Early life and career
The son of the Rabbi of the Talmud Torah Synagogue (now Ohev Sholom Talmud Torah) in Washington, D.C., Jolson became a popular singer in New York City in 1898, and gradually developed the key elements of his performance: blackface makeup; exuberant gestures; operatic-style singing; whistling and directly addressing his audience.
By 1911, he had parlayed a supporting appearance in the Broadway musical La Belle Paree into a starring role. He began recording and was soon internationally famous for his extraordinary stage presence and personal rapport with audiences. His Broadway career is unmatched for length and popularity, having spanned close to 30 years (1911-1940). Audiences shouted, pleaded, and often would not allow the show to proceed, such was the power of Jolson's presence. At one performance in Boston, the usual staid and conservative audience stopped the show for 45 minutes. He was said to have had an "electric" personality, along with the ability to make each member of the audience believe that he was singing only to them. However, he is best known today for his appearance in one of the first "talkies" The Jazz Singer, the first feature film with sound to enjoy wide commercial success, in 1927. In The Jazz Singer Jolson performed the song "Mammy" in blackface. In truth, Jolson's singing was never jazz, indeed his style remained forever rooted in the vaudeville stage at the turn of 20th century.
Jolson is the first music artist to sell over 10 million records. While no official Billboard magazine chart existed during Jolson's career, their staff archivist Joel Whitburn used a variety of sources such as Talking Machine World's list of top-selling recordings, and Billboard's own sheet music and vaudeville charts to estimate the hits of 1890-1954. By his reckoning, Jolson had the equivalent of 23 No. 1 hits, the 4th-highest total ever, trailing only Bing Crosby, Paul Whiteman, and Guy Lombardo. Whitburn calculates that Jolson topped one chart or another for 114 weeks.
Among the many songs popularized by Jolson were "You Made Me Love You," "Rock-a-Bye Your Baby With A Dixie Melody," "Swanee" (songwriter George Gershwin's first success), "April Showers," "Toot, Toot, Tootsie, Goodbye," "California, Here I Come," "When the Red, Red Robin Comes Bob-Bob-Bobbin' Along," "Sonny Boy" and "Avalon."
Jolson was a political and economic conservative, supporting Calvin Coolidge for president of the United States in 1924 (with the ditty "Keep Cool with Coolidge") unlike most other Jews in the arts, who supported the losing Democratic candidate, John William Davis.
Jolson was married to actress/dancer Ruby Keeler from 1928 to 1940, when they divorced. The couple had adopted a son, Al Jolson Jr., during their marriage, but when he was 14 the boy changed his name to Peter Lowe after his mother's second husband, John Lowe.
After leaving the Broadway stage, Jolson starred on radio. The Al Jolson Show aired 1933-1939, 1942-1943, and 1947-1949, and these shows were typically rated in the top ten. Jolson continued performing until his death in 1950.
The Jolson story
After the success of Warner Bros. film Yankee Doodle Dandy about George M. Cohan, Hollywood columnist Sidney Skolsky believed that a smiliar film could be made about Al Jolson -- and he knew just where to pitch the project. Harry Cohn may have seemed to a lot of people in Hollywood like a crude, loud vulgarian, but he had one soft spot: he loved the music of Al Jolson.
Skolsky pitched the idea of an Al Jolson biopic and Cohn agreed to it. Directed by Alfred E. Green (best known today for the pre-Code masterpiece Baby Face, The Jolson Story is one of the most entertaining of the musical biopics of that era -- an era that included Yankee Doodle Dandy, Till the Clouds Roll By, Words and Music and Three Little Words. With Jolson providing almost all the vocals, and actor Larry Parks playing Jolson, The Jolson Story was released in 1946, and became one of the biggest hits of the year. Parks received an Academy Award nomination for Best Actor, and the film became one of the highest grossing films of the year.
"The Jolson Story," and its 1949 sequel "Jolson Sings Again," led to a whole new generation who became enthralled with Jolson's voice and charisma. Jolson, who had been a popular guest star on radio since its earliest days, now had his own show, hosting the "Kraft Music Hall" from 1947-1949, with Oscar Levant as a sardonic piano-playing sidekick. Despite such singers as Frank Sinatra, Bing Crosby, and Perry Como being in their primes, Jolson was voted the "Most Popular Male Vocalist" in 1948 by a Variety poll. The next year, Jolson was named Personality of the Year by the Variety Clubs of America. When Jolson appeared on Bing Crosby's radio show, he attributed his receiving the award to his being the only singer not to make a record of Mule Train, which had been a widely covered hit of that year (four different versions, one of them by Crosby, had made the top ten on the charts).
Jolson joked that he'd tried to sing the hit song. "I got the clippetys all right, but I can't clop like I used to."
Jolson's legacy is considered by many to be severely neglected today because of his use of stage blackface, at the time a theatrical convention used by many performers (both white and black), but today viewed by many as racially insensitive. Jolson was billed as "The World's Greatest Entertainer," which is how many of the greatest stars (including Bing Crosby, Frank Sinatra, Judy Garland, Elvis Presley, Mick Jagger, Rod Stewart, Jackie Wilson) referred to him. Charles Chaplin wrote in his Autobiography that he was one of the most electrifying entertainers he had ever seen. A life-long devotion to entertaining American servicemen (he first sang for servicemen of the Spanish-American War as a boy in Washington, D.C.) led Jolson, against the advice of his doctors, to entertain troops in Korea in 1950 when his heart began to fail.
Death
Jolson died on October 23, 1950, in San Francisco at a card game, at the age of 64, apparently of a heart attack, and was interred in the Hillside Memorial Park Cemetery in Culver City, California, where a statue of Jolson beckons visitors to his crypt. On the day he died, Broadway turned off its lights for 10 minutes in Jolson's honor.
Al Jolson has three stars on the Hollywood Walk of Fame:
1. For his contribution to the motion picture industry at 6622 Hollywood Blvd.;
2. For his contribution to the recording industry at 1716 Vine St.;
3. For his contribution to the radio industry at 6750 Hollywood Blvd.
Forty-four years after Jolson's death, the United States Postal Service acknowledged his contribution by issuing a postage stamp in his honor. The 29-cent stamp was unveiled by Erle Jolson Krasna, Jolson's fourth wife, at a ceremony in New York City's Lincoln Center on September 1, 1994. This stamp was one of a series honoring popular American singers, which included Bing Crosby, Nat King Cole, Ethel Merman, and Ethel Waters. Al Jolson is one of Mr. Burns' (from The Simpsons) favorite actors - he still believes that he is alive.
Jolson's song I'm Sitting on Top of the World was played during the opening montage of 1930's New York City in the 2005 remake of King Kong.
In August of 2006, Al Jolson had a street in New York named after him.
Alabamy Bound
Al Jolson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There'll be no heebie jeebies hangin' round.
Just gave the meanest ticket mam on earth
All I'm worth,
To put my tootsies in an upper berth.
Just hear that choo-choo sound,
I know that soon we're gonna cover ground,
The world will know,
Here I go!
I'm Alabamy bound!
I can hear that choo-choo whistle blow,
Watch that engine when we start to go!
Now we're in Baltimore,
Knockin' at Dixie's door!
What's that bill?
Louisville!
We passed that before!
Field o' cotton, tell me where I am,
Hear that fella yellin', "Alabam!".
Mammy!
Mammy!
Get your kisses ready for your honey lamb!
I'm Alabamy bound,
There'll be no heebie jeebies hangin' round.
Just gave the meanest ticket mam on earth
All I'm worth,
To put my tootsies in an upper berth.
I'm just a lucky lucky hound
To have someone to put my arms around!
That's why I'm shoutin' for the world to know,
Here I go!
I'm Alabamy bound!
In "Alabamy Bound," Al Jolson sings about his trip from the north to the south. He is happy to be heading to Alabama where he won't have to deal with any problems or worries. He's purchased a ticket from a tough ticket agent to a train that is about to take off, and he's eager to get on board. He knows that once they start moving, it won't be long before they cross through the states they need to reach, eventually reaching Alabama. He's excited to be putting his feet into an upper berth and to leave his troubles behind.
As the train makes its way south, Jolson is listening to the engine whistle as they start to pick up speed. They pass through Baltimore and Louisville, eventually making their way into the cotton fields of Alabama. Everyone on the train is excited and happy, and there are even people yelling out "Alabam" in excitement.
Jolson is in a good mood himself, with a woman to hold onto and looking forward to a special reunion with his "Mammy." He's singing to the world, letting everyone know that he's Alabamy bound, and he's happy to be leaving his worries behind.
Line by Line Meaning
I'm Alabamy bound,
I am going to Alabama.
There'll be no heebie jeebies hangin' round.
There won't be any worries or concerns with me on this trip.
Just gave the meanest ticket mam on earth
I just paid a lot of money for a very good train ticket.
All I'm worth,
Everything I have.
To put my tootsies in an upper berth.
To have a comfortable sleeping arrangement on the train.
Just hear that choo-choo sound,
Listen to the train whistle blowing.
I know that soon we're gonna cover ground,
We will be traveling quickly and making progress soon.
And then I'll holler so
I will shout so loudly.
The world will know,
Everyone will hear me.
Here I go!
I am excited for my journey.
I'm Alabamy bound!
I am on my way to Alabama!
I can hear that choo-choo whistle blow,
I can hear the train whistle blowing.
Watch that engine when we start to go!
Pay attention to the power of the engine when we begin moving.
Now we're in Baltimore,
We have arrived in Baltimore.
Knockin' at Dixie's door!
Getting closer to the South/Dixie region.
What's that bill?
What is the name of this place?
Louisville!
We just passed Louisville.
We passed that before!
We have already been through Louisville.
Field o' cotton, tell me where I am,
Seeing fields of cotton, which indicates we are in the South.
Hear that fella yellin', 'Alabam!'
Someone is shouting 'Alabama' to indicate that we are almost there.
Mammy!
A term of endearment for a mother figure.
Mammy!
Another term of endearment for a mother figure.
Get your kisses ready for your honey lamb!
Prepare to welcome me home with lots of affection and love.
I'm just a lucky lucky hound
I am very fortunate.
To have someone to put my arms around!
I am grateful to have someone to hold and share this journey with.
That's why I'm shoutin' for the world to know,
I am so happy, I want everyone to know it!
Here I go!
I am excited and ready to continue on my journey.
I'm Alabamy bound!
I am almost to Alabama!
Lyrics © BMG Rights Management, RESERVOIR MEDIA MANAGEMENT INC, Warner Chappell Music, Inc.
Written by: RAY HENDERSON, BUD DE SYLVA, BUD GREEN
Lyrics Licensed & Provided by LyricFind
maureen1938
SUPERB.....One of the world's best entertainers ever and after so many years it's still wonderful to hear him sing.
CarlDuke
Great song and one of the most melodic and lively ever, especially that musical interlude mid-tune.
oj shilinski
Great FULL version by one of the best - his energy is intoxicating!
Farnum Family
Wonderful old song! I enjoy singing it with banjo accompaniment!
Brian Cooper
warholsoup100, thank you for sharing. This song by the late great Al Jolson is getting me motivated to go to Alabama. RIP dear Al Jolson
Andrew Serio
This is almost definitely taken from the Kraft Music Hall show of January 29, 1948. The accompanying band is Lou Bring's, as others have mentioned. It's a live performance, and therefore obviously not the rare Decca studio recording, In 1939 Jolie was hosting his Lifebuoy program, but there is no record of him ever performing Alabamy Bound on that show or any other, in that year.
KVNDV1
@sally8284, this was Lou Bring's band from Al Jolson's stint hosting the Kraft Music Hall in 1947. ALABAMY BOUND was recorded for Decca by Jolie, same arrangement, but not released. However, it is on an Australian CD called ALTERNATIVE AL if you want to search for it.
icy
Man forget about dementia this song is fire🔥
Gracen Cole
Same
Jackie Tinker
Happy Birthday Timi...enjoy this old song