Turning up the heat a bit, we follow yesterday’s look at “Hell’s Bells” with another pair of numbers that keep us in that extremity (as our friend Mr. Dickens would say) - both from the pen of the Larry Clinton!
The Visual Pun: Shades of Hades (1936/1938)
Before forming his own band, Larry was already a highly successful arranger for top outfits like Glen Gray and the Casa Loma Orchestra. For them, he wrote the wonderfully titled Shades of Hades in 1936.
Let's spin that Decca recording:
The Casa Loma band always struck me as very arrangement‑driven, so it’s no surprise they gravitated toward Clinton’s charts. He gave them exactly the kind of crisp, clever writing they thrived on.
After forming his own band, Larry got the chance to record his own version for Victor in 1938.
I have to say, I love the title as a visual pun - it looks like it should rhyme, but it absolutely doesn’t when you say it aloud!
The Hit He Couldn't Have: Satan Takes a Holiday
For our next Hades-themed tune, we back up to 1937, when Larry was submitting arrangements to Tommy Dorsey.Among them was his original composition Satan Takes a Holiday,which became a massive hit for the TD orchestra.
Here's that Victor record:
Dave Tough does his usual great job on the drums or traps, as it were!
The success of Dorsey’s recordings of “Satan” and “The Dipsy Doodle” (another Clinton original) helped push Larry toward starting his own band. However, because both he and Tommy recorded for Victor, the label didn’t want competing versions. Larry was actually blocked from recording his own hit for twenty years!
The Hi-Fi Redemption (1957)
Larry finally cut his own version of Satan Takes a Holiday for RCA Victor for the album Larry Clinton in Hi-Fi, with a stellar group of studio musicians.
Once again, the drummer steals the show! This time it's Jimmy Crawford (formerly of the Jimmie Lunceford band). His fills absolutely sparkle. If pressed, I might even say "Craw" is my favorite drummer of the entire swing era!
The Spooky Side
An interesting tidbit: The British labels of the time showed the tune as 'Spooky' Takes a Holiday! With that in mind, let's listen to a British version. Here's trumpeter/vocalist Nat Gonella and his Georgians in 1937 on the Parlophone label:
Very intriguing to hear the seldom heard lyrics!
Who's your MVD (Most Valuable Drummer) on this spooky ride - Davey or Craw?
Sunday’s post had Duke Ellington ringing the rafters with Ring Dem Bells, so for this week’s Word Association Wednesday, we follow the echo straight into the underworld. If Duke rings ’em, somebody’s bound to shout Hell’s Bells! - and that’s our cue to go spelunking through the 78 rpm stacks. We've got five versions, so leave us begin...
1. Art Kassel - The King’s Writer (1932)
We start at the source: Art Kassel, who not only recorded Hell’s Bells but wrote it and used it as the theme song for his "Kassels in the Air"Band. His 1932 Columbia side is a bit raucous for a polite hotel band, but it’s novelty‑adjacent without ever quite tipping into corn, and it sets the tone for everything that follows.
2. Bob Causer (with Dick Robertson) - The Budget‑Label Surprise (1932)
Next, we flip over to the budget bins for Bob Causer and his Cornellians, featuring ubiquitous session vocalist Dick Robertson. Same year, totally different flavor. Robertson actually sings the “It’s certainly hot…” verse - the one Kassel only plays instrumentally - giving us a glimpse of how the tune played when the full lyric was in circulation. Scrappier, cheaper, and absolutely delightful!
3. Hal Kemp - Elegance with a Sly Grin (1932)
From there, we glide into the satin‑smooth world of Hal Kemp. His instrumental take on Brunswick is airy and lightly syncopated - the kind of thing that makes you imagine a hotel ballroom with perfect lighting and a floor that never squeaks. Kemp takes the tune’s novelty edge and files it down to a chic, urbane shimmer, all while keeping the band’s trademark “typewriter” trumpet sound. But in my in mind, I can definitely imagine Skinnay Ennis singing the lyrics!
4. Jimmie Lunceford - Discipline, Fire, and a Ghostly Shimmer (1937)
Then the door swings open and in marches Jimmie Lunceford, whose 1937 Decca recording turns Hell’s Bells into a precision‑swing showpiece. Sy Oliver is the architect here, and his arrangement gives the track its bite: crisp attacks, sly rhythmic kicks, and that buoyant lift only Lunceford’s band could deliver. Adding a delicious layer of atmosphere is pianist Edwin Wilcox, who slips over to the celeste for a few choice moments — a little chiming shimmer that makes the whole thing feel like a haunted music box.
The slower pace of this version actually makes it spookier. It’s been a staple of my Big Band Halloween playlist for years!
5. Clyde McCoy - The 20‑Year Detour (1952)
And then we leap forward two decades to Clyde McCoy, who finally records Hell’s Bells in 1952 — a tune so perfect for his wah‑wah trumpet that you’d swear it had been waiting for him! Why it took him twenty years to wax it is anyone’s guess, but once he does, it’s a wild, swaggering instrumental that feels like the natural endpoint of every version that came before.
Five versions, five angles, one tune that refuses to stay in its lane. From Kassel’s original to Causer’s budget‑label charm, Kemp’s elegance, Lunceford’s fire, and McCoy’s late‑breaking swagger — which one rings your bells?
Bonus Round: Betty Boop turns up the heat (1934)
And for dessert, we hop from the bandstand to the cartoon studio. In Betty Boop’s 1934 short Red Hot Mamma, Betty — voiced by Bonnie Poe — actually sings Hell’s Bells right in the middle of her infernal adventure. It’s exactly what you’d expect from the Fleischer studio: surreal, spicy, and the kind of cross‑pollination that made early ’30s pop culture such a glorious tangle.
Among the versions of Ring Dem Bells we heard yesterday was one by Andy Kirk and his Clouds of Joy, as arranged by the great Mary Lou Williams - The Lady Who Swings the Band. So for today's side-session, let's turn the spotlight on Mary Lou and see what she and Andy were up to in 1930, the year Duke Ellington first recorded Ring Dem Bells!
The Idea (1930)
By 1930, Mary Lou Williams had established herself as a composer, arranger and pianist with Andy Kirk and his Twelve Clouds of Joy. It's almost impossible to comprehend the level of talent as well as determination it took for a 20-year-old Black woman to succeed in the music business almost 100 years ago!
Here's a 1930 Brunswick recording by the Kirk band of Mary Lou's composition Mary's Idea:
That's pretty advanced for 1930. If Duke was leading the way towards more modern sounds, Mary Lou wasn't far behind. She had ideas all right!
The New Idea (1939)
In 1939, Mary Lou was still working with Andy Kirk (now with a non-specified number of Clouds of Joy), though not exclusively, as other bandleaders such as Benny Goodman were now contracting her for arrangements. She and Andy revisited Mary's Idea for this Decca record, giving it a snappy, modernized arrangement that perfectly captures the peak of the Swing Era.
That amply demonstrates that Mary Lou and the Kirk band were keeping up with the times!
The Tribute: The Lady Who Swings the Band (1936)
For fun, let's jump back to 1936 for another Decca record - this one a direct tribute to Mary Lou herself. It’s The Lady Who Swings the Band!
That's just a blast! The uncredited vocal is by Harry Mills of the Mills Brothers. I don't know how he came to sing that number with The Clouds of Joy, but I think it's awesome!
It's also interesting to catch the legendary lyricist Sammy Cahn near the beginning of his long career. He and his early writing partner Saul Chaplin were creating a lot of specialty material at this time and someone had the great idea for them to salute Kansas City's Mary Lou!
Drop a comment for which "Idea" do you prefer - the 1930 original or the 1939 update. Either way, she swung it!
We’re flipping over Duke Ellington’s record of Three Little Words to find a Duke original that also made its debut in the 1930 film Check and Double Check: Ring Dem Bells.
The Original: Duke Ellington (1930)
This Victor recording is famous for its high energy and the literal bells ringing out, but the real highlight is the scat vocal by trumpeter Cootie Williams. It shows a playful side of the band that worked perfectly for the silver screen.
The Reunion: Lionel Hampton (1939)
While the song didn't get many covers immediately, it picked up serious steam by the end of the decade. In 1939, Lionel Hampton recorded this burner for Victor. Hamp was with Benny Goodman at the time and was leading stellar "pick-up" groups for recording dates.
If you check the label, you'll see a powerhouse combo of Goodman and Ellington sidemen—and Cootie Williams is right there revisiting the tune! Keep an ear out for Hamp giving a shout-out to pianist Jess Stacy.
The Arrangement: Charlie Barnet (1940)
Charlie Barnet "helps" Billy May with an arrangement!
As I’ve mentioned before, Charlie Barnet was a massive Ellington and he had the good fortune to employ a young Billy May as arranger. For this 1940 Bluebird session, they turned Ring Dem Bells into a modern swing masterpiece.
Let's spin it:
The Clouds of Joy: Andy Kirk (1941)
Andy Kirk admires the arrangement by Mary Lou Williams!
Another legendary architect of the era was pianist and arranger Mary Lou Williams - The Lady Who Swings the Band! Here she is providing a sharp, driving arrangement for Andy Kirk and his Clouds of Joy on Decca. It’s a testament to the song’s durability that it sounded just as fresh in 1941 as it did in 1930.
If you listen closely to the brass figures behind the solos, you can hear the same sophisticated DNA that Mary Lou would later bring to her arrangements for Duke himself. She was one of the few who could speak Duke’s musical language fluently and still add her own Kansas City grit to it.
The Solo Stamp: Fats Waller (1941)
Finally, we see the song move from the big bands to the solo piano. The incomparable Fats Waller put his own unmistakable stamp on the tune for the Victor album Hot Piano. Without the bells or the brass, Fats proves that the "swing" was built into the melody all along.
With so many legends taking a swing at this one, which version rings your bell? Are you a fan of Cootie’s original scatting or Fats’ solo piano stride?
We’ve spent the last few days counting Three Little Words and hearing how Ev'ryone Says 'I Love You', even adding P.S. I Love You to a letter! But today, we finally find ourselves completely speechless with a song that claims the English dictionary simply isn't big enough: "Too Marvelous for Words."
The Association: "Words"
Written in 1937 by lyricist Johnny Mercer with composer Richard Whiting, this tune is a masterclass in clever writing. It’s the ultimate "word" song because it’s about the failure of words to do the job! Johnny Mercer was the goods!
The song was introduced in the Warner Brothers movie Ready, Willing and Able, where it was featured as part of a famous musical number performed on a giant typewriter. Naturally, the record labels were ready and willing to get this one onto wax immediately.
The First Out: The Casa Loma Orchestra (1937)
The first act to record the tune was Glen Gray and the Casa Loma Orchestra. When we last checked in, vocalist Kenny Sargent was adding the P.S., but now he's at a loss for words!
Let's spin the Decca Record:
The Big Hit: Bing Crosby (1937)
The most popular version at the time came from Bing Crosby (also for Decca), backed by Jimmy Dorsey and his Orchestra. Bing was at the peak of his powers here, proving why he was the king of the "croon" for the decade.
I do like how Bing includes the verse, a luxury allowed to a solo singing star that band singers did not enjoy in 1937!
The Radio Star: Phil Harris (1937)
I'm kind of partial to this version on Vocalion by Phil Harris. Phil had joined Jack Benny's radio show just the year before; while he would eventually become known for his comedic timing, at this point, he was still very much established as a top-tier musician and bandleader.
The "Hot" Take: Chu Berry & Hot Lips Page (1937)
For a really fun, contemporary take on the song, we turn to a studio group headed by tenor sax great Chu Berry on Variety Records. This one features the legendary trumpeter Hot Lips Page supplying the vocal, giving the "marvelous" lyrics a bit more grit and swing.
They're all just too marvelous! Do you prefer the polished Casa Loma sound, or does the Chu Berry "Hot" take win the day?
We’ve spent the last few days hearing those Three Little Words (1930) and seeing how Ev’ryone Says ‘I Love You’ (1932). Today, we move into 1934 to see what happens when you decide to commit those words to paper.
The Association: "Words"
Written by the legendary Johnny Mercer and Gordon Jenkins, P.S. I Love You is a masterclass in the power of the "written word." Mercer had a genius for the mundane; the song is structured like a casual letter - mentioning the weather and such - only to drop the real message in the postscript!
The Original: Rudy Vallée (1934)
Rudy Vallée and his Connecticut Yankees took this straight to the top of the charts in 1934. Rudy’s signature croon—often delivered through his famous megaphone—was the perfect fit for a song that feels like an intimate, private letter meant for only one set of eyes.
Let's spin his Victor record:
Rudy's career went on for decades after 1934, but he was getting past his peak as a romantic singing star, getting shoved aside by the Crosby and Columbo types.
The "Everyone is Saying It" Connection: Eddie Stone (1934)
Remember Eddie Stone? On Monday, we heard him with Isham Jones's orchestra proving that "everyone" was saying those three little words in 1932. By 1934, Eddie was leading his own band on the Bluebird label, and he seems to have decided that some things are better put in writing.
I really like Eddie Stone's vocals. He's got his own distinctive style. Kind of a sly, conversational delivery with a touch of humor. No one else sounded quite like him!
The Casa Loma Letter: Glen Gray (1934)
Finally, we have Glen Gray and the Casa Loma Orchestra on Decca. This version features a smooth, heartfelt vocal by Kenny Sargent.
Kenny's another singer who had his own delivery that set him apart from the typical band vocalists of the day. You always know it's him when you drop the needle on a Casa Loma record!
The Casa Loma band, now officially billed with Glen Gray as leader, was featuring more vocals by this point, contrasting with their earlier fast-paced instrumentals like Casa Loma Stomp.
Do you still find yourself reaching for a pen and paper to say what's on your mind, or has the "Postscript" become a lost art in the age of the text message?
Yesterday, we saw how Kalmar and Ruby provided Duke Ellington with one of his biggest hits, Three Little Words, in 1930. Two years later, that same songwriting duo provided the musical heartbeat for what is arguably the greatest Marx Brothers movie of them all: Horse Feathers (1932).
Continuing our "Word" theme, today’s side session focuses on the delightful Ev’ryone Says ‘I Love You.’I've always thought of this as a sort of sequel to Three Little Words, as everyone is now saying said words!
I've written about this song before, but I think it's time to revisit it in this context!
The Marx Brothers Connection
One of the best things about Horse Feathers is that every brother gets a crack at this song. You get the "straight" version from Zeppo, the harp-driven beauty of Harpo, the piano-pounding of Chico, and of course, Groucho delivering it with his trademark guitar-strumming sarcasm while sitting in a canoe.
Here's a link to a montage of all the brothers giving the song a whirl (with Spanish subtitles):
But while the movie is a comedy classic, the song was also a genuine hit for the dance bands of the day.
The Sweet & Bouncy: Anson Weeks (1932)
Let's go "Dancin’ with Anson!" Anson Weeks and his Orchestra give the song a treatment that is incredibly bouncy and fun. Featuring the Moreing Sisters on the vocal, this Brunswick record captures the optimistic, lighthearted spirit that kept people's spirits up during the early '30s.
The Classy Contender: Isham Jones (1932)
For a slightly more sophisticated take, we turn to the legendary Isham Jones. His band was always top-tier and "classy." This Victor record features violinist/vocalist Eddie Stone, and it shows how a great melody can move seamlessly from the zaniness of a Marx Brothers film to the high-end ballroom.
The Warehouse Favorite: Russ Carlson (1932)
Finally, from the depths of the Warehouse collection, we have Russ Carlson and his Orchestra on the budget Crown Records label. There’s something special about these less-discussed recordings. I especially enjoy the vocal here by Elmer Feldkamp - it’s a delightful performance that rounds out our look at how "ev'ryone" was indeed singing this song in 1932.
The Warehouse Find: Raie Da Costa (1933)
Everyone was saying it, but was anyone playing it? Yes, indeed! Popular South African born pianist recorded an extremely snappy instrumental version in 1933 for the British HMV label.
Five very different versions of the same Kalmar & Ruby tune. Are you a fan of the "bouncy" Anson Weeks style, or do you prefer the Marx Brothers' original mayhem?
