Dick Haymes

Renowned as one of the era's premier interpreters of ballads, Dick Haymes stood nearly alongside luminaries like Crosby and Sinatra through timeless performances of pieces such as "It Can't Be Wrong," "Till the End of Time," and "It Might as Well Be Spring." Despite missing out on the adult pop boom of the 1950s owing to struggles with alcohol, governmental issues, and volatile romances, he persisted in live performances and studio work right up until his passing in 1980.

Originating from Buenos Aires in 1918 as the offspring of British nationals managing a ranch in Argentina, Haymes experienced a divided family when his parents parted ways. His upbringing shifted to Paris under his mother's care until financial woes from the Depression intervened. The balance of his youth unfolded across the United States, accompanied by his mother's singing career.

At fifteen, during a summer break, he launched his career by vocalizing alongside a band at a New Jersey hotel. Departing school in 1933 for Hollywood pursuits, he took on stunt work and background roles in mid-decade motion pictures. Having penned several tunes by 1939, he sought interest from Harry James for potential acquisition; although the leader showed little enthusiasm for the compositions, Haymes joined the ensemble the following year as the successor to Frank Sinatra in the male vocal slot.

Throughout 1941 and 1942, several successes emerged from his association with James, among them "A Sinner Kissed an Angel" and "The Devil Sat Down and Cried." Notably, the standout track "I'll Get By (As Long as I Have You)" achieved the top chart position in 1944 despite originating three years earlier. Engagements with Benny Goodman and Tommy Dorsey preceded his 1943 Decca affiliation.

Early releases under the new label included the chart-topping "You'll Never Know" in July 1943, concurrent with the strong performance of "It Can't Be Wrong." Transitioning to prominent film parts, he featured centrally in the 1945 production State Fair, securing a Top Five placement via the Academy Award recipient "It Might as Well Be Spring." While additional number ones eluded him thereafter, the mid-forties found Haymes frequently charting highly via numbers like "Put Your Arms Around Me, Honey," "Laura," "Till the End of Time," and "That's for Me." He also co-hosted a radio program alongside Helen Forrest and took on further cinematic roles following State Fair's acclaim.

As the decade waned, successes persisted yet personal and career setbacks mounted. Divorce from actress Joanne Dru coincided with intensified drinking and fiscal mismanagement. Critical reception soured for his movie appearances, resulting in severed ties to both studio and record deals. A brief, intense liaison culminating in a two-year union with Rita Hayworth failed to stabilize matters; compounded by residency and revenue complications, this era marked a pronounced nadir.

Professional resurgence arrived in 1955 via Capitol Records, the leading imprint for mature popular music. Two albums emerged there: Rain or Shine and Moondreams, though alcohol dependency endured. Relocating to Ireland at the outset of the sixties facilitated overcoming the addiction, paving the way for the 1969 release Now and Then, blending established Haymes material with fresher selections. Return to American shores during the seventies brought numerous nightclub engagements and a concert recording at Cocoanut Grove. Final studio efforts occurred in 1978, with his extended fight against cancer concluding two years subsequently.