As she sings in the eighteenth and final track — "I Get a Kick Out of You" --  in this remarkable collection from Acrobat Music, Rosemary Clooney opens with the lyrics, “My story is much too sad to be told.”  Little did listeners tuning into these radio broadcasts  realize that when it came to that particular phrase, she may as well have been referencing herself.  And this is precisely because from her very first recording Rosemary Clooney possessed that innate gift that few singers have.  Namely, she managed to find the heart of each unique song while interpreting the lyrics completely in the character of the piece. 

While by now it’s become nearly a prerequisite for jazz musicians and vocalists to have dealt with enormous personal tragedy, as so many of the giants of that era are no longer with us, when you even glance at the shortest of summaries about the life of Ms. Rosemary Clooney: “Girl Singer” as she so dubbed herself in her 1999 autobiography (adding to her original 1977 memoir This for Remembrance), you realize that she overcame many, many more than her fair share.   

Right from the start, Clooney survived an immensely difficult childhood of abandonment by both her dress-maker mother, who fled to California with Clooney’s brother to marry a sailor, and her alcoholic father, who took the household money and vanished one evening.  Fortunately, Rosemary and her sister Betty first earned their big break and enough money to buy their own school lunches in their darkest hour winning “a spot on Cincinnati’s radio station WLW as singers” in 1945.  After working alongside bandleader Tony Pastor for a few years, Betty returned to Cincinnati and later Rosemary ventured off to New York City at the tender age of 21.  It was there that she ultimately became a recording artist with Columbia Records, striking her first big hit with the song she loathed, “Come-On-a My House.”   

It was around this same time, in the early 1950s that Rosemary Clooney became a staple on popular “star-studded variety programs” crafted by radio executives to combat “the growing magnetism of television.”  In this extraordinary reissue of some of these vintage recordings that were originally made for radio, we hear a Clooney whom Acrobat Music’s press notes reveal had begun “validating her position among the fine jazz-based vocalists in American music.”  While she would later become far more famous for her versions of standards and novelty hits in the same vein as “Come-On-a My House,” including “Botch-a-Me” and “Mambo Italiano,” in this wonderfully diverse release of rare performances, we hear some of Rosemary’s earliest professional recordings as she was still finding her vocal style.