(Photo taken from Google Images from an old Victor record
catalog)
Harry Ervin
Humphrey was the main voice of the Photodrama of Creation, as well as the voice
of the reissued Angelophone recordings found in IBSA catalogs from 1916. As
such, he deserves a footnote in Watch Tower history.
Humphrey was
born in 1873. In his long career, he was variously described as a monologist,
an elocutionist, an actor and recording artist. His heyday was in the years
prior to 1925 when audio recordings were acoustic. In those days, raw sound
with its limited frequency range was literally collected by a horn and sent to
equipment that vibrated a cutting stylus. Recording artistes sometimes had to
virtually put their head into the recording horn and shout to get an acceptable
result.
Even so, to
get sufficient “bite” for this kind of recording a certain voice quality was
needed. This determined who was to become a recording star and who fell by the
wayside in the early days of sound recording.
Humphrey
worked with Thomas Alva Edison, one of whose inventions was the phonograph –
originally intended as an office Dictaphone system, before the entertainment world
took over. When Edison later produced a system for linking recordings with film
to create a sound system called the Kinetophone, Humphrey worked with him in
his South Orange laboratories.
Throughout
the 1910s and the first half of the 1920s Humphrey was very busy. As well as a
plethora of Blue Amberol cylinders and Diamond Discs for Edison, Humphrey also
recorded discs for other labels like Victor. His output included speeches,
poems, explanatory dialog to go with music, and finally – language learning
recordings.
If you want
a flavor of his style – apart from Watch Tower related recordings – there are
quite a few on YouTube. They include famous poems such as Gunga Din (a lovely
over the top performance) and famous speeches like Lincoln’s Speech at Gettysburg.
Perhaps one of the most entertaining dates from 1922 – Santa Claus Hides in
Your Phonograph – Humphrey’s maniacal laugh would be enough to scare the living
daylights out of most children of the day.
So when the
timbre of CTR’s voice was judged unsuitable for the Photodrama’s main
recordings, the Watch Tower Society went to the top man of the day to fill the
gap. There appears no evidence that Humphrey took any personal interest in the
Bible Student movement; this was simply another job for which he was paid in what
were very busy years for him.
He was hired
again to help salvage the Angelophone debacle, which has been earlier described
on this blog. There were fifty small records issued on which Henry Burr sang
hymns on one side, and CTR recorded a short descriptive sermon on the reverse.
The recordings were poor due to CTR’s voice quality, exacerbated by his poor
health in 1916. After complaints were received, the sermons were re-recorded by
Humphrey. The project was probably not helped by the use of the “hill and dale”
method of recording – as with cylinders, the needle travelled up and down in
the groove rather than from side to side. It meant the discs could be a smaller
7 inch size, but it also meant they could all too easily be damaged by the wrong
type of equipment. You were supposed to buy an Acme, Superba or Cabinet
Angelophone to play them.
The idea of
having music on one side of a disc and a descriptive lecture on the other was
quite common at this time, and Humphrey later did a series explaining short
operatic pieces on the Edison Diamond label.
The
death-knell for his main employment came around 1925, when electrical recording
was introduced across the board. Recording deficiencies in a wide range of voices
could now be overcome. Also one suspects that Humphrey’s stentorian style –
redolent of Victorian recitations – went rapidly out of style in the roaring
twenties.
His
subsequent career was as an actor. A few appearances in small parts on Broadway
are listed, and he is credited with co-writing a play called The Skull c. 1928.
It was reviewed as “an old fashioned melodrama” and published in book form in
1937. The Library of Congress lists a play called The Curse of Tamerlane, copyrighted
in 1929 by Bernard J McOwen and Harry Ervin Humphrey. There is a possibility that
this is The Skull under its original name.
Then in the
sound era he had a few minor roles in movies. They ranged from the prestigious
- Orson Welles’ The Magnificent Ambersons, to the less than prestigious - Dick
Tracey’s G Men.
Perhaps the
nicest gesture was a bit part in the 1940 film, Edison the Man – where the
story of his old mentor was given the Hollywood treatment starring Spencer
Tracey. Humphrey did not play himself, but had an uncredited bit part as a
broker.
Humphrey
died in 1947 (aged 73) in Los Angeles County, California. A successful application
for a veteran’s grave marker showed that he had enlisted for one year at the
time of the Spanish-American war. His war service was from May 24, 1898 to May
11, 1899 as a private in the 4th U.S. Cavalry. It also confirms his
full name as Harry Ervin Humphrey.
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