Judy Garland Long Playing records

I am supposed to be writing a blog about the many Judy Garland LP's I have, but have got caught up listening to Steve Gadd's sax playing of "Georgia on my Mind" on Spotify.  How the technology has changed in the last 50 years!

Most of my long playing records

"Annie Get Your Gun" and Hannah's favorite doll 

Hannah and me and a couple of favorites

Well, back to the LP's.  Hannah came to visit me for a couple of days and instead of searching through my many Judy books, CD's and DVD's she was fascinated by my collection of long playing records and pulled them all out of the cupboard, spread them all over the place and luckily my turn table still worked and we played some of them-"Annie Get your Gun" was one.

Strangely, or maybe not, I never get them out now.  When did they stop producing LP's?  Was it in the late 1970's or 1980's when CD's arrived on the scene?  These LP's have been with me seemingly all my life.  Originally I had 78's but I guess I left those behind when I came to the States in 1962.  Those early Capital LP's were so important - Miss Show Business, Judy, Judy in Love and so on.  A new one would be issued every six months or so and we would play the new one again, again, and again until the songs were firmly entrenched  in our souls.  In talking with Lorna Smith, sometime in the last few years, we both agreed that we didn't actually need to play the records any more, they were already in our heads and could be called to mind any time we wished.  There is a songs for all our moods, happy, sad, funny or what every was needed.

I look at the history of the records; some were bought in England in the 1950's, some in the States and even more in England in the 1970's.  "A Star is Born" was brought back to me by a boy friend visiting the States on business in 1955s  - I remembered being so disappointed that it was a record I already had.  I'd hoped he would have found something that was not issued in England.   But it did have the impressive package which we didn't have over there.

These poor old records have had a long and tiring life.  The journey to Los Angeles, California in 1962; a move up to Northern California in 1967, back to England again in 1970 for 3 years, then back to Northern California - where they had some peace for 20 years.  Then either off to Connecticut or Palm Springs (can't remember).  Finally back to Northern California about twelve years ago.

What are my favorites?  The classical Capital editions of  "Judy," "Judy in Love," "Alone," Miss Show Business" along with the special LP which was produced by DeRoy Sound Services for the British Club many years ago.  This includes the radio show were Judy talks with 3-year old Liza and many radio programmes where we can hear Judy laughing and giggling with stars like Bob Hope and Bing Crosby.  This material we did not have access to many years ago.  Nowadays people can find practically anything on YouTube.

There have been some discussions recently on various web sites about where Judy most enjoyed singing and many people were surprised that she enjoyed the recording sessions best.  This makes most sense to me.  Having been with Judy on couple of her recording sessions, I saw her in action there.  I also saw her in concert many times, also several of CBS shows.  In the recording studio she was in control - see my previous blog about being at the London Sessions - Judy worked with the musical director and musicians - they were a team producing a piece of art.  Live performances were exciting, but one had to consider what was happening back stage; how the audience was; whether Judy felt her voice was in perfect condition -  many factors which she could not control.  At the studio, she would listen to the play back and re-do the recording if she wished.  She also did not have to dress up; could wear her comfortable attire, pants, flat shoes and blouse.  She didn't have to put up with someone fussing with her hair or make-up.    She was completely at home there and these are my favorite memories.

Always for Judy,  Joan

PS Just watching Judy duets on PBS, thank goodness for PBS.  Mickey and Judy "You're so Right for me" perfect.

Review of latest publication from The International Judy Garland Club

"Sweet to Stunning" - Homage to Young Judy

I shuffled the papers on my desk and find it!!  The latest publication from Gary Horrocks, and suddenly I am transported back to those early years on the MGM set with Judy.

I thought how pleased Judy would be, if she were to look down at us from over the rainbow,  to see how well the club is doing.  She always loved to see the publications they issued and enjoyed meeting members. I think she would be proud of the club now.

John Fricke captures her early life and first work with the studio up to the movie, For Me and My Gal.

John Walther brings alive Judy's work on the radio, not only singing but acting in several Theatre shows including Lux Radio and The Chase & Sanborn programs (sometimes we are lucky enough to find these performances included as an extra with a Judy movie on DVD).  She worked with practically everyone in the entertainment industry even those outside of MGM!  We must not forget the many composers, musicians and musical directors of the era.  She performed 140 live radio programs in seven years, in addition to her movie work; mostly in her teen years.

But the most interesting article to me was the one by Jonathan Summers.  He documents his efforts to get Judy's 1960 recordings at EMI released starting in April 2000.  At that time the studio decided the material 'would not do the artist justice'.  What absolute rubbish!!  There was no doubt that Judy was in her finest voice then.  Thank goodness Jonathan persisted and later worked with First Hand Records and managed to get a package together.  He mentions his difficulties in getting photographs from these sessions and I thought ironically that if Lorna Smith and I had taken a camera in to the EMI studios on August 3, 1960 when we were with Judy when she recorded four songs, we could have given him our photos!!! But we had decided not to take a camera in as this might be distracting to Judy as she was working.  Oh Well!

Thank you Jonathan for your efforts and thank you Gary and Justin for producing another beautiful edition.

The London Studio Recordings 1957-1964

The "Judy Garland - London Studio Recordings, 1957-1964" CD set arrived and I knew I had to clear my schedule for a few hours.  Listening to Judy is never a background project for me!  So this Sunday afternoon I put away my latest book proposal and turned on the stereo.  I knew this would be an emotional afternoon, as certain songs bring an immediate smile to my face while others bring on the tears. 

As I listened to the London Studio Recordings, memories and thoughts flooded my mind:

My first thoughts were…what a complete collaboration there was between Judy and the orchestra.  Of course she had been recording since she was a teenager and it was part of her life.  Whatever troubles there were in Judy’s personal life at the time, it didn't matter when she was in the recording studio.  It never encroached upon her recording sessions.  There she could be natural and not bother with dressing up, because it was just her and the musicians.  She was at home, loving her craft.


I choked up right away as I heard the first track, “It's So Lovely To Be Back Again in London.”  I was at the opening of Judy's Dominion Theatre engagement on October 16, 1957, when she sang this song.  And I still have the small LP which Judy gave to the opening night audience members.

costume Judy wore for this opening song. 

Love the solo sax behind her during the soaring “…can’t go on” phrase in “Stormy Weather”.

“You Go To My Head” and immediately a smile comes on my face – such a playful song.

Judy sang this at the London Palladium 1960

“Rock-a-Bye” takes me back to Judy's engagement at the London Palladium in 1951.

Judy at London Palladium on opening night 1951

“It’s a Great Day for the Irish” and she is nineteen years old again!

The magnificent “I Happen to Like New York” – more tears.  I was in the studio when she recorded it; so glad she is resting there.

“Do It Again” – I remember the completely still theater and one small spotlight on Judy’s face as she performed this song at her Palladium show in 1960.

“Come Rain or Come Shine” – I remember thinking at the Dominion 1957 that this was the most exciting thing I had ever seen on stage.  She wore a feathered tomato red-colored dress, while the bongo drummer sat at Judy's feet.  He never left her side as they both gave each other encouraging and inspiring looks throughout the performance.  Then the orchestra soared behind them till the song reached its climatic finish.

“The Man That Got Away" – One of the best versions of this song.  Love the solo sax that comes in behind her.  If I could only have one song with me on a desert island, I would choose to have every version of this song.

“You'll Never Walk Alone” – When I first heard this song years ago (Judy recorded it the first time in NY in 1945, just after her marriage to Vincente Minnelli), I felt then it was nearly operatic.  She wanted so much to do a Broadway show.

“Chicago” and “San Francisco” – Happy songs and memories of Judy skipping around the stage.

Her voice was so strong and in its finest shape in 1960.  It's a shame the future tours were so demanding and pity she didn’t keep some of the money she earned.  Instead, her earnings went into other people’s pockets.

“Hello Bluebird” – We were at the London Palladium all day, cast as extras in the audience, while they filmed the concert scenes for her movie, "I Could Go On Singing."  I remember listening to the playback of this song over and over again as we sat in the theater, with Judy coming out now and then to film her sequences.  Oh!  Happy Day!  1962

"Blue Bird" British fan club members in Dress Circle

“(I’ll go my way) By Myself” – Very emotional, as she was in the last stages of her marriage to Sid Luft. 

“I Could Go On Singing” – Lorna Smith and I were invited to attend this recording session at the EMI studio in the summer of 1962.  We were standing at the side when Judy arrived escorted by Dirk Bogarde and she seemed surprised to see so many people – approximately 80 sitting on bleachers!  She quickly sent them off for some refreshments, perhaps to relax them.  (Thanks to Frank Labrador for putting me in contact with David Price for the  photographs from this evening.)    
Judy wore a black dress and very high-heeled shoes, which quickly came off when she turned and began to sing (with her back to us).  These recordings, which were made when I was actually present in the studio, are very emotional for me.

Judy at EMI studios getting ready to sing.  Lorna Smith and I were in the group somewhere? 

Judy recording "I Could go on Singing" for movie of that name

Judy with her children + Lorna Smith over on the right edge.

In 1964, Judy was not supposed to have sung for a long period after being ill in Hong Kong earlier that year.  But she came back to London, went to a benefit and they encouraged her to sing – and off she went again!  Four joyful “Maggie May” songs were recorded in August 1964, during the 6 months she lived in England.

Judy with Lionel Bart in 1964

“Lucky Day” – She sang this song so often in concerts, usually at the beginning of the show.  Brings back good memories.

“Stormy Weather” – Love the solo horn and sax “singing” around Judy’s voice.  This is perhaps the most beautiful of all the London Studio recordings. 

Love “Please Say “Ah” – So nice to hear something new.

Those moments when I was in Judy’s presence at a recording studio or at concert seem to me as if they only happened a few months ago.  They are so clear in my mind.  As I mentioned above, Lorna Smith (my friend and then current president of Judy Garland's fan club) and I were very lucky to have witnessed one of her recording sessions at the EMI Studios on August 3, 1960.  Many years after this recording session, Lorna Smith asked Judy about her beautiful and sensitive rendition of “Why Was I Born?” she recorded that day and Judy giggled, "I expect they lost it!”  Thank goodness they didn’t lose it…or any of the other songs she recorded at the EMI Studios.  Now we all can enjoy them.

Judy Garland recording the London Sessions at EMI 1960

I thought I should share my memories of being with Judy one evening at the Abbey Road studios in 1960, particularly as the recordings are being re-issued.  The following is an extract from material I have written many times before and will be in the book, when it ever materializes!!    

          'Lorna Smith called Judy and spoke to her on Sunday, 31 July at 1:15 pm, while Judy was at the Westbury Hotel in London.  Lorna inquired how she was and chatted about her recent trip to Rome and diets; both were trying to lose weight.  Judy asked how the club members were and she thanked Lorna again for the lovely presents and flowers and for thinking of the children.  Lorna replied that Judy had given the fans lots of pleasure and this was the only way to show it.  Judy commented that it was very sweet and she appreciated it.

taken a few days before at Press Reception

          When asked about the children, Judy told Lorna that she would stay in Europe for a while and that the younger children would join her soon.  She said that Liza was in the French Alps now with six other girls, learning the language.  Judy said she would join her the Sunday after the recording sessions and go to Geneva, where Liza was for a while.  Then they would spend two or three days in Paris before returning to London.

          Lorna then asked Judy if it would be possible for us, me and her, to come to one of the sessions.  Judy replied, “Why, of course.  I’d be delighted to have you come along.  I’ll leave word at the door.”   When Lorna asked which day would be convenient, Judy replied, “Any time you like.  I’m recording Tuesday, Wednesday, Thursday, and Friday at 7:30 pm.  Any evening you come along will be alright.  Do you know where it is?  Abbey Road?  That’s right….St. John’s Wood.”  Lorna thanked her and said “It’ll be lovely to see and hear you sing again.”  Judy thanked Lorna for phoning, called her "dear" and said she looked forward to seeing her sometime next week.

          I consider this time when she was happy, well and singing at the studio to be my favorite memory.  I was terribly shy at that time and in great awe of her.  We did not take any cameras because she was working and we did not want to distract her.  The first day we were unlucky because the guards would not let us into the studio so we stood outside.  Judy waved to us from the steps, probably wondering why we were not in the studio.  Lorna called her the next day and explained.  Judy said she would make sure that we got in the next day.  As the limo drove up, Judy jumped out and dragged us into the car.  Sid had just arrived from the States.   As Sid, Lorna and I tried to keep up with her as she scurried (there is no other word for it, Judy walked fast) down the corridors, she kept turning back to us saying, "I don't know why you want to listen to this - it will be so boring.”  Judy could draw out the words and emphasize them.  We insisted we would not be bored -- we were in seventh heaven.  Judy was unfailingly polite; everyone was always introduced to everyone else; this was how she was.  Sid was charming as he always was to the fans, and he looked very handsome in a beige suit, always well dressed.

          Before the session began, the recording manager had strolled over to tell us Judy's voice was better than ever and she had made five wonderful recordings the night before.  (These would later to be on the London Recordings).  The studio people wanted to put us away from the recording area.  I suppose in case we made a noise and spoiled the recording, but Judy would not have it.  "I want the girls up here with me" she insisted and we were given two chairs about three feet away behind her.  We sat there like two very small mice, scarcely breathing.  She told us she preferred that we did not face her, as this would distract her while she sang.

          The songs she recorded that evening were, "I Happen to Like New York", "Why Was I Born?", "Swanee" and "You'll Never Walk Alone.”  She would record one song and then we would go into the sound proof room and listen to it in the playback.  At one point after one version of “I Happen to Like New York”, another guest, an English girl pop singer, made some disparaging remarks about New York.  It was along the lines that it was a dirty smelly place.  Judy stood looking down at sheet music on a table, said quietly and very firmly, “I happen to like New York!”  

Norrie Paramor

          Norrie Paramor was conducting the orchestra with about 12 people in the chorus.  She told them they had to sound like 50 -- so "sing big" or something like that.  Another time while she was doing “Swanee” and the orchestra didn't know how it went (the pauses, etc.), Judy went through it with them, encouraging them and showing them exactly how she wanted it to go; guiding and advising the chorus and orchestra on rhythm, tempo, pitch and volume.  She was always very sweet, charming, and funny; she also knew exactly what was going on at every moment.  Even when singing with intense concentration, she could pick out a fault in the orchestra or chorus.  She would sing over some of the lines for the chorus, sometimes conducting, leading, and almost willing them to perfection. "Could you sing a little louder there?" she inquired at one point to the chorus.  She grinned.  The leader suggested he stopped his note when Judy stopped. "I don't stop," smiled Judy, "I hold it through to the end." (The chorus collapsed in laughter.)

       Sid and Judy seemed to be on good terms.  He would give input to recordings and she would, good-naturedly, do it again.  At one point she turned to us when Sid was rubbing his eyes, "He is suffering from jet lag!"  Later, she would say to us "Would you like some tea?"   She was wearing flat shoes, black pants and a lovely blue shirt she had brought back from Italy.  She was not heavy, but she was at the weight which was correct for her and she looked comfortable with.  She wore lipstick and very little other make-up.  Her hair was just normally curled.  I remember at one point she was laying back in the chair, laughing with her feet on the table and I noticed she wore nylons under her pants/trousers.  I guess at that time I had not met many American women and we always wore ankle socks with sneakers and pants.  I doubt we had jeans then.  I considered her extremely elegant.

        Many years later Lorna Smith asked Judy about the recording she had made that day of "Why was I Born", commenting how beautiful it was and asked what they did with it.  Judy laughed and said, "I expect they lost it."  That is how she was -- a funny, charming, woman.   It is nice to know that these recordings have been discovered and are being re-issued.'

    

   

Taken just after recording sessions

        

Dowlin's "Judy Garland was too Pure for this world" and Broadway Melody of 1938

I was taken by some of Joan E Dowlin’s thoughts and comments in her blog entitled “Judy Garland was too pure for this world” on the Huffigton Post.  I’d always felt that many of Judy’s problems came about because she trusted people too much.  She was too sweet, loving and sensitive to survive in this harsh world. But no matter what slings and arrows she encountered her natural pureness never waived.  She picked herself up from the batterings she received from MGM, “Annie,” “Star,” and TV series, Group V and embraced life with joy and spirit.

Dowlin’s use of the phrase “essence of Garland” reminded me of my talks with Lorna Smith (Lorna, knew Judy very well over many years and particularly during the last 6 months of her life) and commented to me “They don’t understand the essence of Judy” (we may have been talking about the dreadful new play in London and now NY about Judy).   The essence of Judy was pure and loving; there were times the frustration of the latest bruising would overcome her and she would rail against the world but moments later her good nature would return. 

Dowlin also talks of how Judy threw her whole self into every film, tour, television special she did to the detriment to her heath.   This is true; Judy had a great need to share her music and art with her audiences.    

At the time I read this blog I happened to view an early Judy movie, Broadway Melody of 1938- and this may have been the first time I had seen the whole movie, apart from the many Judy excerpts--it was surprisingly good!  George Murphy was a good old standby “song and dance man”, without the grace or flare of Astaire or Kelly.  I read he was downhearted because he didn’t get the lead in “For Me and My Gal”, but I digress...  I always enjoyed the grace and talent of Eleanor Powell and imagined how Judy would have been on the set of the filming of the big musical numbers.  And, of course, she met Sid Luft for the first time as he was around, escorting Powell.  I thought how he must have enjoyed the horse racing scenes!   Again I am digressing…

The first thoughts upon seeing Judy in the first scene was her freshness and vitality and then I noticed the lollipop she was sucking.  Now Judy was fifteen then--was MGM trying to make out she was twelve years old?  I doubt many twelve year olds go into an audition with a lollipop!  I noticed she wore ankle socks in all scenes.   Judy overcame these obstacles, of course, had some magnificent songs which have gone down in history.  As I watched Sophie Tucker sing her classic “Some of these days” I realized how perfectly Judy had recreated this in her Broadway tribute, down to the exact phasing and pauses.  As she often said, “I have seen the best.”

Lorna Smith and me at Victoria Station, I believe

Did everyone see the posting by Joan E Dowlin on Huffington Post?

Joan is a musician and posted a beautiful piece titled: Judy Garland Was Too Pure for This World.

My sentiments entirely, and the article or post is well worth reading. I will write more about her posting later.   So now I have signed up to blog on Huffington Post because I guess this is where I found her article.

The whole technology thing is out of hand.  How can I find time to write when I've got to keep blogging?

People keep asking about the next blog?  I'm still putting together a package for the university presses.  The requirements for university presses are really quite exciting and so much more specific than regular book proposals and I'm leaning a lot.

Really I'd like to get on and write about Chairman Mao or Billy Joel instead of these book proposals.

Oh well, back to the drawing board as they say.

Happy Birthday to Gary Horrocks today - did I get the spelling right??  

Entertaining the Troops

I consider myself lucky to have some lovely Judy friends, and one of them is Amanda, whose specialty is Judy's recording career.  A while ago I asked her if she had any material on Judy entertaining the troops because I am trying to emphasize Judy's war time work and to bring out Judy big heart and caring nature-she was one of the first artists to participate on ratio programs to British in the early days of the war.

Well, Amanda sent me today a 5 page article from Modern Screen, February 1944 about a tour called the Hollywood Bond Cavalcade.  Others participating were James Cagney, Betty Hutton , Jose Iturbi, Astaire, Kathryn Grayson, Dick Power, Kay Kyser and Mickey Rooney of course.  It must have been a blast.  I'm going to incorporate it into my chapter on Entertaining the Troops.    Thank you Amanda.

Hollywood Cavalcade

I'm being inundated with emails and phone calls from the self-publishing people - I assume they must make a lot of money by how anxious they are to have my business.  Been reading so many books on publishing and these people are classified as the vanity press!!

Going to have a try the university press field as I feel my book is more academic than sensational - not that it is boring because nothing could be boring to do with Judy.  

It is suggested in several places that I give chapters to friends to read and comment on and so if anyone is interested, let me know.   I'm covering everything, early childhood, MGM years, concert years (including my write-ups which I'm sure many of you have already seen) television etc.

Thanks for your support and encouragement.   joan