SHOWBIZ TIME MAGAZINE
THE GOLDEN YEARS OF LIVE ENTERTAINMENT ON RADIO. THE EARLY SOLO VOCALISTS
"He's a great singer, but ya know, you can't make it without a band. Every singer has got to have a band behind him." - Bandleader Tommy Dorsey, February 1942.
It really all started with Frank Sinatra.
Photo: Young Frank
Sinatra with Tommy Dorsey in 1942.
In January 1942, the 26 year old Frank Sinatra took the world of entertainment by storm. Thousands of young girls fell in love with him, and hundreds fainted every time he performed on stage. Female bobby-soxers screamed and screamed and rushed to touch his face amid hysteria and bursting passion. For long time, he has been performing as a solo singer with the Tommy Dorsey and his Orchestra, but now Sinatra realized that his ready for a solo career, alone and on his own, even if his boss Tommy Dorsey believed Sinatra was "a damn fool" for considering it. Dorsey was convinced that Sinatra will never make it without his band. He was wrong! The idea that a band vocalist would go out on his or her own, without the promotional support of a popular orchestra, was absurd and unrealistic in the 1940s. Many singers of the era preferred to stick to their bands for financial security purposes. Sinatra was different. He had the support and loyalty of thousands and thousands of teenagers and young adults. At that time in history, radio sponsors began to recognize the vast economic buying power of young audiences and teenagers. But one question haunted their minds: How much money those teenagers could spend or how much goods and merchandise would they buy? Sinatra was not concerned at all, because he was the first and ultimate superstar of the postwar years. Sinatra's decision ushered in, a new daring trend in showbiz. And he did it at a time when the popularity of big bands began to decline for many reasons. The United States was in war. Consequently, wartime restrictions on steel, rubber, tires and fuel made it so difficult for big band to tour regularly and appear on radio programs across the country. Besides, big bands could no longer record their music as often as they wished, because shellac and other products used in manufacturing the 78RPM records were in short supply. Indeed, this short supply in materials decreased the production and sales of records. But this would not affect the career of a solo vocalist touring the country without a big band.
Photo:
James Petrillo, the powerful president of the AFM.
Add to the fact, that between 1941 and 1945, many big bands members were drafted. And to make things worst, in August 1942, a recording ban was imposed by the American Federation of Musicians, generated by a bitter dispute concerning copyrights, royalties and compensations for musicians works and their recordings. The ban lasted until 1943 and the case would not be resolved until 1944. Many non-union singers benefited from this crisis, because they were not forbidden to record their own songs. Of course, solo singers had to pay for recording their songs, studio time, and above all, they had to find professional musicians. But this was a minor concern, because they found out that they could record their songs with salaried studio musicians. And instead of using big bands and/or a large number of professional musicians, daring solo vocalists used small but effective choral accompaniment, and in many instances, they substituted with their own vocals dubbed over several tracks recorded in Mexico City. Not to forget the fact that record companies were fully aware that working with solo star singers was much much cheaper than working with a large band and a pompous famous bandleader. So record companies decided to replace big bands with studio musicians and small combos to accompany solo vocalists. Continues Next