"Vaughn DeLeath was a popular vocalist during the late 20's. A very popular radio star, who was definately under the influence of Annette Hanshaw(a superior jazz singer from the same era) however she is limited in her style by also being influenced by Al Jolson, therefor there are plenty of sappy overly dramatic ballads, and vaudevillian style singing, at times almost operetic, though not bad for a singer in the pre Crosby & Armstrong 20's. Try Annette Hanshaw if you want pure jazz singing in the 20's."
Vaughn DeLeath Edison recordings audio quality tops for 1928
ellsworth o. johnson | spokane, wa USA | 01/15/2001
(5 out of 5 stars)
"From an audio technical point of view this recording is way ahead of its competitors considering it was 1928 and electrical recording had just been invented. I like the fact you can clearly understand every single word she sings. I for one am looking forward to hearing any new releases. I know more masters do exist"
Vaughn Deleath has a very sweet soft voice
Edwin C. Harvey,Jr. | Lafayette, Indiana | 02/20/2003
(5 out of 5 stars)
"Vaughn Deleath has a very sweet soft voice. Very nice to listen to. I love this Cd."
The First Lady Of Radio
Annie Van Auken | Planet Earth | 01/16/2007
(4 out of 5 stars)
"Vaughn DeLeath ("The Original Radio Girl") was credited with inventing "crooning," a style later employed by Bing Crosby and others. DeLeath did so to solve a technical problem. Early linear radio amplifier tubes were delicate and suseptible to shorting out from powerful female vocalists, so DeLeath cooed her numbers in a low, lullabye style.
In the 1920s, Vaughn DeLeath was quite popular. Today, very few remember who she was. This is a shame, because this gal's mellow alto voice was so pleasant to hear. Several sides on EDISON LATERALS 5 * VAUGHN DELEATH are never-released test pressings. The laterally recorded discs the EDISON company made in the last year or so of its existence were treated with indifference, shoved onto dusty shelves in the Edison Laboratory attic. That any have survived at all is miraculous.
Some tracks in this set would nowadays be considered politically incorrect, as they're sung in dialect. "Mah Lindy Lou," "Dusky Stevedore" and "Honey, I'se A Waitin' Jes' Fo' Yo'" are examples of what were once called "coon songs," while "Mariana" has DeLeath using a pseudo-Italian accent. On many selections here, she performs with only piano backup, which is usually the way DeLeath appeared on NBC radio. And that is the appeal of this album-- the chance to turn back the clock to the 1920s and experience "The First Lady Of Radio" in her element.