Makin' Whoopee with

Makin' Whoopee with "Banjo Eyes"

by Eddie Cantor
     
 

Eddie Cantor progressed during his long career successively through vaudeville, Broadway, film, radio, and television, with some overlap. Cantor's work in the recording studio should be understood as a complementary adjunct to his efforts in his main areas of performing rather than an equal part of that career. His biographer, Herbert G. Goldman, lists recording… See more details below

Overview

Eddie Cantor progressed during his long career successively through vaudeville, Broadway, film, radio, and television, with some overlap. Cantor's work in the recording studio should be understood as a complementary adjunct to his efforts in his main areas of performing rather than an equal part of that career. His biographer, Herbert G. Goldman, lists recording sessions stretching from 1917 to 1960, and Pop Memories, Joel Whitburn's book of chart recreations, lists 24 hits for him between 1917 and 1950, including three, "Margie," "No, No, Nora," and "If You Knew Susie," that peaked at number one. But this is deceptive. Cantor first went into a commercial recording studio shortly after his transition from vaudeville to Broadway in order to produce a disc version of two songs he was singing in the Ziegfeld Midnight Frolic, and that set a pattern for his recorded work. At a time when records didn't sell all that well, his recordings tended to shadow his stage, film, and radio triumphs, not to serve as an independent source of expression. In its usual manner, ASV/Living Era, the British archival label, has created a survey of his recording career in Makin' Whoopee with Banjo Eyes by doing digital transfers of 78 rpm records and then taking, in the words of a sleeve note, "endless care...in restoration" of the sound quality. Unfettered by the legal niceties that would make such a collection impossible in the U.S. (though the import was readily available domestically upon release), the compilers include recordings originally issued by Emerson, Columbia, Victor, Melotone, and both the British and U.S. Decca labels, as well as an otherwise unrecorded song ("Yes, Yes, My Baby Said Yes, Yes!") taken directly from the soundtrack of the 1931 film Palmy Days. All of Cantor's best-known songs are included, though the compilers have not stuck to the actual hit versions in all cases. The compilers seem particularly embarrassed by the low sound quality of the recordings made up through 1925, before the onset of electrical recording, and have included only six tracks from this period even though the bulk of Cantor's hits date from this era. Thus, the versions of the hits "That's the Kind of a Baby for Me," "Margie," and "Oh! Gee, Oh! Gosh, Oh! Golly, I'm in Love" are re-recordings, as is "Makin' Whoopee," even though its original recording was done in 1928. In a bow to the album's U.K. origins, several recordings made and released only in Britain in the 1930s are included. The overall result is a collection that covers a lot of ground without being completely satisfying, though in one version or another it features all of the songs most closely associated with Cantor. [Note that many of the recording dates listed in the CD booklet are incorrect. Someone seems not to have realized that Americans and Britons differ on how to read numerical abbreviations of dates. For example, to an American, 9/12/24, the day on which Cantor recorded "Doodle-Doo-Doo," is September 12, 1924; to an Englishman, it is December 9, 1924, and that's how it has been rendered, erroneously, here.]

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Product Details

Release Date:
10/24/2000
Label:
Asv Living Era
UPC:
0743625535723
catalogNumber:
5357

Tracks

  1. Makin' Whoopee  -  Decca Studio Orchestra
  2. You'd Be Surprised  -  Studio Orchestra
  3. No, No, Nora  -  Columbia Studio Orchestra
  4. Charley, My boy  -  Columbia Studio Orchestra
  5. Doodle Doo Doo  -  Columbia Studio Orchestra
  6. If You Knew Susie (Like I Know Susie)  -  Columbia Studio Orchestra
  7. Oh! Boy, What A Girl  -  Columbia Studio Orchestra
  8. If I Give Up The Saxophone, Will You Come Back To Me?  -  Victor Studio Orchestra
  9. Yes! Yes! (My Baby Said "Yes Yes")  -  Orchestra
  10. Mandy  -  Decca Studio Orchestra
  11. Okay, Toots!  -  Decca Studio Orchestra
  12. When My Ship Comes In  -  Decca Studio Orchestra
  13. That's The Kind Of Baby For Me  -  Jay Wilbur & His Orchestra
  14. Little Lady Make-Believe/Says My Heart  -  Ambrose Orchestra
  15. Lambeth Walk  -  Ambrose Orchestra
  16. Yes Sir, That's My Baby  -  Decca Studio Orchestra
  17. Oh! Gee, Oh! Gosh, Oh! Golly, I'm in Love  -  Decca Studio Orchestra
  18. They Go Wild, Simply Wild, Over Me  -  Decca Studio Orchestra
  19. We're Having A Baby (My Baby And Me)  -  Decca Studio Orchestra
  20. Now's The Time To Fall In Love  -  Decca Studio Orchestra
  21. Ma (He's Making Eyes at Me)  -  Decca Studio Orchestra
  22. Margie  -  Decca Studio Orchestra
  23. How Ya Gonna Keep 'Em Down On The Farm?  -  Decca Studio Orchestra
  24. Dinah  -  Decca Studio Orchestra
  25. Alabamy Bound  -  Decca Studio Orchestra
  26. Ida! Sweet as Apple Cider  -  Decca Studio Orchestra

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Album Credits

Performance Credits

Eddie Cantor   Primary Artist
Leonard Joy   Track Performer
Victor Young   Track Performer
Frank Guarente   Track Performer
Charles Adams Prince   Track Performer
Columbia Studio Orchestra   Track Performer
Studio Orchestra   Track Performer
Victor Studio Orchestra   Track Performer
June Clyde   Track Performer
Decca Studio Orchestra   Track Performer
Orchestra   Track Performer

Technical Credits

Noel Gay   Composer
Eddie Leonard   Composer
Colin Williams   Cover Photo
Sam M. Lewis   Composer
Peter Dempsey   Liner Notes
Martin Haskell   Remastering
Joe Young   Composer
Harry Akst   Composer
Fred Fisher   Composer
Douglas Furber   Composer
Tim Debney   Remastering
Joseph McCarthy   Composer
Eddie Munson   Composer
John Egan   Composer

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