Phil Harris
Phil Harris (June 24, 1904 – August 11, 1995) was an American singer, songwriter, jazz musician, actor, and comedian renowned for his smooth baritone voice, humorous persona, and contributions to radio, film, and animation.[1][2] Born Wonga Phillip Harris in Linton, Indiana, to vaudeville performers Harry and Dollie Harris, he began playing drums professionally by age nine and formed his first band, the Dixie Syncopators, in the 1920s.[1][2] His early career included leading orchestras in Nashville and a long engagement at San Francisco's St. Francis Hotel with the Carol Lofner orchestra, where he gained prominence as a bandleader and vocalist, recording for labels such as Victor (1931), Columbia (1933), Decca (1935), and Vocalion (1936–1937).[3][2] Harris achieved widespread fame in radio during the 1930s as the musical director and a comedic cast member on The Jell-O Program Starring Jack Benny, where his laid-back Southern drawl and on-air antics became staples.[2][3] He later co-starred with his second wife, actress Alice Faye, in the successful sitcom The Phil Harris-Alice Faye Show (1948–1954), which highlighted their real-life marriage and family life through humorous sketches.[1][3] In film, Harris debuted in the Oscar-winning short So This Is Harris! (1933) and appeared in features like Melody Cruise (1933) and Goodbye, My Lady (1956), often playing affable, music-loving characters.[2] His musical hits included novelty songs such as "That's What I Like About the South" and "Smoke! Smoke! Smoke! (That Cigarette)", which showcased his jazzy style and Southern roots.[2][3] Harris's legacy in animation endures through his voice work for Walt Disney, most notably as the carefree bear Baloo in The Jungle Book (1967), a role that captured his signature charm and earned critical acclaim.[1][2] He reprised similar voicing in The Aristocats (1970) and Robin Hood (1973), with his final performance in Rock-a-Doodle (1991).[2] Personally, Harris was married to actress Marcia Ralston from 1927 to 1940, with whom he adopted a son, Phil Jr., before wedding Alice Faye in 1941; their 54-year union produced daughters Phyllis and Alice.[1] He received two stars on the Hollywood Walk of Fame in 1960 for recording and radio, and supported charitable causes, including a Palm Springs golf tournament.[3] Harris died of a heart attack in Rancho Mirage, California, at age 91, leaving a lasting impact on American entertainment.[1][2]Early life
Birth and family background
Phil Harris was born Wonga Philip Harris on June 24, 1904, in a coal-mining camp near Linton, Indiana, though some accounts, including the 1995 Los Angeles Times obituary, cite the birth year as 1906, possibly due to inconsistencies in early records or self-reported ages.[4][5][6] His unusual first name, of Cherokee origin meaning "messenger of fleet," was bestowed by an Indian chief during his parents' time working in circuses.[6] Harris's parents were performers in the traveling circus and vaudeville circuits, with his father, Harry Harris, serving as a bandleader and musician, and his mother, Dollie Wright, also involved in circus work.[5][4] The family relocated to Nashville, Tennessee, when Harris was five or six years old, where he spent much of his childhood and adopted a Southern identity that defined his persona, despite his Indiana origins.[4][5] Growing up in a modest environment shaped by his parents' itinerant profession, Harris was frequently exposed to vaudeville performances and music, often staying with his grandmother while his family toured.[5][6] This background in traveling shows fostered his early affinity for entertainment and contributed to his distinctive performative flair. He acquired the nickname "Old Curly" during his youth.[5]Initial steps in music
Phil Harris began learning the drums in his early teens, starting at age 12 by playing in his father's band amid Nashville's vibrant music scene, which shaped his initial rhythmic skills and appreciation for Southern musical traditions.[5] Growing up in Nashville, he further honed his abilities in the orchestra of a local military academy, drawing from the city's emerging country and jazz influences that informed his laid-back performance approach.[5] During his school years, Harris formed a five-piece Dixieland band called the Dixie Syncopators, with which he performed locally and on a tour to Honolulu.[6] In the mid-1920s, Harris relocated to San Francisco and secured his first professional role as a drummer with the Henry Halstead Orchestra, where he contributed to recordings such as "Under the Ukelele Tree" in 1926.[7] By 1928, he had advanced to frontman status, co-leading the Lofner-Harris Orchestra with pianist Carol Lofner; the group debuted at the Rendezvous Ballroom in Balboa, California, before becoming the house band at San Francisco's St. Francis Hotel, where they performed for three years and built a regional following through energetic dance sets.[7][5] Seeking expanded opportunities, Harris moved to Los Angeles in the late 1920s, transitioning to prominent hotel and theater venues that allowed him to refine his unique style of drumming while delivering comedic, relaxed baritone vocals that blended humor with swing rhythms.[5] The Lofner-Harris ensemble toured widely during this period, performing in upscale ballrooms and theaters across the West Coast, which helped solidify Harris's reputation as a versatile entertainer.[7] His initial recordings emerged in 1931 with Victor Records, including six sides like "I Got the Ritz from the One I Love," where his vocal phrasing and drum work first showcased the playful, drawling persona that would define his sound.[7]Professional career
Radio performances
Phil Harris joined The Jack Benny Program in 1936 as the orchestra leader, initially serving as the musical director for the NBC and later CBS broadcast. His role quickly expanded beyond conducting, evolving into a prominent comic character known for portraying a boastful, hard-drinking Southerner with a lovable, exaggerated persona that blended hipster slang and self-aggrandizing humor. This transformation from bandleader to cast regular highlighted Harris's quick wit and Southern charm, making him a standout alongside host Jack Benny.[8] Harris's contributions to the show included signature elements that became hallmarks of his radio style, such as his theme song "That's What I Like About the South," which opened segments with its jaunty tune celebrating Southern life, and catchphrases like "Hiya, Jackson!" directed at Benny in playful jabs.[9] His banter often featured lively interplay with the cast, including Eddie "Rochester" Anderson, where Harris's brash character would trade quips on topics like nightlife and mishaps, adding to the show's ensemble dynamic and comedic rhythm.[10] These interactions helped fuse music and comedy, with Harris leading the orchestra through songs that transitioned seamlessly into sketches. In 1948, Harris and Alice Faye began starring in the situation comedy The Phil Harris-Alice Faye Show on NBC (preceded by their co-hosting of The Fitch Bandwagon in 1946–1948), which ran until 1954 and produced 297 episodes centered on domestic humor.[11] In the series, Harris played a bumbling, conceited bandleader and husband to Alice Faye's sharp-witted wife, navigating family life in Southern California with supporting characters like bandmate Frank Remley (Elliott Lewis) and the mischievous Julius (Walter Tetley).[9] The format emphasized relatable marital antics and lighthearted sketches, building on Harris's established persona while showcasing Faye's vocal talents.[11] Harris's radio career included interruptions for World War II service, when he joined the U.S. Merchant Marine in 1942 for 16 weeks, temporarily halting his appearances on The Jack Benny Program. He also made guest spots on other programs, such as the May 10, 1951, episode of Suspense titled "Death on My Hands," where he and Faye starred in a thriller parody.[12] Overall, Harris's work pioneered the blend of comedy and music on radio, earning him substantial fan mail for his endearing, everyman character that resonated with audiences during the era.[8]Recording achievements
Phil Harris began his recording career in 1931 as a vocalist with the Lofner-Harris Orchestra, initially releasing sides for Victor Records that featured his emerging baritone voice in jazz and dance band contexts.[13] Early efforts included tracks like "Sleepy Time Down South" and "River, Stay 'Way from My Door," which showcased his smooth delivery alongside orchestral arrangements.[14] By the mid-1930s, after the band's dissolution, Harris transitioned to solo work and various labels, including Columbia, Decca, and Vocalion, building a foundation in swing and light entertainment before aligning with RCA Victor in the 1940s, where his commercial peak occurred.[7] Harris's breakthrough as a recording artist came in the late 1940s and early 1950s with novelty singles that capitalized on his comic timing and distinctive baritone style, often infused with humorous, Southern-themed narratives. His 1947 cover of "Smoke! Smoke! Smoke! (That Cigarette)" reached No. 8 on Billboard's Best Sellers chart, blending Western swing elements with satirical lyrics about addiction. The signature tune "That's What I Like About the South," first recorded in 1937 but reissued by RCA Victor in 1946, became a staple of his repertoire, evoking Southern charm through witty depictions of regional life and customs. His biggest success arrived with the 1950 novelty "The Thing," a quirky tale of a mysterious discovery that topped Billboard's Best Sellers chart for four weeks and held the No. 1 spot across multiple charts simultaneously, exemplifying his flair for absurd, rhythmic storytelling.[15] Over his career, Harris released more than 70 singles across labels, with 11 charting entries that emphasized lighthearted, comedic tunes delivered in his resonant baritone, often drawing on Southern motifs for broad appeal.[13] Post-1940s radio fame, he focused on solo RCA Victor releases, producing humorous tracks like "The Preacher and the Bear" and "Woodman, Spare That Tree," which highlighted his self-deprecating persona and vaudeville roots without orchestral complexity.[16] These recordings, promoted occasionally through his radio broadcasts, established him as a key figure in the novelty genre, influencing subsequent comic songsters with their blend of satire and accessibility.[7] Harris's commercial legacy in recordings included multiple top-10 hits that sold steadily in the pre-rock era, though his style waned in popularity by the late 1950s amid shifting musical tastes toward youth-oriented rock and roll. Despite this, tracks like "The Thing" endured as holiday novelties and cultural touchstones, underscoring his impact on American popular music's humorous side.[17]Film and animation roles
Phil Harris began his film career in the early 1930s with a series of musical shorts and features that showcased his bandleader persona and comedic timing. His debut came in the RKO short So This Is Harris! (1933), where he portrayed a version of himself leading a band aboard a cruise ship, blending songs and sketches in a format that earned the film the Academy Award for Best Short Subject (Comedy).[18] This success led to his first feature role in Melody Cruise (1933), a romantic comedy directed by Mark Sandrich, in which Harris played the suave orchestra leader Alan Grant, navigating romantic entanglements on a transatlantic voyage alongside stars like Charles Ruggles and Helen Mack.[19] He followed with another lighthearted musical, Harris Against the World (1934), a short that highlighted his humorous struggles as a performer fending off romantic and professional rivals, further establishing him as a charismatic on-screen musician. In the mid-1940s and 1950s, Harris expanded into more varied roles, mixing comedy with occasional dramatic turns while often drawing on his radio fame. He took the lead in the Columbia musical comedy I Love a Bandleader (1945), directed by Del Lord, playing Phil Burton, a house painter who amnesiacally assumes the role of a big-band leader, complete with song-and-dance numbers featuring Eddie "Rochester" Anderson and Leslie Brooks.[20] Later, he ventured into drama with supporting parts, such as the affable co-pilot Ed Joseph in William A. Wellman's ensemble thriller The High and the Mighty (1954), where his easygoing delivery provided levity amid the high-stakes airplane crisis involving John Wayne and Claire Trevor. In Good-bye, My Lady (1956), a heartfelt family drama directed by William A. Wellman, Harris portrayed the jovial storekeeper A.H. "Cash" Evans in a rural Mississippi setting, supporting the story of a boy's bond with his dog alongside Brandon deWilde and Walter Brennan.[21] Harris's most enduring film contributions came through voice acting for Walt Disney Productions starting in the late 1960s, where his gravelly, laid-back baritone perfectly suited roguish, fun-loving animal characters. He voiced the carefree bear Baloo in the animated classic The Jungle Book (1967), delivering iconic lines and songs like "The Bare Necessities" that captured the character's hedonistic charm opposite Mowgli's adventures. This role paved the way for similar performances, including the street-smart alley cat Thomas O'Malley in The Aristocats (1970), a suave mentor to stray kittens in Parisian high society, and the loyal bear Little John in Robin Hood (1973), an anthropomorphic sidekick to the fox hero in a medieval Sherwood Forest tale. His final animation credit was a brief appearance as the sheepdog Patou in Don Bluth's Rock-a-Doodle (1991), providing comic relief in the musical fantasy. Throughout his two-dozen-plus film appearances, Harris frequently embodied charming rogues, affable musicians, or comic relief figures, seamlessly integrating his musical talents with acting to create memorable, personality-driven portrayals. As he aged into his 1960s, Harris transitioned primarily to voice work, leveraging the distinctive persona honed on radio to bring warmth and humor to animated roles without the physical demands of live-action performance.[22]Personal life
Marriages and family
Phil Harris's first marriage was to Australian actress Marcia Ralston on September 2, 1927, in Melbourne, Australia, where his band was performing a long engagement; the couple had met during his concert appearances there.[1] They adopted a son, Phil Harris Jr., known as "Tookie," born in 1935.[5] The marriage ended amicably in divorce in September 1940, with no public acrimony reported.[23] In 1941, Harris met fellow entertainer Alice Faye while both were regulars on the radio program The Jack Benny Show, leading to their marriage on May 12 in Tijuana, Mexico, followed by a church ceremony later that year in Galveston, Texas.[5] The union, which lasted 54 years until Harris's death in 1995, produced two daughters: Alice, born in 1942, and Phyllis, born in 1944.[6] Faye largely retired from film acting after the marriage to prioritize family life and homemaking, though she continued in radio alongside Harris.[24] The couple's blended family, including Harris's son from his first marriage, inspired the comedic portrayal of domestic life on their radio series The Phil Harris-Alice Faye Show (1948–1954), where exaggerated mishaps highlighted Harris's carefree persona against Faye's stabilizing influence.[25] In later years, Harris and Faye maintained close family ties, with their daughters occasionally appearing at entertainment events alongside them but pursuing limited involvement in the industry themselves; Alice settled in New Orleans, and Phyllis married a rancher.[6] At the time of Harris's death, the family included four grandchildren and two great-grandchildren.[6]Friendships and hobbies
Phil Harris maintained a close lifelong friendship with entertainer Bing Crosby, with whom he frequently partnered in golf tournaments, including the annual Bing Crosby National Pro-Am at Pebble Beach, where Harris won the amateur title in 1951 alongside professional Dutch Harrison.[26][27] The two shared a bond rooted in shared interests and humor, often serving as co-commentators for the event's broadcasts. Following Crosby's death in 1977, Harris stepped in to replace him as the tournament's color commentator, continuing to contribute his witty insights until his own later years.[28] An avid golfer, Harris regularly participated in Pro-Am events and owned property near golf courses in the Palm Springs area, where he became a longtime resident starting in the 1950s.[6] His other hobbies included fishing and hunting, pursuits he showcased on episodes of the television series The American Sportsman, reflecting his early experiences with outdoor activities in Indiana.[6] Harris also enjoyed Southern-style cooking, often preparing meals at home as a relaxing pastime later in life.[29] Harris demonstrated philanthropy through support for his hometown of Linton, Indiana, where he helped establish a scholarship fund for local high school students and contributed to the naming of a library in his honor in Linton.[6] In Palm Springs, as a resident of the Thunderbird Country Club community, he and his wife Alice Faye hosted an annual golf tournament to benefit local charities, fostering community ties without seeking the spotlight.[30] His overall lifestyle was marked by a relaxed, humorous demeanor, favoring desert solitude and low-key gatherings over Hollywood's high-drama social scene, a preference he shared with Faye through family-oriented hobbies.[6]Death and legacy
Final years and passing
In the later stages of his career, following the 1970s, Phil Harris largely stepped back from prominent live performances and major productions, transitioning to selective voice acting roles in animation. His final on-screen contribution was voicing the bumbling sheepdog Patou in the 1991 Don Bluth film Rock-a-Doodle, marking the end of his active professional engagements. Harris's health deteriorated in his advanced years, culminating in a brief hospitalization approximately two years prior to his death due to unspecified complications. On August 11, 1995, he suffered a fatal heart condition at his home in Rancho Mirage, California, at the age of 91; his wife Alice Faye and daughter Phyllis were by his side.[31][4][32] A private funeral service was conducted at Palm Springs Mortuary shortly after his passing. Harris was cremated, and his ashes were placed in an outdoor garden niche at Forest Lawn Memorial Park in Cathedral City, California, later joined by those of his wife.[6][31]Enduring influence and awards
Phil Harris received the Academy Award for Best Short Subject (Comedy) for his starring role in the 1933 film So This Is Harris!, directed by Mark Sandrich, which highlighted his comedic talents early in his career.[18] In 1994, a Golden Palm Star was dedicated to him on the Palm Springs Walk of Stars, recognizing his contributions to entertainment and his longtime residency in the area.[1] He was inducted into the Indiana Golf Hall of Fame in 1993, honoring his roots as a native of Linton, Indiana, and his lifelong enthusiasm for the game. He was later inducted into the Indiana Broadcast Hall of Fame in 2005 for his broadcasting achievements.[1][33][8] Harris's voice work for Disney has left a profound legacy, particularly through his portrayal of Baloo in The Jungle Book (1967), which influenced the laid-back, jazzy style of subsequent animated characters like Little John in Robin Hood (1973) and Thomas O'Malley in The Aristocats (1970).[34] His raspy, affable delivery as Baloo has been revived in modern media, including references in Disney's live-action The Jungle Book (2016) and ongoing tributes in fan animations and documentaries that emphasize his role in shaping Disney's comedic animal archetypes.[35] This influence extends to broader animated comedy, where Harris's blend of Southern charm and improvisation inspired a more relaxed, personality-driven voicing approach in Disney productions.[36] Harris's contributions to radio helped define the sitcom format, particularly through his boisterous character on The Jack Benny Program and his self-titled show with Alice Faye, which popularized domestic comedy sketches blending music and humor for mass audiences in the 1940s and 1950s.[11] His novelty songs, such as "The Thing" (1950), paved the way for later comedic musicians, directly inspiring artists like Ray Stevens, who has cited Harris's playful style and performed tributes to his work in interviews and recordings.[37] Harris embodied the Southern humor archetype with his drawl and self-deprecating wit, influencing portrayals of affable, roguish Southerners in American entertainment.[36] Despite his radio stardom, Harris remains underappreciated in film circles compared to his broadcasting fame, with roles like So This Is Harris! often overshadowed by his voice acting and live performances.[38] His Disney contributions hold potential for expanded tributes amid 2020s remakes and reboots, such as renewed interest in The Jungle Book adaptations that could highlight his original Baloo as a foundational influence.[39] In recent years, honors have included the Phil Harris Scholarship, established in 1998 through the Greene County Foundation to support Linton-Stockton High School seniors, awarding multiple recipients annually in his memory.[40] The 2020s have seen streaming revivals of his radio shows on platforms like YouTube and old-time radio archives, with new recreations by groups such as Project Audion introducing his comedy to younger audiences.[41][42]Media credits
Film appearances
Phil Harris's film appearances span from uncredited bit parts in the late 1920s to prominent voice roles in animated features in the late 20th century. Below is a chronological list of his credited film roles, including shorts and animated works where applicable.[43]- 1929: Why Be Good? - Drummer in band at The Boiler (uncredited)[44]
- 1933: So This Is Harris! - Phil Harris[18]
- 1933: Melody Cruise - Alan Chandler[43]
- 1936: Double or Nothing - Himself[43]
- 1937: Turn Off the Moon - Phil Harris[45]
- 1939: Man About Town - Ted Nash[43]
- 1940: Buck Benny Rides Again - Himself[43]
- 1940: Dreaming Out Loud - Peter Atkinson
- 1945: I Love a Bandleader - Phil Burton[43]
- 1950: Wabash Avenue - Mike Stanley[43]
- 1950: Texas Tom - Tom (singing voice)
- 1951: The Wild Blue Yonder - Sgt. Hank Stack[43]
- 1951: Here Comes the Groom - Himself (uncredited)[46]
- 1951: Starlift - Himself[43]
- 1954: The High and the Mighty - Ed Joseph[43]
- 1956: Anything Goes - Steve Blair[43]
- 1956: Goodbye, My Lady - Mr. Cash[43]
- 1963: The Wheeler Dealers - Ray Jay Fox[43]
- 1964: The Patsy - Chick Wymore[43]
- 1967: The Cool Ones - MacElwaine[43]
- 1967: The Jungle Book - Baloo (voice)[43]
- 1970: The Aristocats - Thomas O'Malley (voice)[43]
- 1973: Robin Hood - Little John (voice)[43]
- 1991: Rock-A-Doodle - Patou / Narrator (voice)[43]
Television work
Phil Harris transitioned to television in the mid-1950s, leveraging his radio fame for guest spots on variety programs and specials, where he typically performed songs, led comedic sketches, and occasionally hosted. His TV work emphasized his baritone singing and laid-back humor, often drawing from his bandleader persona, with around 20 documented appearances spanning four decades, primarily in musical and comedic formats.[9] In the 1950s, Harris hosted and guested on anthology-style variety shows. For instance, in 1957, he hosted an episode of Shower of Stars, featuring musical performances and celebrity guests in a format blending entertainment and light drama.[47] He also appeared as a guest on The Jack Benny Program in 1958, contributing comedic banter and songs alongside the regular cast.[48] These early spots established him as a reliable entertainer on live broadcast television. The 1960s marked Harris's most active period on TV, with frequent guest roles on major variety series. He made multiple appearances on The Hollywood Palace, including hosting duties on December 5, 1964, with Ginger Rogers, where he sang standards like "This Could Be the Start of Something," and on March 23, 1968, featuring The Hollies.[49][50] On The Dean Martin Show, Harris guested in at least eight episodes across the decade, often dueting with Martin on tunes like "Oh, Mr. Gallagher; Oh, Mr. Shean" in a November 24, 1966, installment alongside Alice Faye.[51] Other notable 1960s spots included a dramatic turn as Chief Flaming Arrow, a 147-year-old Hekawi leader, on F Troop in 1967's "What Are You Doing After the Massacre?," blending comedy with Western tropes, and a guest role as songwriter Phil Stanley on The Lucy Show in 1968.[52][53] Harris continued his variety work into the 1970s, appearing on shows like Kraft Music Hall for musical segments and This Is Tom Jones on February 5, 1970.[9] He reprised his entertaining style on Here's Lucy in 1974's "Lucy and Phil Harris Strike Up the Band," playing himself as a bandleader mentoring Lucy's eclectic ensemble.[54] Later in the decade, he ventured into episodic drama with a guest spot on Fantasy Island on December 2, 1978, as a nostalgic visitor seeking a big band revival.[55] In the 1980s, following semi-retirement, Harris made select cameos, including on The Love Boat on January 26, 1980, where he portrayed a cruise passenger in comedic subplots involving romance and music.[55] These appearances highlighted his enduring appeal as a lighthearted performer, even as his schedule lightened.| Year | Show | Role/Notes |
|---|---|---|
| 1957 | Shower of Stars | Host; musical variety special[47] |
| 1958 | The Jack Benny Program | Guest; comedic sketches and songs[48] |
| 1964 | The Hollywood Palace | Host; with Ginger Rogers, performances of standards[49] |
| 1966 | The Dean Martin Show | Guest; duet with Dean Martin, alongside Alice Faye[51] |
| 1967 | F Troop | Chief Flaming Arrow; comedic Western role[52] |
| 1968 | The Lucy Show | Phil Stanley; songwriter character[53] |
| 1970 | This Is Tom Jones | Guest; musical performance[55] |
| 1974 | Here's Lucy | Himself; bandleader mentoring talent[54] |
| 1978 | Fantasy Island | Guest; big band-themed story[55] |
| 1980 | The Love Boat | Passenger; comedic cruise antics[55] |
Radio episodes
Phil Harris gained prominence in radio through his recurring role as the band's boisterous leader on The Jack Benny Program, appearing in most episodes from 1936 to 1952, where his jive-talking, hard-drinking character often clashed humorously with Jack Benny's stingy persona. His debut episode on October 4, 1936, marked the introduction of this dynamic, setting the tone for his contributions to the show's comedy and musical segments.[56] From 1946 to 1954, Harris co-starred with his wife Alice Faye in The Phil Harris-Alice Faye Show, a domestic comedy series sponsored initially by Fitch and later by Rexall, featuring their real-life daughters and a cast including Elliott Lewis as bandmate Frankie Remley. Approximately 250 episodes survive from the series' run of over 300 broadcasts, many preserved through old time radio archives. Notable examples include:- October 2, 1949: "Frankie Borrows Phil's New Car" – Remley takes Harris's new car on an ill-fated joyride, leading to a series of escalating mishaps involving the family and the band.[57]
- December 15, 1946: "Present for Phil" – Harris receives an unexpected gift that sparks comedic family misunderstandings and band antics during the holiday season.[58]
- December 18, 1949: "Getting Christmas Tree in Mountains" – The family embarks on a chaotic trip to chop down a Christmas tree, highlighting Harris's bumbling leadership.[58]
- December 23, 1951: "Stolen Christmas Presents" – Harris scrambles to recover pilfered holiday gifts amid suspicions falling on his unreliable bandmates.[58]
Discography
Key singles
Phil Harris's key singles emphasized novelty tunes with humorous, folksy themes, often backed by his orchestra and promoted via radio airplay on programs like the Jack Benny Show. These recordings captured his distinctive drawling vocal style and contributed to his reputation as a entertainer blending music and comedy. Between 1931 and 1960, Harris released over 20 singles, several of which charted on Billboard's various pre-Hot 100 lists, including Best Sellers in Stores and Most Played by Jockeys.[60][16] His most successful single, "The Thing," a percussive novelty track about a mysterious box, topped the Billboard chart for four weeks in 1950 and became a million-seller.[61][62] Other standout releases included signature songs like "That's What I Like About the South," a jaunty ode to Southern life recorded in 1947 for RCA Victor, which became closely associated with his persona despite not reaching the top ranks.[63] "Smoke! Smoke! Smoke! (That Cigarette)," a cover of the Merle Travis-penned anti-smoking novelty, peaked at #8 in 1947.[64] Notable early entries highlighted his swing-era roots, while later tracks such as "Woodman, Spare That Tree," a comedic take on the 19th-century poem set to music, appeared in 1946.[65] These singles exemplified Harris's focus on lighthearted, accessible material that resonated through radio promotion.[60] The following table summarizes select key singles with available chart data:| Year | Title | Label | Peak Chart Position (Billboard) |
|---|---|---|---|
| 1933 | How's About It? | - | #10 US [60] |
| 1946 | One-Zy Two-Zy (Phil Harris & his Orchestra) | - | #2 US [60] |
| 1946 | The Dark Town Poker Club (Phil Harris & his Orchestra) | ARA 116 | #10 US [60] |
| 1947 | Smoke! Smoke! Smoke! (That Cigarette) (Phil Harris & his Orchestra) | - | #8 US [60] |
| 1947 | That's What I Like About the South | RCA Victor | Signature hit (no peak listed) [63] |
| 1950 | Chattanoogie Shoe Shine Boy (Phil Harris & his Orchestra) | - | #8 US [60] |
| 1950 | Woodman, Spare That Tree | - | [65] |
| 1950 | The Thing | RCA Victor 47-3968 | #1 US [60] |
| 1950 | Simple Melody | RCA Victor 47-3781 | #30 US [60] |
| 1968 | But I Loved You | Coliseum 2711 | #23 AC [60] |
Albums and compilations
Phil Harris's recording career with RCA Victor produced a modest but influential body of studio albums, primarily in the late 1940s and 1950s, blending novelty tunes, jazz standards, and comedic Southern-flavored songs backed by his orchestra. These releases captured his signature drawling vocal style and humorous delivery, which had already gained popularity through radio broadcasts. His albums emphasized entertainment value over experimental innovation, often drawing from his hit singles like "Smoke! Smoke! Smoke! (That Cigarette)" and "The Thing." His debut album, On the Record (RCA Victor, 1948), was issued as a four-disc 78 RPM set (later reissued in 1949 as a three-disc 45 RPM box set), compiling sixteen tracks of upbeat pop and folk numbers performed with Phil Harris and His Orchestra.[66] The collection highlighted his early big-band era sound, including renditions of "Is It True What They Say About Dixie?" and "After You've Gone," showcasing his rhythmic phrasing and lighthearted banter.[67] In 1954, Harris released You're Blasé (RCA Victor LPM-3203), a 10-inch LP featuring eight tracks with Skip Martin and His Orchestra, focusing on sophisticated jazz and pop standards. Key selections included the title track "You're Blasé," "Washboard Blues," and "I Guess I'll Have to Change My Plan," where Harris's gravelly vocals added a comedic twist to the arrangements. This album marked a shift toward more polished, lounge-oriented material amid his rising radio fame. Harris's final studio album, The South Shall Rise Again (RCA Victor LSP-1985/LPM-1985, 1959), was a full-length 12-inch LP available in both mono and stereo formats, emphasizing novelty songs with Dixieland and country influences.[68] Produced as part of RCA's "Popular Sound Spectaculars" series, it featured tracks like the title song and "The South Rampart Street Parade," reflecting Harris's affinity for Southern humor and brass-heavy ensembles.[69] The album's playful, exaggerated style aligned with his comedic persona, though it received mixed reviews for its overt novelty approach.[70] Posthumous compilations have sustained Harris's musical legacy, aggregating his chart-topping singles from the 1930s through 1950s across labels like Vocalion, Decca, and RCA Victor. These releases often remaster rare tracks and emphasize his comedic hits, making his work accessible to new generations. Notable examples include Southern Comfort... The Best of Phil Harris (Mega Records, 1972), a vinyl compilation spotlighting Southern-themed tracks such as "That's What I Like About the South" and "Woodman, Spare That Tree," which peaked in popularity during his radio heyday.[71] The 1988 double-LP That's What I Like About Phil Harris (BMG/RCA, 1988) drew from his RCA catalog, including selections from earlier albums like You're Blasé and On the Record, with hits like "The Darktown Poker Club" and "Never Trust a Woman."[72] Similarly, His Original & Greatest Hits (ASV/London, 1999 CD reissue) compiled 23 remastered tracks from 1933–1950, featuring top-charting singles such as "The Thing" (No. 1 in 1950) and "Smoke! Smoke! Smoke!," providing a chronological overview of his crossover appeal in pop and novelty genres.[73] More recent efforts, like The Thing About Phil Harris (1996), focused on his 1940s output, while digital platforms have enabled ongoing anthologies such as Old Curly's Anthology (2023 compilation).[74]| Studio Album | Release Year | Label | Format | Key Themes/Notes |
|---|---|---|---|---|
| On the Record | 1948 | RCA Victor | 78 RPM set (later 45 RPM) | Pop/folk standards with orchestra; 16 tracks |
| You're Blasé | 1954 | RCA Victor | 10" LP | Jazz/pop standards; 8 tracks with Skip Martin Orchestra |
| The South Shall Rise Again | 1959 | RCA Victor | 12" LP (mono/stereo) | Novelty/Southern songs; 12 tracks in "Sound Spectaculars" series |
| Notable Compilations | Release Year | Label | Format | Key Tracks/Notes |
|---|---|---|---|---|
| Southern Comfort... The Best of Phil Harris | 1972 | Mega Records | LP | "That's What I Like About the South"; focuses on 1940s hits |
| That's What I Like About Phil Harris | 1988 | BMG/RCA | 2x LP | Draws from RCA albums; includes "The Darktown Poker Club" |
| His Original & Greatest Hits | 1999 | ASV/London | CD | 23 remastered singles; covers 1933–1950, e.g., "The Thing" |
| The Best of Phil Harris | 1985 | RCA | LP | Reissue compilation; big band and swing selections |