From the Back Room: Gloria Wood

Gloria Wood was a supremely talented singer who had the misfortune of being best known for the novelty records she made with Kay Kyser and later for Capitol records, although her career was far more diversified than those outings.

Today's "From the Back Room" post is the completed version of a project I started more than a decade ago, devoted to bringing together most of her singles output from the 1940s and 50s.

For these "Back Room" posts, the transfers, etc., are prepared with the usual care, but my commentary may be less elaborate than is sometimes the case.

This particular post includes 33 songs.

About Gloria Wood

Wood (1923-95) was the daughter of a professional singer, which set a career path both for her and for her older sister Donna. The elder sibling sang with Horace Heidt and then with Kay Kyser. When Donna died of a heart ailment at age 29, Gloria succeeded her in the Kyser band. Gloria would go on to be one of the most in-demand studio singers, for her rare virtuosity and range.

First Records with 4 Star

These days 4 Star records is mainly remembered as a country and western outfit, but the small West Coast outfit also recorded other types of music in its early days, mainly Latin outfits but also a few jazz and big band records as well. Wood's first records, dating from 1945 and 1946, were with these ensembles.

The 4-Star-5 was a traditional jazz combo with such well-known musicians as Zutty Singleton and Gus Bivona. Gloria's first record with that crew was a cover of Hoagy Carmichael's new "Memphis in June," followed by three songs by the obscure West Coast singer-composer Slim Coates: "Hitch Your Wagon," "Some Guy" and "Toy Boy." The first is, predictably, the best of the lot, but Coates' songs are not bad.

Wingy Manone

Wood's next assignment was with another traditional jazz figure, Wingy Manone, who led a raucous band backing her in the standard "My Blue Heaven" and the trumpeter's own "I Must Be Dreaming." She acquits herself well in both songs.

Finally, big band vet Ted Fio Rito used her voice on two songs, his own "Now That You're Gone" and the standard "East of the Sun." She's particularly impressive in the former.

With Kay Kyser

Kay Kyser

Kay Kyser had a polished and versatile band, but it was known for novelty records. Gloria's first record with the group in 1947 was a notable and catchy example. "The Possum Song" has the subtitle "Six, Tall, Slim, Slick, Sycamore Saplin'," which I cannot explain to you. This song was the work of singer-songwriter Terry Shand, working with a Dunham, who might or might not be bandleader Sonny Dunham.

Next was one of several duets with longtime Kyser singer Harry Babbitt, a polished performer. Gloria works well with him on Jack Brooks' "Saturday Date." Gloria then worked with the Campus Kids vocal group on the mock calypso "There Ought to Be a Society (For the Prevention of Cruelty to Poor Unfortunate Lovers)."

Now comes the big hit - "Woody Wood-Pecker," by Ramey Idriss and George Tibbles. Wood (who would have seemed to have been preordained to sing this song) manages to avoid having to imitate Woody's annoying laugh, and is otherwise charming.

Another Hoagy Carmichael song (and another faux calypso), "Too Much-a Manana" also did well for Gloria and Kyser.

Babbitt and Wood combined for another major hit, Frank Loesser's "On a Slow Boat to China." Finally, we have 1949's "I'll Wait," with Gloria billed over Harry Babbitt for the first time.

Kyser would soon wind down the band and Wood was off for a freelance career, working with Jud Conlon's Rhythmaires among others.

Capitol Recordings

Gloria recorded several songs for Capitol records in 1953. These started with two songs with keyboard player Buddy Cole, notably Vincent C. Fiorino's "Red Canary," which Cole (presumably) gave an African feel. Percussion is prominent, along with piccolo and a fascinating bass line produced in a manner unknown (to me).

"Hello Sunshine" has an old-timey feel that is accentuated by Wood's virtuosity, a tuba, banjo and some effects that Cole probably produced from his organ.

The next song is something of a classic. "Hey Bellboy" has Gloria singing insanely high (and loud), both by herself and in duet with Pete Candoli's trumpet, alternating with sexy calls of "hey bellboy!"

"Hey Bellboy" EP

"By the Waters of Minnetonka" has Wood singing the melody quite high both in harmony with her own voice and with Candoli's trumpet. She also sings a chorus conventionally.

"Anybody Hurt?" has her scatting both extremely high and fast. Both this and "Hey Bellboy" were written by Candoli and Tom Mack.

Finally, for "Oh, Honey" she moved on to Dave Cavanaugh's semi-R&B outfit. Dave's band plays a riff over and over while Gloria alternately pleads "Oh, honey, please!" and again ascends into the stratosphere vocally.

Capitol's Music Views magazine devoted a two-page spread to Wood's vocal heroics in 1953. The pages are below - click to enlarge them.

With Decca-Coral

Wood recorded several songs for Decca-Coral in 1955. First was "Lover-Lover (Why Must We Part?)" written by Charles Wolcott for the film Blackboard Jungle, but not, as far as I know, used as such in the film. It is, unexpectedly, a country tune, which Gloria does idiomatically.

This was backed by "Teen-Time," which, far from being adolescent fare, is boppish high harmony vocalese accompanied by vibes, clarinet and rhythm.

Coral got in on the "Hey" songs with "Hey Mister," which leaves out the vocal pyrotechnics in favor of a simple ballad accompanied by growl trumpet, tenor sax groans and clarinet. The flip side is "I Keep Telling Myself," a nice tune with a good arrangement from George Cates.

Finally, Wood moved from Coral to the main Decca label for a single with another former Capitol artist, Jimmy Wakely. "Are You Satisfied?" melds Gloria's vocalese with some awkward harmony with Wakely. "Mississippi Dreamboat" is semi-R&B. Neither Jimmy nor Gloria seem convinced.

A Few Unpolished Diamonds

Billboard ad

In 1956 Gloria surfaced on the rejuvenated Diamond label, once headquartered in New York and headed by Irving Gwirtz. That concern went under in the 1940s, leaving a trail of lawsuits, but Gwirtz and Diamond seem to have be resurrected in Hollywood in 1956. At least a "Gwirtz" is listed as co-author of the tune "The Rock and the Roll," which apparently was the B-side of the record. "Honey Bee" (with the "vocal magic of Gloria Wood") was the plug side.

"The Rock and the Roll," as you might imagine, is rock 'n' roll. The label proclaims this to be a Billy May arrangement, and there are some trumpet squeals that might suggest his hand in the charts.

"Honey Bee" is an awful song, a marriage of "Be My Little Baby Bumble-Bee" of Doris Day infamy with the vocal approach of Teresa Brewer.

There are a few other Diamond sides that I don't have, and at least one 45 on Zephyr.

The Columbia Singles

Billboard ad

Wood was back with a major label in 1957, landing at Columbia Records, where she made a few singles and one LP that came out in early 1959. All were with Jerry Fielding.

The first item, "Back Door," is rock 'n' roll, although sung at a high level. The flip, "Mr. Sorrow," is a downcast ballad. At least this one gives Gloria a chance to be expressive, which she does beautifully. Fielding wrote both songs. 

The second single coupled a song co-written by Wood and Fielding, "Heartless Kisses," another R&R effort, with "I Won't Be a Fool Again," which is even more rock-lite.

The material on Gloria's Columbia LP, Wood by the Fire, is better than the singles. I have the LP if there is interest.

LINK