The Shadow was long believed to have debuted on radio as a program in its own right on September 26, 1937, on the Mutual Broadcasting System. But the character actually premiered in September 1931, on CBS, as part of the hourlong The Blue Coal Radio Revue (named for the show's sponsor), featuring Frank Readick - The Shadow announcer of Detective Stories - as The Shadow, and playing Sundays at 5:30 p.m. Eastern standard time.
"Glad it is available in Audible format"
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: The protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
Here are 12 acclaimed, exciting, fully dramatized performances of Conan Doyle classics. It's elementary that any Conan Doyle fan will want this splendid set of Sherlock Holmes mysteries, 12 timeless tales performed as radio theater and linked by violin-music interludes.
"Sir Arthur Conan Doyle would be proud"
Gunshots, fist fights, and footsteps in the dark! Come hear crime and mystery, action and suspense with radio's greatest detectives! Ten hours of bracing crime-stopping broadcasts bring you Sherlock Holmes, Sam Spade, The Saint, The Shadow, Johnny Dollar, Bulldog Drummond - and 14 more favorites! Vincent Price, Bob Bailey, Basil Rathbone, Howard Duff, Dick Powell, and more star in 20 tales that are hard boiled and heroic, brilliant and bloody.
Yours Truly, Johnny Dollar began in 1949 as a typical slam-bang detective series, and though consistently well written and acted, the series never really captured an enthusiastic audience. However, in the fall of 1955, Bob Bailey took over the title role; veteran director Jack Johnstone and writers John Dawson, Robert Ryf, and Les Crutchfield joined the production team; and the series was transformed into a quarter-hour, five-a-week strip show.
If you are a lover of old-time radio and a fan of Orson Welles, you won't want to miss this treasure chest of legendary Orson Welles radio broadcasts! With his flair for the sensational and innovative, Welles captured audiences' attention with his 1930s CBS weekly drama series The Mercury Theatre on the Air, later renamed The Campbell Playhouse, which featured hour-long dramatizations of classic books. His 1938 production, The War of the Worlds (an H. G. Wells adaptation) was especially memorable, as were many other productions, each featuring talented voices and actors.
"Here is my review for what is worth."
Richard Diamond, Private Detective is a detective drama which was on radio from 1949 to 1953 and on television from 1957 to 1960. Dick Powell starred in the Richard Diamond, Private Detective radio series as a rather light-hearted detective who often ended the episodes singing to his girlfriend, Helen (played by Virginia Gregg).
"Fantastic Old-Time Detective Radio Drama"
America's Fabulous Freelance Insurance Investigator faces cases of killing for vengeance and keeping silent for honor... "dead" men who won't stay down for long (or alive for much longer)... beneficiaries that can't be found and beautiful mixed up risk-takers who may be out on their last ledge. He pads his expense account in pursuit of stolen jewels, arsonists, crooked cops, and romance, all while he tries to solve matters of murder.
This is an collection of Inner Sanctum Mysteries, an oldtime radio show from the 1940s and 1950s. If you love a good horror story, you'll love these. You get all these (and many others plus more of the same genre):
"Worth the listen if you know what you're getting."
The Mercury Theatre on the Air, a radio series created by Orson Welles, presented adaptations of classic literary works. These were performed by actors from Welles' celebrated Mercury Theatre repertory company, with music composed or arranged by Bernard Herrmann. The series ran from July to December 1938, after which the title was changed to The Campbell Playhouse.
That's Boston Blackie, safecracker turned crime fighter and a long-running favorite with fans of straight-ahead detective fiction in a wide range of media. Beginning inauspiciously in a 1919 short story by author Jack Boyle, Blackie progressed from the printed page into silent films, then into talkies - and finally, in the 1940s, into radio. The first radio Blackie was Chester Morris, who played the role in a long series of B movies during the 1940s.
Alan Ladd stars as newspaperman turned mystery novelist Dan Holliday. To seek out new ideas for his fiction, Holliday runs classified ads in the Star-Times newspaper, where he formerly worked: "Adventure wanted, will go anywhere, do anything - write Box 13, Star-Times." Each episode follows Holliday's adventures when he responds to the letters sent to him by such people as a psycho killer and various victims.
Bogart is Slate Shannon, a hotelier who owns a boat he calls “Bold Venture” and Bacall as Sailor Duval, is his love interest/foil who joins him on adventures of rescue, intrigue, and crime fighting set against the colorful backdrop that is Cuba, as they become detectives for hire. The repartee between Bogie and Bacall is witty and biting as they turn some tongue-in-cheek dialogue into sparkling chemistry that far transcends the script.
"C'Mon: Bogie and Bacall"
Nero Wolfe is "a gourmet who never walks when he can sit and never sits when he can lie down." Join Rex Stout's reclusive, overweight, orchid-loving super sleuth as masterfully portrayed by Sydney Greenstreet in this exciting radio series. Ever in search of a perfect meal and a cold bottle of beer, Wolfe often sends Archie Goodwin, his secretary and operative, in his stead. Archie, while trying to keep his well-known weakness for red heads in check, follows up on leads and does the leg work, setting up his brilliant boss to solve the case.
"OK Old Radio but not Rex Stout"
Yours Truly, Johnny Dollar, Volume 3 was a typical slam-bang detective series and though consistently well written and acted, the series never really captured an enthusiastic audience. However, in the fall of 1955, Bob Bailey took over the title role, veteran director Jack Johnstone and writers John Dawson, Robert Ryf, and Les Crutchfield joined the production team, and the series was transformed into a quarter hour, five-a-week strip show.
This is a collection of the only known episodes to exist from its run on both NBC and CBS radio. Originally called The New Adventures of Philip Marlowe, the private eye series, based on the character and books created by Raymond Chandler, made its debut on the NBC radio network on June 17, 1947, with Van Heflin in the role of Marlowe. The first episode adapted Chandler's short story "Red Wind."
This collection of Green Hornet contains five episodes of the classic radio series:
Political Racket (5/5/1938)
Put it on Ice (7/4/1939)
The Parking Lot Racket (10/31/1939)
The Corpse That Wasn't There (2/28/1943)
Unexpected Meeting (8/23/1945)
"Another Excellant Collection From Radio Spirits!"
In 1948, motion-picture actor Alan Ladd teamed up with an old business associate named Bernie Joslin and created Mayfair Productions, a radio syndication company. In Box Thirteen, Ladd played the role of former reporter turned novelist, Dan Holiday. Dan never knows what adventure awaits him when he collects his mail from Box Thirteen at the Star-Times, which is always jammed with many potential adventures for him to choose from.
In 1950, NBC began broadcasting Nightbeat, considered one of the finest shows of its time, about Randy Stone, a reporter who covered the night beat for the Chicago Star with a unique blend of wit, compassion, and toughness. From murder to mystery, from heartache to hardboiled, every night brought a new story to Randy Stone.
Reminiscent of Humphrey Bogart's character Rick Blaine from the classic movie Casablanca, Rocky Jordan relocated to Cairo after being ousted from St. Louis by his enemies. Now living in North Africa, Rocky Jordan owns and operates a gin joint, the Café Tambourine, and finds himself involved in an assortment of mystery and intrigue endeavors while unwillingly moonlighting as a crime fighter.
The Weird Circle radio show was an anthology of classic thrillers from the pens of the world's best-known and respected fiction authors of the 19th century. The focus was on stories of horror, suspense, and the supernatural by such authors as Edgar Allan Poe, Robert Louis Stevenson, and Mary Shelley, with an occasional drama by the likes of Emily Brontë, Charles Dickens, and George Eliot.
The detective series Let George Do It came to radio in 1946. It starred Bob Bailey as George Valentine, ex-GI and detective for hire. Clients came to Valentine's office after reading a newspaper carrying his classified ad: "Personal notice: Danger's my stock-in-trade. If the job's too tough for you to handle, you've got a job for me, George Valentine. Write full details."
Calling All Cars, a popular crime drama heard from 1933 to 1939. One of radio's earliest and most durable police procedural shows, the series' stark and gritty realism is strongly reminiscent of Warner Brothers' gangster films of the 1930s - particularly with the presence of real-life LAPD dispatcher Jesse Rosenquist, whose unique voice and name became the show's trademark. Rosenquist contributed to the American lexicon the program's title and the now time-honored phrase "that is all".
Calling All Cars was a popular crime drama heard from 1933 to 1939. One of radio's earliest and most durable police procedural shows, the series' stark and gritty realism is strongly reminiscent of Warner Brothers gangster films of the 1930s - particularly with the presence of real-life LAPD dispatcher Jesse Rosenquist, whose unique voice and name became the show's trademark. Rosenquist contributed to the American lexicon the program's title and the now time-honored phrase "that is all".
Calling All Cars was a popular crime drama heard from 1933 to 1939. One of radio's earliest and most durable police procedural shows, the series' stark and gritty realism is strongly reminiscent of Warner Brothers' gangster films of the 1930s - particularly with the presence of real-life LAPD dispatcher Jesse Rosenquist, whose unique voice and name became the show's trademark. Rosenquist contributed to the American lexicon the program's title and the now time-honored phrase "that is all".
Thousands of busy persons bent over their desks in the tallest building in the world, conducting the commerce of the nation, when suddenly the steel girders began to creak and twist, and the gigantic edifice swayed giddily in the rising wind. Never before had criminal brains devised a more cunning or a more horrible weapon to garner their ill-gotten treasures. And never before was the Spider so strenuously put to the test.
From out of the mystic East comes a new foe for the Spider - and a vicious new threat! When tropical orchids begin taking root in living people, their insidious tendrils penetrating helpless bodies, strangling vital organs, Richard Wentworth knows that a hideous new menace has manifested in civilization. For the Golden Dragon has descended upon New York. The Golden Dragon, whose deadly Blood Orchids feed off living flesh, and whose goal is unknown. The Golden Dragon, Asia's most malevolent monster.
For 10 grim years, the Spider battled the underworld, imprinting his scarlet seal on the bodies of the criminals he slew. No one knew his name. His face was unknown. Pursued by the police, sought by the mob, the Master of Men crushed crime with a blazing intensity never witnessed before or since.
In the heart of New York's Chinatown, on his imperial throne, guarded by swordsmen and gunmen and a labyrinth of death traps, sat the Arch-Criminal of all time. Master of life and death, of disease, of horrible, crawling things - the Emperor of Vermin released destruction over city and nation. The Spider, Master of Men, champion of humanity, fought with every ounce of his cunning, against the monster who personified evil incarnate - while one faithful servant gave his life in this, the Spider's most bitter, hopeless battle.
In the gaunt desolation of those dark Kentucky hills, the Dixie Limited, crack flyer, stood gutted of all living passengers. The Spider, the only survivor, stood alone at that bleak scene, vowing silently, solemnly, to destroy the ambition-mad archcriminal who had plotted this wholesale ruin. For this and manifold like disasters were occurring everywhere in the land - at the direction, Richard Wentworth knew, of some diabolical brain that was unleashing hordes of primitive barbarians to lay waste to civilization.
A shrill scream pierced the quiet night as the mighty Plutonic breasted the glassy waves. As if at a signal, countless passengers, young and old, men and women, were seized by an epidemic of frantic self-destruction. By water, fire, steel, and lead they tried eagerly to hurl themselves into oblivion - into the greedy arms of Anubis, grim Egyptian deity of death! Richard Wentworth, who defended humanity in the guise of the dread Spider, recognized the suicide mania immediately as an extremely cunning attack by the master brains of the international underworld.
In a hundred thousand homes, families sat down together at the supper table. A few hours later, those persons were dead - killed by poison in canned foods! Thousands of women used cosmetics, and acid made their faces forever hideously scarred. A master criminal, daring and clever, was ruthlessly slaughtering Americans to win immense illicit profits for himself. Only one man was powerful enough and wise enough to stop this wholesale murderer: Richard Wentworth, champion of oppressed humanity, better known as the Spider.