B1741. LARRY F. KINER. The Rudy Vallee Discography. Westport, CT., Greenwood Press, 1985, First Edition, stated. 190pp. Indices; Bibliography; Photos; Illus. Handsome Edition in rust cloth with black lettering. - 0-313-24512-6 9780313245121
"...this is the first complete listing of Rudy Vallee's work....Where possible, information is supplied such as recording date, type, and location of performance....Both the Jolson and Vallee discographies contain photos and/or illustrations, and are well indices. Scholarly in appearance and purpose, they make a great pair of reference volumes, showcasing two of our legendary performers."
- Radio in Review
“Rudy Vallée became the most prominent and, arguably, the first of a new style of popular singer, the crooner. Previously, popular singers needed strong projecting voices to fill theaters in the days before the electric microphone. Crooners had soft voices that were well suited to the intimacy of the new medium of the radio. Vallée's trombone-like vocal phrasing on ‘Deep Night’ would inspire later crooners such as Bing Crosby, Frank Sinatra, and Perry Como to model their voices on jazz instruments.
Vallée also became what was perhaps the first complete example of the 20th century mass media pop star. Flappers mobbed him wherever he went. His live appearances were usually sold out, and even if his singing could hardly be heard in those venues not yet equipped with the new electronic microphones, his screaming female fans went home happy if they had caught sight of his lips through the opening of the emblematic megaphone he often sang through.
Vallée'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 with them through to 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 to 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.”
- Ned Ludd