120836bk BobHope 3/10/06 5:09 PM Page 2 1. Put It There Pal 2:23 6. My Favorite Brunette 3:06 12. Blind Date 3:12 16. Nobody 2:06 (Johnny Burke–Jimmy van Heusen) (Jay Livingston–Ray Evans) (Sid Robin) (Bert Williams–Alex Rogers From Road to Utopia From My Favorite Brunette With Margaret Whiting,The Starlighters & From The Seven Little Foys With Bing Crosby;Vic Schoen’s Orchestra With Dorothy Lamour; Billy May’s Orchestra With Veola Vonn; Orchestra conducted by Decca 40000, mx DLA 3686-A Paul Weston’s Orchestra Capitol 1042, mx 6018-1 Joe Lilley Recorded 8 December 1944, Los Angeles Capitol 381, mx 1691-3 Recorded 11 May 1950, Hollywood RCA Victor LPM 3275, mx F2PL 1443 2. Road to Morocco 2:33 Recorded 13 February 1947, Hollywood 13. Home Cookin’ 2:48 Recorded 1955, Hollywood (Johnny Burke–Jimmy van Heusen) 7. Sonny Boy 1:31 (Jay Livingston–Ray Evans) 17. I’m Tired 2:20 From Road to Morocco (Al Jolson–Buddy DeSylva–Lew Brown– From Fancy Pants (William Jerome–Jean Schwartz) With Bing Crosby;Vic Schoen’s Orchestra Ray Henderson) With Margaret Whiting,The Starlighters & From The Seven Little Foys Decca 40000, mx DLA 3687-A With The Andrews Sisters Billy May’s Orchestra Orchestra conducted by Joe Lilley Recorded 8 December 1944, Los Angeles From Radio’s Biggest Show broadcast, Capitol 1042, mx 6011-4 RCA Victor LPM 3275, mx F2PL 1443 3. The Big Broadcast of 1938: Radio 18 June 1946 Recorded 11 May 1950, Hollywood Recorded 1955, Hollywood Preview (Excerpts) introducing 8. Buttons and Bows 2:57 14. Anchorage Monologue from 18. Chinatown, My Chinatown 2:25 Thanks For The Memory 6:01 (Jay Livingston–Ray Evans) Chesterfield program, Anchorage, (William Jerome–Jean Schwartz) (Leo Robin–Ralph Rainger) From The Paleface Alaska 3:22 From The Seven Little Foys With Shirley Ross,W.C. Fields; With the Clark Sisters and Orchestra Our Pacific Tour album, Side 1; With ‘The Foys’; Orchestra conducted by Paramount Studio Orchestra Capitol 15292, mx 3472-3 mx HEO-MC-7018-1 Joe Lilley Paramount Radio Recording, 1938, Recorded 14 October 1948, Hollywood Recorded 1950 RCA Victor LPM 3275, mx F2PL 1444 Hollywood 9. Bob Hope Broadcasts to the 15. Wing Ding 2:40 Recorded 1955, Hollywood 4. The Lady’s In Love With You 2:34 US Marine Corps from (Jay Livingston–Ray Evans) 19. Road To Morocco: Radio Preview (Frank Loesser–Burton Lane) Camp Pendleton, California 4:56 From Son of Paleface (Excerpts) introducing ‘Road to From Some Like It Hot Capitol 10050/49, mx 1050-1, 1051-1 With Jane Russell; Joe Lilley’s Orchestra Morocco’ 5:46 With Shirley Ross; Harry Sosnik’s Orchestra Wartime broadcast Capitol 2109, mx 10077 (Johnny Burke–Jimmy van Heusen) Decca 2568, mx DLA 1779-A 10. Bob Hope introduces ‘Lucky Us’ 0:15 Recorded 7 May 1952, Hollywood With Bing Crosby, Ken Carpenter, Recorded 16 June 1939, Los Angeles Capitol DJ Promotional Record, mx 5224-1 Paramount Studio Orchestra 5. Bob Hope Broadcasts to the US Navy Recorded November 1949, Hollywood Paramount Radio Recording, 1942 from Great Lakes Naval Training 11. Lucky Us 2:50 Transfers and Production: David Lennick • Digital Restoration: Graham Newton Station, Chicago Illinois 4:49 (Jay Livingston–Ray Evans) Original monochrome photo of Bob Hope from GAB Archives / Redferns Capitol 10049/50, mx 1048-2, 1049-2 From The Great Lover Wartime broadcast With Margaret Whiting;Billy May’s Orchestra Capitol 57-783, mx 5202-3 Recorded 2 November 1949, Hollywood 5 8.120836 6 8.120836 120836bk BobHope 3/10/06 5:09 PM Page 1 exhibited; the duo’s ability to ad-lib, unfettered such as The Paleface, Son of Paleface, and in which Hope played vaudeville star Eddie Foy Television journalist Hugh Downs once BOB HOPE Thanks for the Memories by the sterile recording studio atmosphere. Fancy Pants. In 1948, Hope recorded in a surprisingly good performance that said,‘Bob Hope cuts across every strata of Original 1938–1955 Recordings Of course, no Hope tribute would be Livingston and Evans’ Buttons and Bows, departed from his usual wisecracking n’er-do- America and reaches everyone with a TV set or complete without one of his monologues to U.S. which won an Oscar that year for Best Song. It well. Nobody, was, of course, the signature a GI dog tag’. But comedian Steve Allen Simply put, Bob Hope (1903–2003) was the Hits’, one could not ignore his personal servicemen. A Bob Hope monologue changed was Dinah Shore’s version, however, that topped song of the legendary Bert Williams, who first condensed Bob Hope’s status even further: ‘He most famous entertainer of the 20th century. appearances, since that aspect of his career is only in its content. Whether it came from 1940 the charts, becoming one of the biggest hits of recorded it in 1906. It’s a shame that Hope is a social institution’. That statement is no exaggeration because who what made him, more than anything else he did, or 1990, they had their own unique rhythm. the year. Hope’s recording was not as didn’t do more serious acting. Performances was more well known, in every corner of the a legend of American show business. With an ever-present golf club propped casually convincing as Shore’s; he used an overly affected such as this showed off his all-around talents as Cary Ginell world, than Bob Hope? For most of his Hope didn’t make his first commercial over his shoulder, Hope transitioned effortlessly western accent that didn’t come across well on not just a reader of one-liners but a superb – Grammy-nominated writer/producer and professional career, it seemed as if Hope was records until November 1938, when he from one joke to another, whether they bombed record while Dinah, thanks to growing up in singer, dancer, and actor as well. winner of the ASCAP/Deems Taylor Award. everywhere: on radio, television, in films, on recorded Thanks for the Memory for Decca or left his audience helpless with laughter. Winchester,Tennessee, had no trouble at all. records, and, of course, his multitude of personal with Shirley Ross, his co-star in his breakthrough Hope delivered his rapid-fire monologues like Possibly looking back to his success with appearances, both at home and with the troops appearance in The Big Broadcast of 1938. he was double-parked. Shirley Ross, Capitol paired Hope off with a abroad. It was his pervasiveness before the Hope and Ross reprise this song on the earliest From an undated wartime broadcast at the variety of female singers, including label public that made Hope famous, notwithstanding track on this CD; a segment from a special 15- Great Lakes Naval Training Station in Chicago, stalwarts Peggy Lee and Margaret Whiting,and his unique versatility and likeability. Yet as good minute Paramount recording made for radio we hear Hope tailoring his jokes to the screen stars Jane Russell, Betty Hutton, and as Bob Hope was, Jimmy Stewart was a better broadcast in conjunction with the release of the enthusiastic troops. On this track, one marvels Dorothy Lamour, the latter the sultry heroine of actor, Jack Benny was funnier, and his ol’ pal film. Hope also inserts obviously canned at Hope’s impeccable timing; he never steps on the ‘Road’ comedies. Lamour, featured with Bing Crosby was a better singer (and golfer, for questions to a pre-recorded interview with W.C. the audience’s applause, proceeding to the next Hope on My Favorite Brunette, had been that matter). But what made Hope ‘spring Fields, another star from the film. gag at just the right moment, like a seasoned making records since the mid-’30s, on Also available in the Naxos Nostalgia series ... eternal’ was the simple fact that he was the We’ve included one of the four duets he surfer riding the waves (in interviews, Hope Brunswick with her bandleader/husband Herbie hardest working entertainer in show business, recorded for Decca with Shirley Ross: the Frank always said that timing was his greatest asset). Kay,and then on Bluebird. knew his audience, and above all, knew his Loesser–Burton Lane song, The Lady’s in Love Another segment is part of a broadcast to the Lucky Us showed Livingston and Evans craft. For over sixty years, he remained relevant; with You, from the film Some Like it Hot. U.S. Marines stationed at Camp Pendleton in repeating the Thanks for the Memory his jokes, popular culture references, and even Another radio preview,this one for another California. Both recordings were issued as part formula of a musical conversation, this time the guest stars on his programs were always au Paramount film, The Road to Morocco, was of a 1946 Capitol 78 album, I Never Left Home. between Hope and Capitol’s popular songstress courant. recorded in 1942, featuring his longtime friend Hope’s commercial recording career was Margaret Whiting. We’ve also included a brief Of the many roles that he played, the one of and comic foil, Bing Crosby. Crosby had cut a steadiest between 1946 and 1952, when he spoken introduction by Hope that disc jockeys ‘recording artist’ was his least successful. solo version of the song on a Decca record that recorded for Capitol Records in Hollywood. The could play on the air (Since the intro and the Despite having a pleasant voice that came year, but it couldn’t compare with the rollicking songwriting duo of Jay Livingston and Ray Evans song were on opposite sides of a 78, radio across well on a record, Hope never made it to duet version he made with Hope two years later was responsible for many of Hope’s songs stations had to have two copies in order to play the Hit Parade.