One Hour Tonight) / Criswell Predicts -- UK edition: Brunswick LAT 8082, 1956/reissues: Columbia CL 2751/MCA LP 1530/Rev-Ola CR REV 181, 2006 UK/also issued as 3 x 7" 45rpm EP package with the original LP sleeve -- 1956 US TOWER T/ST-5028 WAY OUT WEST (LP) Treat Him Right / When A Man Loves A Woman / You Turn Me On / Shakin' All Over / If You Gotta Go / Lover, Please Don't Fight / Day Tripper / Nervous / Twist And Shout / Boom Boom / Mae Day (recorded with Somebody's Chyldren) (includes a poster/a photo insert) -- UK edition: Stateside S/SL 10197, 1967/Australian edition: Capitol-Encore ENC-9231 -- 1966 US DRAGONET LP DG-48 WILD CHRISTMAS (LP) Santa Claus Is Back In Town / My New Year's Resolution / Santa Bring My Baby Back To Me / With Love From Me To You / Merry Christmas Baby / Santa Baby / Santa Come Up To See Me / Put The Loot In The Boot Santa -- reissues: "Under The Mistletoe", Round Record LP RS-100, 196? AUS/"Mae In December", AEI LP 2104, 1980 -- 1966 US DECCA 32738 (promo with co. sleeve only) THE SAYINGS OF MAE WEST (LP) When I'm Good / It's Not The Men In Your Life / It's Better To Be Looked Over / When Women Go Wrong / Between Two Evils / Come Up And See Me Sometime (with musical intros) / When I'm Good / It's Not The Men In Your Life / It's Better To Be Looked Over / When Women Go Wrong / Between Two Evils / Come Up And See Me Sometime / Mae West uncensored: I'm Always Wonderful At Night-One Of The Finest Women / Love At The First Sight-What Kind Of A Woman / Mae West and friends: W.C. Fields And Mae West-Mae West & Man & W.C. Fields / Mae West And Friend-Friend And Mae West-"A Proposal"-W.C. Fields & His "Chickadee" 1970 US DECCA D/DL-79176 THE ORIGINAL VOICE TRACKS FROM HER GREATEST MOVIES (LP) Sayings of Mae West / Mae West uncensored / Mae West & friends / Around the world with Mae West / Mae West has the last word / Mae West & W.C. Fields together / Mae West & friend / Mae West teaches a class / A swingin' sermon / Personal appearance / Mae West sings (I Want You I Need You / Frankie & Johnny / Mister Deep Blue Sea / My Old Flame) (includes a poster) 1970 US MGM SE 4869 GREAT BALLS OF FIRE (LP) Great Balls Of Fire / Men / The Naked Ape / The Grizzly Bear / Whole Lotta Shakin' Goin' On / Happy Birthday Sweet Sixteen / After The Lights Go Down Low / Light My Fire / How Miss West Won World Peace / Rock Around The Clock -- UK edition: MGM Super 2315 207, 1973/German edition: MGM 2315207, 1973 -- 1973 US MARK 56 RECORDS 643 ORIGINAL RADIO BROADCASTS (LP) Adam & Eve Sketch, Edgar Bergen, Charlie McCarthy Show (December 1937) / Rudy Vallee Show (mid-30's) / 2 cuts from American Forces Radio Service Christmas Shows (1971 & 1972) with Frank Bresee 1974 US CALIBAN 6036 MAE WEST AND HER GUYS: ALL THE LAUGHS BAWDY FUN AND SONGS - SPECIAL GUEST STAR DUKE ELLINGTON (LP) 19?? US MEZZOTONE #21 ALBUM OF MAE WEST SONGS (10" LP) Come Up 'N' See Me Sometime / Frankie & Johnnie / That's All Brother That's All / Imaginary Love / My Man Friday / Page 54 (10" boxset of three 78rpm singles) 19?? US RADIOLA MR-1126/THE MIND'S EYE C-CAS ? MAE WEST ON THE CHASE & SANBORN HOUR (LP) Edgar Bergen-Charlie McCarthy (Chase & Sanborn Hour, December 12, 1937): Adam & Eve / Charlie vs. Mae: My Man Friday / Frankie & Johnny / Page 54 / That's All Brother / Pardon Me For Loving And Running / Put It Off Until Tomorrow / Slow Down / Come Up And See Me Sometime 1981 US DEMAND PERFORMANCES CASSETTES DPC-718 NAUGHTY BUT WISE (C-CAS) Pardon Me For Loving And Running / Put It Off Until Tomorrow / Slow Down / Come Up And See Me Sometime / Frankie & Johnny / My Man Friday / Page 54 / That's All Brother 1986 ROSETTA RR 1315 WOMENS HERITAGE SERIES FOREMOTHERS, VOL.7 - SIXTEEN SULTRY SONGS SUNG BY MAE WEST QUEEN OF SEX (LP/CD) Come Up And See Me Sometime / Slow Down / Easy Rider / Memphis Blues / My Old Flame / St. Louis Blues / Out On That Deep Blue Sea / They Call Me Mister Honky Tonk / Pardon Me For Loving And Running / I'm An Occidental Woman In A Oriental Mood For Love / Put Off Tomorrow / Mademoiselle Fifi / Frankie & Johnny / A Guy What Takes His Time / That's All Brother / My Daddy Rocks Me (with Duke Ellington & his Orchestra) 1987/1995 US JASMINE CD 04980 102 I'M NO ANGEL (CD) The Original Commercial Recordings: I Like A Guy What Takes His Time / Easy Rider / I'm No Angel / I Found A New Way To Go To Town / I Want You, I Need You / They Call Me Sister Honky Tonk / The Film Soundtracks: Willie Of The Valley (My Little Chickadee) / I Like A Guy What Takes His Time / Easy Rider / Frankie And Johnny / They Call Me Sister Honky Tonk (I'm No Angel) / That Dallas Man / I Found A New Way To Go To Town / I Want You, I Need You / I'm No Angel / When A St. Louis Woman Comes Down To New Orleans (Belle Of The Nineties) / My Old Flame / Memphis Blues (with Duke Ellington & his Orchestra) / Troubled Waters (with Duke Ellington & his Orchestra) / He's A Bad, Bad Man (Goin' To Town) (with Paramount Studio Orchestra) / Mon Coeur S'Ouvre A Ta Voix (Softly Awakes My Heart) (with Paramount Studio Orchestra) / I'm An Occidental Woman In An Oriental Mood For Love (Klondike Annie) / Mister Deep Blue Sea / Little Bar Butterfly / On A Typical Tropical Night (Go West Young Man) (with Xavier Cugat & his Orchestra) / I Was Saying To The Moon (with Paramount Studio Orchestra) / Fifi (Every Day's A Holiday) (with Paramount Studio Orchestra) / Now I'm A Lady (Goin' To Town) (with Paramount Studio Orchestra) -- reissue: "Matinee Collection", Bronco? Music & Entertainment, 2000 UK -- 1996 US SANDY HOOK CD 2098 MAE WEST ON THE AIR! RARE RECORDINGS 1934-1960 (CD) My Old Flame (with Duke Ellington) / The Chesterfield Supper Club with Perry Como (January, 1949) / The Chesterfield Supper Club with Perry Como (February 16, 1950) / The Dean Martin Show, NBC-TV (1959) / The Red Skelton Show, CBS-TV (March 1, 1960) 199? US DIONYSUS/BACCHUS ARCHIVES MAE DAY : MASQUERS CLUB SALUTES MAE WEST (CD) untitled (by Andy Albin) / untitled (by Hal Leonard / Hal Kanter) / untitled (by George Raft) / untitled (by Lloyd Nolan) / untitled (by Jack La Rue) / untitled (by Jim Backus) / untitled (by Peter Marshall) / untitled (by Steve Allen) / untitled (by Michael Landon) / untitled (by Mae West & Hal Kanter) / Diamond Lil' (Skit) (by Mae West) / Frankie & Johnny (by Mae West) / untitled (by Calvin Bartlett) / Pleasure Man (by Mae West) / After You're Gone (by Mae West) / untitled (by Andy Albin & Joe Pasternak) / untitled (finish) 1998 US REV-OLA CR REV 181 THE FABULOUS (CD) Love Is the Greatest Thing / I'm In The Mood For Love / Pecado (Sin) / My Daddy Rocks Me (With One Steady Roll) / All Of Me / They Call Me Sister Honky Tonk / Frankie And Johnny / I Want You - I Need You / Havana For A Night (Vereda Tropical) / A Guy What Takes His Time / If I Could Be With You / Criswell Predicts 2006 UK MAE WEST : COMPILATIONS HARMONY HS 11374/HS 11405 MAE WEST & W.C. FIELDS: SIDE BY SIDE (LP) A Guy What Takes His Time / (I Wonder Where My) Easy Rider's Gone / I'm No Angel / They Call Me Sister Honky Tonk / I Found A New Way To Go To Town / (+ W.C. Fields: The Temperance Lecture / Promotions Unlimited / The Pharmacist) 1970 US PROSCENIUM 22 W.C. FIELDS: HIS ONLY RECORDING (PLUS 8 SONGS BY MAE WEST) (LP, gatefold cover) Frankie & Johnny / My Man Friday / Page 54 / That's All Brother / Pardon Me For Loving & Running / Put It Off Until Tomorrow / Slow Down / Come Up And See Me Sometime (+ 2 tracks by W.C. Fields: The Temperance Lecture / The Day I Drank A Glass Of Water) -- reissues: "Original And Authentic Recordings By The Great W.C. Fields", Blue Thumb BTS 3/"W.C. Fields & Mae West", American LP 120 -- 19?? US EPIC SN 6059 V/A: THOSE WONDERFUL GIRLS OF STAGE, SCREEN & RADIO (2-LP) 19?? US FLYING FISH FF 70518 RAY CAMPI: WITH FRIENDS IN TEXAS (LP/CD) Ray Campi with Mae West: Caterpillar -- LP reissue with gatefold cover: Bear Family BFX 15258, 1988 GER -- 1986/1990 US RHINO R1/R2 70187 V/A: GOLDEN THROATS : THE GREAT CELEBRITY SING-OFF! (LP/CD) Twist And Shout 1988 US BBC RECORDS REB 728 V/A: SAUCY SONGS (LP) I Like A Guy What Takes His Time / I Found A New Way To Go To Town / Easy Rider / They Call Me Sister Honky Tonk 1989 UK COLUMBIA CK-57111 V/A: THIS IS ART DECO (CD) A Guy What Takes His Time 1993 US COLUMBIA CL 2751/SONY-COLUMBIA ACL 2751 ETHEL MERMAN, LYDA ROBERTI & MAE WEST: SONGS FROM MUSICALS OF THE EARLY 1930'S (HALL OF FAME SERIES) (LP/CD) Guy What Takes His Time / I Wonder Where My Easy Rider's Gone? / I'm No Angel / I Found A New Way To Go To Town / I Want You, I Need You / Call Me Sister Honky Tonk 1995 US FOREVER GOLD PERCD 003 V/A: HOLLYWOOD SINGS! (2-CD) They Call Me Sister Honky Tonk 2000 UK MAD DEADLY WORLDWIDE COMMUNIST GANSTER COMPUTER GOD DEC-13-2 V/A: CELEBRITIES... AT THEIR WORST! VOLUME 2.9 - BITCH BITCH BITCH! (CD) (Mae West does commercials for Poland Spring and talks to a fan on the phone, while pretending not to be Mae West.) 2001 US SEPIA RECORDINGS CD 1075 V/A: THE FABULOUS MAE WEST AND OTHER WONDERFUL GIRLS (CD) Love Is the Greatest Thing / I'm In The Mood For Love / Pecado (Sin) / My Daddy Rocks Me (With One Steady Roll) / All Of Me / They Call Me Sister Honky Tonk / Frankie And Johnny / I Want You - I Need You / Havana For A Night (Vereda Tropical) / A Guy What Takes His Time / If I Could Be with You / Criswell Predicts 2006 UK (Less)
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459, 02:43, 2008-04-17 15:10:59 Description: Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the (More) Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the first time she'll see Ray Price in person. This mature audience in Laughlin, Nevada, seems to appreciate the fact that the living legend on stage, now in his early seventies, is still youthfully handsome, his voice as powerful and melodious as ever. Near the end of the show, Ray introduces a song written, he tells us, by a "dear friend" who brought him as a young Texas kid to Nashville and got him on the Grand Ole Opry. "I lived with my friend for almost a year before he passed away." He pauses, his eyes seeming to wander back to that long-ago time. "So, if you-all don't mind, I'd like to sing you one of the late Hank Williams' songs." The crowd responds with a huge ovation as Ray begins Hank's "Mansion on the Hill." After the show I'm set to interview Ray Price. I want to learn more about that famed friendship. It's a dramatic story, I feel, one that will say much about how a true friend can ease your path, whether you're on the way up--or the way down. The year was 1951. Early autumn. There was a slight chill in the air outside on Nashville's streets. Inside Studio C at station WSM, the atmosphere was tense for the dark-haired young singer from Texas. He had just driven all the way to Nashville, probably breaking a few speed laws on the way. If there were stars in the newcomer's intense blue eyes, he had every reason to be thrilled and enormously impressed. Ray Price was about to meet Hank Williams, the reigning country music star of the day. Not only that, Ray was going to sing on his show. Ray had a few minor recordings and some local Texas performances behind him. Twenty-eight-year-old Hank Williams was already a national phenomenon. Songs he'd written were blasting from every radio and juke box across the country. But ole Hank didn't let that stand between them. Ray, recalling that first meeting, says. "It was one of those instant friendships. I liked him; he liked me. For some reason we hit it off right away." They went to Hank's home after the show and talked for hours about their hopes and dreams. Price, a 25-year-old former veterinary student, had a clear, vibrant voice that many felt might be wasted just talking to horses. He had recently signed with Columbia Records. "All you need," Hank told him, "is a hit record. And I'm going to write one for you." Quite an offer. At that time Hank's songs were being grabbed up by big-name pop singers like Tony Bennett, Jo Stafford and Rosemary Clooney. Tunes like "Cold, Cold Heart," and "I Can't Help It If I'm Still In Love With You" were hitting the tops of the charts in both country and pop markets. Hank followed up on his promise. The day after they met, he took Ray with him to a singing engagement in Evansville, Indiana. During the miles of rolling countryside between Nashville and Southern Indiana, creative ideas flew back and forth. Hank and Ray ended up writing "Weary Blues from Waiting" together. Said Ray, "We'd think up a line, each one of us, and then we'd do another. When we got there it was all written. I didn't put my name on it because I couldn't; I was with another company." Quite a team. Hank, who has been dubbed "The Hillbilly Shakespeare," could capture heartfelt emotion with ease in a few poetic word pictures. By the end of his brief life, he'd written 129 songs, many of them still favorites today. Ray, a fine songwriter too, had the more powerful impressive voice. But in mid-October 1951, it must have made sense for Ray to record "Weary Blues from Waiting" in Hank's highly popular plaintive style. Columbia released "Weary Blues" in November and gave it a big advertising/publicity splash because it was, after all, a Hank Williams song. But it didn't turn out to be the big hit hoped for, the hit that would have led to the Grand Ole Opry, the mecca of all country music performers. Hank didn't let that stop him. A few weeks later, he phoned Ray, who was performing back in Texas, and gave him the big news. If he could be in Nashville by the next day, he had a spot on the Grand Ole Opry. Another frantic trip. Ray burned rubber off four tires getting there. In January 1952, Ray moved to Nashville and soon became a regular on the Grand Ole Opry. A world of possibilities was opening up for him. But while Ray was moving upward in his climb to fame, Hank began to hurtle into free fall. He'd reached the pinnacle of his brief career, and his meteoric blaze in the sun would soon burn out. Separation that January from his wife, Audrey, started off the downhill plunge. Severe problems from a recent back operation added fuel to increase the periodic drinking that had long plagued him. Hank began to drink more and more to ease the the pain and heartache. His career suffered. Although he was still writing and selling songs, he began to miss perfomances or, worse yet, stagger on stage drunk. Ray was quick to defend Hank on that score. "He was not the type to go out in public drunk. When he drank, he drank a glassful at one time, and then another glassful, until he was totally wiped out. And he would stay in his room. The operators or the promoters would drag him out drunk." Ray was hired to accompany Hank on his singing engagements. "They used to send me along to sort of look out for him," Ray explained. "They knew Hank liked me, that he'd listen to me." But Hank's drinking put Ray in a tight spot more than a few times. In a scathing review, a newspaper reporter described one of these performances in Richmond, Virginia, on Jan. 29, 1952. It told how Ray Price had to come on stage and apologize for Hank, stall the crowd by singing Hank's songs, and then declare a half-hour intermission. When Hank finally appeared, he was so drunk that fans began to demand their money back. Ray tried to calm everyone down, calling out, "We all love you, Hank, don't we?" How did it feel filling in for Hank on these tours? Ray's response was fond and overly modest. "There was no way I could fill in for Hank; all I could do was kill time for him." With a reminiscent smile, he added, "He was the top dog." Ray was not about to let Hank down. After Hank and his wife separated and Hank needed a place to stay, Ray came to his rescue. The two moved into a two-story stone duplex in Nashville. Ray lived upstairs and Hank on the first floor. Ray did most of the housework and looked after Hank while he recuperated from the back operation he'd undergone a few weeks earlier. At that point, Hank was optimistic he could patch things up with Audrey and go back to his home and family. But taking care of Hank proved as much of a challenge as touring with him. His alcoholism had advanced to the point where he wouldn't eat while he was drinking. But if Ray could get him to start eating, he'd straighten out. If the food wouldn't stay down, however, he'd reach for the bottle right away and just sit in his room and keep on drinking. The last straw was when Hank lost hope that Audrey would reconcile with him. When she filed for divorce Hank was devastated. According to Ray, who accompanied Hank to the property settlement discussions, Hank was overly generous, giving Audrey much more than was required. He wanted to prove to her how much he still loved her. The divorce went through anyway and plunged Hank into further gloom. In the brief year Hank and Ray knew each other, there was not much time for light-hearted moments, for the hunting and fishing they might have shared in happier times. "We went and tried to fish, but..." Ray's voice trailed off, seemingly reluctant to explain just why the fishing trip never came off. He shifted the subject. "He liked to shoot a pistol. We'd go out on the target range." Hank continued to write songs for Ray. One of them was "I Can't Escape From You," which Ray duly recorded. But Hank also offered Ray some of his biggest hits, songs like "Jambalaya," and "Take These Chains From My Heart." Hank would bounce them off Ray and ask "What do you think of it? I wrote it for you." When Ray predicted they would be hits, Hank would often change his mind and take them back to record himself. Possibly Hank recognized Ray's ability to spot a hit, an ability proven later when Ray helped "launch" the songwriting careers of such "greats" as Willie Nelson, Roger Miller, Harlan Howard, Bill Anderson and Kris Kristofferson. During the early months of 1952, living in the same house with Hank as his alcoholism progressed must have been difficult. One evening, Hank is said to have double-dated with singer Faron Young, but Hank preferred Faron's girl to his own. By the end of the evening when Hank was loaded, he called Faron into a bedroom and pointed a gun at him. He wanted to switch girls; he claimed to have fallen for Faron's date. Faron, understandably, agreed. Whether that story is true or not, Hank did end up marrying the girl, Billie Jean, later that year. But Billie Jean couldn't stop Hank on his downhill plunge. Hank finally became so far gone in his alcoholism that Ray, along with Don Helms, a member of Hank's band, were afraid he'd drink himself to death. They arranged to have him sedated and committed to the Madison Sanitarium to undergo treatment. Hank Williams' biographers have written that Hank was so furious that he ordered Ray to move out of the house, then later apologized and begged him not to leave. Ray, who was already loading a truck, is said to have responded. "I've got to." Ray revealed to me that he moved out of the house at that time, but not out of Hank's life. He moved for personal reasons that had nothing to do with Hank. He continued to be very much involved with Hank's activities. In August, Hank's drinking problem became too much for the Grand Ole Opry, where he had been a top star. They fired him. After Audrey and the divorce, it was another devastating loss for Hank. He left town to go to work for the Louisiana Hayride in Shreveport. Ray remembers the day Hank left Nashville. As he was driving into town, he saw Hank in a service station, standing beside his Cadillac. Hank lifted his hand and motioned for Ray to stop. "Where are you going?" Hank asked as Ray pulled in. "Where are you going?" Ray wanted to know. "Back to Shreveport." He kind of laughed when he asked Ray, "You wanta come?" "I better not," Ray said. He would only see Hank alive one more time after that. Ray's career success continued to escalate in Nashville that fall as he became one of the the hottest entertainers in town. Hank had dreams of straightening out his life and returning to the Grand Ole Opry. It never happened. The final meeting of the two friends occurred at the Big D Jamboree in Dallas shortly before Christmas 1952. Hank caught sight of his friend and walked toward him smiling, singing a few lines from Ray's latest hit, "Don't Let the Stars Get in Your Eyes." They talked, and Hank suggested to Ray and his mother that he "might just come over and spend Christmas with you." They warmly invited him to do so, but Hank went back to his family in Alabama instead. Hank and Ray did make plans to get together in Ohio, however. They both had engagements in that state on New Year's Eve--Ray in Cleveland, Hank in Canton, fifty miles away. They arranged to meet in Canton on New Year's Day. By the end of 1952, the mid-section of the country was in the throes of a fierce winter storm. Hank, who had planned to fly to Canton, hired a chauffeur instead to drive him North in his powder blue Cadillac sedan. Ray was able to get the last flight out of Nashville. Hank couldn't sleep the night before that trip. He told his new wife, Billie Jean, that he saw "God comin' down the road." His health had been deteriorating. The trip was to prove his undoing. He died somewhere in West Virginia in the back seat of his Cadillac. The driver knew Hank had been drinking heavily and thought he had merely passed out. The death wasn't discovered until they pulled into the town of Oak Hill on New Year's day. Officially his demise was attributed to a heart attack. The meeting in Canton, Ohio, on New Year's Day between the two friends never took place. Instead, Ray was among a host of fellow performers bidding goodbye to the great Hank Williams at a massive funeral in Montgomery, Alabama, on January 4, 1953. All the stars of the Opry were there. The radio stations had been playing his music night and day. Fans wept. Hank was back in the fold again, a country music legend for all time. Hank Williams's career was brief, but unforgettable. In 1962, he one of the first performers to be inducted into the Country Music Hall of Fame. Ray Price is still a star, a living legend, who has helped revolutionize more than a few changes in country music. In 1956, Ray's unique recording of "Crazy Arms" was a top hit for forty-five weeks, knocking even Elvis off the charts. It clearly established Ray Price as a leading light in country music. But Ray, in 1967, went in a new direction and with his concert-calibre voice, backed by dozens of violins, soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Unperturbed by criticism that he had deserted country music, Ray went on to new cross-over heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." Erasing the boundaries between country and pop became a vital issue for Ray Price. He had long resented the fact that Hank's songs were eagerly gobbled up by the pop world, but the country singer himself found it more difficult to cross over at that time. Today, however, Hank Williams is a household word, and Ray, still touring throughout the country, pays tribute to his mentor at each concert. In 1996, Ray Price was inducted into the Country Music Association Hall of Fame. In 1999, he celebrates his fiftieth successful year in the music business. Hank would have been proud of his protege. If you have a story or anecdote about Ray Price that you think Ray's fans would enjoy, we invite you to submit it for possible publication on this site. We're looking for anecdotes that are amusing, cute, heartwarming, or illustrative of the qualities that have made Ray Price a legendary performer. Please email your entry to fan club president SANDRA ORWIG at rpfc40@aol.com. The Day Ray Price almost fell for me Every Sunday back in the 50's the Country Music stars came to the Lyric theater in Indianapolis IN, and I never missed a one. One Sunday when I was around sixteen or there abouts, I had went to see George Hamilton the 4th, and was sitting in the first row, when this good looking guy tried to go pass me for a seat (you know how those theater seats are *S*) and I stuck out my foot to trip him, he just about fell!! Then in a little bit, George said We have a special guest with us tonight and we'd like to get him up here to sing a song for you. Well this good-looking guy got up and went on stage, George said,we'd like for you to meet Mr. Ray Price! Boy was I embarrassed. So I'll never forget how Ray almost fell for me! *S* I have loved Ray ever since! Written by:Liz Puett Reprinted with permission from Dick Shuey's Country Music Stories His Usual Considerate Self It had been many years since I had seen Ray when he was at the Choctaw Festival in Tuskahoma, Ok, a few years ago. I was so excited at seeing him again, so I made a special shirt to wear. It was a red t'shirt and had the slogan, "I love Ray Price" printed in white. My greatest desire was to have my picture made with Ray. After the show he was signing autographs and I waited until he was almost through then asked him to sign my shirt. Then my son took our picture. My son then told me he thought the flash malfunctioned and he was not sure it would be a good picture. I said we would wait until he was finished and maybe try again. Before Ray had signed the last autograph someone was calling from the bus to hurry, they were running late and had to go. He said ok, but first he had one more picture. Then he walked over to me, smiling, and said, "Now, let's get a good picture." He had heard my son's comment and took time to redo the picture although he was running behind schedule. What a guy!!!. Oh, yes both pictures were good. At another concert some months later in Omaha, Texas, I had injured my leg and was on crutches or wheelchair. After the show the line was very, very long and I knew I could not stand that long. So I resorted to the wheelchair. As we approached the table we were talking with Cliff and I mentioned I wanted to take a picture with Ray. And I was wearing another special shirt that said 'I still love Ray Price' Ray heard us and immediately got up and came around the table. He helped me out of the chair, signed my shirt and my son took our picture. On that particular night Ray was fighting a severe cold and was very sick, but that did not keep him from being his usual wonderful, considerate self. I could go on and on and on about Ray. He sure made a hit with my son who grew up on Ray Price music. I even told Ray my son, also named Clifton, could say Ray Price almost as soon as he could say Mommy. Thanks for all you do to promote 'our guy'. Florine It Wasn't Just A Cock-and-Bull Story The first time I met Ray Price was at the Travis County Live Stock Show & Rodeo. My husband and I had only been married a couple of years and I told him I would love to go and see Ray Price. He told me sure we could go and that he had known Ray for many, many years and that he used to handle game roosters for Ray when Ray would fight them in Oklahoma and Louisiana. At this point I was glad to get to go but had major doubts about how well he knew Ray. We bought 4 front and center tickets and waited for what seemed like forever. The night finally come. We got all made up in our best rodeo clothes to go and see the great Ray Price. I didn't watch much of the rodeo for looking to see if Ray was at the autograph table and waiting to hear him sing. The whole way to the rodeo ( an hour drive one way) my husband kept saying him and Ray this, him and Ray did that. Me and the boys were really getting tired of hearing this and thinking that he was full of BS. Before Ray sang they announced he would sign autographs after the show. I set through the show in pure heaven. Ray's voice melting every bone. Right before he finished the last song I told my husband we had to hurry to the autograph place. We went and were first in line. In a few minutes a long, long line had formed. Earlier in the night I had bought a double album to get Ray to sign. My husband said don't buy it I'll get Ray to give you one. Again sure you will. I bought it anyway. We waited for what seemed like hours. The whole time my husband telling us more cute stories. Finally the lady behind us said sure you know him and laughed. That was what we had thought. About that time Ray came out stopped,looked at my husband and said 'Damn, boy, I haven't seen you for years.' They hugged and started talking as if they had just seen each other the day before. After we picked up our jaws, even the lady behind us, Ray chewed my husband out for buying the album and signed it for me. He told my husband that Duke and some of the other old group were up in the Ball Room. He told someone there with him to take us up to the Ball Room which was a black tie or suit and tie place. We were in jeans, western shirts, and boots. The materdee at the door told us you can't come in here you're not properly dressed an your not the type of people that come here. About that time the guy from Ray's band caught up with us and told him that they are guests of Mr. Price. You should have seen that guy jump threw the hoop. It was great. From then on we were believers. Every time we go and see Ray I ask for him to sing my favorite song For the Good Times and we stand in front of the band and it seems as if he is singing for just us. We had plans to go and see him again in Llano but he was sick. There would have been a second favorite to ask for this time Soft Rain. One day we will catch up with him and get it done. Friends and fans, The Skinners A Fan Club President Has Some Stories Too These reminiscences of fan club president Sandra Orwig are reprinted from her most recent newsleter. Ray was playing one of the largest Pennsylvania fairs with three other well-known country artists. Before the show began the head of the fair committee came to the bus and told Ray that if he did not want to autograph after the show he did not have to do so as the others were not going to do so. Ray's reply made me so proud. He said, "I don't care who autographs, I am." He was the top billed star and the only one that cared enough about his fans to stay out in the cold and sign every autograph. It was a very cold September night and Ray closed the show so it was very dark on the race track when he autographed. When he finished, Blondie said to him, "Let's go," and he said, "No, I have to go talk to Sandra's Dad." As most of you know, my father is handicapped and does not get to go see Ray often, but Ray made sure we were escorted to park by the bus and then, regardless of the cold, late hour and long trip ahead of him back to Texas, he took the time to talk with my Dad. Only one reason why he has "Touched My Heart." Sandra Orwig (from her newsletter #55) "His timeless music, incredible voice, and innovative genius have yet to be equalled by any other singer in today's country-music world." Ray Price is one of American music's truly great stars. He was inducted into Nashville's Country Music Hall of Fame in 1996, but has long shown his genius in other genres as well. After more than a half-century in the business, Ray can still belt out a song with the best of them, whether it's honky-tonk, country, pop, blues, jazz, or anything in between. With his May 2000 Buddha Records release--"Prisoner of Love"--Ray has delightfully proven this once again with a big-band-backed medley in many moods and styles. Audiences full of cheering fans still flock to his concerts whenever he's in town, and that's fairly often, for this vigorous Texan maintains a hefty tour schedule. On Inauguration Eve 2001, Ray was proud to be on stage in Washington, D.C., as one of the Texas performers who entertained enormous crowds at the Texas Black Tie and Boots Ball. This dynamic artist can be proud also of his role in the history of country music. In fact, he has helped to write that history as well as live it. He was born Noble Ray Price on January 12, 1926, near Perryville, Texas, and his musical talents became evident at an early age. While in college, Ray became a regular on KRLD radio's "Big D Jamboree" show in Dallas. On March 15, 1951, Ray signed with prestigious Columbia Records, and in 1952, moved to Nashville where his great friend and supporter was the legendary Hank Williams. Hank got Ray on the Grand Ole Opry and the two shared bachelor quarters during the last year of Hank's brief but memorable life. Ray's band was initially formed from the remnants of Hank Williams' band, the Drifting Cowboys. The band would later become the Cherokee Cowboys, and Ray himself would become known as the Cherokee Cowboy. Ray has always had an uncanny talent for recognizing quality in both music and musicians. The careers of many country music superstars, such as Willie Nelson, Roger Miller, Johnny Paycheck, Darrell McCall, Buddy Emmons, and Johnny Bush, began with Ray Price and the Cherokee Cowboys. Ray Price became noted for his magnificent show-stopping voice and honky-tonk hits throughout the 1950's. On the way to the top, he also helped revolutionize more than a few changes in country music. In 1956, when rock and roll was threatening to drown out the sounds of traditional country music, it took Ray's rendition of "Crazy Arms" to knock Elvis off the charts. That recording's 45 weeks at the top of the charts got people listening to country music again and clearly established Ray Price as a leader in the field. But Ray has never been so traditional that he didn't innovate. During the "Crazy Arms" recording session, he added drums and a 4-4 bass and shuffle rhythm that redefined the way country music was played for years to come. Then, just when everyone else in country was turning to that sound, Ray, in 1967, went in a new direction and added a large string section and with his concert-calibre voice soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Audiences were stunned by its beauty. His "Danny Boy" album made him new fans in sections of the country far beyond the Mason- Dixon line. But some in Nashville and the South thought he had deserted country music and didn't take it well. Unperturbed, Ray went on to new heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." He refused to accept boundaries between country and pop. Music was music. A lot of Ray's strong feeling about artificial boundaries in music goes back to his close association with his mentor and close friend, Hank Williams. Ray resented the fact that Hank's songs were eagerly accepted by the pop world but the country singer himself was not. At least in that day and age. A few year later he would have been, according to Ray. But not then. Erasing the lines between country and pop became a vital issue for Ray Price. With his own brand of individualism, he continues to cross musical boundaries and create songs and sounds for everyone. His latest album, "Prisoner of Love," was recorded with a 50-piece orchestra. It combines old country standards with beautiful ballads from all eras, and includes a few new songs never before recorded. This Country Music Hall of Fame legend is the soul of country music. He continues to be creative and expand conventional boundaries with his music, while never forgetting his roots. His timeless music and incredible commitment to performing has made him a bridge between the early days of country to today's contemporary country music. The Los Angeles Times has declared Ray Price to be 'a national treasure.' Another newspaper has compared him to Frank Sinatra. Ask any Ray Price fan, however, if that's true. Most of them will tell you that Ray Price has no equal anywhere when it comes to delivering a song and pleasing an audience. Born: January, 12, 1926 Years Active: 50's 60's 70's 80's 90's 2000's Related Artists: Kitty Wells, Harlan Howard, Carl Butler, Allan Sisters, Ferlin Husky sponsored content by biggerboat Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Compare Prices Click for Additional Details Larry the Cable Guy Christmastime in Lar... Track Hear Sample Track Time 1 Introduction & Opening Monol... 6:41 2 Lapquest 0:31 3 Eulogy 2:59 4 Tobacco Company Choir 1:20 5 Plus-Sized Fashion Shorts 1:06 6 Nativity Scene 6:36 7 Farting Jingle Bells 0:38 8 Bobblehead Heating Dolls 1:06 9 Comedian Muhammad & Oscar 0:47 10 Holiday Carols 1:52 11 Santa's Q&A 10:58 12 Nutcracker 0:34 13 Dysfunctional Family Christmas 3:34 14 Liberal Commie Environmental... 3:25 15 Magic O' the Mime 1:43 16 1-900... 0:58 17 Chitmunks 4:06 18 Patriotic Poem 2:57 19 Medley of Carols 0:49 20 Closing Monologue 3:22 more tracks... Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Hear Samples Click for Additional Details Seller Availability Price Buy.com In Stock $12.98 Amazon Usually ships in 24 hours $13.97 CDUniverse In Stock $14.74 Walmart Check site $14.88 J&R In Stock $14.99 Barnes & Noble Usually ships in 24 hours $18.99 You Might Also Like... Larry the Cable Guy Christmastime in Larryland Upcoming Concerts 12/01/07 Stafford Centre for the Performing Arts - Amphitheater Stafford TX view all tour information Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than 20 years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly affected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4 bass-driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy" and his 1970 take on Kris Kristofferson's "For the Good Times" were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras. Born in tiny Perryville, TX, Price spent most of his youth in Dallas. It was there where he learned how to play guitar and sing. Following his high school graduation, he studied veterinary medicine at North Texas Agricultural College in Abilene before he left school to join the Marines in 1942. Price stayed in the service throughout World War II, returning to Texas in 1946. After leaving the Marines, he initially returned to college, yet he began to perform at local clubs and honky tonks, as well as on the local radio station KRBC, where he was dubbed the Cherokee Cowboy. Three years later, he was invited to join the Dallas-based The Big D Jamboree, which convinced him to make music his full-time career. Shortly after joining The Big D Jamboree, the show began to be televised by CBS, which helped him release a single, "Your Wedding Corsage"/"Jealous Lies," on the independent Dallas label Bullet. Price moved to Nashville to pursue a major-label record contract in 1951. After auditioning and failing several times, Ray finally signed to Columbia Records, after A&R representative Troy Martin convinced the label's chief executive, Don Law, that Decca was prepared to give the singer a contract. Previously, Law was uninterested in Price -- he turned him down 20 times and threatened Martin never to mention his name again -- but he was unprepared to give a rival company a chance at the vocalist. Just before "Talk to Your Heart" became a number three hit for Price in the spring of 1952, Ray met his idol, Hank Williams, who immediately became a close friend. Over the next year, Hank performed a number of favors for Price, including giving him "Weary Blues" to record and helping him join the Grand Ole Opry. Ray also became the permanent substitute for Hank whenever he was missing or too drunk to perform. Following Williams' death in 1953, Price inherited the Drifting Cowboys. Following the success of "Don't Let the Stars Get in Your Eyes" in the fall of 1952, Price was quiet for much of 1953. It wasn't until 1954 that he returned to the charts with "I'll Be There (If You Ever Want Me)," a number two hit that kicked off a successful year for Price that also included the Top Ten singles "Release Me" and "If You Don't, Somebody Else Will." Instead of capitalizing on that success, he disappeared from the charts during 1955, as he spent the year forming the Cherokee Cowboys. Over the course of the past two years, he had realized that performing with the Drifting Cowboys had made him sound too similar to Hank Williams, so he decided to form his own group. Originally, most of the members were lifted from Lefty Frizzell's Western Cherokees, but over the years a number of gifted musicians began their careers in this band, including Roger Miller, Johnny Paycheck, Buddy Emmons, Johnny Bush, and Willie Nelson. Ray returned to the charts in 1956, first with "Run Boy" and then with "Crazy Arms," a driving honky tonk number that immediately became a country classic. The song was one of the first country records to be recorded with a drum kit, which gave it a relentless, pulsating rhythm. Until Price, most country artists were reluctant to use drums and the instrument was even banned from the stage of the Grand Ole Opry. The blockbuster status of the single helped change that situation. Spending an astonishing 20 weeks at the top of the country charts, "Crazy Arms" not only crossed over into the lower reaches of the pop charts, but it also established Price as a star. After the success of the single, he remained at or near the top of the charts for the next ten years, racking up 23 Top Ten singles between the 1956 and 1966. During this time, he recorded a remarkable number of country classics, including "I've Got a New Heartache" (number two, 1956), "My Shoes Keep Walking Back to You" (number one, 1957), "Make the World Go Away" (number two, 1963), and "City Lights," which spent 13 weeks at the top of the charts in 1958. The momentum of Price's career had slowed somewhat by the mid-'60s; though he was still having hits, they weren't as frequent nor as big. His musical inclinations were also shifting, bringing him closer to the crooning styles of traditional pop singers. Ray abandoned the cowboy suits and brought in strings to accompany him, making him one of the first to explore the smooth, orchestrated sounds of late-'60s and early-'70s country-pop. While it alienated some hardcore honky tonk fans, the change in approach resulted in another round of Top Ten hits. However, it took a little while for the country audience to warm to this new sound -- it wasn't until 1970, when his cover of Kris Kristofferson's "For the Good Times" hit number one, that he returned to the top of the charts. Over the next three years, he scored an additional three number one singles ("I Won't Mention It Again," "She's Got to Be a Saint," "You're the Best Thing That Ever Happened to Me"). By the mid-'70s, the appeal of his string-laden country-pop hits had diminished, and he spent the rest of the decade struggling to get into the charts. In 1974, he left his long-time home of Columbia Records to sign to Myrrh, where he had two Top Ten hits over the next year. By the end of 1975, he had left the label, signing to ABC/Dot. Though he hadn't changed his style, his records became less popular around the same time he signed to ABC/Dot; only 1977's "Mansion on the Hill" gained much attention. In 1978, he switched labels again, signing with Monument, which proved to be another unsuccessful venture. In 1980, Price reunited with his old bassist Willie Nelson, recording the duet album San Antonio Rose, which was a major success, spawning the number three hit "Faded Love." San Antonio Rose reignited Ray's career, and in 1981 he had two Top Ten singles -- "It Don't Hurt Me Half as Bad" and "Diamonds in the Stars" -- for his new label, Dimension. Price left Dimension in 1983, signing with Warner Records. He remained at the label for one year, and by that time, his new spell of popularity had cooled down considerably; now, he was having trouble reaching the Top 40. That situation didn't remedy itself for the remainder of the decade, even though he signed with two new labels: Viva (1983-1984) and Step One (1985-1989). By the late '80s, Price had stopped concentrating on recording and had turned his efforts toward a theater he owned in Branson, MO. For most of the '90s, he sang and performed at his theater in Branson, occasionally stopping to record. Of all of his '90s records, the most notable is the 1992 album Sometimes a Rose, which was produced by Norro Wilson. (Less)
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34, 02:23, 2006-08-26 09:27:02 Description: From movie "No Leave No Love" 1946
Frank "Sugarchile" Robinson
SUGAR CHILE ROBINSON (By Dave Penny)
Born Frank Robinson, 1940, Detroit, Michigan
The history of 20th century (More) From movie "No Leave No Love" 1946
Frank "Sugarchile" Robinson
SUGAR CHILE ROBINSON (By Dave Penny)
Born Frank Robinson, 1940, Detroit, Michigan
The history of 20th century entertainment is littered with child prodigies; from Shirley Temple in the 1930s, Toni Harper in the 1940s and Frankie Lymon in the 1950s. On the whole, although precociously talented, child entertainers were usually saddled with inferior, childish material that, while perhaps cute at the time, were usually novelty acts that grew tiresome pretty quickly. Some couldn't handle the swift drop in popularity and turned to drink or drugs, while others retired gracefully and concentrated their energies in other directions. One such was that tiny bundle of Detroit dynamite, "Sugar Chile" Robinson. Born Frankie Robinson, the youngest of six children, in Detroit in 1940, "Sugar Chile" began pounding on the family piano as a toddler - he reputedly banged out a recognisable version of Erskine Hawkins' Tuxedo Junction at the age of two - and by 1945 he had been "discovered" by pianist and bandleader Frankie Carle. Within a year he was asked to play at a Whitehouse party for President Harry Truman, had guested with Lionel Hampton's Orchestra and even appeared performing the title song in the 1946 MGM romantic comedy film "No Leave, No Love". It was not until July 1949, however, that he made his first records for the Capitol label, when, in the consummate company of jazz veterans Leonard Bibbs on bass and drummer Zutty Singleton, Robinson took his first two releases into the Billboard R&B chart in late 1949; Numbers Boogie made it to number four, while Caldonia (What Makes Your Big Head So Hard) only reached number 14. His subsequent national tour broke box-office records eve rywhere and it is claimed that his appearance at Chicago's Regal Theatre remains the biggest one-week attraction of the theatre's entire history, easily beating the jazz royalty of the day like Count Basie and Duke Ellington. Robinson toured with Basie in 1950 and made a celebrated musical short with the Basie Sextet and Billie Holiday in Hollywood in August to showcase his hits. The Christmas season of 1950 witnessed Sugar Chile's first European release and Christmas Boogie c/w Rudolph The Red-Nosed Reindeer sold well enough to spark a European tour in 1951, including rave reviews for his spot at the London Palladium. He was a big hit on US radio and TV all through 1951 and then, while still in his pre-teens, Robinson's career was suddenly over; his last single release was issued in August 1952, shortly followed by a 10" compilation LP of boogie woogie that featured many of his 1952 recordings.
Apart from a few radio transcriptions and film soundtracks, "Sugar Chile" Robinson's complete recording career - a period of just under three years - has been reissued in its entirety on one 2003 CD compilation, "Chronological Classics 1949-52". If he really was only nine years old at the time, the performances from his first session such as Vooey, Vooey Vay, Caldonia and Numbers Boogie were quite astonishing. As with other child stars, like Toni Harper, Robinson was frequently burdened with immature material, but even nursery rhyme knock-offs such as Sticks And Stones, Christmas Boogie and (Rock-A-Bye) Baby Blues were transformed into entertaining performances with hip and clever touches. The youngster acquitted himself as a pianist exceptionally well on the few instrumentals, particularly Lazy Boy's Boogie, and for variety he occasionally switched to organ or celeste on later sessions.
Once the hits had dried up and he was released from his Capitol Records contract, there were one or two more reports in the trade papers of the day - he was reported in August 1954 as playing The Blue Note in Chicago with modern jazzer Gerry Mulligan (!) - and then nothing! What happened? Did his voice break? Did the novelty of an infant boogie virtuoso suddenly lose its appeal when he hit 12? Was he really found out to be an adolescent midget in disguise? Last year it was announced that a 62 year-old "Sugar Chile" Robinson had been rediscovered living in Detroit, where he has worked mainly outside music for almost 50 years (although he is rumoured to be the same Frank Robinson who co-owned the obscure Detroit-based soul label, Lando Records, in the 1960s) , and was brought out of retirement to pound the ivories once again at a music festival which celebrated pre-Motown music from the Motor City. The internet has been strangely silent since, so I am unsure whether the festiva l even took place. Does anybody know?
CD: The Chronological Sugar Chile Robinson, 1949-1952 (Classics 5052, released in 2003). 24 tracks. (Less)
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112, 01:43, 2007-01-10 00:23:17 Description: This must be one of his best ballads from 1950's, from the movie King Creole.
xX-ENDOFTEXT-Xx
a big hunk o' love a boy like me, a girl like you a cane and a high starched collar years from (More) This must be one of his best ballads from 1950's, from the movie King Creole.
xX-ENDOFTEXT-Xx
a big hunk o' love a boy like me, a girl like you a cane and a high starched collar years from now ain't that loving you baby a little bit of green a little less conversation allá en el "rancho grande" all i needed was the rain all shook up all that i am almost almost always true almost in love aloha oe always on my mind amazing grace america the beautiful a mess of blues am i ready an american trilogy and i love you so and the grass won't pay no mind an evening prayer angel animal instinct any day now anyone anyplace is paradise anything that's part of you anyway you want me apron strings are you lonesome tonight? are you sincere ask me as long as i have you as we travel along the jericho road a thing called love a whistling tune a world of our own baby i don't care baby, if you'll give me all of your love baby, let's play house baby, what you want me to do bad nauheim medley barefoot ballad beach boy blues beach shack because of love beginner's luck beyond the bend beyond the reef big boots big boss man big love, big heartache bitter they are, harder they fall black star blessed jesus hold my hand blowin' in the wind blueberry hill blue christmas blue eyes crying in the rain blue hawaii blue moon blue moon of kentucky blue river blue suede shoes bosom of abraham bossa nova, baby bridge over troubled water bringin' it back britches burning love by and by can't help falling in love carny town catchin' on fast c.c. rider change of habit charro chesay cindy, cindy city by night clambake clean up your own backyard c'mon everybody come along come what may you are mine confidence cotton candy land could i fall in love crawfish cross my heart and hope to die crying in the chapel danny danny boy dainty little moonbeams dark moon datin' devil in disguise didja' ever dirty, dirty feeling dixieland rock doin' the best i can dominic doncha' think it's time do not disturb don't don't ask me why don't be cruel don't cry daddy don't forbid me don't leave me now don't think twice it's all right do the clam do the vega double trouble down by the riverside down by the riverside and when the saints come marchin' in down in the alley do you know who i am drums of the islands early mornin' rain earth angel earth boy easy come, easy go easy question echoes of love edge of reality el toro everybody come aboard faded love fairytale fame and fortune farther along fever finders keepers, losers weepers find out what's happening first in line five hundred miles five sleepy heads flaming star follow that dream fool fool, fool, fool fools fall in love fools rush in forget me never for lovin' me for ol' times sake for the good times for the heart for the millionth and the last time fort lauderdale chamber of commerce fountain of love frankfort special frankie and johnny froggy went a courtin' from a jack to a king funny how time slips away fun in acapulco gentle on my mind gently g.i. blues girl happy girl next door went a'walking girl of mine girls! girls! girls! give me the right go east, young man goin' home golden coins gonna get back home somehow good luck charm good rockin' tonight good time charlie's got the blues got a lot o' livin' to do got my mojo working keep your hands off of it green, green grass of home guadalajara guitar man hands off happy ending harbor lights hard headed woman hard knocks hard luck harem holiday have a happy have i told you lately that i love you? hawaiian sunset hawaiian wedding song he heartbreak hotel heart of rome hearts of stone he is my everything he knows just what i need he'll have to go help me help me make it through the night here comes santa claus he's only a prayer away he's your uncle, not your dad he touched me hey, hey, hey hey jude hey little girl hide thou me hi heel sneakers his hand in mine his latest flame holly leaves and christmas trees home is where the heart is hot dog hound dog house of sand how can you lose what you never had how do you think i feel how great thou art how's the world treating you? how the web was woven how would you like to be? hurt i asked the lord i beg of you i believe i believe in the man in the sky i can help i can't help it i can't stop loving you i don't care if the sun don't shine i don't wanna be tied i don't want to i feel so bad i feel that i've known you forever if every day was like christmas if i can dream if i get home on christmas day if i loved you if i'm a fool if i were you i forgot to remember to forget if that isn't love tutti frutti tweedle dee twenty days and twenty nights unchained melody until it's time for you to go up above my head u.s. male vino, dinero y amor violet viva las vegas shake, rattle and roll shake, rattle and roll/ flip, flop and fly shake that tambourine she's a machine she's not you she thinks i still care she wears my ring shoppin' around shout it out show me thy ways,little friend (Less)
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MISFITS on CAPITAL CHAOS T... (Video no longer available)
Description: MISFITS @ The Crest Theater - Sacramento, CA 1999..one should not drink too much coffee prior to filming without a tripod. http://misfits.com The Misfits are a horror punk band formed in 1977 and...
382, 02:29, 2007-04-14 10:18:15
1, 02:20, 2009-04-09 23:32:41 Description:
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0, 00:00, 2009-12-16 13:15:37 Description: 1993 first plane flew flight over everest mount, 1860 pony express mail service began, 1968 mlk martin luther king jr.'s last speech before being assassinated in memphis, marlon brando born 1924, (More) 1993 first plane flew flight over everest mount, 1860 pony express mail service began, 1968 mlk martin luther king jr.'s last speech before being assassinated in memphis, marlon brando born 1924, richard thompson born 1949, eddie murphy born 1961 actor comedian, johannes brahms died 1897, kurt weill died 1950, 1868 hawaiin surfs biggest wave ever tidal wave, first cell phone 1973 portable phone call, national walk to work day, on this date in history april 3, - www.myinboxnews.com (Less)
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