A Budget Label Christmas

For those of you who love those old budget label Christmas records (the kind your parents randomly picked up at the drug store just as something different to play on the stereo around the holidays.) I have a tub of pure Cheez-Whiz for you today.

In the 1950s and well into the '80s, It wasn't uncommon to see racks of super cheap anonymous Christmas records in your local drug store or supermarket selling for anything from 88 cents to $1.98. A cheap "impulse" thing you bought when your Christmas spirit was high, but money was tight. This made an even balance. You got your gifts and wrappings, ornaments for the tree, a quart of dairy egg nog and...Wait...I gotta have tunes!

And there they were. Conveniently close to the check-out stands for ridiculously low prices. Problem. Solved. Granted, it was "mystery music". But who knows?

Sometimes these records became family heirlooms, others donated to the thrift shops. But there's always been a soft spot for those over 40 who can still remember seeing these records at drug and discount stores. 

And a very special thanks to Kaiwaza for finding some of these aural samples.

"Christmas With The Caroleers" The Caroleers (Promenade/Diplomat/Spin-O-Rama, 1963)

First, let's get started with the biggest known of the budget label acts (and absolutely mandatory in any collection of cheapo vinyl); The Caroleers.

As mentioned here, "The Caroleers" weren't technically an actual group. Although some Caroleers tracks have the same vocalists, it appears to be the generic umbrella name for anonymous holiday material from Synthetic Plastics Company (famous for their Peter Pan label of cheap kids records) and their various subsidiary labels regardless of the actual performer. Many of the same songs also appear across several Caroleers LPs on the various Peter Pan/SPC label LPs, 45s and EPs in the 1960s.

Putting names and faces to this music is next to impossible. SPC/Peter Pan (as well all the other budget labels) only paid their studio performers a flat rate with no royalties. They rarely had credits for anyone.

But in my research last week, I made a major breakthrough. I found one actual person that not only appeared on some Caroleers tracks, but could very well be the mysteriously female sounding voice on the "Nuttin' For Christmas" song I wrote about a few weeks ago that was credited to Bobby Stewart as well.

Her name was Toby Deane, a comedienne and voice actress. Bob Purse has an excellent post on Toby's career on his blog, The Wonderful and the Obscure. Toby Deane recorded for Peter Pan/SPC label records and various other budget labels from the 1950s to the 1970s. Her voice is believed to be on several hundred children's records.

And the Eddie Maynard Orchestra. But once again, I run into the same dead ends in my research while looking for Eddie. All that is known is they appear across several Peter Pan/SPC label albums and their holiday music appears on LPs credited to The Caroleers. 

Santa Claus Is Coming To Town The Caroleers (Diplomat/Tinkerbell, 1970)

With the release of this album, the sound of The Caroleers radically changed. No more old recycled tracks, here was a Caroleers album of mostly actual original material. Sung by Toby Deane and Ray Dorey. A pop vocalist who, like Toby Deane, also performed with Benny Goodman's Orchestra in the 1940s. Ray was also a fixture on Boston area on radio and TV in the 1950s and in later years, recorded chidren's records and other material for Peter Pan/SPC.

It sounds more cohesive than other Caroleers albums in that it wasn't a grab bag of whatever was in the SPC/Peter Pan vaults and that it was single group in a session specifically for this album.

Christmas Is For Children; Merry Favorites from Santa's Little Helpers (Design Records DLPX-2, 1957)

Toby Deane also appears on this album. In fact, many of the Caroleer vocalists from the Peter Pan/SPC labels appear on this Pickwick distributed LP. It appears there were no exclusive contracts to the budget labels, as these performers seemed to appear on nearly all of them. 

Design Records was Pickwick's subsidiary label. They're best known today as where Lou Reed got his first break in the music industry as a staff songwriter and recording as session musician and occasional vocalist with some musicians who would later form The Velvet Underground. While most of Design's output was knockoff cover versions of pop songs and sound-alikes, Design occasionally licensed older material of various pop acts. When stereo LPs became the norm, Design took a few, shall we say, liberties with their licensed material (Such as this infamous Roy Orbison "remix".)

And down here, I dug out some of the earliest stuff that was available back in the day. Perennial, old-timey fruitcake-like music you probably heard dropping from the automatic record changers inside your parents/grandparents BIG console stereos of the time. Choruses, orchestras and pipe organ music. Mostly playing public domain traditional carols.

Christmas At Our House; Favorite Christmas Carols Martha Tilton and other Great HOLLYWOOD Vocal Stars, George Mather at The Console (Tops Records,1956)

Martha Tilton was called "The Sweetheart of Swing", best known for her 1944 hit "I'll Walk Alone". After 1950, Big Band swing music had given way to the pop balladeer and her career was fading and she was recording for Tops.

This album also features Marni Nixon, who was a movie playback singer (she recorded the vocals for Deborah Kerr's singing parts in The King And I.) She is also fondly remembered in the Seattle area as the host of KOMO-TV's kids TV show Boomerang.

Thurl Ravenscroft was a radio and animation voice actor and basso singer who sang the classic 1966 version of "You're A Mean One, Mr. Grinch" (not on this album.) and the legendary voice of Tony The Tiger in TV commercials for Kellogg's Frosted Flakes.

Doris Drew (Not to be confused with Doris Day) was a jazz singer and like Marni Nixon, often recorded songs for actress singing parts in movies. Norma Zimmer would join Lawrence Welk's orchestra as it's religious singer. John Gabriel would find later fame as a soap opera actor in the '60s, '70s and '80s. and probably best known as Seneca Beaulac in Ryan's Hope. All that is known about John Gustafson is he had an uncredited role as a background singer in the 1954 movie musical Brigadoon. And I can't find anything at all on Bill Reeve.

Tops Records was a typical budget label that specialized in the "knockoff", sound-alike record and often sold packaged compilations of these. When the LP was invented, they changed to recording originals by fading and B-List stars. At their peak in the late 1950s, they were the most popular budget label in America.

They also pioneered the "cheesecake" album cover (With Hollywood actresses on the covers, including Jayne Mansfield, Mary Tyler Moore - who appeared on several Tops LP covers. Rita Hayworth and Kim Novak.)

Jayne Mansfield

Mary Tyler Moore

Rita Hayworth

Kim Novak & Rita Hayworth

But then after a strange merger with failing Geiger counter maker Precision Radiation Instruments in 1958 (which established it's own subsidiary record label) and a couple years later, a disastrous acquisition by an investor who was completely inept to the record business, Tops was bankrupt and it's catalogue was sold to Pickwick Records just two years after the acquisition.

Another strange coincidence was Tops Records were also pressed at the same South Central Los Angeles pressing plant as the Bihari brothers' infamous Crown Records. Just what connection Tops had with Crown is still unclear with many collectors. It's believed the plant was originally owned by Tops and sold to Crown and then used again by Tops as a cost cutting measure. Even some Tops recordings appeared on Crown (attributed to different artists) and vice-versa. At this time, Crown's record quality was still fairly decent. But after Tops folded in 1962, Crown's quality tanked. And like Crown, Tops covers were known for splitting at the seams as they were just two pieces of cardboard held together by a cover slick.

Hail To Christmas Peter Raymond Carolers (Wyncote, 1966)

On this album, it appears the lead caroler on some tracks on Side 1 is a very off-key caroler who sounds like he's trying to shout over the orchestra. He also botches the lyrics in "Jingle Bells".

It takes work to botch up the lyrics in "Jingle Bells".  

Wyncote was owned by Cameo-Parkway Records, a major independent label based in Philadelphia and named for a Philadelphia suburb.

You'd think Wyncote, being owned and operated by a major independent would have better quality albums than the usual budget label dreck. But nothing could be further from the truth. They were amongst the very worst budget labels I have ever seen. Every Wyncote record I ever owned (all of them clean and some close to mint) was plagued with ghastly surface noise, the vinyl often had bumps and even a few air bubbles. Like Tops/Crown, Wyncote covers were slapped together with no inner paper or plastic sleeves and the quality of the music? Well, let this sink in.

Christmas Favorites The International Choristers and Orchestra Featuring George Mather (HIM again?) at The Mighty Console (Craftsmen/Golden Tone/Tops, 1959)

Nothing says international Christmas like four random average American-looking white people from the Midwest and a rather annoyed looking sidewalk Santa, who seems to be pondering "How much did they say I was getting for this stupid photo shot again?"

And it really shows on this album in particular. They sing in perfect English with exaggerated German and French accents.

From here, we go to the late '70s and the disco-themed Christmas budget albums.

Christmas And New Year's Party - Irwin the Disco Duck with The Wibble Wabble Singers and Orchestra (Peter Pan, 1977)

Disco Noel Mirror Image (Pickwick, 1979)
 
Mirror Image was Pickwick's house band in the 1970s. They appeared on several "sound-alike" Pickwick albums of the 1970s.

Disco Noel included a free disco dance lesson.

Pickwick was so confident in the success of the Disco Noel album, it was immediately followed up with Yuletide Disco.

And they did sell quite well, in spite of disco rapidly falling out of popularity at this time.

But this would be the end of the era of the budget label Christmas record. Pickwick had been sold to PolyGram earlier in 1979 and would soon cease operations and Peter Pan/SPC would concentrate solely on their kids records.

Still, it was an era. And it still feels weird walking into a discount retailer and not seeing the bins of budget label Christmas records like I used to.

Merry Christmas!

The Star Wars Holiday TV Special

Watch here.

"A Joyous Time Of Year/The B-Side" Marty Feldman (1968)

British comedian Marty Feldman is best remembered by American audiences as Igor in Young Frankenstein. (and his eyes, a product of a bad operation for his Grave's disease as a child.)

Feldman released some UK comedy albums and novelty singles in the late 1960s. This single failed to crack the UK charts and didn't get much (if any) airplay (not many comedy singles do.)

"The B-Side" is a poke at the flipside of a 45 RPM single...

The Colonel Sanders Christmas Albums

Kentucky Fried Chicken holiday bucket and lid, circa late 1960s.

The 1960s and '70s will always be the heyday of the Christmas album loss leader. Tire companies were using Christmas records to entice customers. Department and grocery stores too. If it was round with grooves and played at 33 1/3 RPM, you were likely getting extra business with it.

Colonel Sanders was also bitten by the Christmas vinyl bug. And released his own series of Christmas compilation albums through RCA from 1967 to 1969.

1967

1968

There was even an Australian pressing of the 1968 edition!

Here's the 1969 edition (the last in the series.)

"Nuttin For Christmas" Bobby Stewart (1956)

"Nuttin' For Christmas" is clearly one of the most god-awful, Christmas spirit sucking squeal-fests ever written. It's funny when you're 5. When you get any older, it's unbearable to hear.  The only version I can stand is Stan Freberg's parody version.

This is why you don't hear it much (if at all) on your local all Christmas radio station. No matter who covers it, it's just annoying to hear the year long attacks of some psychopathic kid who then wonders why no one gives him anything for Christmas.

It's the spiritual forerunner to the gangsta rap songs where the artists list out their criminal rap sheets to prove how tough they are. Yeah, sure. They did some drive-bys and pimped some ho's. But did they do a dance on Mommy's plants? That is pure thug, right there.

But Bobby Stewart's version was not the original version of this song. This is one argument that seems to be perennial every year when I discuss vintage Christmas classics with novice collectors and this song pops up. Peter Pan (and corporate parent, Synthetic Plastics Company) never released anything that wasn't a knockoff of something else. No matter what their moms might have told them.

Yes, Bobby Stewart's version also came out on a 78 RPM record. But a lot of kids records still did in the 1950s as parents who upgraded to modern 16/33/45/78 RPM speed turntables often handed down their old 78 RPM players to their kids.

This was the original version. Released in 1955 by Art Mooney and His Orchestra with six year old Barry Gordon on vocals.

I picked Bobby Stewart's particularly horrific version of this song because it was one I used to be tormented with hearing over and over every year blaring from my mom's console stereo when I was a kid. It was on this 1965 Diplomat Caroleers LP.

There was also something very off about Bobby Stewart's version of this song. Namely in that if you listen closely, it sounds like it was actually performed by a young woman rather than a little boy, like in the original Art Mooney/Barry Gordon version. But then again, such trickery was not uncommon at all in the world of budget record labels.

So who was Bobby Stewart?

Obviously, the trail goes cold. There are literally thousands of performers named Bobby Stewart. And as mentioned, it's also doubtful it was even the actual name of the person singing on this recording. The boy who sang on the original 1955 MGM recording was named Barry Gordon.

Peter Pan Records' corporate parent, SPC was notorious for using fuzzy memories and market confusion to their advantage to fop off their cheap knockoff recordings, Peter Pan credited their recording to a random "Bobby Stewart" and shoved it out to unsuspecting buyers who thought they were getting the original Barry Gordon version (or whoever that kid's name was.)

Secondly, SPC's distribution channels (discount and drug stores), worked to their advantage as it gave their recordings greater exposure to a less music savvy clientele that MGM's original recording of this song (which could only be found in actual record stores and larger, pricier department stores serviced by the major labels at that time. The cheaper price of the Bobby Stewart record also helped.)

Which is why some people still think Bobby Stewart's was the original version of the song; Mostly because they had this version as a kid and clung religiously to that belief.

The Bobby Stewart version was available independently as a Peter Pan single for several years before being consolidated into SPC's Diplomat Records line under their generic house band The Caroleers. The Diplomat albums added an atrocious artificial echo chamber and electronic fake stereo to this track.

Merry Christmas - Bing Crosby (Decca/MCA/Geffen, 1942/1955)

This is probably the world's best known Christmas album. Nearly every household with a collection of Christmas music has a copy. And it still sells briskly 70 years after it's original release.

It was originally released in 1942 as a 4 record set of 78 RPM discs, later a 10" LP and 4 disc 45 RPM set in 1949. In 1955, the album was expanded to include 4 more songs on the 12" LP.

Original 1942 78 RPM copy

"Christmas In Japan" Paul Anka (1960)

"Stop The Cavalry" The Cory Band w/ The Gwalia Singers (1981)

Most of you have probably never heard this UK single before and technically, it's not even a Christmas song, but an anti-war song.

Yet if you live in the Seattle area, you definitely know it. It gets regular airplay on Seattle's Warm 106.9 radio during their annual holiday music format. For decades, it was a holiday season radio hit in the Puget Sound. An earworm that never seems to leave your brain once you hear it. It reached #3 on the British pop charts in December 1981. But there was never an American release of the song at that time. Either it wasn't considered or no American record label was interested in licensing the track for the U.S., thinking it wouldn't sell to American record buyers.

So how did this song get to be such a huge hit in Seattle and pretty much nowhere else outside of the UK?

Well first, we're weird here in Seattle. That said, there's a fascinating back story (here) to how this record was nearly lost forever and how it was finally saved.

The original label the record was on, Stiff Records, was a British independent specializing in "pub rock", new wave and punk (Nick Lowe, Elvis Costello, Madness, Lene Lovich, Tracey Ullmann and Ian Dury & The Blockheads were among Stiff's best known artists.) It became one of the most influential independent labels in the world in the early 1980s, ushering in the punk and new wave genres to the UK and the world.


This song however was clearly none of the above genres.

It was originally recorded by Jona Lewie (another Stiff artist), but it was The Cory Band's cover of the song that became the Seattle hit.

The Cory Band is a Welsh brass band and one of the longest continuous running bands in the world. They were founded in 1884 (The Rolling Stones have nothing on these guys) and are recognized as one of the world's most innovative and popular brass ensembles. 

However somewhere along the way from the song's initial release, Stiff had erased and reused the original studio master tape of The Cory Band's version of this song (being a low-budget independent record label, that is not uncommon.) So when a Seattle record producer heard the track and contacted Stiff in 1997 to license an American re-release of this extremely rare single because of overwhelming demand from Seattle area radio listeners, Stiff looked in their vaults. Then told the producer the awful news.

A makeshift workaround had to be arranged with a vinyl copy of the song. Luckily, there were a few mint copies remaining from the original pressing. The producer made a decent transfer suitable for the re-release and sold 13,000 copies of the reissue locally.

It still remains one of the perennial holiday favourites in Seattle. Enjoy.