1947-1948 Season with the John Scott Trotter Orchestra

1947-1948 Season with the John Scott Trotter Orchestra. Produced by Bill Morrow and Murdo MacKenzie

The audience share for the season was 16.8 which enabled the programme to scrape into twentieth place in the Hooper ratings. Fred Allen’s show was in top place with 28.7 and the Kraft Music Hall (with Al Jolson as host) reached eleventh position with 21.4. For the first time, the show was recorded on to magnetic tape.

In June 1947, before Ampex really got involved, I was invited to give another demonstration — this time for Bing Crosby. He had been with NBC until 1946 doing the live Kraft Music Hall. He’s a very casual person, and he resented the regimentation imposed by live broadcasts. Some weeks he wasn’t in the mood and hated doing a broadcast. At other times he was ready to do two or three at a crack. He didn’t like having to keep an eye on the clock and being directed to speed things up or draw them out.

The obvious solution was to record the shows. But NBC had told Crosby flatly that it wouldn’t air a recorded show on the network: It never had, and it wasn’t about to start. So Crosby took a year off, and when he returned it was with Philco Radio Time. ABC and Philco had agreed to let him record. But because the process involved recording and re-recording on discs, quality did suffer — at times to the point where the sponsor threatened to cancel the show because, during that first year at ABC, the audience rating was falling off. Philco blamed the poor audio. Crosby’s voice didn’t always sound very good after two or three transfers.

During the 1946-47 season ABC’s engineers recorded each show in its entirety on 16-inch transcription discs at 33 rpm. If everything went perfectly, there was no problem — they simply would air it as transcribed — but that seldom happened. Almost invariably, there was editing to be done. That meant copying some discs onto new ones, making adjustments as they went, maybe substituting a song that had gone better in rehearsal for the final take. Since they recorded everything in rehearsal as well as what took place before the audience, there were plenty of bits and pieces to work with.

Sometimes it was necessary to make what were called predubs. Say they wanted to use three cuts from three different discs, all within a matter of a few seconds. That didn’t allow enough time to get each one cued up during re-recording. So they would make little pre-transfers, or predubs, making copies until all the cuts were added. The final record, therefore, might be two or three generations removed from the original.

W. A. Palmer and I had been using tape for soundtrack work (he already had a going business in the film industry before we joined forces), where magnetic recordings were far better in quality and more easily edited than the optical tracks that were standard for films at that time. We were introduced to Murdo McKenzie, the technical producer of the Crosby show, through our Hollywood contacts. And after our demonstration we were invited back to record the first show of the Philco Radio Time season. Crosby’s people didn’t say, “You have the job.” They only wanted to see how tape would compete with the disc system they had been using.

When I taped that first broadcast, they asked me to stay right there after the show and edit the tape, to see if I could make a program out of it. I did, and they seemed to like what they heard. Once the Crosby people bought the idea, they had to find a place for me to work. The American Broadcasting Company had been the Blue Network of NBC until, a short time before this, the government ordered NBC to sell it. NBC and ABC were still in the same building at Sunset and Vine in Hollywood.

Crosby broadcast from what had been one of the major NBC studios. Prior to the breakup, there had been what they called a standby studio, scarcely larger than a hotel room, with two little control rooms at one end. One was the Blue control room, the other was for the NBC Red Network. There was nothing in this studio but a piano, a table, and two microphones. If one of the networks lost its feed from the East, as they did once in a while, somebody could dash into the standby studio to play the piano. An engineer would run into the control room for whichever network was out, and it was on the air again with local programming.

Once the networks split and ABC had adopted the principle of using recordings on the air, there was no need for the standby studio. So that’s where they set me up. I installed my machines, moved in a sofa and a couple of chairs, and it became a little living room. It was a delightful place to work.

Crosby’s taping schedule was determined by two factors: when he was available, and when Bill Morrow, the writer, could come up with the material. Sometimes we went right up to the wire. At other times we would be two months in advance. We might do three shows in a row — one a day particularly if we were in San Francisco, where Crosby liked to work because of the audiences.

Murdo McKenzie was a very meticulous man. It was his responsibility to make sure that a studio was available, that the musicians would be there, and that Morrow would have the script. After the show was recorded, it was Murdo’s responsibility to satisfy Bill that his script had been handled properly. And if there was anything at all that indicated where I had made a cut, I would have to rework it until it was inaudible — either that or abandon it. Sometimes it would take me a whole week to put a show together after Bing had performed it.

I had two recorders and fifty rolls of tape to work with — just what I had sent home from Paris. With those fifty rolls I was able to do twenty-six Crosby shows-splicing, erasing, and recording over the splices. There were no textbooks on tape editing in 1947, so I had to develop my own techniques. There was no such thing as actual splicing tape, as we have it now. I began with a cement very similar to that used in film editing. The problem with it was that you could hear the splice — a sort of thump — if there wasn’t complete silence where it occurred. I then switched to ordinary Scotch mending tape, along with a pair of scissors and a can of talcum powder.

Mending tape was fine for the first day or so, but before long the adhesive would begin to bleed, sticking one turn of tape to the next. Then the tape would break, and we would have a real mess. Before I used a roll, I always went through it and rubbed powder on the back of every one of those splices. That would get me by for a while, but soon they would be sticky again. When the show was finally assembled on tape, it had to be transferred to disc because nobody — including me — had confidence that this newfangled thing could be relied on to feed the full network. When someone asked me what would happen if the tape were to break, I didn’t have an answer. Since each roll ran for twenty-two minutes (at 30 ips), a half-hour show took two rolls and required the use of both machines. I would have no backup if the machine that was on the air failed.

We continued to record all of the material from the afternoon rehearsals. Crosby didn’t always know his songs very well, and he might start one and blow it. John Scott Trotter, the music director, would play the tune on the piano. When Bing got it, we would record two or three takes. In the evening, Crosby did the whole show before an audience. If he muffed a song then, the audience loved it — thought it was very funny — but we would have to take out the show version and put in one of the rehearsal takes. Sometimes, if Crosby was having fun with a song and not really working at it, we had to make it up out of two or three parts. This ad-lib way of working is commonplace in recording studios today, but it was all new to us.

(John T. Mullin, writing in High Fidelity, April, 1976)

No. 37 1st October 1947 (a)

Transcribed in Hollywood. Announced by Ken Carpenter. With The Rhythmaires, Peggy Lee and Gary Cooper.

*Where The Blue Of The Night (b) Opening Theme

*My Heart Is A Hobo (c) with Rhythmaires

It Takes A Long, Long Train With A

Red Caboose To Carry My Blues Away Peggy Lee

Comedy Dialogue Bing Crosby, Gary Cooper & Peggy Lee

Medley:

*Mam’selle with Rhythmaires

*Chi-Baba, Chi-Baba (My Bambino Go To Sleep)

*Peg O’ My Heart (k) with Rhythmaires

Comedy Dialogue Bing Crosby & Gary Cooper

‘Musical Western’ Sketch (d) Bing Crosby, Gary Cooper & Peggy Lee

*Home On The Range (e) with Gary Cooper

*Sioux City Sue (f) with Gary Cooper

*When The Bloom Is On The Sage (g) with Gary Cooper

*(Alla En) El Rancho Grande (h) with Gary Cooper & Peggy Lee

*You Do (i) Bing Crosby

*Where The Blue Of The Night (j) Closing Theme

Notes:

(a) An edited version of the programme was issued on Fox: American Retrospectives MF207/5 - “The Great Radio Broadcasts - Bing Crosby” and on Black Lion BLM52033 - “Bing Crosby With Peggy Lee, Jack Benny And Gary Cooper”

(b) In this first programme of Bing’s second season with Philco, there is some pre-show ‘business’. Two ‘stage-hands’ are cleaning up and discussing Bing, who arrives complete with a ‘moose’ (the ‘trophy’ from a Canadian hunting trip). Perry Botkin (Guitar), accompanies Bing in “Where the blue....” and the line “Someone waits for me” provokes a bellow from the ‘moose’, to which Bing replies, “Not you!” The ‘moose’ becomes a running gag, referred to again, in this programme and in subsequent shows.

(d) The sketch is based on the premise that Gary Cooper has aspirations to be a singing cowboy and includes parodied versions of (e), (f), (g) and (h).

Parrot PARCD005 (CD) - “Bing Crosby And His Hollywood Guests - Hollywood Guys And

Dolls - Volume 1”

(All musical items, with the exception of item (g) and some linking dialogue, are included)

(e) Commercial Recordings 27.9.33, 26.1.38 & 13.6.39

(f) Commercial Recording 27.12.45

(g) A few parodied words only.

Commercial Recording 12.12.38

(h) Sun 2108 (CD) – “El Rancho Grande – Bing Crosby and Peggy Lee”. Commercial Recordings

3.4.39 & 16.6.54

(i) Commercial recording 4.6.47

(j) Whistled only.

(k) Shout! CD DK31515 “Swingin’ With Bing”

“Gary Cooper sings, for the first time in radio, on the Bing Crosby transcribed series, which resumes at 9 pm over KECA. With Crosby he will do a parody of ‘Home On The Range’ and he will join with the Groaner and Peggy Lee when it comes time for ‘El Rancho Grande’. Also to be heard are the Rhythmaires, John Scott Trotter and his Orchestra and Ken Carpenter, announcer”

(“Hollywood Citizen News” 1st October 1947)

“The new method of recording the Bing Crosby Show is far superior to that used previously. The programme came over sharper, clearer and truer than last year. The singer had a more enjoyable programme for another reason - he didn’t give the impression that he was bored and wishing he were somewhere other than before the microphone”

(“Hollywood Citizen News” 6th October 1947)

No. 38 8th October 1947

Transcribed in Hollywood. Announced by Ken Carpenter. With The Rhythmaires, Peggy Lee and Jimmy Durante.

*Where The Blue Of The Night (a) Opening Theme

*Feudin’ And Fightin’ (b) with Rhythmaires

Just An Old Love Of Mine Peggy Lee

You Gotta Start Off Each Day With A Song Jimmy Durante

*Where The Blue Of The Night (c) with Jimmy Durante

Comedy Dialogue Bing Crosby, Jimmy Durante & Peggy Lee

Medley:

*That’s My Desire

*I Wonder, I Wonder, I Wonder with Rhythmaires

*I Wonder Who’s Kissing Her Now?

Comedy Dialogue Bing Crosby & Jimmy Durante

*The Campaign Song (Come On Out) (d) with Jimmy Durante

*As Long As I’m Dreaming (e)

Where The Blue Of The Night Closing Theme

Notes:

(a) Whistled only.

(b) Bing appears to be amused by the Rhythmaires’ accompaniment.

JSP CD701 (CD) - “Bing Crosby & Jimmy Durante - Start Off Each Day With A Song”

CD- JSP 934D – “Bing Crosby – The Vintage Years 1946-1949”

Commercial Recording 8.5.47

(c) Jimmy Durante sings a few lines, echoed by Bing which inspires the comment, “Mr. Crosby, I wish you’d develop a style of your own!”

JSP CD701 (CD) - “Bing Crosby & Jimmy Durante - Start Off Each Day With A Song”

CD- JSP 934D – “Bing Crosby – The Vintage Years 1946-1949”

(d) A parodied version of “G’Wan Home Your Mudder’s Callin”

All Star Products LP2001 - “Bing Crosby’s All Star Philco Show” (Shewn as “The Campain

Song”)

JSP CD701 (CD) - “Bing Crosby & Jimmy Durante - Start Off Each Day With A Song”

CD- JSP 934D – “Bing Crosby – The Vintage Years 1946-1949”

(e) JSP CD701 (CD) - “Bing Crosby & Jimmy Durante - Start Off Each Day With A Song”

CD- JSP 934D – “Bing Crosby – The Vintage Years 1946-1949”

Commercial Recording 14.11.46

No. 39 15th October 1947

Transcribed in Hollywood (2nd/3rd October 1947). Announced by Ken Carpenter. With The Rhythmaires and Dinah Shore.

*Where The Blue Of The Night (a) Opening Theme

*Kokomo, Indiana (b) with Rhythmaires

*Almost Like Being In Love

Comedy Dialogue Bing Crosby & Dinah Shore

‘Old Plantation’ Sketch Bing Crosby, Dinah Shore & Ken Carpenter

I Wish I Didn’t Love You So Dinah Shore

Medley - “Your All-Time Flop Parade” (c)

*Yachting

*Hammacher Schlemmer (d) with Dinah Shore

*Was Last Night The Last Night With You?

*It’s About Time That I Wrote

To The Folks In Terra Haute with Dinah Shore

*Mississippi Moon (e)

*These Lush Moments (f) with Dinah Shore

Where The Blue Of The Night Closing Theme

Notes:

(a) After his customary opening, Bing continues whistling during the introductory credits.

(b) Commercial Recording 12.3.47

(c) This skit on “Your Hit Parade” but featuring ‘un-popular’ songs was repeated in subsequent shows (Nos.58, 70 & 98) and the format was also used, later, in the Chesterfield series. Invariably, it was comprised of a selection of corny songs. Some of them, incredibly enough, were originally written in all seriousness and some by Burke and Van Heusen. The selections are interrupted by ‘commercials’, the ‘sponsors’, on this occasion, being the makers’ of “Food”.

(d) Spoken comments only from Bing.

(e) Specially written by Johnny Burke and Jimmy Van Heusen.

(f) There is a reprise of this item and a second reprise following the Philco commercial.

No. 40 22nd October 1947

Transcribed in Hollywood. Announced by Ken Carpenter. With The Rhythmaires, Clifton Webb, Burl Ives and Howard Duff.

*Where The Blue Of The Night (a) Opening Theme

*Come To The Mardi Gras (b) with Rhythmaires

*Home On The Range (c)

Comedy Dialogue Bing Crosby, Clifton Webb & Burl Ives

*Sweet Betsy From Pike (d) with Burl Ives

*Clementine (e) with Burl Ives

Comedy Dialogue Bing Crosby & Clifton Webb

‘Clifton Webb - Private Face’ Sketch (f) Bing Crosby, Clifton Webb, Burl Ives,

Howard Duff & Ken Carpenter

*Philco Commercial (g) with Clifton Webb, Burl Ives & Rhythmaires

*Just An Old Love Of Mine

Where The Blue Of The Night Closing Theme

Notes:

(a) After singing the first line only, Bing whistles the remainder.

(b) All Star Products LP2001 - ‘Bing Crosby’s All Star Philco Show”

Commercial Recording 2.12.64

(c) As a sales promotion for ‘Philco Week’ (celebrating the production of the 20 millionth Philco radio set) an autographed copy of Bing’s recordings of “Where The Blue Of The Night” / ”Home On The Range” was offered with every Model 1201 sold. Bing sings this item by way of a sample.

Commercial Recordings 27.9.33, 26.1.38 & 13.6.39

(d) JASBOX 14-4 (CD) - “Burl Ives: the Golden Years of The Wayfaring Stranger”

All Star Products LP2001 - ‘Bing Crosby’s All Star Philco Show”

Commercial Recording 3.7.45 (‘Betsy’) - Adapted from this traditional theme.

(e) Bing commences this item, “In a canyon, in a cavern”, as he has done on other occasions, instead of the correct, “In a cavern, in a canyon”

JASBOX 14-4 (CD) - “Burl Ives: the Golden Years of The Wayfaring Stranger”

Magic AWE10 - “Bing Crosby And Friends - Volume 2”

Commercial Recording 14.6.41

(f) JASBOX 14-4 (CD) - “Burl Ives: the Golden Years of The Wayfaring Stranger”

(g) A sung commercial entitled, “Twenty Million Philco’s Can’t Be Wrong”

No. 41 29th October 1947 (a)

Transcribed in Hollywood (13th October 1947). Announced by Ken Carpenter. With The Rhythmaires, Gail Robbins, Victor Moore and Boris Karloff.

*Where The Blue Of The Night (b) Opening Theme

*Feudin’ And Fightin’ (c) with Rhythmaires

*Ain’tcha Ever Comin' Back (d) with Rhythmaires

Comedy Dialogue Bing Crosby, Victor Moore & Gail Robbins

I Gotta Right To Sing The Blues Gail Robbins

Comedy Dialogue Bing Crosby, Victor Moore & Boris Karloff

*The Halloween Song (e) with Victor Moore & Boris Karloff

*The Whiffenpoof Song (f)

Where The Blue Of The Night Closing Theme

Notes:

(a) An edited version of the programme was issued on SOOTAM004 - “Bing Crosby - Broadcast

Selections”

(b) Whistled only.

(c) A very light-hearted version, producing some laughter and ad-libbing from Bing. The guitar introduction provokes the comment, “Al Dexter’s with us tonight” and the Rhythmaires yodelling - “I thought Judy Canova was on Saturday nights!”

Nostalgia LPF22014 - “Bing Crosby - 20 Golden Greats - Volume 1”(Shewn as “Feudin’,

Fussin’ and Fightin’)

(d) All Star Products LP2001 - “Bing Crosby’s All Star Philco Show”

Parrot PARCD006 (CD) - “Bing Crosby & His Hollywood Guests - Hollywood Guys And Dolls

– Volume 2”

(e) All Star Products LP2001 - “Bing Crosby’s All Star Philco Show” (Shewn as “The Haloween

Song”)

(f) Commercial Recording 5.6.47

No. 42 5th November 1947

Transcribed in Hollywood. Announced by Ken Carpenter. With The Rhythmaires, Ozzie Nelson and Harriet (Hilliard) Nelson.

*Where The Blue Of The Night (a) Opening Theme

*Tallahassee (b) with Rhythmaires

*I Wish I Didn’t Love You So (c)

Comedy Dialogue Ozzie & Harriet Nelson

*Almost Like Being In Love

Comedy Dialogue Bing Crosby, Ozzie & Harriet Nelson

*Sunday, Monday Or Always (d) with Ozzie & Harriet Nelson

*Why Don’t You Fall In Love With Me? (e) with Ozzie & Harriet Nelson

*You Do (f) with Buddy Cole (Piano)

Where The Blue Of The Night Closing Theme

Notes:

(a) A ‘pre-show’ opening finds Ozzie and Harriet Nelson, ‘spending an evening at home’, they ‘turn on the radio’ in time to hear Bing singing the opening theme. Until their official entrance, there are cuts between the Nelson’s ‘at home’ and Bing and Ken Carpenter in the studio.

(b) Shout! CD DK31515 “Swingin’ With Bing”

Commercial Recording 26.3.47

(d) Bing’s hit from “Dixie” (his sixth million-seller) is introduced by Ozzie Nelson as a ‘new’ song.

All Star Products LP2001 - “Bing Crosby’s All Star Philco Show”

Commercial Recording 2.7.43

(e) Bing’s contribution is restricted to spoken remarks, apart from singing, “He’s got a Philco!” and joining in the last line of the song.

HRB Music BCP1001 - “Bing Crosby And Friends”

Japanese MCA9301 - “Bing Crosby Radio Show”

(f) Commercial Recording 4.6.47

“Bing Crosby is cutting two Philco platters a week to pile up a backlog before the Petrillo edict becomes operative and also backlog a few weeks of vacation”

(“Variety” 8th November 1947)

No. 43 12th November 1947 (a)

Transcribed in Hollywood. Announced by Ken Carpenter. With The Rhythmaires, Peter Lorre and Kay Thompson & The Williams Brothers.

*Where The Blue Of The Night (b) Opening Theme

*Come To The Mardi Gras (c) with Rhythmaires

*How Soon (Will I Be Seeing You) (d)

Hello, Hello (e) Kay Thompson & The Williams Brothers

Comedy Dialogue Bing Crosby & Kay Thompson

*(It’s The) Jubilee (Time) (f) with Kay Thompson & The Williams Brothers

Comedy Dialogue Bing Crosby & Peter Lorre

‘Dr. Lorre’s Office’ Sketch (g) Bing Crosby, Peter Lorre, Kay Thompson & The

Williams Brothers

*Blue Hawaii (h)

*Ain’tcha Ever Comin' Back with Rhythmaires

Where The Blue Of The Night Closing Theme

Notes:

(a) An edited version of the programme was issued on Ultimo KAYT408 - “The Kay Thompson Reviews”. (Item (f) is shewn on the sleeve as “Jubilee Roy”)

(b) Pre-show, an unidentified voice whispers, “You’re on kid”, to which Bing replies, “I’m on? - How

am I doing?” He interrupts himself after “meets the gold” with, “Have to get a brighter light up

there, that light just doesn’t come through the smog or something” - probably a reference to

the cue light.

Commercial Recording 2.12.64

(d) Nostalgia LPF22014 - “Bing Crosby - 20 Golden Greats - Volume 1” (Shewn on record label and sleeve as “Poor Little Rich Girl”) N.B. Only a small segment from the middle of Bing’s spoken introduction remains and it seems certain that the track has been dubbed from the issue shewn at Note (a) which also includes this rather curious editing.

Commercial Recording 4.6.47

(e) HRB Music BCP1001 - “Bing Crosby And Friends”

Japanese MCA9301 - “Bing Crosby Radio Show”

Precision Records & Tapes NCP711 - “Bing Crosby - The Radio Years Volume 4” (Recording

date shewn as 5.11.47)

GNP Crescendo GNPD9052 (CD) - “Bing Crosby - The Radio Years”

United Artists UAK30115 - “The Golden Age Of American Radio Starring Bing Crosby”

(Although the first four issues shewn above credit “Bing Crosby with Kay Thompson & The Williams Brothers”, Bing’s only contribution is a spoken introduction).

(f) See note (a) above.

Parrot PARCD005 (CD) - “Bing Crosby And His Hollywood Guests - Hollywood Guys And

Dolls - Volume 1”

(g) This sketch contains several parodies in the form of commercial jingles, sung mainly by The Williams Brothers with some assistance from Bing and Kay Thompson. “D’Ye Ken John Peel”, “The Irish Washerwoman” and “Little Brown Jug” can be identified but the most noteworthy is a parody of (h) sung entirely by Bing.

Living Era CD AJA5590 “Radio Stars of America”

(h) Parodied version. See note (g) above.

Commercial Recordings 23.2.37 & 24.4.54

No. 44 19th November 1947

Transcribed in Hollywood (31st October 1947). Announced by Ken Carpenter. With The Rhythmaires, The Ken Darby Chorus, Dorothy Kirsten and Barry Fitzgerald.

*Where The Blue Of The Night (a) Opening Theme

*The Freedom Train (b) with Rhythmaires & The Ken Darby Chorus

Comedy Dialogue Bing Crosby & Dorothy Kirsten

The Romany Life (Herbert) Dorothy Kirsten with The Ken Darby Chorus

*Indian Summer (c) with Dorothy Kirsten

Comedy Dialogue Bing Crosby, Dorothy Kirsten & Barry Fitzgerald

‘Fairy Shoemaker’ Sketch (d) Bing Crosby & Barry Fitzgerald

*When Irish Eyes Are Smiling (e)

*Shortnin’ Bread (f)

*Too-Ra-Loo-Ra-Loo-Ral (g)

*I Wish I Didn’t Love You So

Where The Blue Of The Night Closing Theme

Notes:

(a) Whistled only.

(b) Commercial Recording 29.5.47

Magic AWE10 - “Bing Crosby And Friends - Volume 2”

(d) The sketch is a fantasy version of Bing’s first meeting with Barry Fitzgerald and includes fragments of (e) & (f) and leads to a full version of (g).

(e) See (d) above. Commercial Recording 7.5.46

(f) See (d) above

(g) See (d) above. Commercial Recordings 7.7.44 & 17.5.45

It is difficult to find one word to describe my feelings about this great performer’s voice: sexy, smooth, suave, and ever so personalized . . . many have tried to emulate his sound. . . . Bing and I were close friends for quite a while and enjoyed some good times together. He was a warm person with a gay and light personality. At one time we actually became quite serious; however, there were two important careers to consider.

(Dorothy Kirsten, writing in her book A Time to Sing, page 124)

No. 45 26th November 1947 (a)

Transcribed in Hollywood. Announced by Ken Carpenter. With The Rhythmaires and Frankie Laine.

*Where The Blue Of The Night Opening Theme

*The Old Chaperone (b) with Rhythmaires

Comedy Dialogue Bing Crosby & Frankie Laine

That’s My Desire Frankie Laine

*The Man Without A Country (A Poetic Narrative) (c) with supporting cast

Where The Blue Of The Night Closing Theme

Notes:

(a) An edited version of the programme was issued on Fox: American Retrospectives MF207/5 -

“The Greatest Radio Broadcasts - Bing Crosby” (Item (b) is shewn as “The Old Chaperon”

Content also purported to include, “Two Loves Have I” sung by Frankie Laine but omits to

mention “The Man Without A Country”).