Rudy Vallee's spot-on mimicry of dialect comedian Willie Howard (who introduced this Ray Henderson/Buddy DeSylva/Lew Brown number in "George White's Scandals of 1931") is one of the more remarkable aspects of this cheery depression buster. I posted Jack Hylton's version a while back, but that performance skips the well-wrought introduction: LIFE IS JUST A BOWL OF CHERRIES People are queer, they're always crowing, scrambling and rushing about; Why don't they stop someday, address themselves this way? Why are we here? Where are we going? It's time that we found out. We're not here to stay; we're on a short holiday. Life is just a bowl of cherries. Don't take it serious; it's too mysterious. You work, you save, you worry so, But you can't take your dough when you go, go, go. So keep repeating it's the berries, The strongest oak must fall, The sweet things in life, to you were just loaned So how can you lose what you've never owned? Life is just a bowl of cherries, So live and laugh at it all. Life is just a bowl of cherries. Don't take it serious; it's too mysterious. At eight each morning I have got a date, To take my plunge 'round the Empire State. You'll admit it's not the berries, In a building that's so tall; There's a guy in the show, the girls love to kiss; Get thousands a week just for crooning like this: Life is just a bowl of . . . aw, nuts! So live and laugh at it all!
Show # 25.
Doris Day recorded Life Is Just A Bowl Of Cherries on May 25,1967. Doris' son Terry Melcher said "Columbia and Doris were having a hard time." "Her contract expired, ran out sometime in 1967. She wasn't at all happy with the kind of songs she was singing. They never found enough time to work on her recordings. They became something that was just kind of tossed in between the movies. Her recording career wasn't given the kind of priority attention it deserved. For me, the only really sad part of Doris' career is the fact that the movies became so big and so important that for some reason they took precedence over the music." So - Doris booked studio time and recorded some of her personal favorites that weren't considered commercial by label executives. "Her feeling was that for a long time she had been recording title songs to movies, soundtrack albums, and other stuff where she felt that she personally had very little say in the choice of material," explained Terry. "So, she picked some of her favorites, had all the songs put way back in tempo just the way she really likes them, and made that record in two days." "I love those slow tempos," adds Doris. "That's the way I really enjoy singing more than anything. You usually can't get away with it, because the producer will invariably come out of the booth and say - 'You have to pick it up - People will go to sleep !' I didn't think so at all. I thought they were all wrong. They didn't think it was commercial and they're so afraid not to be commercial. I got to the point where I said, 'I don't want ot hear that word again !'" The masters for these recordings were "misplaced" for 26 years ! They were released in Great Britain as The Love Album in 1994. From the Bear Family Records - Move Over Darling notes.
Rudy Vallée (July 28, 1901 - July 3, 1986) was a popular American singer, actor, bandleader, and entertainer. Born Hubert Prior Vallée in Island Pond, Vermont, the son of Charles Alphonse and Catherine Lynch Vallée. Both of his parents were born and raised in Vermont, but their parents were immigrants; the Vallées being of French Canadian origin, while the Lynches were from Ireland. Rudy grew up in Westbrook, Maine. Having played drums in his high school band, Vallee played clarinet and saxophone in various bands around New England in his youth. In 1917, he decided to enlist for World War I, but was discharged when the Navy authorities found out that he was only 15. He enlisted in Portland, Maine on March 29, 1917, under the false birthdate of July 28, 1899. He was discharged at the Naval Training Station, Newport, Rhode Island, on May 17, 1917 with 41 days of active service.  From 1924 through 1925, he played with the "Savoy Havana Band" in London. He then returned to the States to obtain a degree in Philosophy from Yale and to form his own band, "Rudy Vallee and the Connecticut Yankees." With this band, which featured two violins, two saxophones, a piano, a banjo and drums, he started taking vocals (supposedly reluctantly at first). He had a rather thin, wavering tenor voice and seemed more at home singing sweet ballads than attempting vocals on jazz numbers. However, his singing, together with his suave manner and handsome boyish looks, attracted great attention, especially from young women. Vallee was given a recording contract and in 1928, he started performing on the radio. Vallee's recording career began in 1928 recording for Columbia Records' cheap labels (Harmony, Velvet Tone, and Diva). He signed to Victor in February 1929 and remained through late 1931, leaving after a heated dispute with company executives over title selections. He then recorded for the short-lived, but extremely popular "Hit of the Week" label (which sold records laminated onto cardboard). In August 1932, he signed with Columbia and stayed with them through 1933; he returned to Victor in June 1933. His records were issued on Victor's new budget label, Bluebird, until November 1933 when he was moved up the full-priced Victor label. He stayed with Victor until signing with ARC in 1936, who released his records on their Perfect, Melotone, Conqueror and Romeo labels until 1937 when he returned to Victor. Rudy Vallee And His Connecticut Yankees - Brother can you spare a dime (1931)
Life Is Just A Bowl Of Cherries - Bing Crosby the Boswell Sisters, the Mills Brothers and Al Jolson