Duane Keilstrup Broadcast Archives
August, 2016

Philco Radio Click to hear the Program of 8-7-16

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 219


This Eddie Hubbard Special of January 11, 1990, offers a celebration of love in songs relating to the four seasons. Eddie plays great recordings beginning with a winter love song during a frightful snowfall, namely, “Let It Snow” by Vaughn Monroe and featuring the Norton Sisters. What a great recording! This song reminds us that from 1940 to 1954, Vaughn Monroe had close to 70 chart records, including many #1 hits. Three of those songs, “Let It Snow,” “Riders in the Sky,” and “Ballerina,” rank among the all-time top #1 songs, each dominating the Billboard charts for 10 weeks or more. Vaughn was known as a pretty good trumpet player who was blessed with one of the most memorable singing voices in the history of recorded music. His vocal range could not compare with the likes of Bing Crosby or Perry Como, “Yet, when that baritone hit the stage, it was magic.” (reference.com)

Johnny Mercer and Margaret Whiting get together on “Baby It’s Cold Outside.” Jo Stafford does “September in the Rain,” and Mel Torme sings “Autumn in New York.” Engelbert Humperdinck performs “Winter World of Love,” and Eydie Gorme recalls “The Things We Did Last Summer (I’ll Remember All Winter Long).”

Spring and summer offerings include “The Summer Wind” with versions performed by both Wayne Newton and Frank Sinatra, “Happy Summer Sounds” by Robert Goulet, “Cruising’ Down the River” by Blue Barron, “Spring Is Here” by Carly Simon, and “When the Swallows Come Back to Capistrano” by the Ink Spots.

One song, “Autumn Leaves” by Nat Cole, had to be deleted because of an audio malfunction, but Eddie tosses in 3 Extras suitable in any season with “Nevertheless” by the Mills Brothers, “I’m a Prisoner of Love” by Perry Como, and the curio “Spanish Flea” by Herb Alpert and the Tijuana Brass.


Special thanks to Jerry Haendiges Productions for expert restoration of the original studio tape for rebroadcast. This program is available for purchase online from Jerry Haendiges Productions.


Philco Radio Click to hear the Program of 8-14-16

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 220


On this Eddie Hubbard Special of March 3, 1990, the focus is on waterways and romance, highlighted by “Galway Bay” by Bing Crosby.

There are many more great H2O tunes like “Ebb Tide” by Frank Chacksfield and Roy Hamilton, “Paddlin’ Madelin Home” by Johnny Mercer and Bobby Darin, “When My Dreamboat Comes Home” by the King Sisters, “Beyond the Sea” by Bobby Darin, “Red Sails in the Sunset” by the Platters, “Harbor Lights” by Ray Anthony and Ronnie Deauville, “I Threw a Kiss in the Ocean” by Peggy Lee, and “A Sailboat in the Moonlight” by Guy and Carmen Lombardo, a song composed by Carmen, along with other songs like “Boo Hoo,” “Seems Like Old Times,” and “Powder Your Face with Sunshine.”

Eddie also plays some first-class instrumentals like “(I’d Like to Get You) On a Slow Boat to China” by Eddie Howard, “Up a Lazy River” by Al Hirt. and “Down By the Riverside” by Ronnie Kole. A waterway special is “Old Man River” by William Warfield.

Eddie fills up the hour with recordings by the Crewcuts, Judy Collins, and Kai Winding who performs a fitting “More,” which expresses our wish for more romantic songs relating to waterways. And, of course, there are many such songs to choose from, such as “Sleepy Lagoon,” “ Across the Sea,” “Love Letters in the Sand,” “Down by the Seashore,” “How Deep is the Ocean,” “Isle of Capri,” “On Treasure Island,” “Red River Valley,” “‘Cross the Wide Missouri,” “Stranger on the Shore,” and “Surfin’ USA.” And, of course, there are countless romantic rain songs (like “Singing in the Rain” and “Listen to the Rhythm of the Falling Rain”) but these should be in a special category of their own, and Eddie plays some of them on a later show. Can’t say the same for songs like “Splish Splash.”

"There's nothing more beautiful than the way the ocean refuses to stop kissing the shoreline, no matter how many times it's sent away." -- Sarah Kay

Special appreciation goes to Jerry Haendiges Productions for restoring the original Eddie Hubbard studio tape for rebroadcast.


Philco Radio Click to hear the Program of 8-21-16

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 221


Thomas Edison said, “Life’s most soothing things are a child’s goodnight and sweet music.” Memories of my kids’, grandkids’, and great grandkids’ goodnights confirm the first part of that quote, and today’s show helps confirm the second.

It’s Eddie Hubbard’s soothing Special devoted to delightful sweet music. The show is dated November 15, 1989, and I am pleased to rebroadcast it on CLASSICS & CURIOS almost 30 years later.

Bing Crosby’s joyful “Sweet Georgia Brown” alone is worth listening to this show. But there is much more. Besides Bing’s great recording, Eddie plays such great sweet tunes as “Sweethearts on Parade,” “Sugar Time,” “Candy Kisses,” “A Taste of Honey,” “Kisses Sweeter Than Wine,” “When My Sugar Walks Down the Street,” “Sugar Blues,” “Candy,” “Sweet Eloise,” “Sweet Lorraine,” and “Roses and Lollipops.

Featured artists, to name a few, include Nat King Cole, Johnny Mercer and the Pied Pipers, Tony Bennett, the McGuire Sisters, Guy Lombardo and Kenny Gardner, Glenn Miller and Ray Eberle, Clyde McCoy, Jimmie Rodgers, and Jack Jones.

Under the influence of jazz greats like Bessie Smith and Ethel Waters, but especially Louis Armstrong, young Bing Crosby sang with the rhythm of swing, cool energy, precise articulation, improvised phrasing and fun scat-singing in a “vibrant, virile baritone.” [Gary Giddins, online] No wonder that Bing’s jazz-influenced “Sweet Georgia Brown” is my favorite recording of this tune, although other artists have had great versions, such as Django Reinhardt in the 1930’s and Ethel Waters in the 1920’s. Also worth listening to still today are stylized versions by Cab Calloway, the California Ramblers, Ella Fitzgerald, the Nat King Cole Trio, Ray Charles, Count Basie, and even Harry James. And the almost endless list goes on, even by the Beattles when the group backed singer Tony Sheridan in Hamburg, Germany. A classic version continues as a warm-up song by the Globetrotters, a whistling instrumental from 1949 by Brother Bones and His Shadows.

Thanks, Eddie, for some positive sweet music to brighten our day. Truly, in songs and every day speech, “Pleasant words are a honeycomb, sweet to the soul and healing to the bones.” — Pr. 16:24


[Quotation and paraphrasing above about Bing are from “Music; Bing Crosby, the Unsung King of Song” by Gary Giddins, online.] Many thanks to Jerry Haendiges Productions for remastering the original studio tape for this rebroadcast


Philco Radio Click to hear the Program of 8-28-16

This Week's Classics & Curios Show:

"Echoes of Songs and Laughter"

Episode 222


Here’s a “super duper” special from Eddie that was first broadcast July 4, 1990. Eddie briefly calls attention to the usual July 4 celebrations but then proceeds on to do a show focusing on “Songs That Say It All” — a celebration of sorts of great recordings.

Eddie plays two versions of “All the Things You Are,” one of my all time favorite songs and also two versions of “That’s All.” Artie Shaw’s and Nat King Cole’s brilliant versions stand out among those four recordings.. Outstanding also are Mitch Miller’s “All I Do (Is Dream of You),” Patsy Cline’s “Always,” Fats Waller’s “All My Life,” Perry Como’s “All Through the Day,” Ella Fitzgerald’s “All Through the Night,” Frank Sinatra’s “All Or Nothing at All” and “All the Way,” and Peggy Lee’s “All I Need Is You.”

Polly Bergen, the Everly Brothers, Mel Torme, Brenda Lee, and Jackie Gleason contribute even more fine performances, along with Helen Forrest.

Along the way, Eddie explores the definition of the word “all” through songs that provide possible meanings. But the “all” in “All the Things You Are,” is a little more complex. The song composed for the unsuccessful Broadway show “”Very Warm for May” in 1939, “is a straight forward love song that praises the qualities of one's intended, yet the perfect blending of words and music make it exceptional. Hammerstein's lyric is enthrallingly romantic (‘You are the promised gift of springtime’) without crossing over into mawkishness [extreme sentimentality], while Kern's music is ingenious and boldly adventurous. Kern wrote the odd but effective key and tempo changes for his own satisfaction and often stated that he never thought the song could become popular because it was too complex for the layman's ear. Yet the melodic line captivates even as one is aware of its strangeness.” (Thomas S. Hischak, THE TIN PAN ALLEY SONG ENCYCLOPEDIA, p. 13).

“Critic Arthur Schwartz is said to have called it ‘the perfect song’. It appeared eleven times on ‘Your Hit Parade’ and occupied first place twice. Charles Hamm lists it as number 40 on his list of ‘Top Forty: The Most Often Recorded Songs in America, 1900-1950’. It is also one of Variety's ‘Golden 100’. Considering the complexity of the music of the song, as distinct from Oscar Hammerstein's straightforward amorous lyrics [yet with artistry in creating what he called ‘Phonetics’ - the careful manipulation of vowel and consonant sounds], this degree of documented renown is most unusual…It has often been sung and recorded in aria fashion by singers trained in the classical idiom—for example, by the motion picture star Irene Dunne…And, of course, it remains, a jazz staple.” (Allen Forte, THE AMERICAN POPULAR BALLAD, p. 73, hard cover edition). [Editor's note: To compare, listen to the Beverly Sills (classical) and 1972 Carmen McRae (jazz) versions in the Record/Video Cabinet.]

Critic Jamie Rosenn adds, “Dance versions of the tune started surfacing in the early forties by Tommy Dorsey and Guy Lombardo, but it wasn’t until around 1945 when the tune became a vehicle for improvisation. Musicians such as Charlie Parker and Dizzy Gillespie would call the tune at jam sessions and found that the song’s harmonic complexities would weed out the musicians who were from the swing era and were used to more static chord progressions.” (“Behind the Standard,” online, 2010)

In past programs I’ve mentioned the deep personal meaning of the song to me and my wife. Beyond that, to me, a simple layman critic at best, suffice it to say, the song is simply captivating, touching, and beautiful in melody and lyrics, much like Hoagy Carmichael’s and Mitchell Parish’s “Stardust.” To me, these compositions are America’s two most amazing and unforgettable popular songs.


Special thanks to Jerry Haendiges Productions for remastering the original studio tape for this rebroadcast!