Golden Age of Radio

Mystery Theater Becomes Five-A-Week Series (Dec 31, 1979)

2012-02-23T16:05:00.000-06:00

December 10, 1979

“MYSTERY THEATER” BECOMES FIVE-A-WEEK SERIES

STARTING WITH BROADCAST OF MONDAY, DEC.31

The CBS RADIO MYSTERY THEATER, beginning Monday, Dec. 31, will be broadcast five nights a week (Mon.-thru-Fri.) instead of seven, it was announced today by Richard M. Brescia, Vice President and General Manager of the CBS Radio Network.

“We’ve decided to showcase this highly praised drama series on the evenings it has performed best for us ,” Mr. Brescia said. “The MYSTERY THEATER is now carried by more stations (253) than ever before. But they’ve found and we’ve found that peak listening to the series continues to occur during the Monday-thru-Friday broadcasts. Station clearances are also at their best during those five nights.”

The CBS RADIO MYSTERY THEATER will begin its seventh year on CBS Radio, Monday, Jan. 7, Mr. Brescia noted, with the presentation of a five-part mini-series based on Lord Edward Bulwer-Lytton’s novel “The Last Days of Pompeii.” This story of first century Pompeii begins a few days before the eruption of Vesuvius (78 A.D.) and ends with the disaster.

(Details on each of the five broadcast will be provided in a press release next week. )

Himan Brown is the producer and director of CBS RADIO MYSTERY THEATER.

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Contact: Bob Fuller

Radio Mystery Theater: Eighth Season

2012-02-16T15:55:00.000-06:00

December 8, 1980

‘CBS RADIO THEATER’ BEGINS EIGHTH SEASON JAN. 12;

DRAMAS HAVE BROUGHT LAURELS TO NETWORK, HI BROWN

The creaking door that opens CBS RADIO MYSTERY THEATER on Monday, Jan. 12, also will open the eighth season of the Network’s much-praised drama series. CBS RADIO MYSTERY THEATER premiered in January 1974 on 79 stations. Today, the number of stations broadcasting the weekday series on the CBS Radio Drama Network has more than tripled.

Richard M. Brescia, CBS Radio Network Vice President and General Manager, says this success “ is a testimony to the skill of Hi Brown, MYSTERY THEATER creator and Executive Producer, and to the great actors who preform in the series.

“Several other radio drama formats have been attempted during the seven-year period we’ve been presenting MYSTERY THEATER,” Brescia comments. “However, only the MYSTERY THEATER has been able to stand up to the test of time imposed by both the listener and the affiliate. I hope more developments in radio drama will be tried. We believe that drama can play a vital role in future programming.”

Hi Brown, whose seminal role in radio drama has spanned packaging and acting in “The Rise of the Goldbergs” to his present spot producing and directing MYSTERY THEATER, notes: “We begin our eighth year with the greatest excitement because the entire form of the theater of the imagination, radio drama, has literally become alive in the last eight years. Listener response to MYSTERY THEATER has been overwhelming.”

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CBS Radio (Mystery) . . . 2

The most gratifying thing about that response, Brown says, is that much of it is from young people “who never have had the experience of radio drama as we knew it. They are our greatest listeners. This is especially exciting to me,” Brown explains. “To me, the written word and the spoken word are the same, and with the many MYSTERY THEATER adaptations of the great writers -- Oscar Wilde, de Maupassant, Hawthorne, Henry James, Edith Wharton and of course our Shakespeare programs, to name just a few --  we have helped teach a generation to read, by dramatizing the excitement of these wonderful authors. 

“For instance, last year, the National Education Association gave MYSTERY THEATER their seal of approval,” Brown adds.

Brown also stresses the importance of CBS RADIO MYSTERY THEATER as a showcase for young actors, citing Russell Horton, Tony Roberts, Kristofer Tabori, Patricia Elliot, Paul Hecht, Amanda Plummer, Roberta Maxwell and John Lithgow as some of the talented cast members heard regularly on MYSTERY THEATER productions. “We have created another world of expression for these actors with our eighth season of the series,” he says. “I feel very happy about that.”

Acclaim for CBS RADIO MYSTERY THEATER and Hi Brown has been enthusiastic since its first broadcast. The series has been honored with coveted Peabody and Mystery Writers of America awards, among others. Brown himself has received “Broadcaster of the Year” accolades from San Francisco State University, Brigham Young University and Texas Tech, and was recently singled out by New York City’s The New School with a special commendation for his contributions to radio drama for the past half-century.

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Contact: Pam Haslam

Radio Mystery Theater: Five Part Series Jan 12, 1980

2012-02-09T15:21:00.000-06:00

December 15, 1980

SPECIAL FIVE-PART SERIES ABOUT ALEXANDER THE GREAT OPENS 8TH ‘CBS RADIO MYSTERY THEATER’ SEASON JAN, 12

“The Legend of Alexander”, a five series written and produced especially for CBS RADIO MYSTERY THEATER, will inaugurate the drama program’s eighth year on the Network the week of Monday, Jan. 12, through Friday, Jan.16.

Ancient lives and times have enjoyed a renaissance of interest with the American public, evidenced by the success of recent Pompell and King Tutankhamen exhibits across the country. The latest historic discovery is believed to be the tomb of King Phillip, father of Alexander the Great , which had become part of the touring exhibition “The Search for Alexander”, now displayed at National Gallery.

Gerald Kean, a frequent contributor to MYSTERY THEATER, is author of the five-part “The Legend of Alexander”. Russel Horton stars in all five dramas as Alexander, from a boy learning the responsibilities of leadership under his father’s strict tutelage, to his final years as conqueror and lord of most of the known world.

Also featured in “The Legend of Alexander” are Court Benson, as King Phillip, and Evie Juster as Olympias, Phillip’s wife. Ian Martin, Robert Dryden, Earl Hammond, Lloyd Battista, Marian Seldes, Ray Owens and Mandel Kramer also appear in the production.

“The spectacular setting and scope of ‘The Legend of Alexander’ are particularly suited to the possibilities offered by radio,”

CBS Radio (Mystery) . . . 2

according to Hi Brown, Director and Executive Producer of MYSTERY THEATER. “Only in radio can you have the opportunity to paint the canvas of the story of Alexander the Great,“ Brown says.
“Through the voices of radio we can soar into the sky, move backward and forward in time, and share the lives of kings, villains and heroes of any age. Or, in the case of Alexander, ride elephants and traverse continents, all through the magic of radio, and the imagination of the listener.”

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Contact: Pam Haslam

Mystery Theater Script Novelized by Sam Dann

2012-02-02T16:10:00.002-06:00

July 23, 1979

“MYSTERY THEATER” SCRIPT NOVELIZED BY WRITER SAM DANN

“The Third Body,” a novel based on a radio script by an award-winning CBS RADIO MYSTERY THEATER writer, Sam Dann, will be published in August by Popular Library (255 pp., $1.75). The script, “The Children of Death,” was produced by Hi brown and originally broadcast on MYSTERY THEATER February 5, 1976. It starred Tony Roberts.

The story deals with a future world where men and women are separated into hostile tribes and love is an unspeakable four-letter word. In this society, the act of mating is a contest for domination with death to the loser.

Dann has written for the CBS RADIO MYSTERY THEATER since the series’ inception five years ago. He has won the Writer’s Guild Award for the “best radio dramatic script” for two consecutive years, 1975 and 1976.

Dann previously novelized one of his radio scripts, “The Only Blood,” for an anthology, titled “Strange Tales from CBS RADIO MYSTERY THEATER” and edited by Brown (Popular Library, 1976).

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Contact: Anita Harris

Himan Brown Honored for 50-Year Contribution to Radio Drama (Nov 3, 1980)

2012-02-02T15:20:00.001-06:00

November 3, 1980

HI BROWN, PRODUCER OF ‘CBS RADIO MYSTERY THEATER’,

HONORED FOR ‘50-YEAR CONTRIBUTION TO RADIO DRAMA’

The New School, a major New York City institutions that offers instruction in all facets of the arts, will make a special award this week to Himan Brown, creator and producer of the CBS RADIO MYSTERY THEATER on the CBS Radio Network, honoring his “half-century as the moving force behind radio drama in the United States.”

The honor was announced be Prof. Richard Brown, who conducts the school’s Electric Mind Series and will present the award to Mr.Brown before some 600 students in the course this Wednesday evening, Nov. 5.

Hi Brown also will serve as a guest lecturer that night, discussing the history of American radio, and will demonstrate for the students how a MYSTERY THEATER script is recorded.

As an example, he will provide a script of the 1940 radio broadcast “Frankenstein”, based on the original Mary Shelly book, and direct Prof. Brown and several students in performing the drama.

The award to Hi Brown consists of a specially designed plaque featuring a replica of a miniature cathedral radio and a bronze plate that reads: “For Hi Brown. For a half-century his talent and energy have fused the art of the drama and the magic of radio to captivate a nation.

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CBS Radio (HI) . . . 2

With love and appreciation from the Electric Mind Series at the New School.”

Hi Brown began his broadcasting career as a teenage actor, but quickly moved into production when he sold “The Rise of the Goldbergs”.

He subsequently produced and directed a long list a dramatic serials, including “Dick Tracy”, “Joyce Jordan, M.D.”, “Terry and the Pirates” and “John’s Other Wife”.

In 1937 he turned to once-a-week dramas and created, produced and directed such popular programs as “Grand Central Station”, “The Thin Man”, “Bulldog Drummond”, “Inner Sanctum Mysteries” and many others.

In January 1974, the CBS Radio Network brought him back to America’s airwaves as creator, producer and director of the CBS RADIO MYSTERY THEATER, which will go into its eighth years the beginning of 1981. The series provides five dramas each week on affiliate stations of the CBS Radio Drama Network, and has won many accolades and honors since its inception.

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Contact: Bill Falk

CBS Radio Mystery Theater Press Release: Feb 17, 1976

2012-01-26T13:58:00.001-06:00

February 17, 1976

SHORT TAKES

The CBS RADIO MYSTERY THEATER has a treat for those who miss “Gunsmoke” and the other Westerns that once were a prime staple of network television on Monday nights when it presents a rousing story of the Old West, Moday, March 1. As explained by MYSTERY THEATER host E.G. Marshall: “ A surprising number of listener letters have asked us for a Western. So here it is, back to the frontier life of the 1860s when, west of the Mississippi, the horse was still man’s best means of locomotion. A noble animal, the horse, and particularly in those days, a good deal better than many a man who rode them.”

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Morgan Fairchild, who stars as Jennifer Phillips in the daytime serial, “Search for Tomorrow,” on the CBS Television Network, will make her radio acting debut on the CBS RADIO MYSTERY THEATER , Friday, March 5. On the broadcast, titled “The Infernal Triangle,” Ms. Fairchild plays the leading role, a bride-to-be with the same surname, Ann Fairchild, who vows to murder her older, more beautiful sister if her sister doesn’t keep her hand off her husband-to-be.
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The CBS RADIO MYSTERY THEATER, which has already presented more than 50 adaptations of classic thrillers by great writers of the past, has scheduled three more for early in March. They are “Afterward” by Edith Wharton (Tuesday, March 2), “The Monk and the Hangman” by Ambrose Bierce (Thursday, March 4) and “The iQueen of Spades” by Aleksander Sergeevich Pushkin (Monday, March 8 ).

Favorite Radio Mystery Theater Victorian Era Shows

2012-01-19T09:55:00.000-06:00

By request, here are some of listener favorite "Victorian-era" themed shows from RADIO MYSTERY THEATER. Many are Conan Doyle adaptations:

Enjoy!

CBS Radio Mystery Theater Press Release: March 29, 1976

2011-12-19T13:54:00.000-06:00

March 29, 1976

FEATURE

ACTRESSES GET BREAK IN "MYSTERY THEATER"

ADAPTIONS OF SEVEN SHAKESPEARE PLAYS

William Shakespeare's plays don't have many good parts for women, but dramatist Ian Martin, who has adapted seven of the Bard's works for consecutive daily presentation on CBS RADIO MYSTERY THEATER, starting Monday, April 19, has made certain that female actors appearing in the series won't feel alighted.

"Although I've had to compress these long plays into much shorter lengths," says Martin, “I’ve tried very very hard to retain as much of the women’s roles as possible. Things are a lot different now.”

In Shakespeare's day, Martin points out, there were no respectable women in the theater. “Their roles,” he says, “were taken by young boys whose voices hadn’t broken. Shakespeare, I’m sure, would have liked to have written major parts for women, but in those days they couldn’t appear on the stage. Any who did were considered prostitutes.”

(Editor: Please consult local station carrying MYSTERY THEATER for times of these broadcasts.)

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Best CBS Radio Mystery Theater episodes of 1974

2011-12-18T15:42:00.000-06:00

Here's some of my favorites "best" episodes of CBS Radio Mystery Theater.

Gerald Mohr appeared as "Golden Scorion" in Captain America serial

2011-12-17T13:57:00.000-06:00

Old Time Radio listeners and fans of Gerald Mohr may be amused to learn: watching the new Captain America movie serial from 1940, Gerald Mohr starred as the uncredited "Golden Scorpion."

Frank Merriwell Old Time Radio Show

2011-12-15T13:53:00.000-06:00

As a nine-year old child, one of my favorite Saturday radio program was The Adventures of Frank Merriwell, a student at Yale University in the horse-drawn days of the last century, who excelled at everything ... sports, debates, student theater, science and math classes, etc. . . . and was caught up in some dastardly plot or other in every episode.

Frank Merriwell was criminology student a Yale, in that time period. his adventures would enable him to use his studies to investigate and solve crimes. I listened every Saturday; the show has a great use of sound effects!

A couple of the actors who made brief appearances in the series were Tony Randall and the early talkies film star Sir C. Aubrey Smith. From the time I heard that program I wanted to be just like Frank, and I was determined to go to Yale for college; the best I could manage was getting a music scholarship.

And there was not one student on that campus who resembled the Frank Merriwell of my imagination. What a disappointment! Gil Patton admitted that his original stories -- far removed from those written for the radio series --were absurdities, but among the more than 50,000 letters he received, many were from young boys that hoped to go to Yale. So I was not alone.

Additionally here are some links to some great Merriwell 1890's scans.

One Mans Family: Introduction

2011-12-13T17:16:00.000-06:00

One Mans Family is dedicated to the Mothers and Fathers of the Younger Generation and to their Bewildering Offspring.

Tonight we bring you Chapter One, Book One, entitled "Introducing the Barbour Family."
America's first family was inspired from John Galsworthy's Forsyte Saga.

Carlton E. Morse's attempt to create a real-life American family with real emotions and problems started on April 24, 1932 as a 13 week trial on local West Coast stations and quickly moved Coast to Coast lasting 27 years. Morse considered his creation a family drama instead of a Soap Opera.

Winner of the Peabody award for radio excellence, One Mans Family, heard primetime weekly on NBC, brought out subtle character development and conflict that made the show addictive. To regular listeners, the Barbours became real people and part of their family. Listeners named their babies after the characters (especially Cliff and Claudia), wrote Christmas cards, get well cards, and letters of advice to the family. When its sponsor, Standard Brand, dropped the show in 1949 and there was a hint that the show might be dropped 75,000 protest letters poured into NBC.

One Mans Family was one of the most outstanding old time radio programs and continued without a sponsor weekly on Sunday nights until Miles Laboratories sponsored a 15-minute nightly version on June 5, 1950.
The show unfolded in chapters and books. After 27 years, 136 books with 3,256 chapters had been written making it the longest-running noninterrupted serial in the history of American radio. The show did finally end on May 8, 1959 and with it ended a golden era of radio.
OMF was a pioneer in TV as well as radio. Carlton E. Morse went to NY in 1949 to put together a TV show. The original scripts were dusted off and a new cast assembled. The show started with Chapter One, Book One. Two separate versions were attempted on NBC TV (NBC Primetime, 1949 - 1952; NBC Daytime, 1954 - 1955).

See also: One Man's Family on Old Radio Cat

One Man's Family: Meet the Barbour Family Cast

2011-12-12T17:34:00.000-06:00

Henry Barbour

Played throughout the run by J. Anthony Smythe a bachelor in real life.

Father Henry Barbour, stockbroker, is old-fashioned, is conservative, is bullheaded, and is overbearing. He believes that the foundation of the nation is the family, the bigger the better. He opposes anything revolutionary and has a deep foreboding for the future of the world. When things go wrong he sulks and broods and has a deep distrust for strangers. Still, he comes off as a lovable warm character. His expression "yes, yes," in a deep sigh becomes the shows catch phrase. In retirement his great joy is his garden.

Fanny Barbour

Minetta Ellen Played Mother Barbour for 23years.

Mother Fanny Barbour epitomizes traditional virtues. She is a housewife who is very loyal to her husband. She is tolerant, loving, and untiring as the peacemaker. She is the glue that keeps the family together and the cushion between Henry and the children, interpreting each to the other. Often tiring of Henry's antics and trying to undo the damage he creates.

Paul Barbour

Michael Raffetto played Paul for 23 years.

Paul, the eldest son, is a pilot, a writer, and a philosopher. During his stint in France as a WWI flier, he met a pretty nurse, Elaine Hunter. Carlton Morse continues, "One day they went into a shell-torn French village and were married by the padre there. For a week they enjoyed a honeymoon in between Paul's patrol flights over the enemy lines and between the girls hospital duties. At the end of a week tragedy. Paul was shot down, receiving leg wounds that made it impossible for him to ever walk again without a cane. And during Paul's period of dazed consciousness an epedemic broke out in the hospital. When Paul was recovered enough to be told, he learned that his bride of a week had been one of the first to go." Although he will never remarry, his deep understanding of human nature and his sympathetic voice make him a heartthrob to cast members and listeners alike. He is the one the family goes to for advice. A liberal counterpart to Henry's conservatism, often leading to bitter arguments, Paul vies for head of the household status.

Hazel Barbour

Bernice Berwin as Hazel Barbour.

Hazel, the eldest daughter, is leggy, serene, gentle, solid, and motherly. Her father's favorite, she is a bit old fashioned and conservative. With a strong sense of responsibility, she is the least trouble of the Barbour clan. She has married twice and has three children.

Clifford Barbour

Barton Yarborough plays Cliff Barbour.

Clifford, Claudia's twin, is moody, complex, and likeable. Calm on the surface but boiling underneath. Shell-shocked from his two wives dying, an estranged son, and amnesia, he never quite recovered. A tragic figure, his many personal losses mounted and broke his spirit. Barton Yarborough, left, played Cliff Barbour. When Yarborough died on December 27, 1951, Cliff was written out of the show. Listeners were told through Cliff's letters that he moved to Scotland, married, and created a successful new life.

Claudia Barbour

Kathleen Wilson originated the role of Claudia Barbour

Claudia, the twin of Clifford, is rebellious, restless, and changeable. She runs the gamut of emotions from hilarious joy to unrestrained misery. The Barbour children are famous for having spouses die off early, only Jack would escape that fate. After Claudia's first husband Johnny Roberts died of pneumonia, she gave birth to a daughter and received a quarter of a million dollars as an inheritance. Later, she would marry an English Baronet, Nicholas Lacey.

Jack Barbour

Page Gilman as Jack Barbour

Jack, the youngest son, is most like an average person. Although his life has few tragedies, he must fight the economic battle to provide for his six daughters. The Barbours are known for having multiple births in the family and Jack has triplets

(Source = One Mans Family)

One Mans Family: Newspaper Article

2011-12-11T17:19:00.000-06:00

Bakersfield Californian

August 18, 1988

Reality on radio: 'One Man's Family' first to bring human drama on the air.

A cast of nine veteran radio actors, an announcer, a sound man, and Carlton E. Morse gathered on a late afternoon in Studio B of the National Broadcasting Co.'s West Coast offices. They came for the first reading rehearsal of "Chapter One, Book One" of "One Man's Family."

This was the first attempt on radio to create a real-life American family with down-to-earth human relations between parents and children, wrote creator Morse.

He said the reading got mixed reactions from the cast, but the head of the West Coast production department turned thumbs down. Both the program manager and production director told him, quite frankly, "No. Morse, this 'One Man's Family' tripe is pure tripe! Everybody lives a family life, day in, day out! Who wants to turn on his radio and listen to more family life?"

As it turned out, millions of Americans remained faithful followers of this weekly nighttime human drama from its first broadcast in 1932 until it left the air in 1959.

For 27 years, the Barbour family of Sea Cliff, San Francisco - Father Henry, Mother Fanny, and their children Paul, Hazel, twins Clifford and Claudia, and Jack - intrigued listeners.

Then came television. In a telephone interview from his Woodside home, Morse recalled he went to New York in 1950 to do a television version of his popular series and found they couldn't satisfy viewers who had been loyal listeners.

"For all those years, people had pictured the Barbour family in their own minds, and nobody in our television production fit those pictures," he said of his show which he doesn't categorize as a "soap," but a well-plotted human drama characterized by the relationships of people "dedicated to the mothers and fathers of the younger generation and to their bewildering offspring."

If you remember those opening announcer's lines with affection, you probably will enjoy meeting up with the Barbours again in Morse's "One Man's Family Album," which hits the bookstores this month.

It's a fascinating piece of memorabilia for radio buffs and a nostalgic read for "loyal listeners," complete with reproductions of photographs of Morse and the "almost real family" of actors and actresses; J. Anthony Smith as Father Barbour, Minetta Ellen as Mother Barbour, Mike Rafetto as Paul, Bernice Berwin as Hazel, Barton Yarborough as Clifford, Kathleen Wilson as Claudia, and Page Gilman as Jack.

Also included two original scripts, a history, bits on the sponsors and the early story of Morse himself.

It was a second career for Morse who started as a newspaper reporter and now is in his third career as publisher and author.

Morse retired to Los Angeles in 1960 and spent 10 years changing his writing technique from that for radio to the printed page before writing his first book, "Stuff the Lady's Hatbox," and the novel "I Love a Mystery." Yes, Morse also created the "I Love a Mystery" radio series.

He established Seven Stones Press in Woodside four years ago at age 83. He celebrated his 87th birthday in June. His latest book, "A Lavish of Sin," will be out in September.

-- JUDY CLAUSEN

(Source = One Mans Family)

One Mans Family: Script

2011-12-11T17:18:00.000-06:00

ANNOUNCER: One Man's Family is dedicated to the Mothers and Fathers of the Younger Generation and to their Bewildering Offspring. Tonight we bring you Chapter Ten, Book Twenty-Three, entitled "Two Million Dollars At Stake."

Clifford and Ann are walking on air. Father and Mother Barbour have given them a round-trip ticket from San Francisco to Hong Kong on the China Clipper for their honeymoon! This happened last night at the engagement shower for the couple... and now the family is at breakfast....

FANNY: (Coming to Mike) Now Clifford, eat your breakfast like a normal human being....

CLIFF: But Mom, Dad says the Clipper Ship crosses the Equator on the way to Hong Kong, and it doesn't at all.

HENRY: Certainly you cross the Equator....

CLIFF: No Dad-

FANNY: Are you going to eat your bacon and eggs?

CLAUDIA: What's bacon and eggs in Cliffs young life?

FANNY: Well if I'd known what a goose he was going to be, I'd have put my foot down when your father wanted to buy the tickets....

HAZEL: He hasn't talked about anything else....

CLIFF: But you folks don't get it. . . Ann and I are going to fly the Pacific Ocean.. . (Laughter)

JACK: (Bored) Sure we got it... You're going to fly the Pacific (Laughter)

FANNY: Clifford, where are you going?

CLiFF: (Leaving Mike) I just want to get the globe.

CLAUDIA: (Laughs) Crazy as a loon.

FANNY: Such a business. He's more excited about that trip than about getting married.

HAZEL: (Amused) They both are. Ann was so excited before she left last night she was ill....

HENRY: Well their excitement is infectious. . . . I don't know when I've enjoyed giving a present so much....

FANNY: Well it should have worn off a little by this morning I'm going to be worn to a frazzle if this hilarity keeps up....

CLIFF: (Coming to Mike) Here you are Dad. It's just as I said. We don't cross the Equator.

FANNY: Clifford, your breakfast is stone cold....

CLIFF: You see, this is Midway and this is Wake.

FANNY: Humph.... Look like fly-specks to me.... (Laughter)

-- Excerpt from script

(Source = One Mans Family)

Harry Lime: Introduction

2011-12-11T16:34:00.000-06:00

Adventure (1951-1952)

Harry Lime, played by Orson Welles, started out as a minor character in the movie, The Third Man written by Graham Greene. Intrigued by the character, Orson Welles starred as Harry Lime on the radio show The Adventures of Harry Lime. Though the character was killed in the movie Welles and producer Harry Alan Towers brought Lime back in what is believed to be the first prequel..

The radio show, The Adventures of Harry Lime was produced and distributed by Harry Alan Towers through the Towers of London production company Towers owned with his mother. Often, the show is erroneously attributed to the British Broadcasting, but they only purchased 16 shows.

The Adventures of Harry Lime was on the radio from August 1951 to July 1952 with 51 episodes.

Harry Lime: About Orson Welles

2011-12-10T16:46:00.001-06:00

Orson Welles was a Hollywood boy genius. He had a long and prolific career in radio, movies, theater, and television as an actor, writer, producer, and director yet he was also considered a bad boy. Welles and Hollywood had a love/hate relationship. Considered an innovative and artistic director, actor, and writer, his relationships with the studios and studio heads was contentious at best. They didn’t understand the way he made movies, his innovations, or his artistic vision.

Welles was born in Kenosha, Wisconsin to a wealthy family. After his parents separated and moved to Chicago. His mother died when he was nine and his father died when he was 15. He was taken in first by Dudley Crafts Watson of the Chicago Art Institute after his mother died. Later he became the ward of Dr. Maurice Bernstein and attended the Todd School for Boys.

While at the Todd School, he was influenced by Roger Hill. Hill allowed Welles to study whatever interested him in school. It was at school where Welles first started experimenting with theatrical productions. While traveling around Europe he bluffed his way into an audition at the Gate Theater in Dublin, Ireland claiming to be a Broadway star. Hilton Edwards who managed the theater didn’t believe him but was impressed by his boldness. Welles won a part in Jew Suss as the Duke, opening to great reviews.

Welles continued working on the stage then, after moving back to the United States, he started working on radio eventually leading to the production of H. G. Welles War of the Worlds broadcast in 1938 that caused some real panic in some parts of the US though many reports are suspicious.

In 1941, RKO released Citizen Kane directed by and starring Welles, partly written by Welles and considered the best movie ever made. It wasn’t recognized as an artistic success until it was re-released in the 1950s. When it was first released, theaters owned by William Randolph Hearst, on whom the movie is loosely based, black-balled the movie. He threatened all of Hollywood’s big play by threatening to release all of the scandals he held back for 15 years. For more information about Citizen Kane, check out Wikipedia.

When things weren’t going Welles way, he had a tendency to leave. It could be anything from a disagreement to financial problems. In 1947, Welles self-exiled himself to Europe with money problems following him. He made The Third Man in 1948 and made a big splash with a relatively minor character, Harry Lime.

Harry Alan Towers, of Towers of London, was able to offer Welles three radio series, The Black Tower and The Adventures of Harry Lime (The Third Man in the US and Canada), both starring Welles and a Sherlock Holmes show with john Gielgud as Holmes and Ralph Richardson as Watson. Welles wrote, acted and directed in the Holmes show playing several characters including Professor Moriarty.
Orson Welles lived an interesting and tumultuous life, too much to cover here. Check out the following books about Welles for more information.

Harry Lime: One the Radio

2011-12-10T16:45:00.001-06:00

The show began with the haunting The Third Man Theme. The music stops abruptly with a gunshot. Then you hear Orson Welles voice:

"That was the shot that killed Harry Lime. He died in a sewer beneath Vienna, as those of you know who saw the movie The Third Man. Yes, that was the end of Harry Lime ... but it was not the beginning. Harry Lime had many lives ... and I can recount all of them. How do I know? Very simple. Because my name is Harry Lime."

When Harry Lime was on the radio, the airwaves were filled with detectives, comedians, space-farers, and drama. Harry Lime was an admitted blackguard and made no apologies for it. Instead of using a gun, Lime lived by his wits to get what he wanted, staying one step ahead of the law with someone else usually taking the fall for his misdeeds.

The thing that is confusing about the character is his popularity. Welles played a bit of Lime’s ruthlessness in the radio show as evidenced by letting other people pay for his crimes. People didn’t really like Harry Lime but they were fascinated by him.

There was no other character like Harry Lime on old radio shows at the time. Sure there were characters who were bad guys turned good like Boston Blackie but there were few, if any, leading characters who were admittedly bad guys.

Harry Lime: Who Was Harry Lime?

2011-12-10T16:43:00.001-06:00

Harry Lime, played by Orson Welles, began as a minor character in the film The Third Man. In the film, Harry Lime is the definition of a slimy criminal. The film begins with the death of Harry Lime though he shows up later in the film. During the course of the film you find out that Lime is truly a despicable character.

The film was a critical and commercial success for everyone involved including Welles who was considered a Hollywood pariah and was enjoying a self-imposed exile in London. The musical theme from the movie was also very successful plus there were rumors of a sequel to the movie. The big question was how to take advantage of the movie’s success.

Welles, who was working with a programmer and distributer Harry Alan Towers of Towers of London, thought of creating a prequel. The radio show was about Lime’s life before the events in the movie.

Lime’s character was very dark in the move and did some very bad things and Welles didn’t think a character that dark would translate to the radio. Instead of making him totally dark, the radio show emphasized the character’s lighter adventures though he is still a self-serving criminal. Harry Lime is a suave confidence man who travels around the world looking for his next mark, drawing the line at blackmail, drugs, and murder. Think Robin Hood but without the giving to the poor part, he gave to Lime.

Harry Lime: Adventures of Harry Lime Episode: The Elusive Vermeer - May 1952

2011-12-09T16:54:00.000-06:00

The Elusive Vermeer - May 1952

Harry meets with Horace Sinjin Wndermere, a classy burglar with a taste for big burglaries. While having a drink with Windermere, he proposes that Harry join him in a business venture in England. There are several nice bits and bobs to “acquire” including a Vermeer. This is where Harry comes into the picture. Windermere hopes that Harry might help him dispose of the Vermeer in the United States for $100,000 since it is very recognizable in England and on the Continent. Harry has a few contacts though disposing of old masters is not his speciality.

Harry meets an oil millionaire, Joseph J. Hoffman from Omaha. Hoffman agrees to purchase the Vermeer for $150,000 even though it is a triffle...warm. Hoffman wants that picture so that his wife won’t be jealous of the Rembrandt his partner bought.

Harry heads out to pick up the Vermeer, deciding to forget the extra $50,000. When Harry goes to the pre-arranged meeting place, he finds out the Windermere died of a heart attack. What happens to the picture? More importantly, what happens to the money? We can’t tell you here since that would spoil everything. Go to Old Time Radio to find out.

Old Time Radio has all 52of the Harry Lime radio shows. If you like detective stories, comedies, dramas or history.

Harry Lime: Adventures of Harry Lime Episode: Love Affair, September 1951

2011-12-09T16:50:00.000-06:00

Harry Lime is a character who admits to being a confidence man and a smuggler. What exactly does this “anti-hero” get into?

Love Affair - September 1951

The story begins with Harry in Saudi Arabia and the story of Harry’s marriage...his only marriage. As he is strolling the streets, he meets a fortune teller who is very insistent. The fortune teller sees many women and many fortunes but only one wife which, according to Harry, is one wife too many.

Harry meets with a Mr. Schweig for whom he is working negotiating an oil contract for the man’s country. The man gives him a small check but as he cashes the check, a man approaches who seems to know what Harry has planned for the day. The unnamed man wants Harry to get the oil contracts for his country. The man has Harry’s number and knows that Harry’s services really go to the highest bidder.

In the hotel bar, he meets George Harris, a tour guide who warns his tourists away from Harry Lime. As they both go to the restaurant, Harry notices a beautiful young woman with the tour group. He makes his move but gets nowhere with the woman.

As he heads out to the sheik’s palace for the final negotiations, Harry is waylaid on the usually deserted road. The head teller from the bank climbs gets in the car and identifies himself as Mr. Schweig’s operative in the town who saw him get into the other man’s car. Harry is caught between the two opposing country’s operatives. How will Harry get out of this problem? Where does a wife come in? You can find out at Old Time Radio.

Gunsmoke Radio Show

2011-12-07T16:57:00.000-06:00

This western series premiered on radio on September 10, 1955 and completed its network run on September 1, 1975, making it the longest running dramatic series in the history of television. Two of its stars, James Arness and Milburn Stone, stayed with it through all 20 seasons, while Amanda Blake departed the series after 19 years.

Although it started out as a half-hour show, it was expanded to an hour beginning with its seventh season. Gunsmoke was one of two TV series that introduced the "adult western" to television audiences.

Gunsmoke originated on radio in 1952, with William Conrad playing the role of Marshal Matt Dillon. When CBS decided to create the television version, Conrad was deemed to hefty for the part, yet he continued in the radio role until the early 1960s. The role of the marshal was initially offered to John Wayne, who was not interested in doing a weekly series, yet he did introduce the first broadcast of the program.

Gunsmoke started the trend for TV westerns, which ultimately led to there being 30 of them on the air at one time. However, it outlasted all of them and at the time of its cancellation in 1975, it was the only show of its kind still on the air.

Audio Files

Most of the Gunsmoke audio files are now in mp3 format:
Gunsmoke Theme - from the 1970's
Another, slightly different, Gunsmoke Theme - from the 1970's
Gunsmoke Theme - 1955 (thanks to Tony Runfalo)
Gunsmoke opening scene, circa 1955 (thanks again to Tony Runfalo)
Short audio file (AU, 81k) (this used to be on the Nick at Nite site)
Cover of an old TV Guide with Matt and Chester
A picture of Matt, Doc, Kitty, Festus, and Quint
The Picture below is a cast picture of Matt, Doc, Kitty, Festus, Newley and Sam.

From the Old Time Radio Site:

The opening of a Gunsmoke Radio show This is great to listen to "It's a chancy job, and it makes a man watchful, and a little lonely"

Hank Williams Mothers Best Flour Radio Shows

2011-12-06T17:02:00.000-06:00

Mothers Best Flour Radio Shows

From late 1950 to late 1951, you could hear Hank Williams on WSM every morning at 7:15 singing and selling Mother's Best Flour, as well as self-raising Cornmeal and Pig & Sow Feed. During the 15 minute show Hank and the announcer Louie Buck would pitch the flour in between Hank's songs. Hank even wrote a theme song for the show.

From late 1950 to late 1951, you could hear Hank Williams on WSM every morning at 7:15 singing and selling Mother's Best Flour, as well as self-raising Cornmeal and Pig & Sow Feed. During the 15 minute show Hank and the announcer Louie Buck would pitch the flour in between Hank's songs. Hank even wrote a theme song for the show.

"I love to have that gal around
Her bicuits are so nice and brown
Her pies and cakes beat all the rest
Cause she makes them all with Mother's Best"

Hank was paid $100 a week for five shows. Often times, they were pre-recorded due to Hank's touring schedule. Though these shows have never been commercially released, they are among Hank Williams most popular, if not his best, work. Listed below are the shows, and the songs sang on each of them.....
Perhaps the most well known, most sought after and most "supposed to be released very soon" collection in the Hank Williams catalogue are the Mother's Best radio shows. This collection of radio shows is considered by many to be Hank's best work and were done at the peak of his career in 1951.
The show was broadcast live between 7:15 and 7:30 a.m. on WSM out of Nashville, Tennessee. Some of the shows were pre-recorded to be played on the air when Hank was out on the road. Hank was paid $100 a week for recording the shows that usually consisted of one country song, one instrumental and a gospel song to close the show, but that's not all they have to offer.
The Mother's Best Shows capture Hank's personality better than anything else known to exist and they don't paint the picture of a sad, lonesome, forlorn man hell bent on drinking and death as many books and other publications try to portray him as. In fact, it is probably the in-between song chatter that makes these recordings so great, you get a glimpse of what Hank Williams was like as a person.

People, places & things in the news: January 24, 1998

Hank Williams, Jr. music-reviewer.com interview excerpt: volume 5, number 4 February, 2002m-r.c: I'd like to ask you a couple of questions which relate to you through your legacy. Your father played a series of radio programs for Mother's Best Flour in 1950, and over 150 of the songs he played were recorded. These are still unreleased, due to legal difficulties. Those who have heard them, however, regard them as the Holy Grail of Country Music. Has there been any progress made toward releasing them?HWJr: I've got to tell you, I don't know. I really need to start checking into that. Are there really that many of them?m-r.c: Yeah, they're glass cased at the Country Music Hall of Fame, they won't even let you listen to them.HWJr: I've never had much love for the court system, ever since I had all of my daddy's masters sold out from under me when I was a kid. Y'know, there was testimony, Sam, you know, Sun Records?m-r.c: Sam Phillips.HWJr: Yeah, Sam Phillips, they asked him what he would have paid for those masters and he said 'One million dollars,' and you could've heard a pin drop. And one of the lawyers there, he said in court, one of these days this young man here is gonna forget about hunting and the like and get serious about things and a whole lot of people here today are gonna be sorry for what they've done. (laughs)

MOTHER'S BEST TRANSCRIPTIONS

Mother's Best shows are first transcribed, most likely in batches (multiple shows recorded at once) to play on-air when Hank is on the road. The show airs during weekdays at 7:15 AM on WSM-AM. I have seen two different dates listed for the initial batch's recording-the 8th and 9th of January 1951, but considering 1/6/51 was a Saturday, I will assume they were recorded on Sunday, 1/7/51 for broadcast over the next few weeks.

One way to track the air dates of these (or the approximate air-dates) is when Hank actually mentions the date, as he does for the 1/12/51 show before the band plays an old fiddle tune called "The 8th of January." Hank mentions that it is the 12th of January, so that's close enough to play the song. Other means of surmising include paying attention to Hank's record release dates (when he first plays "Cold Cold Heart" on show 20, and then "Dear John" on show 21, and he announces those records have just been released on MGM, it's safe to assume the shows were aired soon after "Cold Cold Heart/Dear John" was released in early Feb. 1951.)

There are other instances when Hank tells the audience to have a good weekend, so I can assume that show aired on a Friday. It's also interesting to note the comings and goings of Audrey. I would assume when she is present, she's gonna appear-hence her appearance and exit may mark one batch of sessions. I have also tracked down significant weather events in Nashville for the period, as Hank mentions the weather every once in awhile on the shows.

There are some recordings missing. A series of transcriptions that Hank recorded for Mother's Best Flour in Nashville around 1951. Contrary to the Health and Happiness Shows, the instrumentals seems to be more complete and with all bandmembers - and Hank participating on his guitar. A few of the around 100 titles were once played during a tribute show and bootlegged off the air.

MOTHER'S BEST TRANSCRIPTION #01-A1:Show #01 - Monday, January 8, 1951
THE BLIND CHILD
MOTHER'S BEST THEME SONG (Hank Williams)
BLUE STEEL BLUES (instrumental) - Don Helms
WHEN GOD DIPS HIS LOVE IN MY HEART (Cleavant Derricks)
MOTHER'S BEST THEME SONG (Hank Williams)
Hank talks about how bad he is at Bird Hunting during this show.
MOTHER'S BEST TRANSCRIPTION #01-A2:Show #02 - Tuesday, January 9, 1951
WHERE THE OLD RED RIVER FLOWS
MOTHER'S BEST THEME SONG (Hank Williams)
MOONLIGHT WATERS (instrumental) - Don Helms
HOW CAN YOU REFUSE HIM NOW (Hank Williams)
Hank mentions Carl Smith is present in the studio-but he can't do anything on air because the budget won't allow it. Carl is referred to as "Carl Overlooked an Orchid" Smith.
MOTHER'S BEST TRANSCRIPTION #01-B1:Show #03 - Wednesday, January 10, 1951
LOVESICK BLUES (Cliff Friend/Irving Mills) (partly)
MOANIN' THE BLUES (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
HONKY TONKIN' (Hank Williams) - Audrey Williams
I'LL HAVE A NEW BODY (I'LL HAVE A NEW LIFE) (Traditional)
MOTHER'S BEST THEME SONG (Hank Williams)
Hank mentions "Moanin' the Blues" is one of the "Top Tunes in the Country"
MOTHER'S BEST TRANSCRIPTION #01-B2:Show #04 - Thursday, January 11, 1951
THE ALABAMA WALTZ (Hank Williams)
FIRE ON THE MOUNTAIN (instrumental) - Jerry Rivers
LORD, BUILD ME A CABIN (IN THE CORNER OF GLORYLAND)
MOTHER'S BEST THEME SONG (Hank Williams)
When introducing "Alabama Waltz" Hank mentions he wrote the song, and if anyone "wants it" to let him know-he acknowledges the song has been written inspired by the "Tennessee Waltz".
MOTHER'S BEST TRANSCRIPTION #02-A1: Show #05 - Friday, January 12, 1951
NOBODY'S LONESOME FOR ME (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
TWIN GUITAR POLKA - Sammy Pruett & Don Helms
GATHERING FLOWERS FOR THE MASTER'S BOUQUET
EIGHTH OF JANUARY (instrumental) - Jerry Rivers
During the shows Audrey doesn't appear, the band plays a short instrumental. The instrumental on this show is "The 8th of January," an old fiddle tune-Hank mentions that it is "the 12th of January, so we're close enough."
MOTHER'S BEST TRANSCRIPTION #02-A2:Show #06 - Monday, January 15, 1951
MANSION ON THE HILL
MOTHER'S BEST THEME SONG (Hank Williams)
I LIKE THAT KIND - Audrey Williams
HOW CAN YOU REFUSE HIM NOW - Audrey Williams
MOTHER'S BEST TRANSCRIPTION #02-B1:Show #07 - Tuesday, January 16, 1951
EVERYTHING'S OKAY (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
WHY SHOULD I CRY(Hank Williams) - Audrey Williams
I HEARD MY MOTHER PRAYING FOR ME - with Audrey Williams
Before Audrey sings Hank's "Why Should I Cry," he mentions "I wrote this back in 1941 or 1942. My good friend Braxton Schufort recorded it back a short time ago."
MOTHER'S BEST TRANSCRIPTION #02-B2:Show #08 - Wednesday, January 17, 1951
NOBODY'S LONESOME FOR ME (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
TIGHT-WAD DADDY - Audrey Williams
I'LL HAVE A NEW BODY (I'LL HAVE A NEW LIFE) (Traditional)
Special guest Joe Rumore, an announcer from Birmingham Alabama that also does a Mother's Best show on a different station. During Audrey's performance of "Tight Wad Daddy" Hank can be heard making wisecracks off mic in answer to the song's lyrics.
MOTHER'S BEST TRANSCRIPTION #03-A1:Show #09 - Thursday, January 18, 1951
MOVE IT ON OVER (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
I'M SATISFIED WITH LIFE (DON'T WORRY ME) - Audrey Williams
I SAW THE LIGHT (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
Hank wishes everyone a good weekend.
MOTHER'S BEST TRANSCRIPTION #03-A2:Show #10 - Friday, January 19, 1951
THE SEAMAN'S BLUES
MOTHER'S BEST THEME SONG (Hank Williams)
BLUES IN MY MIND - Audrey Williams
SOMETHING GOT A HOLD ON ME(A.P.Carter) - with Audrey Williams
MOTHER'S BEST THEME SONG (Hank Williams)
Hank complains about his out of tune guitar that he says he told the guitar salesman "wasn't worth 2 and a half."
MOTHER'S BEST TRANSCRIPTION #03-B1:Show #11
BLUE EYES CRYING IN THE RAIN
MOTHER'S BEST THEME SONG (Hank Williams)
BONAPARTE'S RETREAT - Audrey Williams
I'VE JUST TOLD MAMA GOODBYE (Slim Sweet/Curley Kinsey)
MOTHER'S BEST TRANSCRIPTION #03-B2:Show #12
ON THE BANKS OF THE OLD PONCHARTRAIN (Hank Williams/Ramona Vincent)
MOTHER'S BEST THEME SONG (Hank Williams)
BLUE LOVE (IN MY HEART) - Audrey Williams
CALLING YOU (Hank Williams)
Hank mentions "Calling You" was written "7 years ago" putting it's date of origin at 1944
MOTHER'S BEST TRANSCRIPTION #04-A1:Show #13
MY SWEET LOVE AIN'T AROUND (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
MODEL T LOVE - Audrey Williams
WHERE THE SOUL OF MAN NEVER DIES (Wayne Raney o.b.o. William M. Golden) - with Audrey Williams
MOTHER'S BEST THEME SONG (Hank Williams)
Audrey dedicates "Model-T Love" to Cedric-Hank seems surly the rest of the show.
MOTHER'S BEST TRANSCRIPTION #04-A2:Show #14
PINS AND NEEDLES IN MY HEART
MOTHER'S BEST THEME SONG (Hank Williams)
FOUR FLUSHER - Audrey Williams
I HEARD MY MOTHER PRAYING FOR ME - with Audrey Williams
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #04-B1:Show #15
MIND YOUR OWN BUSINESS (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
I LIKE THAT KIND - Audrey Williams
WHEN GOD DIPS HIS LOVE IN MY HEART (Cleavant Derricks)
Hank mentions it's Friday-so one of the previous shows is most likely out of sequence.
MOTHER'S BEST TRANSCRIPTION #04-B2:Show #16
MAY YOU NEVER BE ALONE (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
MY LOVE FOR YOU HAS TURNED TO HATE (Hank Williams) - Audrey Williams
DEAR BROTHER (Hank Williams) - with Audrey Williams
MOTHER'S BEST THEME SONG (Hank Williams)
LOVESICK BLUES (Cliff Friend/Irving Mills) (partly)
Announcer asks Hank if he still has that $2.00 guitar-making me believe this show is out of sequence and should actually be Tuesday the 22nd. Before Audrey sings her song on this show Hank mentions he's going to "go sit down," probably relating to his back hurting. After she sings her song and Hank mentions he wrote it, the announcer mentions Hank doesn't hate things as much as he did when he wrote the song, Hank disagrees.
MOTHER'S BEST TRANSCRIPTION #05-A1:Show #17
THEY'LL NEVER TAKE HER LOVE FROM ME (Leon Payne)
MOTHER'S BEST THEME SONG (Hank Williams)
LAST NIGHT I HEARD YOU CRYING IN YOUR SLEEP - Audrey Williams
WAIT FOR THE LIGHT TO SHINE (Fred Rose)
WHISTLIN' RUFUS (instrumental)- Jerry Rivers
"They'll Never Take Her Love" mentioned as a song he "recorded here not too long ago."
MOTHER'S BEST TRANSCRIPTION #05-A2:Show #18
COOL WATER (Bob Nolan)
MOTHER'S BEST THEME SONG (Hank Williams)
ORANGE BLOSSOM SPECIAL (instrumental) - Jerry Rivers
LONELY TOMBS (William M. Golden)
MOTHER'S BEST TRANSCRIPTION #05-B1:Show #19
I JUST DON'T LIKE THIS KIND OF LIVING (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
YOU DON'T HAVE TO BE A BABY TO CRY - Audrey Williams
JESUS REMEMBERED ME (Hank Williams) - with Audrey Williams
MOTHER'S BEST THEME SONG (Hank Williams)
Hank plugs his and Audrey's duet before the sing it, mentions "Joe Lockard (sp?) sitting in the studio-apparently a WSM engineer.
MOTHER'S BEST TRANSCRIPTION #05-B2:Show #20 - Monday, February 5, 1951
COLD, COLD HEART (Hank Williams)
HONKY TONKIN'(Hank Williams) - Audrey Williams
SALLY GOODIN' - the band, vocal by Hank & Louie Buck (call a square dance) - Jerry Rivers
Hank makes frequent mentions to the cold and snow, also mentions "I go to texas and I come home and I been froze out." He was in Texas 1/30/51. Announces "Cold Cold Heart" as just being released-the record was released Feb 3rd. He also mentions touring the Mother's Best Mill in Alabama-he appeared in Birmingham in early Feb. as well. This detective work leads me to believe this show was from the first Monday in Feb.
MOTHER'S BEST TRANSCRIPTION #06-A1:Show #21
DEAR JOHN (Aubry Gass)
I'M SATISFIED WITH LIFE (DON'T WORRY ME) - Audrey Williams
SOMETHING GOT A HOLD ON ME (A.P.Carter) - with Audrey Williams
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #06-A2:Show #22
LOVESICK BLUES(Cliff Friend/Irving Mills) (partly)
AT THE FIRST FALL OF SNOW (Lorene Rose)
I LIKE THAT KIND - Audrey Williams
WHEN GOD DIPS HIS LOVE IN MY HEART (Cleavant Derricks)
MOTHER'S BEST TRANSCRIPTION #06-B1:Show #23
WEDDING BELLS (Claude Boone)
TIGHT-WAD DADDY - Audrey Williams
WHERE THE SOUL OF MAN NEVER DIES (Wayne Raney o.b.o. William M. Golden) - with Audrey Williams & the band
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #06-B2:Show #24
WHY DON'T YOU LOVE ME (Hank Williams)
BLUE LOVE (IN MY HEART) - Audrey Williams
DEAR BROTHER (Hank Williams) - with Audrey Williams
MOTHER'S BEST TRANSCRIPTION #07-A1:Show #25
FADED LOVE AND WINTER ROSES (Fred Rose)
MOTHER'S BEST THEME SONG (Hank Williams)
FIRE ON THE MOUNTAIN (instrumental) - Jerry Rivers
I HEARD MY SAVIOUR CALL
MOTHER'S BEST TRANSCRIPTION #07-A2:Show #26
JUST WHEN I NEEDED YOU
I CAN'T TELL MY HEART THAT - Johnny & Jack
FARTHER ALONG
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #07-B1:Show #27
LOVESICK BLUES (Cliff Friend/Irving Mills) (partly)
MOVE IT ON OVER (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
DARKTOWN STRUTTERS BALL (instrumental) - Sammy Pruett
THY BURDENS ARE GREATER THAN MINE (Pee Wee King/Redd Stewart)
MOTHER'S BEST TRANSCRIPTION #07-B2:Show #28
THERE'S NOTHING AS SWEET AS MY BABY (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
TURKEY IN THE STRAW (instrumental) - Jerry Rivers
WAIT FOR THE LIGHT TO SHINE (Fred Rose)
MOTHER'S BEST TRANSCRIPTION #08-A1:Show #29
I CAN'T HELP IT (IF I'M STILL IN LOVE WITH YOU) (Hank Williams)
PANHANDLE RAG (instrumental) - Don Helms
GATHERING FLOWERS FOR THE MASTER'S BOUQUET
MOTHER'S BEST THEME SONG (Hank Williams)
BILL CHEATHAM (instrumental) - Jerry Rivers
MOTHER'S BEST TRANSCRIPTION #08-A2:Show #30
WHERE THE OLD RED RIVER FLOWS
MOTHER'S BEST THEME SONG (Hank Williams)
BLUE STEEL BLUES (instrumental) - Don Helms
THIRTY PIECES OF SILVER
MOTHER'S BEST TRANSCRIPTION #08-B1:Show #31
ON TOP OF OLD SMOKY
COLUMBUS STOCKARD BLUES (instrumental) - Sammy Pruett
A PRODIGAL SON (Floyd D. Jenkins a.k.a. Fred Rose)
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #08-B2:Show #32
MAY YOU NEVER BE ALONE (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
ARKANSAS TRAVELLER (instrumental) - Jerry Rivers
I'LL HAVE A NEW BODY (I'LL HAVE A NEW LIFE) (Traditional)
MOTHER'S BEST TRANSCRIPTION #09-A1:Show #33
NEXT SUNDAY DARLING IS MY BIRTHDAY
MOTHER'S BEST THEME SONG (Hank Williams)
OLD JOE CLARK (instrumental) - Jerry Rivers
DECK OF CARDS
MOTHER'S BEST TRANSCRIPTION #09-A2:Show #34
TENNESSEE BORDER (Jimmie Work)
BLUE BONNET RAG (instrumental) - Jerry Rivers
DEAR BROTHER (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
WHISTLIN' RUFUS (instrumental) - Don Helms
MOTHER'S BEST TRANSCRIPTION #09-B1/B2:Shows #35-36
PICTURES FROM LIFE'S OTHER SIDE (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
JUST WAITIN' (Hank Williams)
SALLY GOODIN' (instrumental) - Jerry Rivers
(I'M GONNA) SING, SING, SING (Hank Williams)
PARADISE ISLAND (instrumental) - Don Helms
WHEN THE FIRE COMES DOWN FROM HEAVEN
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #10-A1/A2:Shows #37-38
MY SWEET LOVE AIN'T AROUND (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
I CAN'T TELL MY HEART THAT - Jimmie Skinner
WHERE THE SOUL OF MAN NEVER DIES (Wayne Raney o.b.o. William M. Golden) - with the band
I CAN'T HELP IT (IF I'M STILL IN LOVE WITH YOU) (Hank Williams)
PANHANDLE RAG (instrumental) - Don Helms
DRIFTING TOO FAR FROM THE SHORE (Charles Moody)
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #10-B1/B2:Shows #39-40
JUST WHEN I NEEDED YOU
MOTHER'S BEST THEME SONG (Hank Williams)
STEEL GUITAR STOMP (instrumental) - Don Helms
I'LL FLY AWAY
COLD, COLD HEART (Hank Williams)
DANCE ALL NIGHT (instrumental) a.k.a. BALLAD OF SALLY ANNE - Jerry Rivers
THE OLD COUNTRY CHURCH (W.S.Stevenson o.b.o. John Whitfield Vaughn)
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION #11-A1:Show #41
MOANIN' THE BLUES (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
BLUE STEEL BLUES (instrumental) - Don Helms
I DREAMED ABOUT MAMA LAST NIGHT (Fred Rose)
MOTHER'S BEST TRANSCRIPTION #11-A2:Show #42
I HANG MY HEAD AND CRY
MOTHER'S BEST THEME SONG (Hank Williams)
TENNESSEE WAGONER (instrumental) - Jerry Rivers
AT THE CROSS
MOTHER'S BEST TRANSCRIPTION #11-B1/B2:Shows #43-44
I DREAMED ABOUT MAMA LAST NIGHT (Fred Rose)
MOTHER'S BEST THEME SONG (Hank Williams)
BLACK MOUNTAIN RAG (instrumental) - Jerry Rivers
I HEARD MY SAVIOUR CALL
LOW AND LONELY
FOOLISH QUESTIONS - Big Bill Lister
THE FUNERAL (words, Public Domain; music, Hank Williams)
MOTHER'S BEST TRANSCRIPTION #12-A1/A2:Shows #45-46
WHERE THE OLD RED RIVER FLOWS
MOTHER'S BEST THEME SONG (Hank Williams)
ORANGE BLOSSOM SPECIAL (instrumental) - Jerry Rivers
WHERE HE LEADS ME, I WILL FOLLOW
IF I DIDN'T LOVE YOU (Hank Williams) - with recitation by Louie Buck
MOTHER'S BEST THEME SONG (Hank Williams)
PANHANDLE RAG (instrumental) - Don Helms
WAIT FOR THE LIGHT TO SHINE (Fred Rose)
MOTHER'S BEST TRANSCRIPTION #12-B1/B2:Shows #47-48
I JUST DON'T LIKE THIS KIND OF LIVIN' (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
TENNESSEE WAGONER (instrumental) - Jerry Rivers
THE PALE HORSE AND HIS RIDER (Ervin Staggs/Johnny Bailes)
HEY GOOD LOOKIN' (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
ALABAMA JUBILEE (instrumental) - Jerry Rivers
SEARCHING FOR A SOLDIER'S GRAVE
MOTHER'S BEST TRANSCRIPTION #13-A1/A2:Shows #49-50
LOVESICK BLUES(Cliff Friend/Irving Mills) (partly)
I'VE BEEN DOWN THAT ROAD BEFORE (Hank Williams)
LITTLE ANNIE (instrumental) - Don Helms & Jerry Rivers
ONE WAY TICKET TO THE SKY
MOTHER'S BEST THEME SONG (Hank Williams)
CALIFORNIA ZEPHYR (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
DOWN YONDER (instrumental) - Jerry Rivers
SOFTLY AND TENDERLY
MOTHER'S BEST TRANSCRIPTION #13-B1/B2:Shows #51-52
(I HEARD THAT) LONESOME WHISTLE BLOW (Hank Williams/Jimmie Davis)
ROADSIDE RAG (instrumental) - Don Helms
I'M BOUND FOR THE PROMISED LAND
MOTHER'S BEST THEME SONG (Hank Williams)
I CAN'T TELL MY HEART THAT
MOTHER'S BEST THEME SONG (Hank Williams)
GEORGIA STEEL GUITAR (instrumental) - Don Helms
OH DEAR LORD, TAKE MY HAND
MOTHER'S BEST TRANSCRIPTION #14-A1/A2:Shows #53-54
JUST WAITIN' (Hank Williams)
EIGHTH OF JANUARY (instrumental) - Jerry Rivers
FROM JERUSALEM TO JERICHO
LOVESICK BLUES (Cliff Friend/Irving Mills) (partly)
CHEROKEE BOOGIE
MOTHER'S BEST THEME SONG (Hank Williams)
COLUMBUS STOCKADE BLUES (instrumental) - Don Helms
BEAUTIFUL HOME
MOTHER'S BEST TRANSCRIPTION #14-B1/B2:Shows #55-56
(I HEARD THAT) LONESOME WHISTLE BLOW (Hank Williams/Jimmie Davis)
I DON'T LOVE NOBODY (instrumental) - Jerry Rivers
THE GREAT JUDGEMENT MORNING
MOTHER'S BEST THEME SONG (Hank Williams)
I'LL SAIL MY SHIP ALONE
MOTHER'S BEST THEME SONG (Hank Williams)
LITTLE ANNIE (instrumental) - Don Helms & Jerry Rivers
I'LL HAVE A NEW BODY (I'LL HAVE A NEW LIFE) (Traditional)
MOTHER'S BEST TRANSCRIPTION #15-A1/A2:Shows #57-58
DEAR JOHN (Aubry Gass)
MOTHER'S BEST THEME SONG (Hank Williams)
ROADSIDE RAG (instrumental) - Don Helms
I'LL FLY AWAY
MOTHER'S BEST THEME SONG (Hank Williams)
BONAPARTE'S RETREAT (instrumental) - Jerry Rivers
COLD, COLD HEART (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
FIRE ON THE MOUNTAIN (instrumental) - Jerry Rivers
FARTHER ALONG
--------------------------
MOTHER'S BEST TRANSCRIPTION #15-B1:Show #59
STARS IN HER EYES (a series of songs) - from Health Department Nationwide campaign against VD
(PSA For Veneral Disease Hank Sings and Tells The Story Radio Drama)
"15 minutes devoted to the prevention of venereal disease"
MOTHER'S BEST TRANSCRIPTION #16-A1:Show #60
Quaker Oats Audition Show
WHY DON'T YOU LOVE ME (Hank Williams)
SAN ANTONIO ROSE (instrumental) - Owen Bradley Quartet
HONEY BE MY HONEY BEE (instrumental) - Beasley Smith Twins
COLD, COLD HEART (Hank Williams)
Last Show, Was an audition for Quaker Oats
--------------------
Additional Shows By Date:
MOTHER'S BEST TRANSCRIPTION - Feb. 12, 1951:Show #61
MOVE IT ON OVER (Hank Williams)
WALTZ OF THE WIND - Audrey Williams
I'LL HAVE A NEW BODY (I'LL HAVE A NEW LIFE) (Traditional)
MOTHER'S BEST TRANSCRIPTION - Feb. 13, 1951:Show #62
FADED LOVE AND WINTER ROSES (Fred Rose)
FOUR FLUSHER - Audrey Williams
I SAW THE LIGHT (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION - Feb. 21, 1951:Show #63
WHY SHOULD WE TRY ANYMORE (Hank Williams)
LOW AND LONELY - Audrey Williams
JESUS DIED FOR ME (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION - Feb. 22, 1951:Show #64
LONG GONE LONESOME BLUES (Hank Williams)
LAST NIGHT I HEARD YOU CRYING IN YOUR SLEEP - Audrey Williams
LONELY TOMBS (William M. Golden)
MOTHER'S BEST THEME SONG (Hank Williams)
TURKEY IN THE STRAW (instrumental) - Jerry Rivers
MOTHER'S BEST TRANSCRIPTION - Feb. 23, 1951:Show #65
DEAR JOHN (Aubry Gass)
IF YOU WANT SOME LOVIN' - Audrey Williams
I HEARD MY MOTHER PRAYING FOR ME - with Audrey Williams
-------------------------
Additional Shows By Numbers:
MOTHER'S BEST TRANSCRIPTION 146:Show #66
MIND YOUR OWN BUSINESS (Hank Williams)
MOTHER'S BEST THEME SONG(Hank Williams)
OLD JOE CLARK (instrumental) - Jerry Rivers
I DREAMED ABOUT MAMA LAST NIGHT(Fred Rose)
MOTHER'S BEST TRANSCRIPTION 147:Show #67
I'M SO LONESOME I COULD CRY (Hank Williams)
CORRINA, CORRINA (instrumental) - Jerry Rivers
I HEARD MY SAVIOUR CALL
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION 150:Show #68
MY SWEET LOVE AIN'T AROUND (Hank Williams)
FIRE ON THE MOUNTAIN (instrumental) - Jerry Rivers
I SAW THE LIGHT (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
MOTHER'S BEST TRANSCRIPTION 151:Show #69
I BLOTTED YOUR HAPPY SCHOOL DAYS
MOTHER'S BEST THEME SONG (Hank Williams)
ORANGE BLOSSOM SPECIAL (instrumental) - Jerry Rivers
DUST ON THE BIBLE
MOTHER'S BEST TRANSCRIPTION 156:Show #70
HAVE I TOLD YOU LATELY THAT I LOVE YOU
MOTHER'S BEST THEME SONG (Hank Williams)
SALLY GOODIN' (instrumental) - Jerry Rivers
WHEN THE SAINTS GO MARCHING IN
MOTHER'S BEST TRANSCRIPTION 157:Show #71
HEY GOOD LOOKIN' (Hank Williams)
SILVER BELLS (instrumental) - Don Helms
(I'M GONNA) SING, SING, SING (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
TURKEY IN THE STRAW (instrumental) - Jerry Rivers
MOTHER'S BEST TRANSCRIPTION 158:Show #72
LOVESICK BLUES(Cliff Friend/Irving Mills) (partly)
I CAN'T HELP IT (IF I'M STILL IN LOVE WITH YOU) (Hank Williams)
MOTHER'S BEST THEME SONG (Hank Williams)
NOT STAY ALL NIGHT (STAY A LITTLE LONGER) (instrumental)
LONELY TOMBS (William M. Golden)

Golden Age of Radio Links

2011-12-01T17:28:00.000-06:00