Aileen Stanley "I Love My Baby (My Baby Loves Me)" Victor 19950 (1926) Bud Green & Harry Warren song скачать в хорошем качестве

Aileen Stanley "I Love My Baby (My Baby Loves Me)" Victor 19950 (1926) Bud Green & Harry Warren song

Aileen Stanley "I Love My Baby (My Baby Loves Me)" Ukulele played by Billy Carpenter Song by Bud Green & Harry Warren Talk about your famous love affairs. Romeo and Juliet had theirs. I just found someone, and someone found me. We're not very famous, but who cares? I love my baby. My baby loves me. Don't know nobody as happy as we. I'm only twenty, and he's twenty one. We ain't got money. But ain't us got fun? Sometimes we quarrel and maybe we fight. But then we make up the following night. When we're together, we're great company. I love my baby. My baby loves me. Though we've known each other just a year, I'm not gonna lose him, never fear. Pa says I'm foolish and Ma says so, too. All each evening this is what they hear: I love my baby. My baby loves me. We're hotsy-totsy. Why shouldn't we be? He gives me kisses. Each one is a smack. But you should hear him when I give 'em back. I bought a little cookbook, and I'm learning to bake. He likes my coffee--keeps him awake. We wash the dishes from seven 'til three. I love my baby. My baby loves me. Aileen Stanley was born on March 21, 1893. A later year is given by some internet sources, but that later date is unlikely (consider her success by the WWI years). In the 1920s her records probably sold in larger quantities than those of any other female singer with the possible exception of opera diva Amelita Galli-Curci. African-American singers of the 1920s such as Mamie Smith, Ma Rainey, Ethel Waters, and Bessie Smith are now better remembered, partly because they broke race barriers. White singers such as Ruth Etting, Helen Kane, and Helen Morgan are now more often associated with the Roaring Twenties--the three rose to fame late in the decade. But no female singer matched Stanley in sales, her Victor records selling well from late 1920 into the late 1920s. Finding Stanley discs is far easier than finding discs of the other singers, notwithstanding extravagant claims made about sales of Mamie Smith and Bessie Smith discs. Her real name was Maude Elsie Aileen Muggeridge. She was born in Chicago so it is fitting that she was among the first singers--in January 1923--to record Fred Fisher's newly published "Chicago" (dance bands recorded it months earlier but Stanley's Okeh 4792 was the first by a vocalist). Her father and mother had emigrated from England though her father died of typhoid several months before she was born, contracting it from another daughter who also died of the disease. In 1919 she made a test record for Columbia at 229 West 46th Street in New York City. Within a few years most American companies, large and small, would issue Stanley records but not Columbia. She recorded titles for Pathé in 1920. In the early 1920s she performed for Pathé, Olympic, Vocalion, Brunswick, Gennett, Okeh, Edison, and Operaphone. Stanley discs issued by these companies are rare today. Her best-selling records of the 1920s were made for the Victor Talking Machine Company. Her first Victor recordings were made on August 10, 1920, around the time "Alibi Blues" was issued by Pathé and following her success in Silks and Satins. "Broadway Blues" and "My Little Bimbo Down on the Bamboo Isle" were issued on Victor 18691 in November 1920 (the same month as Paul Whiteman's debut discs--Victor was introducing many new artists at this time), and the disc sold very well. In the early 1920s she was known in vaudeville as "The Personality Girl." Edison promotional literature announcing new Blue Amberols for April 1922 identifies "Boo-Hoo-Hoo" (4487) as a "serio-comic song, which suits the style of Aileen Stanley to perfection." It adds, "In vaudeville, Miss Stanley is known as 'The Phonograph Girl,' because of her popularity on records." For any company to dub Stanley "The Phonograph Girl" as early as 1922 was bold given the relatively few Stanley records released at this time--more records were being sold of Marion Harris, Nora Bayes, and possibly Mamie Smith. Stanley's popularity did increase and by 1923 may have been the most popular female singer making records though those of blues singer Bessie Smith, new to the industry in 1923, possibly sold in larger quantities than Stanley's in Smith's first year. By the mid-1920s Stanley records probably sold better than those of any other female singer. By 1926 Stanley was dubbed "The Victrola Girl" (after cutting two final titles for Gennett in the fall of 1924, Stanley had sessions only for Victor and British affiliate HMV).