Bob Allen

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Band singer and orchestra leader Bob Allen studied voice at the Cincinnati Conservatory of Music. In 1933, he joined Hal Kemp’s orchestra as second male vocalist behind Skinnay Ennis. Ennis sang numbers that required an intimate feeling, while Allen sang those that needed power. When Ennis left Kemp in 1938, Allen became the lead.

Allen was a popular singer, placing seventh in the category of best male band vocalist in Billboard magazine’s 1941 college poll. In December 1940, he took over Kemp’s orchestra after the bandleader lost his life in an automobile accident. The orchestra, though, began to fall apart without Kemp’s leadership and broke up shortly thereafter. Allen then took over Vince Patti’s Cleveland, Ohio, band.

Allen, who had seemed shy and reserved with Kemp, livened up leading his own group, waving his baton enthusiastically and smiling at the crowd. His naturally good looks charmed many a young female dancer. The band performed songs that Allen had sung with Kemp as well as new numbers, though they didn’t imitate the musical style of Allen’s former boss, instead opting for a sound described as “sweet swing.”

Allen handled all male vocals himself. Dottie Reed became female vocalist in January 1942, leaving by mid-year. Judy Starr, another former Kemp chirp, was initially considered to replace her, however Lynn Gardner ended up with the spot in September. When Gardner left in March 1943, Paula Kelly took her place. The Four Stuart Sisters provided backing vocals in mid-1942.

While Allen’s band managed to draw crowds, the beginning of the American Federation of Musicians’ recording ban on August 1, 1942, destroyed any chance he had of capitalizing on their popularity. Allen only recorded four sides prior to the ban, all for the small Beacon label, which existed solely to plug songs for the Joe Davis Music Company. When Glenn Miller disbanded his group to join the Army Air Force in September 1942, the Hotel Pennsylvania signed Allen’s orchestra to fill Miller’s slot in the ballroom. Wartime production cuts had hit the industry hard by that time, though, and Beacon couldn’t produce enough copies of Allen’s disks to supply the demand created by that prestigious booking.

The Hotel Pennsylvania booking did boost Allen’s prospects in two ways however. In October 1942, Allen secured a recording contract with Bluebird, though he still could not enter the studio yet due to the ban, and a film contract with 20th Century Fox. Neither would bring any return. The recording ban didn’t end until November 1944, and it wasn’t until late 1943 when Fox cast Allen and his group in Greenwich Village, with Carmen Miranda and Don Ameche. In January 1944, however, Allen received his draft notice and had to disband, deciding not to reform when he was reclassified 4-F. Allen’s orchestra had been expensive to maintain. His musicians and singers had earned top dollar, and he was a reported $50,000 in debt to his backers.

On his own now, Allen joined Tommy Dorsey as a vocalist, leaving the following year for the Army. After his discharge in 1946, he sang with Hoagy Carmichael. In 1947, he joined Carmen Cavallaro, and in 1948 he was part of Ziggy Elman’s band. He finally retired from show business and moved to Encino, California, where he went into the woodworking business.


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  • Will I Ever Know?
    Hal Kemp (Bob Allen), Brunswick (1935)
  • All's Fair in Love and War
    Hal Kemp (Bob Allen), Victor (1936)
  • Easy to Love
    Hal Kemp (Bob Allen), Brunswick (1936)
  • Where or When
    Hal Kemp (Bob Allen), Columbia (1936)
  • Am I in Love?
    Hal Kemp (Bob Allen), Victor (1937)
  • So Lovely
    Hal Kemp (Bob Allen), Victor (1938)
  • Don't Worry 'Bout Me
    Hal Kemp (Bob Allen), Victor (1939)
  • Lover
    Hal Kemp (Bob Allen), Victor (1939)
  • It All Comes Back to Me Now
    Hal Kemp (Bob Allen), Victor (1940)
  • Midnight Masquerade
    Carmen Cavallaro (Bob Allen), Decca (1947)
  • It's Dreamtime
    Carmen Cavallaro (Bob Allen), Decca (1947)

All recordings are from the Internet Archive's 78rpm collection. Copyright owners, please see our removal policy.


  1. Simon, George T. The Big Bands. 4th ed. New York: Schirmer, 1981.
  2. Walker, Leo. The Wonderful Era of the Great Dance Bands. Garden City, New York: Doubleday, 1972.
  3. The Online Discographical Project. Accessed 26 Jul. 2015.
  4. “Orchestra Notes.” Billboard 3 Jan. 1942: 13.
  5. “On the Stand: Windsor, Bronx, N.Y.” Billboard 4 Apr. 1942: 19.
  6. “Campus Picks Top Chirps.” Billboard 2 May 1942: 19.
  7. “Orchestra Notes.” Billboard 23 May 1942: 21.
  8. “Orchestra Notes.” Billboard 6 Jun. 1942: 21.
  9. “Allen Draws Holdover.” Billboard 1 Aug. 1942: 23.
  10. “On the Records.” Billboard 8 Aug. 1942: 20.
  11. “Local 802 Clips Allen on Local Air Time Scale Violation.” Billboard 8 Aug. 1942: 21.
  12. “Orchestra Notes.” Billboard 8 Aug. 1942: 23.
  13. “On the Records.” Billboard 22 Aug. 1942: 68.
  14. “Bob Allen Given Miller Location.” Billboard 26 Sep. 1942: 23.
  15. “Orchestra Notes.” Billboard 3 Oct. 1942: 23.
  16. “Victor Rounds Up New Band Talent.” Billboard 17 Oct. 1942: 62.
  17. “Herman, Allen for '43 Pix.” Billboard 7 Nov. 1942: 20.
  18. Carter, Dick. “Talent and Tunes on Music Machines.” Billboard 3 Oct. 1942: 67.
  19. “Bob Allen Signed for Penn, Capitol.” Billboard 20 Mar. 1943: 26.
  20. “Picture Tie-Ups for Movie Machine Operators.” Billboard 6 Nov. 1943: 64.
  21. Chasins, Gladys. “Talent and Tunes on Movie Machines.” Billboard 8 Jan. 1944: 65.
  22. “New Dough for New Bands.” Billboard 22 Jan. 1944: 20.
  23. Chasins, Gladys. “Talent and Tunes on Movie Machines.” Billboard 29 Jan. 1944: 64.
  24. “On the Stand: Tommy Dorsey.” Billboard 29 Apr. 1944: 18.
  25. “New Records: Hoagy Carmichael.” Billboard 18 May 1946: 35.
  26. “On the Stand: Carmen Cavallaro.” Billboard 22 Feb. 1947: 19.
  27. “Record Reviews: Carmen Cavallaro.” Billboard 11 Oct. 1947: 34.
  28. “On the Stand: Ziggy Elman.” Billboard 11 Sep. 1948: 37.

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