Andrews Sisters - Oooooo Oh Boom

The preeminent sister act of all time with well over 75 million records under their collective belt, the swinging band era could not be better represented than by Laverne, Maxene and Patty Andrews, or the fabulous "The Andrew Sisters", as they are better known. With their precise harmonies and herky-jerky dance moves, the girls' success never relied on witty banter; they let their hep-styled lyrics and energetic choreography do the talking. In turn, they delivered an upbeat war campaign that instilled hope, joy and allegiance through song and movement. They provided a musical security blanket to a war-torn country via radio, clubs, canteens, recordings and films that reemphasized the motto that America was strong and proud...and to keep on singing and swinging! Second only to perhaps Bob Hope in commitment and extensive USO touring, the girls' profound influence extends even today with such current pop idols Bette Midler, The Pointer Sisters, Barry Manilow, The Manhattan Transfer and even Christina Aguilera all having reinvented themselves in Andrews Sisters style at one time or another. Unfortunately, while the exact harmonies of the girls were thisclose, their interrelationships were much more discordant. Hailing from Minnesota, eldest sister LaVerne was born on July 6, 1911, followed by Maxene on January 3, 1916, and finally Patty on February 16, 1918. Greek father Peter was a restaurateur in the Minneapolis area; their mother Ollie was a Norwegian homemaker. Childhood was pretty much lost to them. The trio's musical talents were quickly identified and they started performing on the road as youngsters, entering assorted kiddie contests and often winning for their efforts. The girls grew up on the vaudeville circuit, roughing it and toughing it with various bands and orchestras. Signed by orchestra leader Louis Belasco in 1937, the girls made their very first recordings with "There's a Lull in My Life," "Wake Up and Live" and "Turn Off the Moon." Subsequent radio work eventually led to the Decca Records label. The surprise of it all is that the girls did not read music! They learned by sense memory, pure instinct and a strong ear. Blonde Patty was the lively melodic leader, engulfed by the warm harmonies of auburn-haired contralto LaVerne and brunette soprano Maxene. The old Yiddish song "Bei Mir Bist Du Schoen" was translated into English for them by Sammy Kahn and the girls walked off with their first huge hit in late 1937 (they were paid a flat fifty dollars and no royalties!). An overnight sensation upon release (it sold over a million copies), their contract was immediately revised by Decca and throughout the rest of the decade, recorded smash after smash -- "The Bear Barrel Polka," "Well, All Right" and "Hold Tight, Hold Tight" among the many. The country was absolutely captivated. Universal responded in like by signing them to some of their nonsensical "B" musicals derived purely for escapism as the U.S. prepared itself for war. Their first appearance actually headlined the zany Ritz Brothers in a corny piffle called Argentine Nights (1940). The frizzy-bobbed trio were introduced as more or less a specialty act with the songs "Hit the Road," "Oh, He Loves Me" and "Rhumboogie" speaking volumes of their talent. Decca went on to record the tunes. This was followed by a 1-2-3 punch back at the recording studio with their renditions of "Beat Me, Daddy, Eight to the Bar," "I'll Be with You in Apple Blossom Time" and "Mean to Me." Their second film was the above-average Abbott and Costello vehicle Buck Privates (1941), solidly showcased with the tunes "You're a Lucky Fellow, Mr. Smith," "Bounce Me Brother with a Solid Four" and their infectious signature hit "Boogie Woogie Bugle Boy from Company B." The girls stepped in time for two more of A&C's lesser funfests, In the Navy (1941) and Hold That Ghost (1941). In the post-war years, they felt the obvious lull and were much less in demand in films. Still a popular act on stage and clubs, they had no trouble managing. In the meantime Disney utilized the girls' voices in their cartoon features Make Mine Music (1946) and Melody Time (1948). All three girls experienced down times in their personal lives as well. There were bitter rumblings amid the group. Maxene and Patty went through painful divorces -- Maxene split with the group's manager Lou Levy; Patty lost agent/husband Martin Melcher to singer Doris Day. Moreover, the girls squabbled over their parents' estate shares and individual career desires. In the mid-1950s Patty, the group's lead, declared she was going solo. LaVerne and Maxene attempted to duo for a time until Maxene attempted suicide with pills in 1954, heartbroken over the nasty breakup of the group. http://www.imdb.com/name/nm1679536/bio

Author: John1948One
Keywords: big band pop
Added: February 26, 2009