the1920sand30s | Smith Ballew - I Wouldn't Change You for the World (1931) @the1920sand30s | Uploaded October 2018 | Updated October 2024, 5 hours ago.
Performed by: Smith Ballew
Accompanied by: Ben Selvin & His Orchestra
Full Song Title: I Wouldn't Change You for the World
Recorded in: 1931
Sykes "Smith" Ballew (January 21, 1902 – May 2, 1984) was an popular American actor, sophisticated singer, orchestra leader, and a western singing star.
Smith Ballew was born in Palestine, Texas on January 21, 1902, the youngest of five children born to Mr. and Mrs. W.Y. Ballew. He studied arts at Sherman High School and Austin College before his interest in music was really sparked. It was at the University of Texas that he began to be involved in music. There together with his brother Charles Robert Ballew, he become entranced with jazz music. Smith Ballew's major concerns were with playing guitar and banjo, and he had undertaken formal studies in music, as well as wood-shedding his talents by learning jazz styles from a african american musician who lived close to town.
At the University of Texas, Smith and Charlie Bob met clarinet player and bandleader Jimmy Maloney, who invited them to join "Jimmy's Joys". Such was their success that by 1923 they headed to California, where the band recorded for Golden Records.
Then came a new orchestra in 1932, put together by Glenn Miller whom Smith Ballew knew well from early Ben Pollack days going back to 1927. This band featured Bunny Berigan on trumpet, and Chummy MacGregor on piano. The orchestra toured to New Orleans late in 1932 and such was the success at 'Club Forrest' they did not return until late in 1933. On the band's return, it broke up and Smith Ballew had little work. He recorded with musicians who were loyal to him during the New Orleans tour including trumpet player Stew Pletcher, and drummer Ray McKinley. Victor Young put together the rest of the recording sessions at American Recording Company (ARC). One memorable session included fellow Texans (and family friends) the Teagarden Brothers. Jack played a lovely solo on "Forbidden Lips" issued on Melotone 13029. As Victor Young was enticed to Join Decca as Musical Director by Jack Kapp late in 1934, some of the studio session work for Smith Ballew's Orchestra was taken over by the new ARC House Director, the much talented Russ Morgan. Glenn Miller continued to assist Smith Ballew throughout 1934 where possible, but demands were becoming greater on this bandleader- to-be. The Dorsey Brothers Orchestra took Number One priority, to be overtaken by newcomer Ray Noble who had arrived from England with his Manager/drummer Bill Harty and vocalist Al Bowlly. Smith Ballew's Orchestra took third and last position with Glenn Miller's time management. The final farewell for Smith Ballew as an orchestra leader was at a session for Columbia in April 1935. The four titles were released as 'Glenn Miller and his Orchestra' for the first time (Smith Ballew stated that this was an acknowlegement on his part to long-time friend Glenn Miller for his contributions to Ballew when he was bandleader).
The band was really Smith Ballew's nightly working outfit, but included musicians who were to star with the new Ray Noble Orchestra. As well, Bunny Berigan shone in solos with this band and Smith Ballew sang the now-classics "Moonlight On The Ganges" and "A Blues Serenade," issued on Blue Wax Columbia 3051-D. Shortly thereafter, Smith Ballew surrendered to changing demands and dissolved his orchestra, which was a hallmark of style in New York, and headed west to Los Angeles. Victor Young had arranged that Smith Ballew be offered the role of Compere in the Hollywood-based Radio Show "Shell Chateau" in 1936. Victor was Musical Director for Decca Records and N.B.C. Radio in Hollywood (Smith Ballew worked extensively on records with Victor Young; they had been friends since 1926 when Victor played violin in the Ted Fio Rito Band). The program, which was a high-rating Saturday night show, featured the best musical talent, feted sports celebrities and acclaimed Hollywood actors. In fact, Smith Ballew was carving out a name for himself as an actor when Sol Lesser invited Ballew to do a series of 'B' Westerns for Twentieth Century Fox as a singing cowboy. These have become cult movies in their own right. Smith Ballew retired from movie making in the early 1950's and concentrated on a new career in public relations with jet aeroplane maker General Dynamics and stayed with them until he retired in 1967.
He died in his home state of Texas on May 2, 1984. Smith Ballew was 82 years of age.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
Performed by: Smith Ballew
Accompanied by: Ben Selvin & His Orchestra
Full Song Title: I Wouldn't Change You for the World
Recorded in: 1931
Sykes "Smith" Ballew (January 21, 1902 – May 2, 1984) was an popular American actor, sophisticated singer, orchestra leader, and a western singing star.
Smith Ballew was born in Palestine, Texas on January 21, 1902, the youngest of five children born to Mr. and Mrs. W.Y. Ballew. He studied arts at Sherman High School and Austin College before his interest in music was really sparked. It was at the University of Texas that he began to be involved in music. There together with his brother Charles Robert Ballew, he become entranced with jazz music. Smith Ballew's major concerns were with playing guitar and banjo, and he had undertaken formal studies in music, as well as wood-shedding his talents by learning jazz styles from a african american musician who lived close to town.
At the University of Texas, Smith and Charlie Bob met clarinet player and bandleader Jimmy Maloney, who invited them to join "Jimmy's Joys". Such was their success that by 1923 they headed to California, where the band recorded for Golden Records.
Then came a new orchestra in 1932, put together by Glenn Miller whom Smith Ballew knew well from early Ben Pollack days going back to 1927. This band featured Bunny Berigan on trumpet, and Chummy MacGregor on piano. The orchestra toured to New Orleans late in 1932 and such was the success at 'Club Forrest' they did not return until late in 1933. On the band's return, it broke up and Smith Ballew had little work. He recorded with musicians who were loyal to him during the New Orleans tour including trumpet player Stew Pletcher, and drummer Ray McKinley. Victor Young put together the rest of the recording sessions at American Recording Company (ARC). One memorable session included fellow Texans (and family friends) the Teagarden Brothers. Jack played a lovely solo on "Forbidden Lips" issued on Melotone 13029. As Victor Young was enticed to Join Decca as Musical Director by Jack Kapp late in 1934, some of the studio session work for Smith Ballew's Orchestra was taken over by the new ARC House Director, the much talented Russ Morgan. Glenn Miller continued to assist Smith Ballew throughout 1934 where possible, but demands were becoming greater on this bandleader- to-be. The Dorsey Brothers Orchestra took Number One priority, to be overtaken by newcomer Ray Noble who had arrived from England with his Manager/drummer Bill Harty and vocalist Al Bowlly. Smith Ballew's Orchestra took third and last position with Glenn Miller's time management. The final farewell for Smith Ballew as an orchestra leader was at a session for Columbia in April 1935. The four titles were released as 'Glenn Miller and his Orchestra' for the first time (Smith Ballew stated that this was an acknowlegement on his part to long-time friend Glenn Miller for his contributions to Ballew when he was bandleader).
The band was really Smith Ballew's nightly working outfit, but included musicians who were to star with the new Ray Noble Orchestra. As well, Bunny Berigan shone in solos with this band and Smith Ballew sang the now-classics "Moonlight On The Ganges" and "A Blues Serenade," issued on Blue Wax Columbia 3051-D. Shortly thereafter, Smith Ballew surrendered to changing demands and dissolved his orchestra, which was a hallmark of style in New York, and headed west to Los Angeles. Victor Young had arranged that Smith Ballew be offered the role of Compere in the Hollywood-based Radio Show "Shell Chateau" in 1936. Victor was Musical Director for Decca Records and N.B.C. Radio in Hollywood (Smith Ballew worked extensively on records with Victor Young; they had been friends since 1926 when Victor played violin in the Ted Fio Rito Band). The program, which was a high-rating Saturday night show, featured the best musical talent, feted sports celebrities and acclaimed Hollywood actors. In fact, Smith Ballew was carving out a name for himself as an actor when Sol Lesser invited Ballew to do a series of 'B' Westerns for Twentieth Century Fox as a singing cowboy. These have become cult movies in their own right. Smith Ballew retired from movie making in the early 1950's and concentrated on a new career in public relations with jet aeroplane maker General Dynamics and stayed with them until he retired in 1967.
He died in his home state of Texas on May 2, 1984. Smith Ballew was 82 years of age.
I hope you enjoy this as much as I have.
Best wishes,
Stu
______________________
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.
![Eric Helgar - Aus lauter Liebe [Out of pure love] (1937)](https://i.ytimg.com/vi/NkA94z0eiEs/hqdefault.jpg "Eric Helgar - Aus lauter Liebe [Out of pure love] (1937)
Performed by: Peter Kreuder mit seinen Solisten
Vocalist: Eric Helgar
Full Song Title: Aus lauter Liebe
Recorded in: June 28th, 1937, Berlin, Germany
A-side: https://youtu.be/FH0R4bpq2kg
Peter Paul Kreuder (born on August 18, 1905 – died on June 28, 1981) was a renowned German-Austrian pianist, composer, & conductor.
Kreuder was born in Aachen, the son of a Kammersänger. He began his piano studies at the Cologne Conservatory in 1910, where he gave his first concert just a year later, & at music academies in Munich, Berlin, & Hamburg. After World War I, he ventured into composing music for theatrical productions at the Hamburg Kammerspiele theater, at the Munich Staatstheater am Gärtnerplatz, as well as for several Kabarett & revue productions.
In 1925, he was employed as Kapellmeister at the Deutsches Theater München, & conducted theater ensembles, first in Munich & then in Berlin, where he worked with Max Reinhardt. In 1930, he met with Friedrich Hollaender, whom he assisted in arranging the musical score of Josef von Sternbergs film The Blue Angel, starring Marlene Dietrich. During the 1930s & 40s, he became one of the most sought-after German musical film composers; his credits run to some 150 movies.
Kreuder joined the Nazi Party in 1932, however, he resigned his membership in 1934. His compositions added to the intended development of a German light music genre as contrasted to the US big band style, though they contained a large deal of jazz & swing elements. He emigrated to Sweden in 1939, but returned to Germany two years later after threats against his relatives were launched by the Nazi authorities.
After World War II, Kreuder adopted Austrian citizenship & conducted radio orchestras in Brazil & Argentina. In the second half of the 1950s, he was occasionally the pianist of Joséphine Baker. He died in Salzburg & is buried in Munich Ostfriedhof, grave number 55-19-2.
Eric Helgar (born February 8, 1910, in Regensburg - died June 14, 1992, in Munich) was a popular German singer, stage, film actor & composer of the 20th century.
Born during his fathers tour, Swiss opera singer Gustl Helgar, Eric Helgar came into the world in Regensburg in 1910. He grew up in Zurich. At the age of 17, he moved to Berlin to live with his grandmother. There, he met Herbert Grenzebach, a friend of his father & the artistic director of the Ultraphon record company. Optimistically, Grenzebach said to Eric Helgar, [...] if your father has such a magnificent voice, you should be able to sing as well!, & invited him for a trial recording. Grenzebachs assumption was correct, Helgar secured his first record contract.
Eric Helgar owed his film career primarily to his popularity as a young record & radio tenor. His initial recordings were made for the Ultraphon label in December 1930 in Berlin, & thereafter, from 1932 onwards, almost exclusively for the newly established record label of Telefunken. However, during the early years, until about 1935, Helgar also worked, sometimes anonymously, for numerous other Berlin record companies. Helgars interesting, diverse, & versatile repertoire was carried by a pleasant, clear, expressive, & easily recognizable voice. It ranged from simple hits to tangos & sophisticated operetta melodies - such as those by Ralph Benatzky (e.g., Telefunken A 1702, 1934); & included equally demanding chansons & cabaret recordings to big-band swing from the late 1930s to the early 1940s. He made his film debut in 1933 with Was Frauen träumen & a year later, he played the lead role in Der Springer von Pontresina The song Wir wollen Freunde sein fürs ganze Leben from this film became a popular hit. From the mid-1930s, Eric Helgar became one of the main vocal interpreters of Adalbert Lutters popular dance orchestra for Telefunken, including at least one propaganda piece for the National Socialists (e.g., 70 Millionen - ein Schlag 1937).
Helgar is occasionally credited as the composer of his own songs, such as the summer tango Wo Meereswogen rauschen (TO Lutter, Telefunken A 2513, 1938, see the list below). He continued to appear in films until the end of World War II, including Gauner im Frack (1937), Friedemann Bach (1941), & Romanze in Moll (1943). In addition, he lent his voice to less musically talented actors like Karl Schönböck in the film Der Blaufuchs (1938). In 1944, Helgar was listed in the Gottbegnadeten-Liste (God-gifted List) of the Reich Ministry of Public Enlightenment & Propaganda.
Eric Helgar recorded well over 1000 records with many leading German dance orchestras, making him one of the most significant German-language vocal interpreters of the shellac record era.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
![Lale Andersen - Drei Rote Rosen [Three Red Roses] (1939)](https://i.ytimg.com/vi/O35qjgrLtIQ/hqdefault.jpg "Lale Andersen - Drei Rote Rosen [Three Red Roses] (1939)
Performed by: Lale Andersen mit kleinem Ensemble
Full Song Title: Drei Rote Rosen
Recorded in: August 2,1939
Flip side of: https://youtu.be/WM1Wac7sd-c
Lale Andersen (born 23 March 1905 – died 29 August 1972) was a German chanson singer-songwriter and actress born in Lehe (now part of Bremerhaven). She is best known for her interpretation of the song Lili Marleen in 1939, which by 1941 transcended the conflict to become World War IIs biggest international hit. Popular with both the Axis and the Allies, Andersens original recording spawned versions, by the end of the War, in most of the major languages of Europe, and by some of the most popular artists in their respective countries.
Andersen was born in Lehe and baptized Elisabeth Carlotta Helena Berta Bunnenberg, but known informally as ‘Liese-Lotte’—a diminutive of her first two names—to friends and family; this continued after her first marriage when she was known as ‘Liselotte Wilke’.
In 1922, aged 17, she married German Impressionist painter Paul Ernst Wilke (1894–1971). They had three children: Björn, Carmen-Litta, and Michael Wilke (1929–2017) the youngest of whom also enjoyed a career in the German music industry. Shortly after the birth of their last child, the marriage broke up. Leaving the children in the care of her siblings Thekla and Helmut, Andersen went to Berlin in October 1929, where she reportedly studied acting at the Schauspielschule at the Deutsches Theater. In 1931, her marriage ended in divorce. Around this time, she began appearing on stage in various cabarets in Berlin. From 1933 to 1937, she performed at the Schauspielhaus in Zürich, where she also met Rolf Liebermann,who would remain a close friend for the rest of her life. In 1938, she was in Munich at the cabaret Simpl, and soon afterwards joined the prestigious Kabarett der Komiker (Comedians Cabaret) in Berlin.
While at the Kabarett der Komiker, she met Norbert Schultze, who had composed the music for Lili Marleen. Andersen recorded the song in 1939, but it would only become a hit when the Soldatensender Belgrad (Belgrade Soldiers Radio), the radio station of the German armed forces in occupied Yugoslavia, began broadcasting it in 1941. Lili Marleen quickly became immensely popular with German soldiers at the front. The transmitter of the radio station at Belgrade, was powerful enough to be received all over Europe and the Mediterranean, and the song soon became popular with the Allied troops as well.
Andersen was awarded a gold disc for over one million sales of Lili Marleen [His Masters Voice – EG 6993]. It is thought that she was awarded her copy after the end of World War II. A copy of this particular gold disc owned by the His Masters Voice record company was discarded during the renovation of their flagship store on Oxford Street, London, during the 1960s where, hitherto, it had been on display. However, the disc was recovered and is now in a private collection. Nazi officials did not approve of the song and Joseph Goebbels prohibited it from being played on the radio. Andersen was not allowed to perform in public for nine months, not just because of the song but because of her friendship with Rolf Liebermann and other Jewish artists she had met in Zurich. In desperation, she reportedly attempted suicide.
Andersen was so popular, however, that the Nazi government allowed her to perform again, albeit subject to several conditions, one of which was she would not sing Lili Marleen. Goebbels did order her to make a new military version of the song (with a significant drum) which was recorded in June 1942. In the remaining war years, Andersen had one minor appearance in a propaganda movie and was made to sing several propaganda songs in English. Shortly before the end of the war, Andersen retired to Langeoog, a small island off the North Sea coast of Germany.
Andersen died of liver cancer in Vienna on 29 August 1972, aged 67, and was cremated at Feuerhalle Simmering. Her ashes are buried in Dünenfriedhof (i.e. Sand Dunes Cemetery), on Langeoog Island.
I hope you enjoy this as much as I have.
Best wishes,
Stu
Please Note: I do not claim copyright or ownership of the song played in this video. All copyrighted content remains property of their respective owners.")
