caption, page 388 (Move It Over) – Betty Bartley’s name is misspelled “Bradley” when first mentioned in the caption; the last sentence in the caption, following the semi-colon, should read, “Madeline Lee stands third from the left on the flatbed truck while Betty Bartley can be seen standing second from the right.”

caption, page 388 (The Man on the Ferry) – amend final sentence to read, “Woman to the Captain’s right is Betty Bartley.”

page 8, top of the left column: change the location of Jimmy Roosevelt’s office from “Irving, California” to “Irvine, California.”

page 12 – Marv Goldberg notes in column 3, final paragraph, “You say ‘with the coming of the draft in September 1940….’ Actually, WW2 draft registration began on October 16, 1940.”

page 28, left column, bottom paragraph: change spelling of name “William Dixon” to “W.K.L. (William) Dickson.”

page 31 – Cinematone: The First True Audiovisual Jukebox – Musicologist Marv Goldberg adds the following biographical information about Gordon Keith Woodard:

Born August 24, 1911 in Havelock, Nebraska to Maynard Woodard and Bertha Payne. In the 1930 census, he was an awning salesman in Los Angeles. On February 1, 1936, he married Vivian C. Anderson in Yuma, Arizona. The wedding was so much fun that he married her again on December 27, 1937 in L.A.

His October 16, 1940 draft registration says that he’s 5’11” and weighs 215 lbs. He’s self-employed (without saying what that employment is).

In the 1950 census, he was manager of a pharmaceutical business. Wife Vivian died on April 15, 1978. On January 16, 1982, he married Patricia Sylvester in L.A.

He died on May 14, 1986 in L.A.

page 35 – Papalini Films – Musicologist Marv Goldberg notes, “Oreste Papalini entered the U.S. on June 17, 1936, on foot, from Mexicali, Mexico, where he’d been living.”

page 84 – middle column, first paragraph – “cache” should read “cachet”

page 85 – date, bottom of the left-hand column, should read “May 1943”

page 96, “Filmcraft Productions” – In addition to the other production personnel mentioned in this section, Leonard Weiss was the lead editor for most of the Filmcraft Soundies, and the head cinematographer – again, for most of the Filmcraft product – was Don Malkames.

page 117 – left-hand column, second paragraph – correct “Armand Wilson” to read “Ormonde Wilson”

page 597 – Musicologist Jeff Sultanof adds the following to the biographical notes on Lothar Perl: “Born in 1910, a student of Paul Hindemith.

Those piano compositions recorded by Alex Hassan were written during the time he was in Germany and were published by Schott. He played a two-piano act with someone else and was all over the radio. He certainly did see what was going on with Jews in Germany, so he traveled by boat to the U.S. in 1935; composer Ingolf Dahl was on the same boat.

He was musical director for Veloz & Yolanda, which was a pretty famous dance duo which indicates how well he was respected. In the later 1940s, he was at MGM with the Joe Pasternack unit. “The Unfinished Dance” and “Three Daring Daughters.” He can be seen playing the “Minute Waltz” on the Ernie Kovacs Show. I know he also did jingles and also composed a piece for Homer Mensch of the NY Philharmonic.

page 732-33 – In the third column (page 732), replace, “Bob Carver” with “Bob Caver.” Marv Goldberg notes that Gus Simons was gone by 1952, replaced by Mack Stuart. The group was together until at least 1964.

session 1 – Victor Young’s Original Composition of Sweet Sue featuring Six Hits and A Miss with the Lorraine Page Orchestra – Sweet Sue (entry 1) – notes: “Sweet Sue, Just You” was written by Will J. Harris and Victor Young in 1928 for silent film star (later talkies actress) Sue Carol. After her acting days were over, Sue became an artist manager. She took a radio actor named Alan Ladd and made him into a movie star. They were married in 1942, remaining together until his death in 1964. Their two children were David Ladd (who was married to “Charlie’s Angel” Cheryl Ladd) and Alana Ladd. [Alan Ladd, Junior was Alan’s son from a previous marriage.] Sue Carol died in 1982, at age 74.

session 8 – Mills Philharmonic Orchestra Conducted by Fredrick Feher – A Musical Joke by Johann Strauss (entry 828) – composer: The composer of this song is Johann Strauss, Jr., son of Johann Strauss, Sr., the famed composer of Viennese waltzes; sideline personnel: Rafael Mendez, trumpet, is seen in closeup at 1:12; musician Dan Weinstein notes, “Of the two clarinet players, the one to the right resembles Herman Beradinelli, who I knew as a much older man.” notes: Oddly, the “joke” of the composition isn’t used in this performance: in the original score the musicians rapidly drop in number down to one or two, then abruptly stop. So much for “perpetual motion.”

session 10 – Lou Forbes omnibus session Rita Rio with Alan Ladd – I Look At You (entry 59) – soundtrack vocal: In the past various source have suggested that Harry Babbitt recorded the vocal sidelined by Alan Ladd, various documents confirm that it is Ladd who we hear. I spoke with Babbitt many years ago and played the soundtrack for him. He chuckled and said something like, “Hey, mark, come on. I’m much better than this guy.”

session 26 – David Rose omnibus session (Johnny Downs and Gale Storm) – Penthouse Serenade (entry 108) – reissue information: add Official Films

session 85 – Bob Chester and his Orchestra – sideline personnel: trombones, l-r, probably Herb Spitalny, Al Mastren, Johnny Reynolds

session 87 – Lud Gluskin omnibus session (Johnny Downs and Bonnie Kildare) Love Me As I Am (entry 387) – solos: none; dance: none; sideline extras: replace listed extras with the following – three unk African-American extras, train employees (waiter, porter, and bartender); unk male, man in the dining car

session 87 – Lud Gluskin omnibus session (Johnny Downs and Bonnie Kildare) I Don’t Want To Set the World On Fire (entry 388) – sideline vocal: mixed vocal choir (“glee club”) is composed of four unk males, three unk females + Bonnie Kildare; other performance: unk sideline extras include three females, girls in sorority room; three college deals (two male, one female); three couples in soda shop booths

session 98 and 119 – Ted Fio Rito and his Skylined Music – recording and sideline personnel: guitarist and musicologist Nick Rossi comments on guitarist Ernest Varner: In spite of his playing a standard un-amplified Gibson L-5 on screen, that is most definitely an electric guitar Varner is playing on the soundtrack.

session 104 – Dolores and Nino and Lenora with Noro Morales and his Orchestra – The Mexican Jumping Bean (“Los Hijos de Buda”) (entry number 541) – dance: The dancer “Dolores,” noted in the opening credits by first name only, is probably Dolores de Carmen.

session 107 – Cab Calloway and his Orchestra – Virginia, Georgia and Caroline (entry 446) – other perf: the title characters, Virginia, Georgia and Caroline, are performed, l-r, by Verna Smith, Marion Egbert, Vivian Brown

session 147 – Melton Moore and Patti Robbins with Kay Paige, Anne Mace, May Dowell, Mildred Hughes – Heavenly Hideaway (entry 855) – sideline personnel: add unidentified trumpet, trombone, three reeds, piano, string bass, and drums; solo: add Sunny Dunham, trumpet; other perf: remove “other extras” and names that follow

session 155A – Carmen D’Antonio – Balinesia (entry 641) – dance: should read “three unk female dancers (“Balinese girls”); “other perf” should read “none”

session 195 – Louise Burnett with Arnold Kent and Marina Goya – Tropical Kiss (entry 852) – Marina Goya’s presence as a dancer on screen has been confirmed

session 223A – Lynn Albritton – Dispossessed Blue (entry 994) – dance: one member of the Four Knobs has been identified at this time. Betty Mayes is the dancer in the white blouse with the white flowers in her hair, the first dancer to take the floor.

session 251 – Al Donahue and his Orchestra – instrumental personnel: The correct spelling of the trumpet soloist’s name is Hank Maddalena. The correct spelling of the trombonist’s name is Mickey Iannone. sideline personnel: trumpets, l-r: Hank Maddalana, Pete Castellano, Ben West; trombones: Don Cavanaugh, Mickey Iannone, seated in top row, positions unknown; Bart Varsalona, bass trombone, seated below other trombone players; reeds, l-r, Preston (Pres) Hudson, Dan Ippolito, Al Anthony, Jack Donahue; Bill Haley, piano; Tony Carlson, string bass; Jimmy  Felton, drums (This sideline placement is not used in Jumpin’ At the Juke Box (entry 1165) since a Phono-Vue machine is placed out front. For instance, in this one Soundie Hank Maddalan, the trumpet soloist, sits to the far right.)) soloists: Hank Maddalena, trumpet; Dan Ippolito, clarinet; Jack Donahue, tenor sax; Jimmy Felton, drums; Lonesome Road (entry 1183) – recording and sideline vocals: Phil Brito and members of the band; soloists: Bill Haley, piano obligators; Tony Carlson, string bass; Jimmy Felton, drums

session 252 – Art Dixon – We’ll Rest At the End of the Trail (entry 1063) – lyricist/composer: add Curt Poulton, Fred Rose

session 255 – The Four Ginger Snaps – Keep Smiling (entry 1042) – The confirmed composer of “Keep Smilin’, Keep Laughin’, Be Happy” is Louis (Lou) Singer.

session 268 – Red River Dave and the Cowgirl Cuties – Pistol Packin’ Papa (entry 1188) – lyricist/composer: The full names of the songwriters are Jimmie Rodgers and Waldo O’Neal; sideline pers: Red River Dave does not play guitar on screen. The sideline guitarist is unknown.

session 302 – Red River Dave and the Red River Boys – reissue information: In 1948, Loads of Pretty Women (entry 1484)and Reeling Cowboy Dance (1433)were bundled with My Pin-Up Guy with Ann Parker (entry 1343) by Sack Amusement and released as a one-reel theatrical short titled Pretty Women. However, this is a reissue of the earlier short of the same name, released ca. 1944-45 by William Forest Crouch. The framing action was probably filmed along with the Red River Dave Soundies in this series. Left-to-right on screen we see Jake Watts, guitar; unidentified vocalist; unidentified leading man pining for his gal; Joe Caliente, in the rear; Red River Dave, guitar; Bobby Gregory, accordion; Bill Benner. The group performs a brief version of “Oh! Susanna” at the beginning of the short. Sideline personnel: The trumpet player seen on screen is almost certainly Nick Horan. other performance: Screen star Gloria Graham stands to the right of Dave. She also may be sitting in front of Dave, a table between them, in Reelin’ Cowboy Dance.

session 302 – Red River Dave and the Red River Boys – Reeling Cowboy Dance (entry 1433) – sideline personnel: After reviewing this Soundie, Western Swing expert Kevin Coffey noted, “In the Reelin Cowboy segment, we have Jake Watts on guitar, Red River Dave on guitar (though he’s shown playing only rhythm during the sequence, I believe that the acoustic solo mid-number is Dave’s), Bobby Gregory on accordion.” The trumpet player seen on screen is almost certainly Nick Horan.

The Soundies: A History and Catalog of Jukebox Film Shorts of the 1940s (McFarland Press, 2023). – Additions and Corrections

The following are additions and corrections to information found in the catalog/inventory of the book. If you have any updates that can be added to this list, please contact me at markcantor@aol.com

All entries are listed by session number, followed by the artist credited on screen, and finally, the title and entry number of the Soundie. If no song title is listed, then the information refers to the entire session.

caption, page 388 (Move It Over) – last sentence in the caption, following the semi-colon, should read, “Madeline Lee stands third from the left on the flatbed truck while Betty Bartley can be seen standing second from the right.”

caption, page 388 (The Man on the Ferry) – amend final sentence to read, “Woman to the Captain’s right is Betty Bartley.”

session 1 – Victor Young’s Original Composition of Sweet Sue featuring Six Hits and A Miss with the Lorraine Page Orchestra – Sweet Sue (entry 1) – notes: The following was shared by music historian Adrian Daff. “Sweet Sue, Just You” was written by Will J. Harris and Victor Young in 1928 for silent film star (later talkies actress) Sue Carol. After her acting days were over, Sue became an artist manager. She took a radio actor named Alan Ladd and made him into a movie star. They were married in 1942, remaining together until his death in 1964. Their two children were David Ladd (who was married to “Charlie’s Angel” Cheryl Ladd) and Alana Ladd. [Alan Ladd, Junior was Alan’s son from a previous marriage.] Sue Carol died in 1982, at age 74.”

session 8 – Mills Philharmonic Orchestra Conducted by Fredrick Feher – A Musical Joke by Johann Strauss (entry 828) – composer: The composer of this song is Johann Strauss, Jr., son of Johann Strauss, Sr., the famed composer of Viennese waltzes; sideline personnel: Rafael Mendez, trumpet, is seen in closeup at 1:12; musician Dan Weinstein notes, “Of the two clarinet players, the one to the right resembles Herman Beradinelli, who I knew as a much older man.” notes: The following was shared by music historian Adrian Daff. Oddly, the “joke” of the composition isn’t used in this performance: in the original score the musicians rapidly drop in number down to one or two, then abruptly stop. So much for “perpetual motion.”

Session 10 – Lou Forbes omnibus session Rita Rio with Alan Ladd – I Look at You (entry 59) – soundtrack vocal: In the past, various source have suggested that Harry Babbitt recorded the vocal sidelined by Alan Ladd. Various documents confirm that it is Ladd who we hear. In addition, I spoke with Babbitt many years ago and played the soundtrack for him. He chuckled and said something like, “Hey, Mark, come on. I’m much better than this guy.”

session 22 – The Four King Sisters with Alvino Rey and his Orchestra – St. Louis Blues (entry 973) – reissue notation should read, “reissue of entry 107

session 24 – The Kidoodlers – When the Circus Comes to Town (entry 618) – reissue notation should read, “reissue of entry 71”

session 26 – David Rose omnibus session (Johnny Downs and Gale Storm) – Penthouse Serenade (entry 108) – reissue information: add Official Films

session 65 – Michael Bartlett – Little Grey Home in the West (entry 862) – correct film title to read Little Grey Home in the West”

session 78 – Esmereldy with Frank Novak’s Rootin’ Tooters – For Red Nellie’s Honour (entry 873) – reissue notation should read, “reissue of entry 293”

session 80 – The Dixieairs – Waiting for the Robert E. Lee (entry 660) – reissue notation should read, “reissue of entry 305”

session 85 – Bob Chester and his Orchestra – sideline personnel: trombones, l-r, probably Herb Spitalny; Al Mastren, Johnny Reynolds

session 87 – Lud Gluskin omnibus session (Johnny Downs and Bonnie Kildare) I Don’t Want to Set the World On Fire (entry 388) – sideline vocal: mixed vocal choir (“glee club”) is composed of four unknown males, three unknown females + Bonnie Kildare other performance: unknown sideline extras include three females, girls in sorority room; three college deals (two male, one female); three couples in soda shop booths.

session 87 – Lud Gluskin omnibus session (Johnny Downs and Sugar Kane) Love Me As I Am (entry 387) – solos: none; dance: none; sideline extras: replace listed extras with the following – three unknown black extra, train employees (waiter, porter, and bartender); unknown male, man in the dining car.

session 98 and 119 – Ted Fio Rito and his Skylined Music – recording and sideline personnel: guitarist and musicologist Nick Rossi comments on guitarist Ernest Varner: “In spite of his playing a standard un-amplified Gibson L-5 on screen, that is most definitely an electric guitar Varner is playing on the soundtrack.”

session 104 – Dolores and Nino and Lenora with Noro Morales and his Orchestra – The Mexican Jumping Bean (“Los Hijos de Buda”) (entry number 541) – dance: The dancer “Dolores,” noted in the opening credits by first name only, is probably Dolores de Carmen.

session 107 – Cab Calloway and his Orchestra – Virginia, Georgia and Caroline (entry 446)– other performance: the title characters, Virginia, Georgia and Caroline, are performed, l-r, by Verna Smith, Marion Egbert, Vivian Brown

session 147 – Melton Moore and Patti Robbins with Kay Paige, Anne Mace, May Dowell, Mildred Hughes – Heavenly Hideaway (entry 855) – sideline personnel: add unidentified trumpet, trombone, three reeds, piano, string bass, and drums; solo: add Sunny Dunham, trumpet; other performance: remove “other extras” and names that follow those credited in the film title above.

session 155A – Carmen D’Antonio – Balinesia (entry 641) – dance: should read “three unknown female dancers (“Balinese girls”); other performance: should read “none.”

session 167 – Slim Andrews and “The Fashionaires” – Pop Goes the Weasel (entry 812) – correct sideline personnel to read “The Fashionaires”

session 195 – Louise Burnett with Arnold Kent and Marina Goya – Tropical Kiss (entry 852) – Marina Goya’s presence as a dancer on screen has been confirmed.

session 223A – Lynn Albritton – Dispossessed Blue (entry 994) – dance: one member of the Four Knobs has been identified at this time. Betty Mayes is the dancer in the white blouse with the white flowers in her hair, the first dancer to take the floor.

session 226 – pre-recorded Sam Fox soundtracks – Emily Brown (entry 968) – Film historian Leonard Maltin noted that Juanita Moore, who appears here and in a handful of other Soundies as either a dancer or sideline extra, received an Oscar nomination for Imitation of Life in 1959.

session 245 – Freddie Schweitzer and his Fun Makers – Swiss Frolics (entry 1015) – German collector Christian Seeholzer notes that, “The first part is an old German drinking song (1882): Trink, trink, Brüderlein trink, lass doch die Sorgen zu Haus’ (Drink, drink, little brother, drink, and leave all your troubles at home).”

session 251 – Al Donahue and his Orchestra – instrumental personnel: The correct spelling of the trumpet soloist’s name is Hank Maddalena. The correct spelling of the trombonist’s name is Mickey Iannone. sideline personnel: trumpets, l-r: Hank Maddalana, Pete Castellano, Ben West; trombones: Don Cavanaugh, Mickey Iannone, seated in top row, positions unknown; Bart Varsalona, bass trombone, seated below other trombone players; reeds, l-r, Preston (Pres) Hudson, Dan Ippolito, Al Anthony, Jack Donahue; Bill Haley, piano; Tony Carlson, string bass; Jimmy  Felton, drums (This sideline placement is not used in Jumpin’ At the Juke Box (entry 1165) since a Phono-Vue machine is placed out front. For instance, in this one Soundie Hank Maddalan, the trumpet soloist, sits to the far right.) soloists: Hank Maddalena, trumpet; Dan Ippolito, clarinet; Jack Donahue, tenor sax; Jimmy Felton, drums; Lonesome Road (entry 1183) – recording and sideline vocals: Phil Brito and members of the band; soloists: Bill Haley, piano obligators; Tony Carlson, string bass; Jimmy Felton, drums

session 252 – Art Dixon – We’ll Rest at the End of the Trail (entry 1063) – lyricist/composer: Curt Poulton, Fred Rose

session 255 – The Four Ginger Snaps – Keep Smiling (entry 1042) – The confirmed composer of is Louis (Lou) Singer.

session 268 – Red River Dave and the Cowgirl Cuties – Pistol Packin’ Papa (entry 1188) – lyricist/composer: The full names of the songwriters are Jimmie Rodgers and Waldo O’Neal; sideline personnel: Red River Dave does not play guitar on screen. The sideline guitarist is unknown.

session 289A – Louis Jordan and his Band – The date of recording and sideline photography for all Soundies in this session is January 1944

session 297 – Dick Thomas with Frank Novak & Orchestra – San Fernando Valley (entry 1313) – sideline personnel: Milan Hertz, trumpet; possibly Eugene Von Hallberg, accordion; guitar and string bass unknown.

 session 302 – Red River Dave and the Red River Boys – reissue information: In 1948, Loads of Pretty Women (entry 1484)andReeling Cowboy Dance (1433)were bundled with My Pin-Up Guy with Ann Parker (entry 1343) by Sack Amusement and released as a one-reel theatrical short titled Pretty Women. However, this is a reissue of the earlier short of the same name, released ca. 1944-45 by William Forest Crouch. The framing action was probably filmed along with the Red River Dave Soundies ca. mid-March 1944. Left-to-right on screen we see Jake Watts, guitar; unidentified vocalist; unidentified leading man pining for his gal; Joe Caliente, in the rear; Red River Dave, guitar; Bobby Gregory, accordion; Bill Benner. The group performs a brief version of “Oh! Susanna” at the beginning of the short. sideline personnel: The trumpet player seen on screen is probably Nick Horan. other performance: Screen star Gloria Graham stands to the right of Dave. She also may be sitting in front of Dave, a table between them, in Reelin’ Cowboy Dance.

session 302 – Red River Dave and the Red River Boys – Reeling Cowboy Dance (entry 1433) – sideline personnel: After reviewing this Soundie, Western Swing expert Kevin Coffey noted, “In the Reelin Cowboy segment, we have Jake Watts on guitar, Red River Dave on guitar (though he’s shown playing only rhythm during the sequence, I believe that the acoustic solo mid-number is Dave’s), Bobby Gregory on accordion.” The trumpet player seen on screen is probably Nick Horan.

session 302 – Red River Dave and the Red River Boys – Loads of Pretty Women (entry 1484) – sideline personnel: Musicologist Kevin Coffey notes, “In the Loads of Pretty Women sequence, we hear but don’t see Bobby Gregory on accordion. There is a guitarist at left of screen, presumably Jake Watts, but we see only the guitar and not his face. In addition to Dave on guitar and vocals, the fiddler is Bill Benner. However, it may be either Benner or Joe Caliente on the soundtrack.” The trumpet player seen on screen is probably Nick Horan.

session 319 – the Glenn Miller Modernaires – Vocal group historian Autumn Lansing comments about the presence of vocalist Harriet Clark as a replacement in this series for Modernaires regular Paula Kelly: “I’ve researched both Clark and the Modernaires, and I can say with total confidence that she didn’t work with them on any formal basis beyond those Soundies. Paula Kelly took two leaves of absence in the 1940s due to pregnancy, in 1944 and 1947. The Soundies with Clark were made during Kelly’s 1944 absence, which began in March. She was back by early May. The Modernaires don’t appear to have made any live performances sans Kelly during this short period, as their names don’t appear on any routing notices or venue listings I’ve seen. They appear to have taken a break while Kelly was gone, as I’m sure Hal Dickinson wanted to be close for the birth of his first child. The Soundies seem to have been their main output in this period. My guess is that [producer/director] Blake chose Clark to work with the Modernaires because she was pretty and a frequent subject of the gossip columns. Adding in the Glenn Miller name as well, which the Modernaires had the rights to use, was good marketing. Clark at that time was trying desperately to get into film, so she had probably made herself available to any interested parties.”

session 381 – Rubinoff and his Violin – Fiddle Voyage (1765) – film title: The inventory, as well as other published sources, include the phrase “with ‘Pistol Packin’ Mama’” in the opening title credit. This is incorrect. The complete title of this Soundie is just “Fiddle Voyage.”

session 387 – Day, Dawn and Dusk – Sweet Kentucky Babe (entry 1868) – instrumental personnel: replace “Bob Carver” with “Bob Caver”

session 404 – Cab Calloway and his Orchestra – sideline personnel: I have reconsidered the sideline personnel in this series of Soundies, and a revision of the listing is required, at least where the trumpet section is concerned. The trumpet to the far left is not Russell Smith, and Lammar Wright is definitely not in the section. No picture of Roger Jones has been located that can confirm that he is the trumpet seated second from the left. Assuming that it is Jones in that position, however, then the trumpet to the far left remains unknown. It has been suggested that this might be Freddie Webster, who sat in with Calloway during this period.

session 417 – Phil Moore and the Phil Moore Four – The lyricist/composers for I Want a Little Doggie (entry 1947) are Milton Lance; Phil Moore. The lyricist/composer for Lazy Lady (entry 1995) are Leonard Feather; Phil Moore.

session 426 – The King Cole Trio – Frim Fram Sauce (entry 2035) and Errand Boy for Rhythm (2547M) – The censorship script notes that “with Shirley Johnson” is found in the opening credits of Frim Fram Sauce. It is not known if that credit also appears on screen, although that would likely be the case. Shirley Johnson is almost certainly the waitress in the cafe. The unidentified female dancer in Errand Boy for Rhythm is the same actress who plays the waitress. Thus, it is highly probable that the unidentified dancer in Errand Boy for Rhythm is indeed Shirley Johnson.

session 431 – Johnny Long and his Orchestra – It Must Be Jelly (entry 2084) – lyricist/composer: The “J.C. McGregor” noted in the inventory is better known as Chummy McGregor, a long-time pianist with Glenn Miller. George Williams is the swing arranger often referred to as George “The Fox” Williams. It is quite likely that the lyrics, one blues chorus only, were written by Sonny Skylar.

session 432 – Lenny Herman and his Band with Renee Russell – Under the Bamboo Tree (entry 2088) – lyricist/composer – While Bob Cole, the lyricist of this tune, is noted in the inventory, J. Rosamund Johnson, the composer of the piece, is mistakenly not credited.

session 443 – Arica Wild – You Never Know (entry 2344) – notes: correspondent Linda Ruben reports, “‘Arica Wild’ was a stage name. He was also known as “Arico Wild”, but his real name (per his World War 1 and World War 2 registrations, as well as a passport application) was Aaron Z. Wild. His WW2 registration even says “Aaron (known as Arico) Z. Wild.” He was born in Utica, New York in 1894.” 

session 448 – Texas Jim Lewis and his Lone Star Cowboys – instrumental personnel: Hal Deam is the band’s pianist and does not record on guitar; sideline personnel: musicologist Kevin Coffey comments on the sideline personnel for Hootin’ Nannie Annie (entry 2270): “I guess it’s always a good idea to compare notes, so here’s what I have for the lineup: violins, l-r: Max Fidler, Vern Greenlaw, Les Shear; guitars, l-r: Jack Rivers, Dude Jackson (usually just a singer with Lewis — he was the brother of Spade Cooley vocalist Ginny Jackson), Tommy Sargent (better known as a steel guitarist), and Hal Deam, who is faking up a storm. He was not a guitarist at all but was the band’s piano player at this time, and like several others in this band, a really good jazz player; Buddy Hayes, string bass; Ray Graham, drums.”

session 463 – Deuce Spriggins and his Orchestra – arranger: According to Rex Call’s widow, the arrangements for this group were done mostly by one of the accordionists, Frank Buckley (Stanley Mickiewicz), who left by the time this was done, and by pianist Eddie Bennett, who she recalled was pretty much the guy who whipped these bands into shape.sideline personnel: Musicologist Kevin Coffey suggests that the l-r order of the fiddles, noted in the catalog as “Sam Leichter, Rex Call, Freddy Ciani,” may instead be “Freddy Ciani, Rex Call, Sam Leichter.”

session 476 – Les Elgart and his Orchestra – Vocal group musicologists Adrian Daff and Jeff Hanna jointly researched the Tune Tellers, the mixed vocal quartet that appears in three of the four Soundies in this series. It is almost certain that the two female members of the group are sisters Phyllis and Jo-Jean Rogers; the two had appeared earlier as members of The Martins (session 51). (After leaving the Martins, the sisters worked with the Four Teens, appearing with them in the 1941 feature Hit the Ice.) One of the male members of the Tune Tellers is either Pat Haywood or George Richmond.

session 482 – All American News #2 – The production date is not noted in the inventory. The film was produced in 1942 and was probably released that year. The Soundie was released ca. 1943. sideline personnel: The tenor saxophone (wearing glasses) who receives the closeup is Jerome Richardson. solos: unidentified drums

session 489 – The Sun Tan Four with Nickey [sic] O’Daniel – The Pollard Jump (entry 2540 M) – sideline personnel: The correct spelling of the alto saxophonist’s first name is “Allan” (as per multiple mentions in the entertainment trades) or “Allen” (the spelling in the 1946 A.F. of M. directory).