Greg Poppleton

Tues 24 May - Phantom Dancer radio show, swing & jazz from live 1920s-60s radio & TV TUNE IN

2SER 107.3 Sydney
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Margaret Whiting Singer & Coach – Phantom Dancer 22 March 2022

Margaret Whiting is this week’s Phantom Dancer feature artist. Recognized as one of the top selling vocalists (male or female) of the post-war era, Margaret had a long, acclaimed career spanning seven decades. She sang jazz, country and musical theatre. All-around entertainer, star of radio, stage, TV and film, she was known for her vocal clarity, lyrical style and mellow tone. And she taught and encouraged other singers.

The Phantom Dancer is your weekly non-stop mix of swing and jazz from live 1920s-60s radio and TV every week.

LISTEN to this week’s Phantom Dancer mix (online after 2pm AEST, Tuesday 22 March) and two years of Phantom Dancer mixes online at, at https://2ser.com/phantom-dancer/

MARGARET WHITING’S ADVICE FOR SINGERS

If I’m any good at all as a singer, a lot of it is due to something my father (composer, Richard Whiting) taught me…

He once said, ‘Margaret, you have a good voice, you certainly know how to sing. Now spend years in perfecting your craft. I hate to think of it as a craft. It’s something I love to do, but it is a job, it is work, and we work very hard to write a song. You must sing this song with great affection and feeling. It takes the men who write the lyrics a long time. Just believe in their words. Do them simply and honestly. That’s how a singer should interpret a song’.

MARGARET ELEANOR WHITING

Margaret Whiting’s father, Richard, was a composer of popular songs, including the classics “Hooray for Hollywood“, “Ain’t We Got Fun?“, and “On the Good Ship Lollipop“. Her sister, Barbara Whiting, was an actress (Junior MissBeware, My Lovely) and singer.

An aunt, Margaret Young, was a singer and popular recording artist in the 1920s.

Margaret Whiting’s singing ability was noticed at an early age and at seven she sang for singer-lyricist Johnny Mercer, with whom her father had collaborated on some popular songs, including “Too Marvelous for Words”.

In 1942, Mercer co-founded Capitol Records and signed Margaret to one of Capitol’s first recording contracts.

CABARET MASTER CLASS TEACHER

Margaret Whiting spent a great deal of her time and energies preserving and promoting the Great American Songbook, and the young performers who were keeping it alive.

From 1989 – 2001, Whiting was the Artistic Director of the annual Cabaret and Performance Conference at the Eugene O’Neill Theater Center in Waterford Connecticut.

With other performers such as Julie Wilson and Anne Francine as well as musical directors like Tex Arnold, she spent 10 days instructing selected professionals and amateurs in the cabaret performance process.

OFFICIAL BIO

Quoting from her International Movie Data Base bio:

Born July 22, 1924 in Detroit, she began singing as a small child and, by the age of seven, signed with Johnny Mercer, the popular songwriter and founder of Capitol Records, for whom her father worked.

She was a popular vocalist in the 1940s and 1950s, recording dozens of hits for Capitol Records, launched by her father and two partners. She was the first artist to be engaged by the label, where she began recording in 1942. She served as President of the Johnny Mercer Foundation, and she continued her work as a performer of Mercer songs.

In the early 1940s, her hits included “That Old Black Magic” (with Freddie Slack), “Moonlight in Vermont” (with Billy Butterfield) and “It Might As Well Be Spring” (with Paul Weston). Between 1946-54, she had more than 40 solo hit tunes for Capitol. After stints with Dot Records and Verve Records and, a brief return to Capitol in the late 1950s and the early 1960s, she recorded for the London label beginning in 1966.

In the late 1990s, she appeared in the Broadway musical “Dream” (1997) and in the PBS broadcast The Songs of Johnny Mercer: Too Marvelous for Words (1997).

Under her own name in late 1945, she recorded the Jerome KernOscar Hammerstein II composition “All Through The Day”, which became a bestseller in the spring of 1946, and “In Love In Vain”, both of which were featured in the film Centennial Summer (1946). She also had hits with songs from the Broadway musicals “St. Louis Woman” and “Call Me Mister” in 1946. Those first recordings under her name were made in New York. In late 1946, she returned to California and began recording there, with Jerry and His Orchestra–“Guilty” and “Oh, But I Do” were the best-selling results of that session. Her hit streak continued in 1948-49.

Due to a musician’s strike in the US, orchestral tracks were recorded outside of the country and vocals added in US studios. Whiting supplied vocals to tracks cut by Frank DeVol and His Orchestra, including “A Tree In The Meadow”, a #1 hit in the summer of 1948, recorded in London. Her next #1 song occurred in 1949 with “Slipping Around”, one of a series of duet recordings made with country/western singer and cowboy star Jimmy Wakely. Also that year, Whiting recorded a duet with Mercer, “Baby, It’s Cold Outside”.

In 1950, she had a hit with “Blind Date”, a novelty record made with Bob Hope and Billy May and His Orchestra.

Whiting continued recording for Capitol into the mid-1950s, until her run of hits dried up. She left the company in 1958 for Dot Records but achieved only one hit there. She switched to Verve Records in 1960 and recorded a number of albums, including one with jazz vocalist Mel Tormé. A brief return to Capitol was followed by a hiatus, after which Whiting signed with London Records in 1966, where she recorded her last two charting pop singles. Her recordings continued to appear on the easy listening charts into the 1970s. Whiting was still recording in the early 1990s and performing in cabaret and concerts. She died on January 10, 2011 (aged 86) in Englewood, New Jersey.

– IMDb Mini Biography By: Burt Richards (updated by R.M. Sieger)

22 MARCH PLAY LIST

Play List – The Phantom Dancer
107.3 2SER-FM Sydney
LISTEN ONLINE

Community Radio Network Show CRN #537

107.3 2SER Tuesday 22 March 2022
12:04 – 2:00pm (+11 hours GMT) and Saturdays 5 – 5:55pm
National Program
5GTR Mt Gambier Monday 2:30 – 3:30am
3MBR Murrayville Monday 3 – 4am
4NAG Keppel FM Monday 3 – 4am
2MIA Griffith Monday 3 – 4am
2BAR Edge FM Bega Monday 3 – 4am
2BRW Braidwood Monday 3 – 4am
2YYY Young Monday 3 – 4am
3VKV Alpine Radio Monday 6 – 7pm
7MID Oatlands Monday 6 -7pm
6GME Radio Goolarri Broome Tuesday 12am – 1am
2SEA Eden Tuesday 6 – 7pm
2MCE Bathurst Wednesday 9 – 10am
1ART ArtsoundFM Canberra Friday 10 – 11am
2ARM Armidale Friday 12 – 1pm
5LCM Lofty FM Adelaide Friday 1 – 2pm
Denmark FM (West Australia) Saturdays 10 – 11am
Repeat: Wednesdays 10 – 11pm
7LTN Launceston Sunday 5 – 6am
3MGB Mallacoota Sunday 5 – 6am
3BBR West Gippsland Sunday 5 – 6pm

Set 1
1940s Sweet Band Radio
High Heel Boogie + So Long (theme)
Eddie Howard Orchestra (voc) Eddie Howard
‘Spotlight Bands’
Battle Creek Mich.
WGN Mutual Chicago
9 Nov 1945
How Do You Fall in Love? + Medley: Pretending |  Hold My Hand | Theme
Griff Williams Orchestra (voc) Walt King
Empire Room
Palmer House
WGN Mutual Chicago
5 Mar 1947
Movement from Rachmaninoff Concerto #2 + Close
Freddy Martin Orchestra
‘One Night Stand’
Cocoanut Grove
Ambassador Hotel LA
AFRS Re-broadcast
27 Jan 1946
Set 2
1931-33 Dance Music
Me + College Medley
Sam Lanin Orchestra (voc) Band
Hit of the Week Record
New York City
1931
Love Letters in the Sand + College Medley
Sam Lanin Orchestra (voc) Trio
Hit of the Week Record
New York City
1931
When the Morning Rolls Around
Phil Harris Orchestra (voc) The Three Ambassadors
Radio Transcription
Cocoanut Grove
Ambassador Hotel
Los Angeles
1933
Set 3
Benny Goodman Camel Caravan
Let’s Dance (theme) + The Spring Song
Benny Goodman Orchestra
‘Camel Caravan’
WEAF NBC Red NY
9 Sep 1939
Some of These Days
Benny Goodman Quintet
‘Camel Caravan’
WEAF NBC Red NY
13 Sep 1938
King Porter Stomp + Theme
Benny Goodman Orchestra
‘Camel Caravan’
WEAF NBC Red NY
13 Sep 1938
Set 4
Margaret Whiting
Stay with the Happy People
Margaret Whiting
‘Oxydol Show’
KNX CBS LA
1950
St Louis Blues
Margaret Whiting
‘Sunday Down South’
Ryman Auditorium
Nashville
Lion Network
6 Nov 1949
My One and Only + Close
Margaret Whiting
‘Navy Star Time’
12 Jun 1949
Set 5
Eddie Condon
Open + Love Nest
Eddie Condon Ensemble
‘Eddie Condon Jazz Concert’
WJZ Blue NY
9 Sep 1944
Big Noise from Winnetka
Eddie Condon Ensemble
‘Eddie Condon Jazz Concert’
WJZ Blue NY
9 Sep 1944
Big Butter and Egg Man
Eddie Condon Ensemble
‘Eddie Condon Jazz Concert’
WJZ Blue NY
9 Sep 1944
Set 6
1930s Radio
Open
Kay Kyser and his Band from the Carolines
Radio Transcription
12 Jun 1934
Dancing on the Ceiling
Anson Weekes Orchestra
Radio Transcription
San Francisco
1932
Christopher Columbus
Isham Jones Orchestra
WOR Mutual NYC
13 Mar 1936
It’s Love
Gus Arnheim Orchestra (voc) Loyce Whiteman
Radio Transcription
Los Angeles
1931
Set 7
1940s Band Radio Transcriptions
Coyote Canyon
Jimmy Grier Orchestra
Radio Transcription
Los Angeles
1940s
The Siren’s Song
Jan Garber Orchestra
Radio Transcription
Los Angeles
1940s
Whattya Gonna Do?
Jimmy Grier Orchestra
Radio Transcription
Los Angeles
1940s
Lady Be Good
Jan Garber Orchestra (voc) Fritz Heilbron
Radio Transcription
Los Angeles
1940s
Set 8
Bop
Jumpin’ with Symphony Sid
Lester Young
‘Bandstand USA’
Cafe Bohemia
WOR Mutual NYC
1956
Half Nelson + Night in Tunisia
Charlie Parker Sextet with Milt Jackson (vibes)
‘Symphony Sid Show’
Royal Roost
WMCA NY
26 Feb 1949
Bye Bye Blues
Benny Goodman Sextet
‘One Night Stand’
The Click
Philadelphia
AFRS Re-broadcast
3 Jun 1948

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22 March 2022

(Until March 22)

Margaret Whiting Singer & Coach – Phantom Dancer 22 March 2022

Greg Poppleton's Phantom Dancer swing jazz radio show

Margaret Whiting is this week’s Phantom Dancer feature artist. Recognized as one of the top selling vocalists (male or female) of the post-war era, Margaret had a long, acclaimed career spanning seven decades. She sang jazz, country and musical theatre. All-around entertainer, star of radio, stage, TV and film, she was known for her vocal clarity, lyrical style and mellow tone. And she taught and encouraged other singers.

The Phantom Dancer is your weekly non-stop mix of swing and jazz from live 1920s-60s radio and TV every week.

LISTEN to this week’s Phantom Dancer mix (online after 2pm AEST, Tuesday 22 March) and two years of Phantom Dancer mixes online at, at https://2ser.com/phantom-dancer/

MARGARET WHITING’S ADVICE FOR SINGERS

If I’m any good at all as a singer, a lot of it is due to something my father (composer, Richard Whiting) taught me…

He once said, ‘Margaret, you have a good voice, you certainly know how to sing. Now spend years in perfecting your craft. I hate to think of it as a craft. It’s something I love to do, but it is a job, it is work, and we work very hard to write a song. You must sing this song with great affection and feeling. It takes the men who write the lyrics a long time. Just believe in their words. Do them simply and honestly. That’s how a singer should interpret a song’.

MARGARET ELEANOR WHITING

Margaret Whiting’s father, Richard, was a composer of popular songs, including the classics “Hooray for Hollywood“, “Ain’t We Got Fun?“, and “On the Good Ship Lollipop“. Her sister, Barbara Whiting, was an actress (Junior MissBeware, My Lovely) and singer.

An aunt, Margaret Young, was a singer and popular recording artist in the 1920s.

Margaret Whiting’s singing ability was noticed at an early age and at seven she sang for singer-lyricist Johnny Mercer, with whom her father had collaborated on some popular songs, including “Too Marvelous for Words”.

In 1942, Mercer co-founded Capitol Records and signed Margaret to one of Capitol’s first recording contracts.

CABARET MASTER CLASS TEACHER

Margaret Whiting spent a great deal of her time and energies preserving and promoting the Great American Songbook, and the young performers who were keeping it alive.

From 1989 – 2001, Whiting was the Artistic Director of the annual Cabaret and Performance Conference at the Eugene O’Neill Theater Center in Waterford Connecticut.

With other performers such as Julie Wilson and Anne Francine as well as musical directors like Tex Arnold, she spent 10 days instructing selected professionals and amateurs in the cabaret performance process.

OFFICIAL BIO

Quoting from her International Movie Data Base bio:

Born July 22, 1924 in Detroit, she began singing as a small child and, by the age of seven, signed with Johnny Mercer, the popular songwriter and founder of Capitol Records, for whom her father worked.

She was a popular vocalist in the 1940s and 1950s, recording dozens of hits for Capitol Records, launched by her father and two partners. She was the first artist to be engaged by the label, where she began recording in 1942. She served as President of the Johnny Mercer Foundation, and she continued her work as a performer of Mercer songs.

In the early 1940s, her hits included “That Old Black Magic” (with Freddie Slack), “Moonlight in Vermont” (with Billy Butterfield) and “It Might As Well Be Spring” (with Paul Weston). Between 1946-54, she had more than 40 solo hit tunes for Capitol. After stints with Dot Records and Verve Records and, a brief return to Capitol in the late 1950s and the early 1960s, she recorded for the London label beginning in 1966.

In the late 1990s, she appeared in the Broadway musical “Dream” (1997) and in the PBS broadcast The Songs of Johnny Mercer: Too Marvelous for Words (1997).

Under her own name in late 1945, she recorded the Jerome KernOscar Hammerstein II composition “All Through The Day”, which became a bestseller in the spring of 1946, and “In Love In Vain”, both of which were featured in the film Centennial Summer (1946). She also had hits with songs from the Broadway musicals “St. Louis Woman” and “Call Me Mister” in 1946. Those first recordings under her name were made in New York. In late 1946, she returned to California and began recording there, with Jerry and His Orchestra–“Guilty” and “Oh, But I Do” were the best-selling results of that session. Her hit streak continued in 1948-49.

Due to a musician’s strike in the US, orchestral tracks were recorded outside of the country and vocals added in US studios. Whiting supplied vocals to tracks cut by Frank DeVol and His Orchestra, including “A Tree In The Meadow”, a #1 hit in the summer of 1948, recorded in London. Her next #1 song occurred in 1949 with “Slipping Around”, one of a series of duet recordings made with country/western singer and cowboy star Jimmy Wakely. Also that year, Whiting recorded a duet with Mercer, “Baby, It’s Cold Outside”.

In 1950, she had a hit with “Blind Date”, a novelty record made with Bob Hope and Billy May and His Orchestra.

Whiting continued recording for Capitol into the mid-1950s, until her run of hits dried up. She left the company in 1958 for Dot Records but achieved only one hit there. She switched to Verve Records in 1960 and recorded a number of albums, including one with jazz vocalist Mel Tormé. A brief return to Capitol was followed by a hiatus, after which Whiting signed with London Records in 1966, where she recorded her last two charting pop singles. Her recordings continued to appear on the easy listening charts into the 1970s. Whiting was still recording in the early 1990s and performing in cabaret and concerts. She died on January 10, 2011 (aged 86) in Englewood, New Jersey.

– IMDb Mini Biography By: Burt Richards (updated by R.M. Sieger)

22 MARCH PLAY LIST

Play List – The Phantom Dancer
107.3 2SER-FM Sydney
LISTEN ONLINE

Community Radio Network Show CRN #537

107.3 2SER Tuesday 22 March 2022
12:04 – 2:00pm (+11 hours GMT) and Saturdays 5 – 5:55pm
National Program
5GTR Mt Gambier Monday 2:30 – 3:30am
3MBR Murrayville Monday 3 – 4am
4NAG Keppel FM Monday 3 – 4am
2MIA Griffith Monday 3 – 4am
2BAR Edge FM Bega Monday 3 – 4am
2BRW Braidwood Monday 3 – 4am
2YYY Young Monday 3 – 4am
3VKV Alpine Radio Monday 6 – 7pm
7MID Oatlands Monday 6 -7pm
6GME Radio Goolarri Broome Tuesday 12am – 1am
2SEA Eden Tuesday 6 – 7pm
2MCE Bathurst Wednesday 9 – 10am
1ART ArtsoundFM Canberra Friday 10 – 11am
2ARM Armidale Friday 12 – 1pm
5LCM Lofty FM Adelaide Friday 1 – 2pm
Denmark FM (West Australia) Saturdays 10 – 11am
Repeat: Wednesdays 10 – 11pm
7LTN Launceston Sunday 5 – 6am
3MGB Mallacoota Sunday 5 – 6am
3BBR West Gippsland Sunday 5 – 6pm

Set 1
1940s Sweet Band Radio
High Heel Boogie + So Long (theme)
Eddie Howard Orchestra (voc) Eddie Howard
‘Spotlight Bands’
Battle Creek Mich.
WGN Mutual Chicago
9 Nov 1945
How Do You Fall in Love? + Medley: Pretending |  Hold My Hand | Theme
Griff Williams Orchestra (voc) Walt King
Empire Room
Palmer House
WGN Mutual Chicago
5 Mar 1947
Movement from Rachmaninoff Concerto #2 + Close
Freddy Martin Orchestra
‘One Night Stand’
Cocoanut Grove
Ambassador Hotel LA
AFRS Re-broadcast
27 Jan 1946
Set 2
1931-33 Dance Music
Me + College Medley
Sam Lanin Orchestra (voc) Band
Hit of the Week Record
New York City
1931
Love Letters in the Sand + College Medley
Sam Lanin Orchestra (voc) Trio
Hit of the Week Record
New York City
1931
When the Morning Rolls Around
Phil Harris Orchestra (voc) The Three Ambassadors
Radio Transcription
Cocoanut Grove
Ambassador Hotel
Los Angeles
1933
Set 3
Benny Goodman Camel Caravan
Let’s Dance (theme) + The Spring Song
Benny Goodman Orchestra
‘Camel Caravan’
WEAF NBC Red NY
9 Sep 1939
Some of These Days
Benny Goodman Quintet
‘Camel Caravan’
WEAF NBC Red NY
13 Sep 1938
King Porter Stomp + Theme
Benny Goodman Orchestra
‘Camel Caravan’
WEAF NBC Red NY
13 Sep 1938
Set 4
Margaret Whiting
Stay with the Happy People
Margaret Whiting
‘Oxydol Show’
KNX CBS LA
1950
St Louis Blues
Margaret Whiting
‘Sunday Down South’
Ryman Auditorium
Nashville
Lion Network
6 Nov 1949
My One and Only + Close
Margaret Whiting
‘Navy Star Time’
12 Jun 1949
Set 5
Eddie Condon
Open + Love Nest
Eddie Condon Ensemble
‘Eddie Condon Jazz Concert’
WJZ Blue NY
9 Sep 1944
Big Noise from Winnetka
Eddie Condon Ensemble
‘Eddie Condon Jazz Concert’
WJZ Blue NY
9 Sep 1944
Big Butter and Egg Man
Eddie Condon Ensemble
‘Eddie Condon Jazz Concert’
WJZ Blue NY
9 Sep 1944
Set 6
1930s Radio
Open
Kay Kyser and his Band from the Carolines
Radio Transcription
12 Jun 1934
Dancing on the Ceiling
Anson Weekes Orchestra
Radio Transcription
San Francisco
1932
Christopher Columbus
Isham Jones Orchestra
WOR Mutual NYC
13 Mar 1936
It’s Love
Gus Arnheim Orchestra (voc) Loyce Whiteman
Radio Transcription
Los Angeles
1931
Set 7
1940s Band Radio Transcriptions
Coyote Canyon
Jimmy Grier Orchestra
Radio Transcription
Los Angeles
1940s
The Siren’s Song
Jan Garber Orchestra
Radio Transcription
Los Angeles
1940s
Whattya Gonna Do?
Jimmy Grier Orchestra
Radio Transcription
Los Angeles
1940s
Lady Be Good
Jan Garber Orchestra (voc) Fritz Heilbron
Radio Transcription
Los Angeles
1940s
Set 8
Bop
Jumpin’ with Symphony Sid
Lester Young
‘Bandstand USA’
Cafe Bohemia
WOR Mutual NYC
1956
Half Nelson + Night in Tunisia
Charlie Parker Sextet with Milt Jackson (vibes)
‘Symphony Sid Show’
Royal Roost
WMCA NY
26 Feb 1949
Bye Bye Blues
Benny Goodman Sextet
‘One Night Stand’
The Click
Philadelphia
AFRS Re-broadcast
3 Jun 1948
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2SER 107.3 Sydney
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