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Her growing maturity as a woman and a singer exerted itself not only in her more confident pursuit of what she felt was right for her, but carried over to a more consistent sophistication of arrangements and overall sound.Columbia’s commercial priorities, which (apart from ) had planted Clooney firmly in the path of the kitschy and the kooky, now afforded her room for some significant explorations.
The uncertainties of her own childhood in Maysville, Kentucky, when she and her sister Betty were shuttled between relatives for their care, now gave way to the security and joy of having her own family around her.‘White Christmas’, the hallmark of her film career at Paramount, had just been released in 1954, cementing her identification in the public mind with her co-star and mentor, Bing Crosby.As a new mother, she maintained a hectic agenda of radio, television and personal appearances, along with continuing her prodigious recording schedule for Columbia.In the summer of 1955, with baby and nanny in tow, Mr. They took an old mill house in the country on the Cone River, up against one of England’s interior canals, and with a lake on the property.They had an Italian couple cooking for them, and picked up a basset hound named George (it was Rosemary and Betty’s Uncle George Guilfoyle, recently home from the war, who’d been the teenagers’ chaperone when they went on the road with the Pastor band).At the same time, Rosemary’s career remained in high gear.
Mitch Miller’s tutelage at Columbia had transformed her from Tony Pastor’s ex-girl singer into an international star with number-one chart records one after the other over the last four years.(In fact, just before the trip she and Cole had done a radio broadcast that produced exceptional recordings of Although Clooney was accustomed to making personal appearances (it actually hadn’t been all that long since her bandsinger days), the back-and-forth with an audience was still not that comfortable for her, and it would be years before touring with Crosby taught her to feel significant ease before a crowd.Even so, the live record of her unscripted Palladium patter gives us an early glimpse of the easy, ad-libbing humor and straight-ahead personality for which she would eventually become legendary.So we found some rods there, and she found some worms.And she was talking to the worms, as she’s putting them on the hook: ‘Now, this isn’t going to hurt you…’” Clooney put the Palladium job in the hands of Buddy Cole, whom she knew through her work with Bing Crosby on the radio.This set begins appropriately with the Al Hoffman-Bob Merrill song, , from a January, 1955 session.