"Hi Lee Hi Lo"
Billy Jones & Ernest Hare
The Happiness Boys
Gennett 5208
Words by Eugene West
Music by Ira Schuster
This bass-baritone was born Thomas Ernest Hare on March 16, 1883, in Norfolk, Virginia, to Thomas and Ida (Roberts) Hare.
He attended Norfolk's Xaverian Brothers' School, then studied music at the Peabody Conservatory of Music at Baltimore, and next performed in musical comedies.
A photograph of Ernest Hare--his professional name--appeared on sheet music as early as 1912.
In late 1918 Hare began his recording career with the Emerson Phonograph Company, which issued "Oh Death, Where Is Thy Sting" (7430) in January 1919.
This seven-inch disc was followed in February by a larger sized disc (9112) featuring the same number on one side and "A Good Man is Hard to Find" on the other. "Satan, I'm Here" was issued on Emerson 9135 in March.
In 1919 and 1920, Hare was Al Jolson's understudy during the run of Sinbad at the Winter Garden theater and later when it toured (the long-running show opened in February 1918 and ended in June 1921).
To take Jolson's place when the star was indisposed could not have been a satisfying stage experience since audiences wanted to hear only Jolson, billed as "The World's Greatest Entertainer." Jolson made records only for Columbia at this time, and Hare went to other companis to record songs introduced in Sinbad.
For the Indestructible Phonograph Company, Hare in 1921 cut "My Mammy" (Hytone K-40).
In his early years as a record artist, Hare worked for nearly all companies but most often for Emerson, Edison, Brunswick, and Pathé.
He made his Edison debut with "A Good Man Is Hard to Find," issued as Blue Amberol 3690 in April 1919, and this was followed by "Satan, I'm Here (I Couldn't Stand For a Triflin' Man)," issued as Blue Amberol 3746 in May 1919. Hare had already cut these for Emerson.
Promotional literature states, "Ernest Hare is a new artist to Amberola owners. He knows how to sing darky ragtime songs--there is no question about that. This is a typical syncopated song with amusing words and ragtime melody."
For the July release of "I Want To Hold You In My Arms" on Blue Amberol 3773, he was paired with Al Bernard.
For Brunswick he sang comic numbers, such as "Saxophone Blues" (2040--Rudy Wiedoeft provides sax), and sentimental tunes, such as Conrad's "Dream of Your Smile" (2134).
In the early 1920s he sang often with Al Bernard and from 1922 onwards enjoyed greater success with tenor Billy Jones.
He met Billy Jones in 1919, and the two singers formed a team in 1920 when Brunswick executive Gus Haenschen had them sing an accompaniment on a Brunswick recording.
Hare and Jones (or Jones and Hare--the tenor's name was cited first on most labels) was eventually better known as the Happiness Boys, popular on discs and on radio in the 1920s.
By 1928, they were the highest-paid singers in radio.
Billy Jones & Ernest Hare
The Happiness Boys
Gennett 5208
Words by Eugene West
Music by Ira Schuster
This bass-baritone was born Thomas Ernest Hare on March 16, 1883, in Norfolk, Virginia, to Thomas and Ida (Roberts) Hare.
He attended Norfolk's Xaverian Brothers' School, then studied music at the Peabody Conservatory of Music at Baltimore, and next performed in musical comedies.
A photograph of Ernest Hare--his professional name--appeared on sheet music as early as 1912.
In late 1918 Hare began his recording career with the Emerson Phonograph Company, which issued "Oh Death, Where Is Thy Sting" (7430) in January 1919.
This seven-inch disc was followed in February by a larger sized disc (9112) featuring the same number on one side and "A Good Man is Hard to Find" on the other. "Satan, I'm Here" was issued on Emerson 9135 in March.
In 1919 and 1920, Hare was Al Jolson's understudy during the run of Sinbad at the Winter Garden theater and later when it toured (the long-running show opened in February 1918 and ended in June 1921).
To take Jolson's place when the star was indisposed could not have been a satisfying stage experience since audiences wanted to hear only Jolson, billed as "The World's Greatest Entertainer." Jolson made records only for Columbia at this time, and Hare went to other companis to record songs introduced in Sinbad.
For the Indestructible Phonograph Company, Hare in 1921 cut "My Mammy" (Hytone K-40).
In his early years as a record artist, Hare worked for nearly all companies but most often for Emerson, Edison, Brunswick, and Pathé.
He made his Edison debut with "A Good Man Is Hard to Find," issued as Blue Amberol 3690 in April 1919, and this was followed by "Satan, I'm Here (I Couldn't Stand For a Triflin' Man)," issued as Blue Amberol 3746 in May 1919. Hare had already cut these for Emerson.
Promotional literature states, "Ernest Hare is a new artist to Amberola owners. He knows how to sing darky ragtime songs--there is no question about that. This is a typical syncopated song with amusing words and ragtime melody."
For the July release of "I Want To Hold You In My Arms" on Blue Amberol 3773, he was paired with Al Bernard.
For Brunswick he sang comic numbers, such as "Saxophone Blues" (2040--Rudy Wiedoeft provides sax), and sentimental tunes, such as Conrad's "Dream of Your Smile" (2134).
In the early 1920s he sang often with Al Bernard and from 1922 onwards enjoyed greater success with tenor Billy Jones.
He met Billy Jones in 1919, and the two singers formed a team in 1920 when Brunswick executive Gus Haenschen had them sing an accompaniment on a Brunswick recording.
Hare and Jones (or Jones and Hare--the tenor's name was cited first on most labels) was eventually better known as the Happiness Boys, popular on discs and on radio in the 1920s.
By 1928, they were the highest-paid singers in radio.
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