LISTENING ROOM
For those who have never heard Murray before, below are fifteen selected samples exhibiting the many styles and interpretations of the great Denver Nightingale. This will hopefully give you a better idea of the different imitations Murray possessed, and the content of his work.
The best way to listen to these is to right-click on the link, and save the file to your desktop or music files. The average download time is two minutes for a 56k connection (downloads on cable or DSL connections are only a few seconds). When the file has completed downloading, you will need an audio program such as Music Match or Windows Media Player to listen to them.
Note: Due to copyright restrictions in the United States, I'm prohibited to post transfers of entire recordings on this site for download. Sorry, I wish I could, but it's the law!
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The Rambler Minstrel Company (Record H) The minstrel show was a dominant form of entertainment during the early twentieth century, and records by the Rambler Minstrel Company combined the essentials of a minstrel show on record with upbeat songs, claps and cheers, jokes, and solos. This clip demonstrates Murray's use of black dialect, with his play on the names "Bill" and "Will." Steve Porter, famous for his "Flanagan" sketches and other Irish comedy on record, is the interlocutor ("Why, she must be a wonder!"). Collins and Harlan are only supporting players on this clip, but Collins' distinctive laugh can be heard in the background.
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Always Leave Them Laughing When You Say Goodbye Billy Murray was the leading interpreter of George M. Cohan compositions on record during the early twentieth century. He helped popularize many of Cohan's Broadway compositions, most notably "Yankee Doodle Boy," "Give My Regards to Broadway," and "The Grand Old Rag." This particular song, "Always Leave Them Laughing When You Say Goodbye," demonstrates the rapid-fire diction that Murray was famous for. His use of talk-singing ("Of course I played it on the bum") helped bring his songs to life by interpreting certain words and phrases so listeners would get a better picture of the comedy involved. This brief sound clip alone demonstrates why Murray was such a master at comedy and Cohan songs at the time.
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Sweet Italian Love (from "Up and Down Broadway") Another style of mimicry Murray was a master at was Italian. His Italian dialect records, such as "My Cousin Caruso," and "When Tony Goes Over the Top," proved to be bestsellers. In this particular clip, written by the famous songster Irving Berlin, he sings the lyrics slightly different than what was published in the sheet music, as "When you kiss-a your pet, and it-a tastes like spaghette…" ("Pet" is in reference to a girl, or girlfriend; the lyrics were originally "...and it's-a like-a spagette [sic]...")
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Moonlight Bay The American Quartet, also known as the Premier Quartet for the Edison company, was one of the most successful male quartets of the acoustic recording era. Billy Murray sang the lead in the group, along with John Bieling as the first tenor, Steve Porter as the baritone, and William Hooley as the bass. "Moonlight Bay" was one of their greatest sellers, and their harmonization blends together very well, as you will notice in this segment.
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On a Beautiful Night with a Beautiful Girl Future radio, night club operator, and television personality Will Oakland is added to the quartet of Murray, Bieling, Porter, and Hooley. As the Heidelberg Quintet, they churned out many great records of barbershop-style harmony, such as "Waiting for the Robert E. Lee," "I Want to Love You While the Music's Playing," and "You're a Great Big Blue-Eyed Baby." In the chorus of "On a Beautiful Night with a Beautiful Girl," Oakland's high counter-tenor voice is heard to advantage with Murray, "And your senses a-whirl…"
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On the Old Front Porch Former vaudeville star Ada Jones began recording duets with Murray in 1907, and together they produced some of the most charming and clever duets as a couple. This particular record, "On the Old Front Porch," was a favorite of the future pop star Tiny Tim (Herbert Khaury, 1932—1996). He used the song on his first album God Bless Tiny Tim in 1968, and he imitated the exact style that Jones and Murray were famous for. "On the Old Front Porch" was one of the finest duets they ever produced.
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If War Is What Sherman Said It Was If there was one style of comedy Murray was always best at, it was the miserable portrayal of married life. This particular song was influenced from Civil War General William Tecumseh Sherman's famous "War Is Hell" speech in 1879. In this clip, Murray plays Henry Jones—a drunk husband who is coming home after staying out all night. He complains to a police officer, "if war is what Sherman said it was, then tell me what is married life?" He whines that his wife throws things at him, and that if General Sherman were here, he would see more war "than he saw marching through Georgia."
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Come on and Play with Me This clip demonstrates another aspect of Murray's mastery with dialects. "Come on and Play with Me" (also known as "Come on and Play wiz Me") is about Marcelle—a wild and flirtatious Parisian girl who arouses the boys. Murray sings the chorus in a French accent, displaying a vivid portrait of Marcelle's rowdiness.
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That's Worth While Waiting For Part of the reason why Murray's records are so fascinating is because he introduces current events at the time. These are known as "topical songs." In the last chorus of the romantic comedy song "That's Worth While Waiting For," he manages to squeeze in mention of prohibition, next year's election (1920), the rise of sugar prices, and the raising of women's skirts. This is only one of several Murray records giving references to dress styles, technology, historical events, and so forth.
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Hi Lee Hi Lo "Hi Lee Hi Lo" is a fictional story based on a German band that went to China. The German waltz song "Hi Lee, Hi Lo" becomes so popular with the Chinese that everyone begins singing it. Billy Murray and Ed Smalle display their stereotypical Chinese accents in this case, based on gibberish and even poking fun at the composers, "They ought to put the guys who wrote it in a padded cage."
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When June Comes Along with a Song—Fox Trot (from "The Rise of Rosie O'Reilly") One part of Murray's talents that is often overlooked is his whistling abilities. This clip will demonstrate his melodic skill of whistling a chorus. Murray was also called on to whistle melodies in other recordings for Victor and Edison, most notably "The Whistler and His Dog," "The Blue Jay and the Thrush," and "Whistling Jim."
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Keep Your Skirts Down Mary Ann "Keep Your Skirts Down Mary Ann" is yet another topical song in the Murray recorded legacy, and his use of Irish dialect is put to good use. Murray does a bit of role changing in this one, playing an old-fashioned Irish mother who complains to her flapper daughter (Stanley) that her dress is too short. Unlike the previous clips you've listened to, which were acoustic recordings, this one is electrical, and was made during the time when Murray was beginning to lose popularity as a recording artist.
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Roll 'Em Girls The art of "crooning" was now becoming a dominant form of vocalization. This is one of a few occasions when Murray was told to "croon" into a microphone. Compared to the sound clip of "Always Leave Them Laughing When You Say Goodbye" recorded almost twenty years earlier, his voice seems rather deflated. He still had his signature style of talk-singing ("Don't wear things if you don't think you need 'em"), but his voice didn't posses the naturalness of "crooning" compared to Gene Austin, Art Gillham, and Joe White ("The Silver Masked Tenor"). Although this particular record sold very well, it certainly does not display Murray at his best.
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I'm the Medicine Man for the Blues—Fox Trot (from "Is Everybody Happy?") It's interesting to note that a guy like Murray extended his career from the early wax cylinder records to the Jazz Age. He was no longer a popular solo artist at this time, and his output mostly consisted of duets and vocal refrains with dance bands, such as this one with Dick Cherwin. Murray cannot be considered an "authentic" jazz or blues singer, but he does add a little blues flavor in this classic Ted Lewis hit, along with a nice clarinet solo to back him up.
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It's the Same Old Shillelagh—March After a few years of making records sporadically, Murray made a comeback for RCA's Bluebird label in 1940. This was one of six records (eleven sides) he released for Bluebird, mostly consisting of Irish songs such as this one. As one can tell, he still possessed that distinctive Irish accent he used over thirty years earlier. His Bluebird records prove that he was just as good in voice as he ever was, prior to his last recordings for Joe Davis' Beacon label in 1943.
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