They were first organized in Sheboygan, Wisconsin in 1946. The original members of the group were Janet Ertel (1913-November 4, 1988), Carol Bushman (her sister-in-law), Dorothy Schwartz, and Jinny Osborn (or Lockard) (April 25, 1927-May 19, 2003). In 1952, Lynn Evans replaced Schwartz, and in 1953, Margie Needham replaced Osborn (who was having a baby), though Osborn later returned to the group. Nancy Overton also was a member of the group at a later time. Originally they sang folk music in the style of The Weavers, but eventually changed to a harmonizing style of the type known as barbershop harmony. Part of this change seems to be influenced by Osborn's father.
Jinny Osborn was born in Seattle, Washington. She was born Virginia Cole, the daughter of O. H. "King" Cole, who was president of the Barbershop Harmony Society (then known as SPEBSQSA), and Katherine Flack.
After performing locally in Sheboygan, they went on Arthur Godfrey's radio program, Talent Scouts in 1949.They went on to feature status on Godfrey's daily program, and then went on to make a number of recordings for Columbia Records.
In 1953, Godfrey's music director and orchestra leader, Archie Bleyer, founded Cadence Records. He signed a number of Godfrey regulars and former regulars, including the Chordettes, who had a number of hit records for Cadence.
Their biggest hit was Mr. Sandman in 1954. Archie Bleyer himself is on that record along with the group, Bleyer stripping the sound down the better not to clutter the girls' voices. They also hit the top twenty with 1958's "Lollipop," and also charted with a vocal version of the themes from television's Zorro (1959) and the film Never on Sunday (1961). Other hits for the girls included "Eddie My Love," "Born to Be With You," and "Lay Down Your Arms" in 1956 and "Just Between You and Me" in 1957.
Janet Ertel married Bleyer in 1954. Her daughter Jackie married another Cadence recording star, Phil Everly of The Everly Brothers. She died of cancer in 1988.
The Chordettes appeared on American Bandstand August 5, 1957, kicking off the first episode of the show over the ABC Television Network.
In 1961, Jinny Osborn left the group, and they were unable to find a replacement with whom they were happy, leading to a breakup.
The group was inducted into the Vocal Group Hall of Fame in 2001.
Jinny Osborn (by that time Jinny Janis) died in 2003
Hello! Ma Baby
The Chordettes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Hello, hello, hello, hello, hello there
Hello, ma Baby
Hello, ma honey
Hello, ma ragtime pal
Send me a kiss by wire
Baby, my heart′s on fire, and
Honey, you'll lose me
Then you′ll be left alone
Oh baby, telephone
And tell me you're my own
Hello, hello
Hello, hello, hello
I've got a little baby, but he′s out of sight
I talk to him across the telephone, telephone
I′ve never seen ma honey, but he's mine, all right
So take my tip, and leave this guy alone
And I′ll sing
Hello, ma Baby
Hello, ma honey
Hello, ma ragtime pal
Send me a kiss by wire
Baby, my heart's on fire
If you refuse me
Honey, you′ll lose me
Then you'll be left alone
Baby, telephone
And tell me you′re my own
Hello, hello, hello
If you refuse me
Honey, you'll lose me
Then you'll be left alone
Baby, telephone
And tell me you′re my own
Hello, hello, hello, hello, hello
Tell me you′re my own
The song "Hello! Ma Baby" by The Chordettes presents a lively and flirtatious exchange between lovers separated by distance, emphasizing themes of longing, desire, and communication. The repetitive and rhythmic quality of the lyrics creates a playful and catchy atmosphere, drawing the listener into the world of a romantic yearning expressed through playful dialogue. The repeated salutation "Hello" introduces a sense of familiarity and excitement, as if the singer is eagerly greeting their partner and reinforcing their emotional connection. This sets the tone for a modern romance that hinges on the use of technology—specifically the telephone—as a bridge between two people who may be far apart yet still deeply involved with one another.
The lyrics reveal an underlying urgency in the singer's tone, particularly with phrases like "Baby, my heart’s on fire" and "If you refuse me, honey, you’ll lose me." These lines convey a deep emotional investment that transcends physical proximity. The singer clearly expresses that their love is passionate and intense, indicating that the absence of reciprocation from their partner could lead to devastating loneliness. This introduces a tension that mirrors the struggles of long-distance relationships, where communication becomes crucial to maintaining emotional bonds. The singer is imploring their partner to reach out—"Baby, telephone and tell me you're my own"—highlighting their desire for assurance and commitment.
The playful nature of the song juxtaposes the heartache of separation with a whimsical touch, especially through phrases like "Send me a kiss by wire." This line cleverly uses the metaphor of technology as a way to convey affection—suggesting that love and intimacy can transcend physical barriers through communication. The singer is advocating for modern methods of courtship in a world where lovers are often separated by distance, emphasizing the creativity required to sustain romance in such scenarios. Additionally, the phrase "I've got a little baby, but he's out of sight" illustrates that love can flourish even in the absence of physical presence, relying on trust and emotional connection instead.
Overall, "Hello! Ma Baby" captures a quintessential aspect of romance—a longing for connection that is both playful and earnest. The song serves as a reminder that love can be vibrant and lively even when faced with challenges, as long as there is a willingness to communicate and connect, no matter the distance. Through its catchy melody and relatable lyrics, The Chordettes offer a timeless reflection on love, longing, and the role of communication in romantic relationships, reminding listeners of the impact that words can have in fostering closeness and intimacy amidst physical absence.
Line by Line Meaning
Hello, hello
A cheerful greeting, expressing the singer's eagerness to connect.
Hello, hello, hello, hello, hello there
An enthusiastic reiteration of the greeting, emphasizing the singer's joy in communication.
Hello, ma Baby
An affectionate address to a significant other, invoking a sense of intimacy.
Hello, ma honey
A term of endearment reflecting warmth and tenderness toward the beloved.
Hello, ma ragtime pal
A playful nickname that suggests a fun and lively relationship, reminiscent of a joyful era.
Send me a kiss by wire
A longing for a tangible gesture of affection, requesting a kiss transmitted through technology.
Baby, my heart's on fire, and
The singer passionately declares their intense love and desire for their partner.
If you refuse me
A warning that potential rejection could lead to heartbreak.
Honey, you'll lose me
A threat that disengagement will result in losing the artist’s affection and commitment.
Then you'll be left alone
A poignant reminder that without reciprocation, the partner may find themselves in solitude.
Oh baby, telephone
A desperate call to action for communication, underscoring the need for connection.
And tell me you're my own
A plea for affirmation of commitment and exclusivity in the relationship.
Hello, hello
Reiterating the greeting, expressing the same enthusiasm for connection as before.
Hello, hello, hello
An increase in excitement through the repetition of greetings, highlighting eagerness.
I've got a little baby, but he's out of sight
The singer acknowledges that their beloved is physically absent, yet they are emotionally connected.
I talk to him across the telephone, telephone
Communication is maintained through technology, despite the distance between them.
I've never seen ma honey, but he's mine, all right
A declaration of commitment, emphasizing emotional attachment despite not having met in person.
So take my tip, and leave this guy alone
A piece of advice suggesting to others that they should not interfere with her relationship.
And I'll sing
An affirmation that joy will ensue, perhaps through the act of singing about love.
Hello, ma Baby
Returning to the endearing greeting, showing affection for the partner.
Hello, ma honey
Reiterating the tenderness felt for the partner, reinforcing closeness.
Hello, ma ragtime pal
Revisiting the playful tone, suggesting a joyful bond and camaraderie.
Send me a kiss by wire
A repeated longing for affection that feels immediate and heartfelt despite distance.
Baby, my heart's on fire
Reaffirming passionate feelings of love and desire, emphasizing emotional intensity.
If you refuse me
Reiterating the warning that rejection could lead to separation.
Honey, you'll lose me
A reminder that without reciprocation, loyalty may wane.
Then you'll be left alone
Reaffirming the consequences of emotional disconnect: loneliness awaits if action is not taken.
Baby, telephone
A call for immediate communication, stressing its importance.
And tell me you're my own
A repeat plea for assurance of love and commitment, emphasizing its importance.
Hello, hello, hello
A final enthusiastic call to engage and connect, echoing the singer's desire for closeness.
If you refuse me
A persistent reminder that rejection can affect their bond.
Honey, you'll lose me
The emotional stakes are clear; absence of affirmation will lead to a lost connection.
Then you'll be left alone
Once again, underscoring the loneliness that follows emotional detachment.
Baby, telephone
Encouraging immediate action in the form of a phone call, stressing its necessity.
And tell me you're my own
Emphasizing the need for confirmation of exclusivity in their relationship.
Hello, hello, hello, hello, hello
A joyful and persistent call that highlights eagerness and excitement for communication.
Tell me you're my own
A heartfelt plea for reassurance of love and commitment, seeking emotional security.
Writer(s): Ida Emerson, E Howard Joseph
Contributed by Eva W. Suggest a correction in the comments below.