OLD GOLD PRESENTS PAUL WHITEMAN & HIS ORCHESTRA

There was no intention that the �Old Gold� series, featuring Paul Whiteman and his Orchestra, should form a part of these Directories which, originally, were to show as much as is known of the sponsored radio series in which Bing Crosby had appeared as a solo performer.� Then, out of the blue and into my lap, fell an enormous amount of detail, via Wig Wiggins, from Mr. E. Scott Whalen of Columbus, whose conscientious research into various Ohio newspapers of that time has revealed comprehensive, pre-broadcast particulars of a great many of the "Old Gold" programmes.�

It is worth mentioning that when I was struggling with researching any of Bing's radio series, dated prior to 1944, I would have given my eye teeth for such detailed listings.� I also harboured the impossible dream that someone might have actually listened to the programmes and compiled a radio log of what they had heard.� Improbability became reality when it was pointed out to me that such a log, for the Old Gold series had, indeed, been created, portions of which had already been published in the book, "Bix - Man And Legend" by Richard M. Sudhalter & Philip R. Evans with William Dean-Myatt.� The "someone" who hovered over his wireless, in 1929, jotting notes, was Warren W. Scholl (journalist, Whiteman historian and the earliest recognised expert on the Whiteman orchestra) and a letter from Philip Evans to Malcolm Macfarlane provided further fragments regarding Crosby's participation in the early programmes of the series.�

There was now a plethora of information, any portion of which I was reluctant to discard, indiscriminately.� I do not consider myself qualified to criticise or decry, any of these sources, although I have become only too familiar with the misinformation contained in newspapers which describe Bing, variously as a "baritone", "tenor" and "contralto" or twist song titles out of recognition � �I�d Do Anything For You" becoming the exact opposite, �I�d Do Nothing For You" and "I Wanna Be Loved By You", in defiance of any sort of syntax or meaning, being shown as, "I Want To Be A Lover By You".� Similarly, "Revolutionary Rag" will provide a frustrating search through the reference books unless one is aware that Irving Berlin had chosen to prefix the title of his tune with "That" and we can only conjecture, that many of these errors will be accounted for by misread notes or wrongly transcribed telephone messages.�

Questions still crowd my mind.� Scholl was human and there are, bound to have been, considerable difficulties involved in accurately cataloguing the make-up of these radio shows, particularly seventy years ago, without the benefit of any recording equipment, when a missed title would be gone forever but he is scrupulous enough to admit when titles have been missed (on one occasion as many as ten).� Whether this was due to poor radio reception or the sheer volume of the data he was attempting to scribble down, between numbers, is not known.�

To a mere tyro, like myself, his knowledge of the musicians and their work is quite awesome, enabling him to state, quite unequivocally, "as recorded on Victor....or Columbia ....." Or, to be able to say on August 27th, "(as on March 5 but Bix with derby mute)".� And again, to report, with incredible detail, "Ponce Sisters vocal, with Crosby release.� Malneck takes verse on violin; next chorus eight bars of Rank, and Trumbauer in release of last chorus".� In addition, his comments are devastatingly forthright, describing consecutive arrangements as "miserable", again "miserable" and "even worse" but was he, just as fallible as the Press, almost as fallible or, not quite as fallible?� I am inclined to toward the last option.� There are, inevitably, minor errors in song titles but if hearing is believing this should be the work of greater authenticity.

�It is unfortunate that less than half of the total of 66 programmes are covered as, obviously, the book concerns itself with only the shows, featuring Bix Beiderbecke and author, Philip R. Evans further explains, "....When I started to research my Frank Trumbauer book, I contacted Warren and asked if I might have the balance of the programmes for my Tram book.� He told me that he had tossed them out, not feeling they were of interest to anyone.� I about cried".� I will join Philip in his tears because Warren Scholl is now deceased and so that any questions that I had for him will remain unanswered.

On occasions, these independent sources are in virtual agreement (see Programme No.� 14) and on others, they differ, wildly (see Programme No.� 21). In some cases Whiteman appears to have abandoned most of the programme, as printed, for something entirely different. This raises another question. Even in those early days, listeners were quick to take up their pens or telephone the studio with their complaints and surely, tuning in to hear a favourite piece, as scheduled, only to find that it had not been included in the broadcast would be a major source of irritation.� Might this have been the reason, that later in the series, explicit pre-broadcast details of the programmes became rarer in the newspaper columns, remembering that it was not until mid 1938 that most of the nation's press united in their embargo on all radio "chatter".�

In view of Scholl's "missed titles" coupled with the fact that I feel unable to abandon any of the items uncovered by E. Scott Whalen's prodigious researches, I am including every scrap of information that has been made available to me and in the hope that it will not further, confuse, I have adopted the following method of identification: Titles which are not included in any newspaper listings are marked (a).� Song titles from the separate sources which coincide are marked (b).� This should leave anything that is unmarked as being taken, solely, from the newspaper listings but please note that this refers to titles only.� Sometimes, there is confliction as to who may have performed a particular vocal and these alternatives are shown (See Programme No.� 29). In some cases, the only data that survives is a list of songs, frustratingly, without the performers.� In addition, there is the possibility that Bing Crosby/The Rhythm Boys may not have appeared in every programme and although research continues, the numbers that featured their talents may, forever, remain a matter of speculation.� Nevertheless, I am confident that anything set down here represents a greater detail of the content of the complete Paul Whiteman-Old Gold Shows than has yet been published.�

There is another important point to make.� One of the slightly irritating journalistic foibles that has been noted is a propensity to refer to, "Bing Crosby and the Rhythm Boys".� To those who know the score, this might seem to be as fatuous, as saying, "Groucho and the Marx Brothers" but in fairness, it should be said that, in 1929, the make-up of the seminal trio may not have been so well known.� In fact, the only reason for bringing this to your notice is because there are also allusions to "Bing Crosby and the Old Gold Trio" and I found myself with a deal of extra work when Philip Evans pointed out that Frank Trumbauer's personal diary of the time, stated that Bing Crosby was a member of the "Old Gold Trio".� Once again, who am I to refute the words of a musician who was there?� In consequence, as in the case of the Rhythm Boys, I have been obliged to shew all titles which featured the Old Gold Trio, as Crosby items.� We have only to discover that he was also part of the Cheerleaders Quartet to consider re-titling the series, "The Bing Crosby Show"!!!� Unless otherwise indicated, the quotes shown after the programme data are from the original Columbus newspapers consulted by E. Scott Whalen.

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Titles which are not included in any newspaper listings are marked (a).� Song titles from the separate sources which coincide are marked (b).� This should leave anything that is unmarked as being taken, solely, from the newspaper listings but please note that this refers to titles only.�

No. 1� 5th February 1929

From Station WABC New York.� With Eddie Cantor.

Medley:��

� Whispering�

� The Japanese Sandman

� Avalon�

� Do You Ever Think Of Me?�

� Who

� Linger Awhile

� How About Me?�

� Liebestraume (Liszt)

*Makin' Whoopee�� The Rhythm Boys�

� I'm Bringing A Red, Red, Rose �� Jack Fulton

� My Angeline (My Angel-een)�� Jack Fulton��

� My Pretty Girl��

� Gypsy

*Let's Do It (Let's Fall In Love)��

� Dardanella

� Where Is The Song Of Songs For Me?

� Riverboat Shuffle

� Singin' The Blues (Till My Daddy Comes Home)

"Paul Whiteman, King of Jazz, has decided on his inaugural programme for the Old Gold-Paul Whiteman hour, which is to be broadcast Tuesday night, at 9 o'clock, over a nationwide hook-up of stations of the Columbia Broadcasting System. In order to make a gala occasion of his first radio concert he has prepared his programme with great care and with an eye to pleasing his mammoth audience.� The first number that he will present will be a medley of songs of the past that first made him famous.� This medley will be followed by a large number of the very latest musical hits, presented in a way that only the famous King of Jazz can do."

No. 2� 12th February 1929

From Station WABC New York

� Limehouse Blues

� Valse Inspiration

� B-Natural Blues

� Marianne

� Lover, Come Back to Me

Further details unknown. It is doubtful that Bing appeared on this show.

"The second of the Old Gold-Paul Whiteman dance programmes on the Columbia network, last Tuesday night was replete with musical nuance.� While subject to a little re-routining, as to number sequence, the instrumental skill of the Whitemanites is as superb as ever before.� Good contrast was the switch from the sympathetic saxophone solo, 'Valse Inspiration' to, 'The B-Natural Blues' - an extremely torrid rendition.� The revival of 'Limehouse Blues' was a peach of an orchestration and the distinctive 'New Moon' numbers, 'Marianne' and 'Lover, Come Back To Me', etherised by special permission of the copyright owners, were among the most unusual musical entries.� Regardless of Old Gold winning all these contests, this time it was at both Yale and Princeton, Whiteman is giving them radio ballyhoo of extraordinary character"�

("Variety" 20th February 1929)

No. 3� 19th February 1929�

From Station WABC New York.

� Rhapsody In Blue (Gershwin)

*Where The Shy Little Violets Grow�� (b)�� The Rhythm Boys

*When Summer Is Gone�� (b)��

� The Parade Of The Wooden Soldiers (Jessel)

� Who

� Magnolia (Mix The Lot, What've You Got)

� M�ditation from �Tha�s� (Massenet)

� My Angeline (My Angel-een)�� (a)�� Jack Fulton

"Gershwin's famous 'Rhapsody In Blue', strains of which have been identified with the Old Gold-Paul Whiteman hour since its inception over the Columbia Broadcasting system two weeks ago, will be played in its complete form by Whiteman in the nationwide broadcast over a 42 station hook-up, at 9 o'clock.� Thousands of requests have been received by the P. Lorillard Company, makers of Old Gold Cigarettes.� Written for the Carnegie Hall concert of the Whiteman Orchestra and dedicated to the Whiteman group, the Rhapsody is closely identified with the King of American jazz."�

No. 4� 26th February 1929�

From Station WABC New York.

��

� Lover Come Back to Me

� You're The Cream In My Coffee

� If I Had You

� Dardanella

� (My) Wonderful One

*I'll Get By�� (a)��

*My Castle In Spain Is A Shack In The Lane�� (a)��

*You Wouldn't Fool Me, Would You?�� (a)��

*Mississippi Mud�� (a)�� The Rhythm Boys

*So The Bluebirds And The Blackbirds Got Together�� (a)�� The Rhythm Boys

�The mighty Wagner was not the kind of fellow to turn over in his grave. Nothing less than a back-somersault and a couple of handsprings would give him any emotional relief. Therefore, if earthquakes are recorded tonight, 6 o'clock, when Paul Whiteman's orchestra presents "Wagneriana" to a coast-to-coast radio audience, you will understand that Richard, wherever he is buried, is putting in a conscientious protest. "Wagneriana" is what happens when Mr. Whiteman toys with the great German's more familiar tunes�sort of worrying them a bit in the modern manner. Mr. Whiteman's symphonic syncopated arrangements of the classics might be called antiseptic jazz. Tune in KPLA-KMTR, 6pm.�

(�Los Angeles Examiner�,� 26^th February, 1929)

No. 5� 5th March 1929

From Station WABC New York.�� Announced by Ted Husing.

� Song Of India (Rimsky Korsakov)�� (a)

� Till We Meet Again�� (a)�� Jack Fulton

� Medley:

� Caresses�� (b)

� Say It With Music�� (b)

� My Darling

� April Showers�� (a)��

� An Orange Grove In California�� (b)

� The Sheik Of Araby

Medley of Waltz Themes:�

� My Hero (Strauss)�� (b)

� The Pink Lady Waltz (Caryll)�� (b)

� The Merry Widow Waltz (Lehar)�� (b)

� The Blue Danube (Strauss)�� (b)

� Sympathy (Friml)�� (b)

� Sweethearts On� Parade�� (b)

� China Boy�� (b)

*My Suppressed Desire�� (a)�� The Rhythm Boys

*Where The Shy Little Violets Grow�� (a)�� The Rhythm Boys

� Liebestraum (Liszt)�� (a)

*Give Your Little Baby Lots Of Lovin'�� (b)��

Medley:

*A Precious Little Thing Called Love�� (b)�� The Rhythm Boys

� A Love Tale Of Alsace Lorraine�� (b)�� Jack Fulton

� Glad Rag Doll

� I Wanna Be Loved By You �� (b)��

� Sweet Georgia Brown�� (a)

"Old favourites, including a medley of famous waltz themes, will be the main feature of the broadcast that the Old Gold-Paul Whiteman hour will present over WBBM, WKRC and other stations of the Columbia Broadcasting System, on Tuesday night, at 9 o'clock.� The waltz themes will consist of five numbers that were popular favourites of some years back.� They range from 'The Blue Danube' and 'Merry Widow' waltz on and include pieces such as 'My Hero' from 'The Chocolate Soldier' and 'The Pink Lady'"

Regularly, on Tuesday night, the Columbia broadcasting system assaults the nation's bunion citadels with Paul Whiteman's and Guy Lombardo's orchestras, and aggravated arches and tantalized toes get up and go. These two transcontinental dance programs step out from KPLA-KMTR at 6pm and 8pm, respectively, while KFWB also participates in the latter. Whiteman's and Lombardo's musical osteopaths employ different techniques in the massaging of chords into a state of vital harmony�some toes and ears responding more readily to Mr. Whiteman's more subtle treatment; some to the rhythmic decisiveness and rich simplicity of Guy the Lombardo. But, basing predictions on local reactions, it seems that Guy Lombardo is steadily scaling one side of the pinnacle of popular pre-eminence, while Paul Whiteman is slipping slowly and gracefully down the other. At least, Whiteman for the first time since he publicly acknowledged that he is father of the symphonic jazz baby, can hear the hot blast of an adversary on his trail. I have been thinking a great deal lately about what to do with members of the family who don't like jazz during these two rousing weekly broadcasts. Here is my conclusion and a very fine one it is:
Put the objecting members in the four corners of the attic and give each a pan of mixed or mingled dried peas and beans. Suggest that they sort the peas and beans into two piles. This will keep their minds off their troubles much like golf. And you will be surprised how the suggestions will be received.�

(�Los Angeles Examiner, 5^th March, 1929)

No. 6� 12th March 1929��

From Station WABC New York.� Announced by Ted Husing.

� Oriental�� (b)

*Louise�� (a)��

� How About Me?��

Medley:

� Whispering�� (b)

� Avalon�� (b)

� The Japanese Sandman�� (b)

� Till We Meet Again

� Who�� (a)

� Do You Ever Think Of Me?�� (a)

Waltz Medley:

� Marie�� (b)

� Jeannine, I Dream Of Lilac Time�� (b)

� My Angeline (My Angel-een)�� (b)�� Jack Fulton

� What'll I Do�� (b)

Medley from "Lady Fingers":

*Something To Live For�� (b)��

� Ga-Ga�� (b)

� You're Perfect�� (b)

� O Ya Ya�� (b)��

*(A Real) American Tune�� (b)��

*So The Bluebirds And The Blackbirds Got Together�� (a)�� The Rhythm Boys

*From Monday On�� (a)�� The Rhythm Boys

Medley:

� Doin' The Raccoon�� (b)

� I'm Bringing A Red, Red, Rose

*I Faw Down And Go Boom�� (a)�� The Rhythm Boys��

� My Mother's Eyes�� (b)

� I'll Never Ask For More�� (b)

� Avalon Town�� (b)

� Don't Hold Everything�� (b)

� Singin' The Blues (Till My Daddy Comes Home)�� (a)

"Paul Whiteman will ask the advice of the radio audience in helping him select his favourite girl in the programme.� The difficulties of Mr. Whiteman's problem are shown in the fourth group which he is presenting.� This is a waltz group, including, 'Marie', then, 'Jeannine', then 'Angeline' and finishing with the heartfelt query, 'What'll I Do'"

No. 7� 19th March 1929

From Station WABC New York.� Announced by Ted Husing.

� Canadian Capers�� (b)

*Diga Diga Doo�� (a)�� The Rhythm Boys

� When Summer Is Gone��

Medley:

� Gypsy Blues�� (b)

� When Buddha Smiles�� (b)

� Sweet Lady�� (b)

� My Man (Mon Homme)�� (b)

� Dear Old Southland�� (b)

� Dusky Stevedore�� (a)

� Who�� (a)�� The Whiteman Trio (Fulton-Gaylord-

Heatherton)

Hawaiian Medley:

� One, Two, Three, Four�� (b)

� Honolulu Eyes�� (b)

� Aloha Oe�� (b)

� The Parade Of The Wooden Soldiers (Jessel)�� (a)

*I'll Get By�� (b)��

Tango Medley:

� Rose Room�� (b)

� Irresistible�� (b)

� La Seduction�� (b)

*In A Little Spanish Town�� The Rhythm Boys

*Where The Shy Little Violets Grow�� The Rhythm Boys

Medley:

� In The Shadows�� (b)

� Carolina In The Morning�� (b)

� Bambalina�� (b)

� California (Here I Come)�� (b)

*I Kiss Your Hand Madame�� (a)��

� Hot Lips�� (b)

� Pickin' Cotton�� (a)

"To prove that his orchestra is equally good in presenting any form of music, Paul Whiteman has selected a waltz medley and a tango medley for his weekly programme over the Columbia network.� The programme, however, also will contain several of the latest musical hits and two medleys of old favourites"

No. 8� 26th March 1929�

From Station WABC New York.� Announced by Ted Husing.

� Hymn To The Sun�� (a)

� Nola (Arndt)�� (a)

Spiritual Medley:�

*Swing Low, Sweet Chariot�� (b)

� Nobody Knows De Trouble I've Seen�� (a)

� All God's Chillun Got Wings�� (a)

� Deep River�� (a)

��

*There's A Rainbow 'Round My Shoulder�� (b)��

� Punch And Judy�� (a)

� Blue Hawaii�� (a)�� Jack Fulton

*Coquette�� (b)��

� Runnin' Wild!�� (a)

� Till We Meet Again�� (a)�� Jack Fulton

� Everybody Loves You�� (a)

*The Things That Were Made For Love

(You Can't Take Away)�� (b)��

Medley:

� Magnolia (Mix The Lot, What've You Got)�� (a)

� I'm On The Crest Of A Wave�� (a)

� I'd Rather Be Blue Over You

�� (Than Happy With Somebody Else)�� (a)

� Anything Your Heart Desires�� (a)

� Cradle Of Love�� (a)

� Weary River�� (a)�� Ray Heatherton

� Bo-Peep�� (a)

�There are some selections which we do not mind hearing in jazz arrangements, but we are not sure how we feel about doing this with negro spirituals. However, on the 6 o'clock program over the Columbia chain, released by KMTR-KPLA, Paul Whiteman and his orchestra will play a medley of the following spirituals: "Swing Low Sweet Chariot," "Nobody Knows," "All God's Children Got Wings" and "Deep River." There will be two other medleys, one of waltz tunes, the other of foxtrots.�

(Zuma Palmer. Hollywood Daily Citizen, 26^th March, 1929)

No. 9� 2nd April 1929 ��

From Station WABC New York.� Announced by Ted Husing.

� Pale Moon

� Pompanola�� (a)

� Gypsy

French Medley:

� Madelon�� (a)

� On The Boulevard�� (a)

� Ca C'Est Paris�� (a)

Waltz Medley:

� Down By The Old Mill Stream

� Sweet Adeline

� In The Shade Of The Old Apple Tree

� After The Ball

Medley:

� Moonlight And Roses�� (b)

� Among My Souvenirs�� (b)

� My Buddy�� (b)

� Ramona� �� (b)

�*Diga Diga Doo�� (a)�� The Rhythm Boys

� I Kiss Your Hand Madame�� (a)�� Ray Heatherton

*South Wind� �� (b)�� The Rhythm Boys

� The Song I Love�� (b)�� Ray Heatherton

� Violetta from "La Traviata" (Verdi)�� (a)

� China Boy�� (a)

� If I Had You�� (a)�� The Ponce Sisters

Medley:

� Sleepy Time Gal�� (b)

� Somebody Stole My Gal�� (b)

� Mary Lou�� (b)

� The Things That Were Made For Love

(You Can't Take Away)�� (b)

� When Day Is Done

� Moonlight On The Ganges

� Spain

� Asleep In The Deep

� Sam, The Old Accordion Man

� In A Little Spanish Town

� Wildflower

� Hallelujah!

� My Sin�� (a)�� Ray Heatherton

� That's A-Plenty�� (a)

Note:� Warren W. Scholl notes, �unknown title after �Pompanola�� (�Gypsy�?)

�If you prefer popular music at this time, 6, turn your dial to KMTR because that station will release a Columbia program to be presented by Paul Whiteman and his orchestra. One medley to be offered includes "Moonlight and Roses," "Among My Souvenirs," "My Buddy" and "Ramona." Another will be made up of "Sleepy Time Gal," "Mary Lou" and "Things Were Made For Love."�

(Zuma Palmer, �Hollywod Daily Citizen, 2^nd April, 1929)

No. 10� 9th April 1929

From Station WABC New York.� Announced by Ted Husing.

�

� Valencia�� (b)

� Jericho�� (a)

� Song Of The Volga Boatman

� High Upon A Hilltop

Medley:

� Pretty, Petite And Sweet�� (b)

� Angela Mia (My Angel)�� (b)�� Ray Heatherton

� Indian Love Call�� (b)

� Roses Of Yesterday�� (b)

�

*Let's Do It (Let's Fall In Love)�� (b)�� The Rhythm Boys

� I Love To Hear You Singing�� (b)�� Jack Fulton

Waltz Medley:

� Gypsy Love Song (Herbert)

� Valse Bluette

��Mighty Lak' A Rose

� Roses Of�