Ted Weems

Biography

Wilfred Theodore Wemyes, known professionally as Ted Weems, was born on September 26, 1901, in Pitcairn, Pennsylvania, USA.[1][4][5] Originally intending to become a civil engineer, he attended the University of Pennsylvania, where he and his brother Art organized a campus dance band that evolved into the famed “All American Band,” drawing top collegiate players and securing engagements at leading hotels across the United States.[1][2] Their growing reputation led to a contract at a Philadelphia restaurant—extended from four weeks to four months after the owner made Weems a partner—and an appearance at President Warren G. Harding’s inaugural ball in 1921, cementing his decision to turn professional in 1923.[1][2][3] Weems began touring under MCA management and recording for the Victor Talking Machine Company, scoring an early major success when “Somebody Stole My Gal” became a number‑one hit in 1924 and sold over one million copies, earning a gold disc.[1][2][3]

Through the late 1920s and 1930s, Weems developed one of the most popular and distinctive American dance orchestras, moving his base to Chicago around 1928 and cultivating a light‑hearted jazz‑novelty big‑band style that balanced solid musicianship with catchy, humorous arrangements.[1][3][4] His orchestra earned further hits with the novelty tune “Piccolo Pete” (his second gold record) and the number‑one song “The Man from the South” in 1929, while his radio presence expanded via major network shows such as Jack Benny’s Canada Dry program in the early 1930s, Fibber McGee & Molly in the late 1930s, and the quiz show Beat the Band in 1940.[1][3] Weems recorded extensively for Victor/RCA Victor (including Bluebird), Columbia, Decca, and later Mercury, and he also co‑wrote several pieces, including “The Martins and the McCoys,” “Jig Time,” “The One‑Man Band,” “Three Shif’less Skonks,” and “Oh, Monah!” (with band member “Country” Washburn), further reinforcing his role as both bandleader and composer.[1][2][3]

In November 1942, Weems and his entire orchestra enlisted in the United States Merchant Marine, where he directed the Merchant Marine Band during World War II before reorganizing his big band in 1945 and cutting new sides for Mercury such as “Peg O’ My Heart” and “Mickey.”[1][3][8] His greatest commercial triumph came unexpectedly in the postwar era, when a 1938 Decca recording of “Heartaches” was rediscovered and heavily played by a North Carolina disc jockey; the reissued single topped national charts for thirteen weeks in 1947 and revived his career at a moment when he was struggling to rebuild his ensemble after the war, with some former sidemen lost in service or otherwise retired.[1][3][8] Weems, who helped launch and shape the careers of future stars like Perry Como and Marilyn Maxwell and featured distinctive performers such as whistler Elmo Tanner and saxophonist‑vocalist Red Ingle, left a lasting mark on American popular and big‑band music, recognized with a star on the Hollywood Walk of Fame before his death on May 6, 1963.[1][2][3][5]

Fun Facts

• Ted Weems originally planned to be a civil engineer and only turned fully to music after the college band he formed with his brother became so successful that it was in constant demand at top hotels nationwide.[1][2]
• Before he was a household name, Ted Weems’s orchestra was chosen to play at the inaugural ball of U.S. President Warren G. Harding in March 1921, giving the young bandleader a prestigious early showcase.[1][2][3]
• Weems and his entire orchestra enlisted together in the United States Merchant Marine in November 1942, serving as the Merchant Marine Band during World War II rather than continuing on the commercial bandstand.[1][3][8]
• His biggest hit, “Heartaches,” only became a smash nearly a decade after it was recorded: a disc jockey’s rediscovery of the 1938 Decca side led to a 1947 reissue that stayed at number one for 13 weeks and dramatically revived Weems’s career.[1][3][8]

Musical Connections

Key Collaborators

• Art Weems - Ted Weems’s brother and early co‑leader; together they formed the college dance group that became the “All American Band,” providing the foundation for Ted’s professional orchestra. (All American Band; early hotel and college dance engagements leading into the Ted Weems Orchestra) [early 1920s]
• Perry Como - Young vocalist given his first national exposure as singer with the Ted Weems Orchestra; recorded with Weems for Decca, launching Como’s later solo career. (Decca recordings with Ted Weems Orchestra, including “I Wonder Who’s Kissing Her Now” (reissued hit with Como vocal)) [mid–late 1930s; reissue success in 1947]
• Elmo Tanner - Whistler‑singer featured prominently with the Ted Weems Orchestra, contributing to its novelty‑jazz sound. (Featured whistling and vocals on various Ted Weems Orchestra recordings (notably associated with “Heartaches” period)) [1930s–1940s]
• Red Ingle - Saxophonist and singer in the Ted Weems Orchestra, part of the band’s comic and novelty approach. (Performed as reed player and vocalist on Ted Weems Orchestra broadcasts and recordings) [1930s]
• Joe Haymes - Arranger whose charts helped define the orchestra’s blend of jazz and novelty music, shaping its stylistic identity. (Arrangements for the Ted Weems Orchestra, contributing to hits and radio arrangements) [1930s]
• Marilyn Maxwell - Vocalist with the Ted Weems Orchestra who later left to pursue a successful acting and singing career in Hollywood. (Vocal features with the Ted Weems Orchestra on radio and in performance) [late 1930s]
• “Country” Washburn - Band member who co‑wrote with Weems the novelty tune “Oh, Monah!” and contributed to the band’s comic repertoire. (Co‑writer of “Oh, Monah!” with Ted Weems; performer within the orchestra) [1930s]
• Paul Winchell - Fourteen‑year‑old ventriloquist whom Weems signed after seeing him with a Major Bowes touring company, featuring him on Weems’s radio show. (Performances on the Ted Weems radio program’s first season, paired with Elmo Tanner as a comedic team) [early 1940s]

Artists Influenced

• Perry Como - Weems provided Como’s first national platform, recordings, and exposure, directly launching the singer’s later success as a major pop vocalist. (Early Decca recordings with Ted Weems Orchestra; reissue of “I Wonder Who’s Kissing Her Now” with Como vocal that became a major hit in 1947) [1936 onward]
• Marilyn Maxwell - Her stint as vocalist with Weems’s band helped develop her profile and experience, supporting her transition to film and radio stardom. (Vocal work with Ted Weems Orchestra prior to her Hollywood and radio career) [late 1930s–early 1940s]
• Elmo Tanner - Weems’s use of Tanner’s whistling and vocal talents helped make Tanner a noted novelty performer associated with “Heartaches” and big‑band whistling. (Performances with Ted Weems Orchestra, particularly associated with the popularity of “Heartaches” reissue) [1930s–1940s]
• Red Ingle - Experience in Weems’s jazz‑novelty context contributed to Ingle’s later success as a comic bandleader and recording artist. (Sax and vocal work with Ted Weems Orchestra prior to forming his own novelty groups) [1930s]

External Links

• Spotify
• Wikipedia