I've Got A Feeling I'm Falling,
For Nobody Else But You! - 1929
Catherine Annette Hanshaw was born in New York in 1901. "Lovable and Sweet" was more than just a song where Annette was concerned - she lived her life that way. Her manager, Herman "Wally" Rose always had the best talent available to accompany Annette - Jack Teagarden, Morton Downey, Miff Mole, Eddie Lang, Joe Venute, Phil Napolean, Red Nichols, Adrian Rollini, Benny Goodman, Jimmy and Tommy Dorsey - the A list of white jazz musicians. In 1929, Annette and Wally were married and remained so until his death in 1954.
To increase market share, her songs were released under the names Patsy Young, Dot Dare, Gay Ellis, Marion Lee, Betty Lloyd, Janet Shaw, Frances Hopwood, Ethel Bingham and Leila Sanford-but trade publications revealed the various names to the public so everyone knew who the real artist was. She appeared on the Camel Caravan, Maxwell House Showboat, Van Heusen Hour, and Rexall Magic Magic Hour to name but a few. She was the Personality Girl with her trademark "That's All" at the end of most of her recordings. The New York Times called her one of the most prolific recording artists of the 20s-30s. Although she was elected America's most popular female singer in a nationwide Radioland poll, she is all but unknown today.
Lovable and Sweet - 1929
Annette Hanshaw - her first recording - 1926 Audition medley
In 1926 Annette Hanshaw had an audition for Pathe records in which she created two recordings - a pair of 3 song medleys using popular tunes from 1925 and 1926. She was soon a record star and this first test recording fell into obscurity. Here is a chance to once again listen to these recordings - to hear her just before she emerged onto the public scene.
Who's That Knocking On My Door? - 9-8-1927 - Pathé Actuelle Records 32293
Radio Stars, Oct. 1934. Dress designed by Gladys Parker. A contest was held for this dress; a fan had to write Annette Hanshaw a letter telling which dress they wanted and why in 75 words or less!
Hollywood Fashion and beauty from the 1920's !
A women's fashion film featuring prominent actresses of the silent movie period, modeling the latest trends in 1920's fashions .
This film shows some beautiful vintage women's clothing, hairstyles, and hats, automobiles and an aeroplane! Song by Annette Hanshaw, singing - Love Me Tonight! *****
Stunning color fashion feature from 1928!
The image of the flapper had given way to much more sophisticated styles in women's dresses and hats, including the famous cloche hat, made popular in recent years by Angelina Jolie.
Features lovely examples of women's beauty looks, from the 1920s. Women featured are silent film actresses, Corliss Palmer, Rachel Torres, Laura la Plante, and Ruth Elder.
"That's You Baby" - 1929
"That's You Baby was recorded by Annette Hanshaw April 5, 1929 - one of her rare recordings for the main Columbia label. Most of her recordings were for the Pathe Actuelle label where her manager, and later husband, Wally Rose was an executive. Annette's music was also widely distributed on the smaller Columbia labels such as Diva, Harmony, Clarion, etc. That's You Baby and Ain't Cha are the two recordings that established Annette as "The" Flapper Girl of the late 20s and early 30s."
ANNETTE HANSHAW AINT CHA ~ 1929
Annette Hanshaw sings "Ain't Cha", recorded in New York on November 27, 1929, released on labels Harmony 1075-H and Paramount Publix SR1069P. Annette is in her role as "girl big band singer" accompanied by Ben Selvin and His Orchestra probably consisting of Red Nichols t, Glenn Miller tb, Jimmy Dorsey cl, Jack Hansen bb, George Beebe d, Irving Brodsky p, Tommy Felline bj, PeeWee Russell cl, and Fud Livingston as, with Ben Selvin dir. The music was composed by Mack Gordon and Max Rich. According to music historians, Ain't Cha was featured in a Paramount film and the Paramount Publix label editions were sold only in theaters at the time the film was being exhibited.
The Japanese Sandman was recorded March 1928 in New York City on the Pathe and Perfect labels. Annette provides a short vocal refrain for Willard Robison's Deep River Orchestra.
MY BUCKET LIST
I will ALWAYS love you!
Hugs and Kisses. Annette, "That's All."
This week’s Snapshot in Prose captures Cladrite Radio sweetheart Annette Hanshaw at the height of her fame. The year is 1935, and she’s already sold more than 4,000,000 records, has declined stage and screen offers, and claims to be mulling over the marketing of her personal method for reading music without any training. Alas, just two or three years later, she’ll give up recording and performing altogether, opting instead for a sedate married life with her husband, Pathé Records executive Herman “Wally” Rose.
And just FYI, Hanshaw’s nephew, one Frank W. Hanshaw III, says that her birth certificate says she was entered the world not in 1910, as the story below claims, but in 1901. Oh Annette, you deceitful minx!
It's an Art
DO YOU KNOW that the best known and highest paid artists on the air never studied music in their lives and wouldn’t know a cadenza from a condenser? ‘S a fact! If you studied the lives of Bing Crosby, Kate Smith and Annette Hanshaw with a microscope, you’d find that their music educations have been sadly neglected.
Do you think they worry over the fact that their technical knowledge of music is so limited? No, and you wouldn’t either if you had their incomes. Their stories only go to prove that you don’t have to have special privileges to get places in radio, singing, music. And the same thing is probably true in every other field of endeavor.
Let’s take the career of Annette Hanshaw, for instance. She was born in New York City in 1910. Her father instilled in her a natural love of music and she believes she could sing before she could speak. Anyhow, she was able to sing the choruses of 16 popular ditties of the day before she was 16 months old, and she’s added at least a song a month to her repertoire ever since.
Annette liked to sing always. Most of us are the same way. She surely had a natural flair for singing but since it was so effortless for her she never dreamed that some day it would pay substantial dividends.
She thought a career necessarily meant hard work, so she ploughed through school and took various courses, specializing in portrait painting. She aspired to be a commercial artist. She entered the National Academy of Design in New York and showed remarkable promise.
She went to parties often during the days when she was a popular young debutante and it was at one of these gatherings that an executive for a record company heard her warbling in her own, carefree way. He listened while she sang song after song to rounds of applause and many encores. At the end of the evening he handed her his card and suggested that she call at his office.
More as a lark than anything else she made a voice test at the recording executive’s request. She was having loads of fun and enjoyed it immensely when they put her in front of an orchestra while the wax disc whirled. She had had such a good time that she was almost ashamed to accept the check they handed her.
All of this took place less than seven years ago and since then her phonograph recordings have sold more than 4,000,000 copies, and she has managed to lose all hesitancy about accepting checks.
Throughout this entire procedure—and even today—she never read a note of music. She couldn’t. What she could and did do, though, was thoroughly memorize and cue every song she sang.
Although she has had many stage and screen offers, Annette has consistently refused to accept any of them because she wants to concentrate on her radio broadcasting and phonograph recording. She once even refused an offer from the great Florenz Ziegfeld, himself.
She rehearses in the evening, drinks lots of water before and during broadcasts, dictates all replies to her fan mail herself and scrupulously autographs all pictures herself.
Someday she may patent her method of reading music. Annette says it is really very simple and anyone ought to be able to learn the system in ten easy lessons.
The HUGE Annette Hanshaw list........
Daddy won't You please come Home? (from "Thunderbolt") 5-31-1929
Ain't cha 11-27-1929
Ain't he sweet 1-28-1927
Big city blues (From the Fox "Movietone Follies of 1929") 4-5-1929
Black bottom 9-12-1926
Medley: Blue evening-You heavenly thing-what's the reason I'm not pleasin' you (very poor quality) unissued private acetate 1936
Body and soul (from "Three's A Crowd") 10-7-1930
Calling me home 10-20-1926
Carolina moon 1-11-1929
Cherie, I love you 10-20-1926
Do, do, do 11-26-1926
You know I know ev'rything's made for Love 11-26-1926
Fit as a Fiddle 12-2-1932
For Old Times' Sake 6-12-1928
That's just my way of forgetting You 9-13-1928
her first recording - 1925 Audition medley (What can I say Dear after I say I'm sorry/Bye Bye Blackbird/The day that I met You/Don't want Nobody but You?/I wonder what's become of Joe?/Has anybody seen My Gal)
Here or There 2-2-1927
Here We Are 7-24-1929
He's the Last Word 1-28-1927
Ho Hum 5-9-1931
I cover the Waterfront 6-3-1933
I get the Blues when it Rains 4-30-1929
I like what You Like 6-1927 w/ Joe Venuti
I love a Ukelele 4-17-1930
I think You'll like It 10-28-1929
I want to be Bad (from "Follow Thru") 3-14-1929
If I'd only believed in You 10-22-1926
If You Can't Tell The World She's A Good Little Girl Just Say Nothing At All 11-1926
If You See Sally 2-26-1927
I'm a Dreamer (but aren't we all) (from "Sunny Side Up) 12-4-1929
I'm All Alone in a Palace of Stone (The "Peaches" and Browning song) 11-1926
I'm Following You (from "It's a Great Life") 2-11-1930
(I'm Cryin' 'Cause I Know) I'm Losin' You 1-1928
I'm Somebody's Somebody Now 6-1927
In a Great Big Way (from "Hello Daddy") 1-17-1929
In The Sing-Song Sycamore Tree 1-1928
I've got a Feeling I'm Falling 5-9-1929
I've got it (but it don't do Me no Good) 5-5-1930
My inspiration is You 11-8-1928
Have you ever seen a Dream Walking?
Ain't that a Grand and Glorious Feeling 6-1927
All I do is Dream of You
Aw, Gee! don't be that Way, Now 4-1-1927
You must have been a Beautiful Baby (private acetate)
My Bill-(excerpt from Maxwell House "Showboat" Radio Program 6-12-33)
Blue Moon (just piano/voice...private acetate, later recording '30s)
Button up your Overcoat (from "Follow Thru") 3-14-1929
Can't help loving that Man of Mine (excerpt from Maxwell House "Showboat" 6-12-33)
Ever since time Began 2-20-1931
Get Out And Get Under The Moon 5-1928 OR 8-10-1928
Give me Liberty or give Me love (From "Broadway Singer") 11-22-1933
Goodnight my Love
He's funny that Way
How about You
If I had a Boy like You 6-16-1930
If I had a talking picture of you (from "Sunny Side Up") 12-4-1929
If you want the rainbow (you must have the rain) 10-19-1928
I Gotta' Get Myself Somebody To Love 12-20-1931
It's the Talk of the Town 9-1-1933
I Wanna Be Loved By You (from "Good Boy") 11-22-1928
I have to have You 11-27-1929 w/ the Ben Selvin Orch.
Happy days are here again (from "Chasing Rainbows") 2-11-1930
Cooking Breakfast for the One I Love 2-25-1930 w/ the Sam Lanin Orch.
A Precious Little Thing Called Love (From "The Shopworn Angel") 2-20-1929
Mine all Mine 11-23-1927
It All Depends On You 1-28-1927
It Was Only A Sun Shower 9-8-1927
Just Like A Butterfly 4-29-1927
Kiss Your Little Baby Goodnight 11-26-1926
Lay Me Down To Sleep In Caroline 9-13-1926
Lazy Lou'siana Moon 3-10-1930
Lets fall in Love (From the Film) 2-3-1934
Little White Lies 7-21-1930
Lonely Nights in Hawaii 8-10-1928
Love Me Tonight 8-18-1932
Lover come back to Me (from "The New Moon") 3-15-1929
Maui chimes 1-11-1929
Maui girl 8-31-1928
Mean to me 2-20-1929
Miss Anabelle Lee 8-1927
Moanin' low (From the "Little Show") 8-29-1929
Moon song 1-25-1933
My baby knows How 10-22-1926
My Bill (excerpt from Maxwell House "Showboat" radio program 6-12-33 ** see note above)
My idea of Heaven 4-1-1927
My Sin 4-30-1929
One sweet letter from You 11-26-1926
Pale Blue Waters 3-10-1930
Rosy Cheeks 4-29-1927
Say it isn't So 9-12-1932
Six feet of Papa 9-12-1926
So Blue 4-1-1927
Sweet Lei Lahua 11-8-1928
That's why I love You 9-13-1926
That's you Baby 4-5-1929
The One in the World 5-9-1929
The right kinda Man (From Motion Picture "Frozen Justice") 10-19-1929
The Way I Feel Today 7-21-1930
There must be Somebody Else 11-23-1927
Thinking of You 11-23-1927
Tiptoe through the Tulips with Me (from "The Gold Diggers Of Broadway") 9-20-1929
True Blue Lou (from "The Dance Of Life") 7-24-1929
Ua like no a Like 6-4-1929
Walkin' my Baby back Home 2-20-1931
Was it a Dream 6-12-1928
What do I care what Somebody Said? 4-14-1927
When the world is at Rest 1-17-1929
Who's that Knocking at my Door? 9-8-1927
Wistful and Blue 4-14-1927
Would you like to take a Walk? 1-20-1931
You're the Cream in My Coffee (from "Hold Everything!") 11-8-1928
You're the One I Care For 12-20-1931
You wouldn't fool me, would You (from "Follow Thru") 3-15-1929
The song is Ended 11-23-1927
Who'oo You-oo Thats Who! 6-1927
Loveable and Sweet (From Motion Picture - "Street Girl") 8-29-1929
Under the Moon 6-1927
Are you Happy 10-1927
It was so Beautiful 8-16-1932
Manhattan Serenade (another later private recording)
Say it isn't so 9-12-1932
My future just Passed (from "Safety In Numbers") 6-16-1930
Nobody cares if I'm Blue (from "Bright Lights") 7-21-1930
Sing a little low down Tune 6-22-1933
Sonny Boy (from "The Singing Fool") 11-8-1928
So this is Love
Sweetheart Darlin' 6-3-1933
Telling it to the Daisies (but it never gets back to you) 5-5-1930
There Ought to be a Moonlight Savings Time 5-9-1931
What I wouldn't do for that Man (From "Applause") 9-16-1929
When I'm Housekeeping for You (from "The Battle Of Paris") 12-4-1929 OR 12-13-1929
You're just to sweet for words, Honey O' Mine 2-20-1931
And Many More!
"Hot, Lovable, and Sweet: Annette Hanshaw was one of the very first female jazz vocalists, as well as one of the most exciting singers, and recording stars, of the 1920s and early 30s. Critic Will Friedwald, who has written extensively (and most in sightfully) on jazz singing, ranks her alongside Al Bowlly as one of the few artists that “used the musical idiom of the twenties in a creative, modern way” (1). Although I believe that there were more singers other than these two that also experimented with more modern approaches to the vocal art in that era, Friedwald is certainly right concerning Hanshaw: she was well ahead of her time in that she understood the rhythmic qualities of jazz much better than most of her contemporaries and applied them to her singing in a very personal, highly inventive way. From today’s standpoint, there is no doubt that her records sound more modern and engaging than those of Helen Kane or Ruth Etting. Born into a wealthy family in 1901 (although for many years the date was believed to be 1910), Hanshaw got her start performing at her father’s hotels. On a certain night in 1926, producer Herman “Wally” Rose (whom she would later marry) happened to be among the audience and was quick to realize her potential, subsequently signing her to a contract with Pathé. These were the years of the recording boom, when large amounts of records were produced and sold worldwide, and so Hanshaw recorded extensively, soon becoming one of the most popular artists on the label and gaining more public exposure through a series of radio spots. It did not take her long to graduate to one of the major labels, Columbia, who also put out the records of Ruth Etting, at the time one of the most popular singing stars in the country. Columbia issued Hanshaw’s efforts on subsidiary budget labels in order to prevent any kind of conflict between the two singers, but this did not affect her record sales, and even in the years following the 1929 stock market crash, Hanshaw still proved to be extremely popular with record buyers. But despite the success of her records, Hanshaw apparently dreaded public appearances and did not exploit her image as the quintessential 1920s flapper in movies. After her marriage to Rose in 1934, she decided to put an end to her very popular radio show and stopped recording altogether around 1938.
Hanshaw would live to see her records reissued in the 1970s, when she was certainly surprised to find out that there was a kind of renewed interest in her recorded output. Unfortunately, unlike other stars from the twenties such as Nick Lucas, she never really attempted to make a comeback. Her husband had passed away in 1954, and in 1975 she remarried; nobody seems to have advised her that it would have been a good idea to get back into the recording studio, and if anyone did, she did not listen.
Hanshaw died in New York in 1985, leaving behind a very valuable legacy of recorded music that is highly interesting to both pop and jazz aficionados. Her complete recordings are yet to be reissued in their entirety (a project that, like the release of Cliff Edwards’s Hot Combinations, should be undertaken by some label like Proper or JSP), but there are a couple of fine compilations on CD that serve as good introductions to her music. Lovable & Sweet (ASV / Living Era, 1997) is perhaps the best one around, and although the English reissue label seems to have gone out of business, the disc is still fairly easy to find. The material included in the collection proves, on the one hand, that Hanshaw very adeptly assimilated the jazz idiom very early on, and on the other, that her selection of material is very wide-ranging. She sings rather straight on two Hawaiian-flavored sides with Frank Ferera (“Pagan Love Song” and “Ua Like No a Like,” from 1929) but she applies her jazz inflections not only to jazz numbers like “Black Bottom” and “Six Feet of Papa,” but also to more conventional pop tunes such as “Little White Lies” and “Walkin’ My Baby Back Home.” When she runs through “Everything’s Made for Love” (1926), with Irving Brodsky on piano, she sounds way hipper than crooner Gene Austin in his version of the tune recorded that same year. Two of my personal favorites on this compilation, which features tracks waxed between 1926 and 1934, are her outstanding 1930 rendition of “Body and Soul” (which even includes an accordion) and her 1934 recording of Harold Arlen and Ted Koehler’s “Let’s Fall in Love,” in which she is backed by an all-star band including Jack Teagarden and Joe Venuti. As a matter of fact, many of her hot sides included such jazz luminaries as Tommy and Jimmy Dorsey, Benny Goodman, Eddie Lang, Red Nichols, Miff Mole, Manny Klein, and Adrian Rollini. These are well represented in The Twenties Sweetheart (Jasmine, 1995), a compilation that concentrates on Hanshaw’s earlier recordings, cut between 1926 and 1928. Here, Hanshaw’s vocals are at their jazziest best, bouncing along effortlessly, her voice shining atop the hot backings: these are the records that built her reputation as a jazz singer, and many of them end with her idiosyncratic “That’s all!,” used to mark the end of the record right after the last note has been played. As her records clearly show, Annette Hanshaw is an essential figure of the early stages of recorded vocal jazz. It is too bad that she decided to cut short her remarkable career, that she chose not to make any more records. But the records that she made are certainly jazz classics and prove as enjoyable more than eighty years after they were cut as when they were first released. In my opinion, no assessment of Hanshaw’s stature as an artist is more accurate than that of John Hammond, who is reported to have said about her, “I don’t think she realizes how good she is” (2). Fortunately, any jazz fan easily does. Notes (1) Will Friedwald. Jazz Singing. New York: Da Capo Press, 1996: page 59. (2) Jazz Singing"
"Catherine Annette Hanshaw was born in Manhattan on 18 October, 1901 and died on 13 March, 1985. In the years from 1926 to 1937 she was a top radio and recording star, but more than a little reluctantly, retiring at the height of her career.
That career was, I believe, a love story.
From her earliest years Annette loved to sing and was encouraged to do so by her parents. They were basically hoteliers and their sweetly pretty daughter was often co-opted to sing at parties for their guests. But, although she taught herself to play the piano and the ukulele she had no thought for a singing career. Her natural nervousness did not seem to fit her for show business and, despite being offered two music scholarships she opted for studying art. Her father set her up in a record shop, “The Melody Shop” and she seems to have been quite contented until at one of his parties in 1926 she met a man called Herman (Wally) Rose and fell in love with him. I have a vague memory of Annette telling me that Herman Rose was not his original name and also that “Wally” was short for Waldemar. He was an Artist and Repertoire Manager for Pathé Records and was so impressed that he asked Annette to audition to make records. Had he been anyone else she would probably have turned him down but, thankfully, she agreed and on 28 July, 1926 made a self accompanied test record at the Compo studio. When she had finished singing, not knowing what to do, she announced “That’s All”. The shrewd Wally spotted a gimmick and had her, somewhat against her wishes, sign off most of her issued records with that phrase. He also took 10 years off her age. It sounds outrageous but if one views the only extant piece of film of her made in the early 1930‘s when she was about 30 years old, she could easily pass for 20.
Wally Rose was certainly a jazz lover (in 1932 he was responsible for making The Rhythm Makers sessions widely regarded as among the hottest of all jazz records) and had already made the first recordings by Red Nichols and the Red Heads, using them also as a backing group for several of his artists such as Cliff “Ukulele Ike” Edwards, Jay C. Flippen (whose record closing gimmick line was “Turn me over!”) and Lee Morse. Now he used them to accompany Annette on her first Pathé session. The results showed that she, more than most girl singers of the time, was at her best with jazz flavored backings. Soon Wally had become her manager and on 12 June 1929 he also became her husband.
In the meantime the old Pathé company had been swallowed up by Columbia Records (who would in turn, be swallowed up by ARC). Wally and Annette moved on to Columbia along with Cliff Edwards and Lee Morse and in 1932 Annette and Cliff both went to ARC.
But, since 1926 Annette had been doing whatever manager Wally had thought best for her career and this included providing the vocal refrains for some of Pathé’s, and later Columbia’s dance band records. Few dance bands of that era had girl singers. It was not until Paul Whiteman hired Mildred Bailey in 1931 that female vocalists became an essential part of any successful band. The 24 sides that Annette made as a dance band singer are quite a mixed bag. The first three find her romping along very happily with The Original Memphis Five. The next couple are amongst her best recordings. She’s obviously very happy in the company of the Four Instrumental Stars, who swing mightily with Annette riding the rhythm with ease. Many years later, in one of our phone conversations she mentioned that she always loved working with guitarist Eddie Lang. “Great Musician and a great gentleman” was how she described him. She also admired, though was slightly scared of, Tommy Dorsey (who referred to her as “a musicians singer” – a compliment that she treasured) and among singers she singled out Ethel Waters and Connie Boswell (she wasn’t that interested in “The Boswell Sisters”, just Connie as a soloist) and thought that Lee Morse had “something different”.
Following the Four Instrumental Stars come 2 sessions of 4 titles each with the studio orchestra of Lou Gold. Gold made hundreds of sides with a very competent, but usually rather dull band, using what were probably “stock” arrangements and rarely featuring any interesting soloists. However it’s nice to hear how Annette handles the varied songs, giving each an individual reading.
Willard Robison was another colleague that Annette liked and admired both as a person and a musician and told me she enjoyed working with him. It shows. What also shows is the much more relaxed and interesting sound of the orchestra and the choice of better material. Songs like “There ain’t no sweet man’ suit Annette beautifully as does that great 1920 oldie “The Japanese Sandman”.
Ben Selvin sides are fine (some great sidemen) and very rare, two having only been issued on the legendary Paramount Publix label.
These were of songs featured in Paramount films and were sold only in cinemas showing the film from which the song came and then only during, the film’s run. Average quantity of pressings was around 300 copies. All three songs are excellent material for Annette and include one of her “take offs” of Boop-boop-a-do singer Helen Kane of which Helen said “she’s more like me than I am”.
But as her popularity grew so Annette was becoming less and less happy with her career. Aside from her busy recording schedule she was now a major radio star and had received film offers from Hollywood (She told me that she had made a couple of shorts, one for Paramount and one for MGM, only the Paramount has surfaced). She admitted that she carried on partly because of the excellent money she was making and partly to please Wally, but she stopped recording on 3rd February 1934 and retired completely in 1937. Surely somebody must have some radio transcriptions??
I suppose one should also classify the dozen or so sides that she made with the most prolific and dullest of all
Hawaiian guitarists Frank Ferrera as “with vocal refrain”, but she hated ma-king them and disliked Ferrera intensely calling him “a bottom-pincher”, who’s wife would turn up at the studios and glare at her.
So ended, much too soon, a career that only happened because she fell in love with the man who first discovered her – lucky us.
In 1929 she was signed up by Columbia records, the premier record company at that time, and became an even greater hit, so much so that it is said that gangster husband and manager of Ruth Etting, Martin 'Moe the Gimp' Snyder threatened to 'rub out' the head of Columbia unless Annette was removed from star billing. Accordingly Columbia relegated her to subsidiary labels and Hanshaw recorded under various alias's during her Columbia years.
Catherine Annette Hanshaw (October 18, 1901 – March 13, 1985) was one of the first popular female jazz singers. In the late 1920s she ranked alongside Ethel Waters, Bessie Smith and the Boswell Sisters.
Her singing style was relaxed and suited to the new jazz-influenced pop music of the late 1920s. Although she had a low opinion of her own singing, she continued to have fans because she combined the voice of an ingenue with the spirit of a flapper. Hanshaw was known as "The Personality Girl," and her trademark was saying "That's all," in a childish voice at the end of many of her records.
Between September 1926 and February 1934, she recorded prolifically. From 1926–28 she recorded for Pathe (her sides were released on both the Pathe and Perfect labels). Starting in June 1928, she recorded for Columbia; most of these were issued on their dime store labels Harmony, Diva, Clarion and Velvet Tone. A handful were also released on their regular price Columbia and OKeh. Although most were released under her own name, she was renamed Gay Ellis (for sentimental numbers) and Dot Dare or Patsy Young (for her Helen Kane impersonations). She recorded under a number of other pseudonyms which included Ethel Bingham, Marion Lee, Janet Shaw, and Lelia Sandford. Starting in August 1932, she began recording for the ARC with her recordings issued on their Melotone, Perfect, Conqueror, Oriole and Romeo. Her final session, February 3, 1934 was placed on ARC's Vocalion label.
Hanshaw made her one and only appearance on film in the 1933 Paramount short Captain Henry's Radio Show, "a picturization" of the popular Thursday evening radio program Maxwell House Show Boat, in which she starred from 1932 to 1934.
"I had the great pleasure of knowing Annette Hanshaw since 1959 when having been captivated beyond hope of release by some of her records the previous year, I decided to meet her if it were at all possible. So I went to New York that June, and met this shy being whose reluctance to delve into her recording achievements has since become well known. Gradually, I persuaded her to discuss her life in show business, which she had put behind her more than two decades before we met and found that here was a source of valuable information and more, much more, here was a delightful companion who, having promised to see me and help me research as much as she could, would not go back on her word.
Over the years we kept in touch by letter, and I kept hoping that various projects to record Annette again would become real. Then, little by little, I sensed that things were not as well with her as they should be. I kept hearing from other sources that she had had several stays in hospital, and the chances of a new Annette LP faded away. I helped David Tarnow of CBC in his tribute to her, broadcast on March 4 and 5, 1984, in a letter to me three weeks later, Annette said she had still not heard it, adding that a famous Canadian artist from Ottawa wanted to paint her portrait.
There followed another long silence, then on Christmas Eve, 1984. Annette called me on the phone. She sounded a little frail, but I could tell she was putting up a fight. "I'm pretty sick," she said. "How I wish it would all go away." On Wednesday, March 13, 1985, her wish was granted, and all of us who love her voice lost something irreplaceable....
The highest compliment to Annette Hanshaw was paid by no less a perfectionist than Tommy Dorsey, who described her as "the musician's singer."
John Hammond once said of her, "I don't think she realizes how good she is." He was right; she led the way and the others followed on, most a long distance behind. None ever overtook her; if any in the future should try, we have Annette's records an infallible yardstick by which others can be measured." Liner notes "Annette Hanshaw Volume 3," by Brian Rust, noted music biographer and historian.
Love always, Annette, "That's All."
Annette with radio singer James Melton.
"I Don't Know Why I Love You Like I Do" Acc. by Mannie Klein, t / Benny Goodman, cl / Irving Brodsky, p / Eddie Lang, g / Artie Bernstein, sb. New York, September 22, 1931.
Annette Hanshaw - The One I Love Just Can't Be Bothered With Me
ANNETTE HANSHAW: acc. by Charlie Spivak, t / Tommy Dorsey, tb / ? Jimmy Dorsey, bar / vn / ? Rube Bloom, p / Tommy Fellini, g. New York, March 11, 1930.
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I've Got A Feeling I'm Falling - Annette Hanshaw Best Song! acc. by the New Englanders (Ben Selvin's Orchestra)
I'm Flying high but I've got a feeling I'm falling Falling for nobody else but you You caught my eye And I've got a feeling I'm falling Show me the ring and I'll jump right through I used to travel single,oh We chance to mingle, oh Now I all a tingle over you Hey mister parson stand by For I've got a feeling I'm falling Falling for nobody else but you Oh, honey, oh honey, I never felt this way Romantically I'm up in the air Its funny, so funny me taking it this way Don't know if I should But gee, it feels good I'm Flying high but I've got a feeling I'm falling Falling for nobody else but you And you know it too You caught my eye And I've got a feeling I'm falling Show me the ring and boy I'll take it from you I used to travel single,oh We chance to mingle, oh Now I all a tingle over you Hey mister parson stand by Don't leave me now For I've got a feeling I'm falling Falling for nobody else but you That's all!
Annette Hanshaw, v acc. by Phil Napoleon, t / 2 as / ts / vn / p / Tony Colucci, g / ? Hank Stern, bb / Stan King, d. New York, May 9, 1929.