1001 Radio Crime Solvers
Welcome to 1001 Radio Crime Solvers - where you can enjoy the best radio detective stories from the golden age of radio. This was a time when TV was still in its infancy and radio was in its creative heyday- using top writers and top talent to capture huge audiences, and shows featuring hard boiled detectives like Sam Spade, Richard Diamond, Philip Marlowe, and Johnny Dollar competed for prime time with mental sleuths like Agatha Christie's Hercule Poirot, G.K. Chesterton's Father Brown, and Arthur Conan Doyle's Sherlock Holmes. And here you'll find standouts -like Dragnet's Joe Friday, Vincent Price's 'The Saint', and Michael Waring's free-lance troubleshooting investigator 'The Falcon'- to name a few. We release new episodes every Sunday at 5pm ET. We're a proud part of 1001 Stories Network. www.1001storiespodcast.com.
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THE CASE OF THE COWBOY KILLERS and THE CINCINNATI NARCOTICS RING GANGBUSTERS
11/23/2025
THE CASE OF THE COWBOY KILLERS and THE CINCINNATI NARCOTICS RING GANGBUSTERS
This upload contains 88 episodes of the Old Time Radio program, Gang Busters. The show, a police-based dramatic crime anthology, ran from 1935-1957 and focused on dramatizing crimes from police files. The show also broadcast alerts, known as Gang Buster Clues, of suspects wanted by police around the country. Sadly only a limited number of episodes are known to survive
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THE BACKFIRE THAT BACKFIRED and THE LEUMAS MATTER YOURS TRULY JOHNNY DOLLAR
11/22/2025
THE BACKFIRE THAT BACKFIRED and THE LEUMAS MATTER YOURS TRULY JOHNNY DOLLAR
Revival A young Bob Bailey (1937) CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial[2] (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history.[8] The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. The show was always produced and directed by Johnstone. Under his "John Dawson" pseudonym, Neuman reworked several of his scripts from the John Lund period, expanding and/or combining them into scripts for the serial format. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957, Rowan was succeeded by Dan Cubberly, returning to the series.
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THE EMBARKADERO MATTER and THE REALLY GONE MATTER YOURS TRULY, JOHNNY DOLLAR
11/19/2025
THE EMBARKADERO MATTER and THE REALLY GONE MATTER YOURS TRULY, JOHNNY DOLLAR
Revival A young Bob Bailey (1937) CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial[2] (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history.[8] The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. The show was always produced and directed by Johnstone. Under his "John Dawson" pseudonym, Neuman reworked several of his scripts from the John Lund period, expanding and/or combining them into scripts for the serial format. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957, Rowan was succeeded by Dan Cubberly, returning to the series.
/episode/index/show/6d90722a-143f-45eb-83cc-2b5ba24978df/id/39035125
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NEW JERSEY COUNTERFEITERS and TENNESSEE VALLEY KILLERS GANGBUSTERS
11/16/2025
NEW JERSEY COUNTERFEITERS and TENNESSEE VALLEY KILLERS GANGBUSTERS
Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.
/episode/index/show/6d90722a-143f-45eb-83cc-2b5ba24978df/id/38960875
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JERSEY BUTCHER BANDITS and SUPERSONIC SAFE CRACKERS GANGBUSTERS
11/15/2025
JERSEY BUTCHER BANDITS and SUPERSONIC SAFE CRACKERS GANGBUSTERS
Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.
/episode/index/show/6d90722a-143f-45eb-83cc-2b5ba24978df/id/38960810
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TRIPLE PLAY THE CAPTURE OF BUGS MORAN GANGBUSTERS 3-PART
11/12/2025
TRIPLE PLAY THE CAPTURE OF BUGS MORAN GANGBUSTERS 3-PART
Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.
/episode/index/show/6d90722a-143f-45eb-83cc-2b5ba24978df/id/38956535
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THE CASE OF THE ALCATRAZ PRISON RIOT, THE KIDNAPPED PAYMASTER GANGBUSTERS
11/09/2025
THE CASE OF THE ALCATRAZ PRISON RIOT, THE KIDNAPPED PAYMASTER GANGBUSTERS
Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.
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THE CASE OF THE AMOROUS BOOKKEEPER and THE CASE OF THE LARCENOUS LOT ADVENTURES OF THE FALCON
11/08/2025
THE CASE OF THE AMOROUS BOOKKEEPER and THE CASE OF THE LARCENOUS LOT ADVENTURES OF THE FALCON
Try the new "Tales of Escape & Suspense"- links below!
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THE HAIRPIN TURN and THE LONG ARM THE ADVENTURES OF PHILIP MARLOWE
11/05/2025
THE HAIRPIN TURN and THE LONG ARM THE ADVENTURES OF PHILIP MARLOWE
The Adventures of Philip Marlowe was a radio series featuring Raymond Chandler's private eye, Philip Marlowe. Robert C. Reinehr and Jon D. Swartz, in their book, The A to Z of Old Time Radio, noted that the program differed from most others in its genre: "It was a more hard-boiled program than many of the other private detective shows of the time, containing few quips or quaint characters."
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THE STRANGLEHOLD and SMOKEOUT THE ADVENTURES OF PHILIP MARLOWE
11/02/2025
THE STRANGLEHOLD and SMOKEOUT THE ADVENTURES OF PHILIP MARLOWE
The Adventures of Philip Marlowe was a radio series featuring Raymond Chandler's private eye, Philip Marlowe. Robert C. Reinehr and Jon D. Swartz, in their book, The A to Z of Old Time Radio, noted that the program differed from most others in its genre: "It was a more hard-boiled program than many of the other private detective shows of the time, containing few quips or quaint characters."
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THE BIG BORDER and THE BIG ROSE DRAGNET
10/29/2025
THE BIG BORDER and THE BIG ROSE DRAGNET
Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."
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THE BIG EVANS and THE BIG FIRE DRAGNET
10/26/2025
THE BIG EVANS and THE BIG FIRE DRAGNET
Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."
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THE BIG SCRAPBOOK and THE BIG PLANT DRAGNET
10/25/2025
THE BIG SCRAPBOOK and THE BIG PLANT DRAGNET
Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."
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THE BIG HONEYMOON and THE BIG PHONE CALL DRAGNET
10/22/2025
THE BIG HONEYMOON and THE BIG PHONE CALL DRAGNET
Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."
/episode/index/show/6d90722a-143f-45eb-83cc-2b5ba24978df/id/38633715
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THE BIG JUVENILE DIVISION and THE BIG ALMOST NO SHOW DRAGNET
10/19/2025
THE BIG JUVENILE DIVISION and THE BIG ALMOST NO SHOW DRAGNET
Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."
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JEFF REGAN TRIPLE PLAY: THE MAN WHO LIVED BY THE SEA, THE LADY IN THE FOUNTAIN, THE MAN IN THE CHURCH
10/15/2025
JEFF REGAN TRIPLE PLAY: THE MAN WHO LIVED BY THE SEA, THE LADY IN THE FOUNTAIN, THE MAN IN THE CHURCH
JEFF REGAN, INVESTIGATOR Jeff Regan, Investigator, was one of countless private detective series that proliferated in the years following WWII. The series initially featured Jack Webb in the title role, who was coming off his work in Pat Novak for Hire, followed by Johnny Madero, Pier 23. The series premiered July 10, 1948, over the CBS network. Originally promoted as Joe Canto, Private Eye, the series was never actually broadcast under that name. However, Barton Yarborough, Jack Webb’s first partner in Dragnet, would make a guest appearance in the show playing a bit part named Joe Canto. The series was sometimes incorrectly called The Lyon’s Eye by collectors because Regan frequently opened each show stating “I’m Jeff Regan. They call me The Lyon’s Eye” or something similar. The first run of Jeff Regan ran from July 10 to December 18, 1948. Webb continued to play a hard-boiled character as in previous roles, but this time with a better relationship with the police. Webb left the show after 24 episodes when CBS declined his request for a $15 per episode raise. He returned for a brief run on a revived Pat Novak for Hire before premiering on his signature program, Dragnet, in June 1949. After 10 months, Jeff Regan was brought back to the air on October 5, 1949. After auditioning some 60 top actors for the role, Frank Graham was selected to play Regan. Regan’s boss Anthony J. Lyon had been voiced by Wilms Herbert and then Herb Butterfield during the Jack Webb era. The 1949 revival cast Frank Nelson as Lyon. Nelson was best known as the sarcastic character who would pop up almost anywhere on The Jack Benny Show. Paul Dubov assumed the Jeff Regan mantle during a part of the program’s run. For eight weeks between April and June 1950 he stepped in to replace an ailing Frank Graham. Frank Graham’s return as Jeff Regan lasted just a couple months, with the last episodes being recorded on August 2, 1950 for broadcast later. However, the program ended after Graham’s tragic death at the age of 35 on September 2, 1950. The final episode of Jeff Regan, Investigator titled “The British are Coming” aired the following day, September 3, 1950. Bob Stevenson was the primary announcer for the show. Del Castillo, Dick Aurandt, and Milton Charles were responsible for the music. Although there was indication to take it to a national audience, the show never aired beyond CBS’ West Coast network. Jeff Regan, Investigator holds up as an above-average example of the mid-century detective genre. This is due to the considerable talent invested in the program which included the voice talents of Jack Webb, Herb Butterfield, and Frank Nelson as well as the writing skills of E. Jack Neuman, who created the program, Larry Roman, William Froug and William Fifield. Some of his stories were good enough that E. Jack Neuman would re-use many of the Jeff Regan scripts when he worked on other series. This synopsis was written by Patrick Andre and Ryan Ellett with information taken from John Dunning’s Encyclopedia of Old Time Radio, The Great Detectives of Old Time Radio website, Jay Hickerson’s Ultimate History of Network Radio Programming, and “The Secret Files of Jeff Regan, Investigator" by Stewart Wright, published in Radiogram, June 2019.
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THE LAWYER AND THE LADY and THE GAMBLER AND THE LADY JEFF REGAN, INVESTIGATOR
10/12/2025
THE LAWYER AND THE LADY and THE GAMBLER AND THE LADY JEFF REGAN, INVESTIGATOR
JEFF REGAN, INVESTIGATOR Jeff Regan, Investigator, was one of countless private detective series that proliferated in the years following WWII. The series initially featured Jack Webb in the title role, who was coming off his work in Pat Novak for Hire, followed by Johnny Madero, Pier 23. The series premiered July 10, 1948, over the CBS network. Originally promoted as Joe Canto, Private Eye, the series was never actually broadcast under that name. However, Barton Yarborough, Jack Webb’s first partner in Dragnet, would make a guest appearance in the show playing a bit part named Joe Canto. The series was sometimes incorrectly called The Lyon’s Eye by collectors because Regan frequently opened each show stating “I’m Jeff Regan. They call me The Lyon’s Eye” or something similar. The first run of Jeff Regan ran from July 10 to December 18, 1948. Webb continued to play a hard-boiled character as in previous roles, but this time with a better relationship with the police. Webb left the show after 24 episodes when CBS declined his request for a $15 per episode raise. He returned for a brief run on a revived Pat Novak for Hire before premiering on his signature program, Dragnet, in June 1949. After 10 months, Jeff Regan was brought back to the air on October 5, 1949. After auditioning some 60 top actors for the role, Frank Graham was selected to play Regan. Regan’s boss Anthony J. Lyon had been voiced by Wilms Herbert and then Herb Butterfield during the Jack Webb era. The 1949 revival cast Frank Nelson as Lyon. Nelson was best known as the sarcastic character who would pop up almost anywhere on The Jack Benny Show. Paul Dubov assumed the Jeff Regan mantle during a part of the program’s run. For eight weeks between April and June 1950 he stepped in to replace an ailing Frank Graham. Frank Graham’s return as Jeff Regan lasted just a couple months, with the last episodes being recorded on August 2, 1950 for broadcast later. However, the program ended after Graham’s tragic death at the age of 35 on September 2, 1950. The final episode of Jeff Regan, Investigator titled “The British are Coming” aired the following day, September 3, 1950. Bob Stevenson was the primary announcer for the show. Del Castillo, Dick Aurandt, and Milton Charles were responsible for the music. Although there was indication to take it to a national audience, the show never aired beyond CBS’ West Coast network. Jeff Regan, Investigator holds up as an above-average example of the mid-century detective genre. This is due to the considerable talent invested in the program which included the voice talents of Jack Webb, Herb Butterfield, and Frank Nelson as well as the writing skills of E. Jack Neuman, who created the program, Larry Roman, William Froug and William Fifield. Some of his stories were good enough that E. Jack Neuman would re-use many of the Jeff Regan scripts when he worked on other series. This synopsis was written by Patrick Andre and Ryan Ellett with information taken from John Dunning’s Encyclopedia of Old Time Radio, The Great Detectives of Old Time Radio website, Jay Hickerson’s Ultimate History of Network Radio Programming, and “The Secret Files of Jeff Regan, Investigator" by Stewart Wright, published in Radiogram, June 2019.
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MYSTERY PLAYHOUSE: MURDER THREATENED and THE NORTHS GET WIRED MR AND MRS NORTH
10/11/2025
MYSTERY PLAYHOUSE: MURDER THREATENED and THE NORTHS GET WIRED MR AND MRS NORTH
Mr. and Mrs. North are fictional American amateur detectives. Created by Frances and Richard Lockridge, the couple were featured in a series of 26 Mr. and Mrs. North novels, a Broadway play, a motion picture and several radio and television series. Mr. and Mrs. North was a radio mystery series that aired on CBS from 1942 to 1954. Alice Frost and Joseph Curtin had the title roles when the series began in 1942. The characters, publisher Jerry North and his wife Pam, lived in Greenwich Village at 24 St. Anne's Flat. They were not professional detectives but simply an ordinary couple who stumbled across a murder or two every week for 12 years. The radio program eventually reached nearly 20 million listeners. Novels The characters originated in 1930s vignettes written by Richard Lockridge for the New York Sun, and he brought them back for short stories in The New Yorker. These stories were collected in Mr. and Mrs. North (1936). Lockridge increased the readership after he teamed with his wife Frances on a novel, The Norths Meet Murder (1940), launching a series of 26 novels, including Death Takes a Bow, Death on the Aisle and The Dishonest Murderer. Their long-run series continued for over two decades and came to an end in 1963 with the death of Frances Lockridge. The series was unusual in that it was Mrs. North who often solved the cases, while Mr. North was just background much of the time. In his article, "Married Sleuths," Charles L.P. Silet captured the flavor of the novels: The Mr. and Mrs. North novels contain carefully crafted puzzles and the Lockridges usually play fair with their readers. The series also features Pam and Jerry's warmly humorous domestic environment and the couple's witty exchanges with the duller members of the police force. Although the Norths remain the focus of the series, the books contain a good deal of political and social commentary, a richly detailed look at the changing life in New York City, as well as glimpses of the outlying suburban counties. Also, the North's stable marriage relationship presents a marked contrast--and a welcome one--to the traditions of the lone detective characteristic of much other American mystery fiction. Even though the Mr. and Mrs. North novels now may appear overly deliberate in their pacing, they still prove wonderful reading as mysteries, and the glimpses they provide of our past social history give them a nostalgic and authentic period flavor. Aficionados of classic crime fiction have always appreciated this longrunning series, and new readers should be encouraged to discover this witty and charming couple. Broadway and Film Albert Hackett and Peggy Conklin had the title roles in the Broadway production Mr. and Mrs. North, which ran 163 performances at the Belasco Theatre from January 12, 1941, to May 31, 1941. Alfred De Liagre, Jr. produced and directed the play written by Owen Davis. In that version, the North's apartment is located on Greenwich Place, realized in a scenic design by Jo Mielziner. The Owen Davis play became a 1942 MGM movie starring Gracie Allen and William Post, Jr. with Millard Mitchell repeating his role of Detective Mullins from the Broadway production. Others in the cast were Paul Kelly, Rose Hobart and Keye Luke. Radio In 1946, Mr. and Mrs. North received the first Best Radio Drama Edgar Award from the Mystery Writers of America (in a tie with CBS's Ellery Queen). The program, which was broadcast once in 1941 and continuously from December 1942 through December 1946 on NBC Radio (for Woodbury Soap), and from July 1947 to April 1955 on CBS Radio (for Colgate-Palmolive), featured Carl Eastman (1941), Joseph Curtin (1942-53) and Richard Denning (1953-55) as Jerry North. Pam North was played by Peggy Conklin (1941), Alice Frost (1942-53) and Barbara Britton (1953-55). In his book, Radio Crime Fighters, Jim Cox wrote that the couple: ... who passed themselves off as a publisher and his homemaker-spouse continued to make lighthearted wisecracks as they stepped over bodies in dark alleys and were rendered unconscious by unknown assailants dispensing blows to the head almost every week... The feminine half of the twosome was at least equal to the husband in solving cases that often baffled law-enforcement officers with years of training and practiceâexcept in reading clues. No explanation was given, of course, as to why a couple of misfits could be so successful in their preoccupation while the professionals thrashed about ineffectually." Television In 1946, producer-director Fred Coe brought the Owen Davis play to television (on New York City's WNBT) with John McQuade and Maxine Stewart in the leads and Don Haggerty, Joan Marlowe and Millard Mitchell repeating their Broadway roles.
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PAM TAKES A MESSAGE and THE NORTHS GO TO THE DOGS MR AND MRSN NORTH, CRIME SOLVERS
10/08/2025
PAM TAKES A MESSAGE and THE NORTHS GO TO THE DOGS MR AND MRSN NORTH, CRIME SOLVERS
Mr. and Mrs. North are fictional American amateur detectives. Created by Frances and Richard Lockridge, the couple were featured in a series of 26 Mr. and Mrs. North novels, a Broadway play, a motion picture and several radio and television series. Mr. and Mrs. North was a radio mystery series that aired on CBS from 1942 to 1954. Alice Frost and Joseph Curtin had the title roles when the series began in 1942. The characters, publisher Jerry North and his wife Pam, lived in Greenwich Village at 24 St. Anne's Flat. They were not professional detectives but simply an ordinary couple who stumbled across a murder or two every week for 12 years. The radio program eventually reached nearly 20 million listeners. Novels The characters originated in 1930s vignettes written by Richard Lockridge for the New York Sun, and he brought them back for short stories in The New Yorker. These stories were collected in Mr. and Mrs. North (1936). Lockridge increased the readership after he teamed with his wife Frances on a novel, The Norths Meet Murder (1940), launching a series of 26 novels, including Death Takes a Bow, Death on the Aisle and The Dishonest Murderer. Their long-run series continued for over two decades and came to an end in 1963 with the death of Frances Lockridge. The series was unusual in that it was Mrs. North who often solved the cases, while Mr. North was just background much of the time. In his article, "Married Sleuths," Charles L.P. Silet captured the flavor of the novels: The Mr. and Mrs. North novels contain carefully crafted puzzles and the Lockridges usually play fair with their readers. The series also features Pam and Jerry's warmly humorous domestic environment and the couple's witty exchanges with the duller members of the police force. Although the Norths remain the focus of the series, the books contain a good deal of political and social commentary, a richly detailed look at the changing life in New York City, as well as glimpses of the outlying suburban counties. Also, the North's stable marriage relationship presents a marked contrast--and a welcome one--to the traditions of the lone detective characteristic of much other American mystery fiction. Even though the Mr. and Mrs. North novels now may appear overly deliberate in their pacing, they still prove wonderful reading as mysteries, and the glimpses they provide of our past social history give them a nostalgic and authentic period flavor. Aficionados of classic crime fiction have always appreciated this longrunning series, and new readers should be encouraged to discover this witty and charming couple. Broadway and Film Albert Hackett and Peggy Conklin had the title roles in the Broadway production Mr. and Mrs. North, which ran 163 performances at the Belasco Theatre from January 12, 1941, to May 31, 1941. Alfred De Liagre, Jr. produced and directed the play written by Owen Davis. In that version, the North's apartment is located on Greenwich Place, realized in a scenic design by Jo Mielziner. The Owen Davis play became a 1942 MGM movie starring Gracie Allen and William Post, Jr. with Millard Mitchell repeating his role of Detective Mullins from the Broadway production. Others in the cast were Paul Kelly, Rose Hobart and Keye Luke. Radio In 1946, Mr. and Mrs. North received the first Best Radio Drama Edgar Award from the Mystery Writers of America (in a tie with CBS's Ellery Queen). The program, which was broadcast once in 1941 and continuously from December 1942 through December 1946 on NBC Radio (for Woodbury Soap), and from July 1947 to April 1955 on CBS Radio (for Colgate-Palmolive), featured Carl Eastman (1941), Joseph Curtin (1942-53) and Richard Denning (1953-55) as Jerry North. Pam North was played by Peggy Conklin (1941), Alice Frost (1942-53) and Barbara Britton (1953-55). In his book, Radio Crime Fighters, Jim Cox wrote that the couple: ... who passed themselves off as a publisher and his homemaker-spouse continued to make lighthearted wisecracks as they stepped over bodies in dark alleys and were rendered unconscious by unknown assailants dispensing blows to the head almost every week... The feminine half of the twosome was at least equal to the husband in solving cases that often baffled law-enforcement officers with years of training and practiceâexcept in reading clues. No explanation was given, of course, as to why a couple of misfits could be so successful in their preoccupation while the professionals thrashed about ineffectually." Television In 1946, producer-director Fred Coe brought the Owen Davis play to television (on New York City's WNBT) with John McQuade and Maxine Stewart in the leads and Don Haggerty, Joan Marlowe and Millard Mitchell repeating their Broadway roles.
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THE FAIRWAY MATTER and THE CELIA WOODSTOCK MATTER YOURS TRULY, JOHNNY DOLLAR
10/05/2025
THE FAIRWAY MATTER and THE CELIA WOODSTOCK MATTER YOURS TRULY, JOHNNY DOLLAR
For over twelve years, from 1949 through 1962 (including a one year hiatus in 1954-1955), this series recounted the cases "the man with the action-packed expense account, America’s fabulous freelance insurance investigator, Johnny Dollar". Johnny was an accomplished 'padder' of his expense account. The name of the show derives from the fact that he closed each show by totaling his expense account, and signing it "End of report... Yours Truly, Johnny Dollar". Terry Salomonson in his authoritative "A Radio Broadcast Log of the Drama Program Yours Truly, Johnny Dollar", notes that the original working title was "Yours Truly, Lloyd London". Salomonson writes "Lloyd London was scratched out of the body of (the Dick Powell) audition script and Johnny Dollar was written in. Thus the show was re-titled on this script and the main character was renamed. Why this was done was unclear – possibly to prevent a legal run-in with Lloyd’s of London Insurance Company." Although based in Hartford, Connecticut, the insurance capital of the world, freelancer Johnny Dollar managed to get around quite a bit – his adventures taking him all over the world. There were some unusual devices used in the show that help set it apart from other shows. There was no partner, assistant, or secretary for Johnny. The character closest to a continuing role was that of Pat McCracken of the Universal Adjustment Bureau, who assigned Johnny many of his cases. Another atypical aspect gave the show additional credibility – frequently, characters on the show would mention that they had heard about Johnny’s cases on the radio. Johnny often used his time when filling out his expense accounts to give the audience background information or to express his thoughts about the current case. No fewer than eight actors played Johnny Dollar. Dick Powell, of Rogue’s Gallery fame, cut the original audition tape, but chose to do Richard Diamond, Private Detective instead. Gerald Mohr, of The Adventures of Philip Marlowe fame, auditioned in 1955, prior to Bob Bailey getting the title role. Through the first three actors to play Johnny Dollar (Charles Russell, Edmond O'Brien, and John Lund), there was little to distinguish the series from many other radio detective series. Dollar was just another hard-boiled detective in a medium that was overloaded with the stereotype. Charles Russell, the first to play the role, would throw silver dollars to bellboys and waiters. Luckily, this trite gimmick did not survive long.
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THE MILK AND HONEY MATTER and THE BEN BRYSON MATTER YOURS TRULY, JOHNNY DOLLAR
10/01/2025
THE MILK AND HONEY MATTER and THE BEN BRYSON MATTER YOURS TRULY, JOHNNY DOLLAR
For over twelve years, from 1949 through 1962 (including a one year hiatus in 1954-1955), this series recounted the cases "the man with the action-packed expense account, America’s fabulous freelance insurance investigator, Johnny Dollar". Johnny was an accomplished 'padder' of his expense account. The name of the show derives from the fact that he closed each show by totaling his expense account, and signing it "End of report... Yours Truly, Johnny Dollar". Terry Salomonson in his authoritative "A Radio Broadcast Log of the Drama Program Yours Truly, Johnny Dollar", notes that the original working title was "Yours Truly, Lloyd London". Salomonson writes "Lloyd London was scratched out of the body of (the Dick Powell) audition script and Johnny Dollar was written in. Thus the show was re-titled on this script and the main character was renamed. Why this was done was unclear – possibly to prevent a legal run-in with Lloyd’s of London Insurance Company." Although based in Hartford, Connecticut, the insurance capital of the world, freelancer Johnny Dollar managed to get around quite a bit – his adventures taking him all over the world. There were some unusual devices used in the show that help set it apart from other shows. There was no partner, assistant, or secretary for Johnny. The character closest to a continuing role was that of Pat McCracken of the Universal Adjustment Bureau, who assigned Johnny many of his cases. Another atypical aspect gave the show additional credibility – frequently, characters on the show would mention that they had heard about Johnny’s cases on the radio. Johnny often used his time when filling out his expense accounts to give the audience background information or to express his thoughts about the current case. No fewer than eight actors played Johnny Dollar. Dick Powell, of Rogue’s Gallery fame, cut the original audition tape, but chose to do Richard Diamond, Private Detective instead. Gerald Mohr, of The Adventures of Philip Marlowe fame, auditioned in 1955, prior to Bob Bailey getting the title role. Through the first three actors to play Johnny Dollar (Charles Russell, Edmond O'Brien, and John Lund), there was little to distinguish the series from many other radio detective series. Dollar was just another hard-boiled detective in a medium that was overloaded with the stereotype. Charles Russell, the first to play the role, would throw silver dollars to bellboys and waiters. Luckily, this trite gimmick did not survive long.
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THE MONOPOLY MATTER and THE BARTON BAKER MATTER YOURS TRULY, JOHNNY DOLLAR
09/28/2025
THE MONOPOLY MATTER and THE BARTON BAKER MATTER YOURS TRULY, JOHNNY DOLLAR
For over twelve years, from 1949 through 1962 (including a one year hiatus in 1954-1955), this series recounted the cases "the man with the action-packed expense account, America’s fabulous freelance insurance investigator, Johnny Dollar". Johnny was an accomplished 'padder' of his expense account. The name of the show derives from the fact that he closed each show by totaling his expense account, and signing it "End of report... Yours Truly, Johnny Dollar". Terry Salomonson in his authoritative "A Radio Broadcast Log of the Drama Program Yours Truly, Johnny Dollar", notes that the original working title was "Yours Truly, Lloyd London". Salomonson writes "Lloyd London was scratched out of the body of (the Dick Powell) audition script and Johnny Dollar was written in. Thus the show was re-titled on this script and the main character was renamed. Why this was done was unclear – possibly to prevent a legal run-in with Lloyd’s of London Insurance Company." Although based in Hartford, Connecticut, the insurance capital of the world, freelancer Johnny Dollar managed to get around quite a bit – his adventures taking him all over the world. There were some unusual devices used in the show that help set it apart from other shows. There was no partner, assistant, or secretary for Johnny. The character closest to a continuing role was that of Pat McCracken of the Universal Adjustment Bureau, who assigned Johnny many of his cases. Another atypical aspect gave the show additional credibility – frequently, characters on the show would mention that they had heard about Johnny’s cases on the radio. Johnny often used his time when filling out his expense accounts to give the audience background information or to express his thoughts about the current case. No fewer than eight actors played Johnny Dollar. Dick Powell, of Rogue’s Gallery fame, cut the original audition tape, but chose to do Richard Diamond, Private Detective instead. Gerald Mohr, of The Adventures of Philip Marlowe fame, auditioned in 1955, prior to Bob Bailey getting the title role. Through the first three actors to play Johnny Dollar (Charles Russell, Edmond O'Brien, and John Lund), there was little to distinguish the series from many other radio detective series. Dollar was just another hard-boiled detective in a medium that was overloaded with the stereotype. Charles Russell, the first to play the role, would throw silver dollars to bellboys and waiters. Luckily, this trite gimmick did not survive long.
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THE BIG RED SCHOOLHOUSE and THE DEAD FIRST HELPERS YOURS TRULY, JOHNNY DOLLAR
09/24/2025
THE BIG RED SCHOOLHOUSE and THE DEAD FIRST HELPERS YOURS TRULY, JOHNNY DOLLAR
Johnny Dollar was one of the top crime shows of the 50's and featured a hard-nosed insurance detective who started and ended each investigation by noting his expenses and announcing the outcome.
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SWEET LARCENY and CORPSE ON THE TRAIN BARRIE CRAIG, CONFIDENTIAL INVESTIGATOR
09/21/2025
SWEET LARCENY and CORPSE ON THE TRAIN BARRIE CRAIG, CONFIDENTIAL INVESTIGATOR
William Gargan, who also played the better known television (and radio) detective Martin Kane, was the voice of New York eye Barrie Craig while Ralph Bell portrayed his associate, Lt. Travis Rogers. Craig's office was on Madison Avenue and his adventures were fairly standard PI fare. He worked alone, solved cases efficiently, and feared no man. As the promos went, he was "your man when you can't go to the cops. Confidentiality a specialty." This series has been produced with various spellings of the primary character name. Barrie Craig, Confidential Investigator is one of the few detective radio series that had separate versions of it broadcast from both coasts. Even the spelling changed over the years. It was first "Barry Crane" and then "Barrie Craig". NBC produced it in New York from 1951 to 1954 and then moved it to Hollywood where it aired from 1954 to 1955. It attracted only occasional sponsors so it was usually a sustainer.
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NOBODY LIVES THERE ANYMORE and TARGET BARRIE CRAIG, CONFIDENTIAL INVESTIGATOR
09/17/2025
NOBODY LIVES THERE ANYMORE and TARGET BARRIE CRAIG, CONFIDENTIAL INVESTIGATOR
William Gargan, who also played the better known television (and radio) detective Martin Kane, was the voice of New York eye Barrie Craig while Ralph Bell portrayed his associate, Lt. Travis Rogers. Craig's office was on Madison Avenue and his adventures were fairly standard PI fare. He worked alone, solved cases efficiently, and feared no man. As the promos went, he was "your man when you can't go to the cops. Confidentiality a specialty." This series has been produced with various spellings of the primary character name. Barrie Craig, Confidential Investigator is one of the few detective radio series that had separate versions of it broadcast from both coasts. Even the spelling changed over the years. It was first "Barry Crane" and then "Barrie Craig". NBC produced it in New York from 1951 to 1954 and then moved it to Hollywood where it aired from 1954 to 1955. It attracted only occasional sponsors so it was usually a sustainer.
/episode/index/show/6d90722a-143f-45eb-83cc-2b5ba24978df/id/38207830
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DEAD BULL IN A CHINA SHOP and ANGEL OF DEATH BARRIE CRAIG, CONFIDENTIAL INVESTIGATOR
09/14/2025
DEAD BULL IN A CHINA SHOP and ANGEL OF DEATH BARRIE CRAIG, CONFIDENTIAL INVESTIGATOR
William Gargan, who also played the better known television (and radio) detective Martin Kane, was the voice of New York eye Barrie Craig while Ralph Bell portrayed his associate, Lt. Travis Rogers. Craig's office was on Madison Avenue and his adventures were fairly standard PI fare. He worked alone, solved cases efficiently, and feared no man. As the promos went, he was "your man when you can't go to the cops. Confidentiality a specialty." This series has been produced with various spellings of the primary character name. Barrie Craig, Confidential Investigator is one of the few detective radio series that had separate versions of it broadcast from both coasts. Even the spelling changed over the years. It was first "Barry Crane" and then "Barrie Craig". NBC produced it in New York from 1951 to 1954 and then moved it to Hollywood where it aired from 1954 to 1955. It attracted only occasional sponsors so it was usually a sustainer.
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THE PILGRIM'S PROGRESS and THE MAN WHO FOUGHT BACK JEFF REGAN, INVESTIGATOR
09/10/2025
THE PILGRIM'S PROGRESS and THE MAN WHO FOUGHT BACK JEFF REGAN, INVESTIGATOR
EFF REGAN, INVESTIGATOR Jeff Regan, Investigator, was one of countless private detective series that proliferated in the years following WWII. The series initially featured Jack Webb in the title role, who was coming off his work in Pat Novak for Hire, followed by Johnny Madero, Pier 23. The series premiered July 10, 1948, over the CBS network. Originally promoted as Joe Canto, Private Eye, the series was never actually broadcast under that name. However, Barton Yarborough, Jack Webb’s first partner in Dragnet, would make a guest appearance in the show playing a bit part named Joe Canto. The series was sometimes incorrectly called The Lyon’s Eye by collectors because Regan frequently opened each show stating “I’m Jeff Regan. They call me The Lyon’s Eye” or something similar. The first run of Jeff Regan ran from July 10 to December 18, 1948. Webb continued to play a hard-boiled character as in previous roles, but this time with a better relationship with the police. Webb left the show after 24 episodes when CBS declined his request for a $15 per episode raise. He returned for a brief run on a revived Pat Novak for Hire before premiering on his signature program, Dragnet, in June 1949. After 10 months, Jeff Regan was brought back to the air on October 5, 1949. After auditioning some 60 top actors for the role, Frank Graham was selected to play Regan. Regan’s boss Anthony J. Lyon had been voiced by Wilms Herbert and then Herb Butterfield during the Jack Webb era. The 1949 revival cast Frank Nelson as Lyon. Nelson was best known as the sarcastic character who would pop up almost anywhere on The Jack Benny Show. Paul Dubov assumed the Jeff Regan mantle during a part of the program’s run. For eight weeks between April and June 1950 he stepped in to replace an ailing Frank Graham. Frank Graham’s return as Jeff Regan lasted just a couple months, with the last episodes being recorded on August 2, 1950 for broadcast later. However, the program ended after Graham’s tragic death at the age of 35 on September 2, 1950. The final episode of Jeff Regan, Investigator titled “The British are Coming” aired the following day, September 3, 1950. Bob Stevenson was the primary announcer for the show. Del Castillo, Dick Aurandt, and Milton Charles were responsible for the music. Although there was indication to take it to a national audience, the show never aired beyond CBS’ West Coast network. Jeff Regan, Investigator holds up as an above-average example of the mid-century detective genre. This is due to the considerable talent invested in the program which included the voice talents of Jack Webb, Herb Butterfield, and Frank Nelson as well as the writing skills of E. Jack Neuman, who created the program, Larry Roman, William Froug and William Fifield. Some of his stories were good enough that E. Jack Neuman would re-use many of the Jeff Regan scripts when he worked on other series. This synopsis was written by Patrick Andre and Ryan Ellett with information taken from John Dunning’s Encyclopedia of Old Time Radio, The Great Detectives of Old Time Radio website, Jay Hickerson’s Ultimate History of Network Radio Programming, and “The Secret Files of Jeff Regan, Investigator" by Stewart Wright, published in Radiogram, June 2019.
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THE LADY WITH TOO MUCH HAIR and THE GUY FROM GOWER GULCH JEFF REGAN, P.I.
09/07/2025
THE LADY WITH TOO MUCH HAIR and THE GUY FROM GOWER GULCH JEFF REGAN, P.I.
EFF REGAN, INVESTIGATOR Jeff Regan, Investigator, was one of countless private detective series that proliferated in the years following WWII. The series initially featured Jack Webb in the title role, who was coming off his work in Pat Novak for Hire, followed by Johnny Madero, Pier 23. The series premiered July 10, 1948, over the CBS network. Originally promoted as Joe Canto, Private Eye, the series was never actually broadcast under that name. However, Barton Yarborough, Jack Webb’s first partner in Dragnet, would make a guest appearance in the show playing a bit part named Joe Canto. The series was sometimes incorrectly called The Lyon’s Eye by collectors because Regan frequently opened each show stating “I’m Jeff Regan. They call me The Lyon’s Eye” or something similar. The first run of Jeff Regan ran from July 10 to December 18, 1948. Webb continued to play a hard-boiled character as in previous roles, but this time with a better relationship with the police. Webb left the show after 24 episodes when CBS declined his request for a $15 per episode raise. He returned for a brief run on a revived Pat Novak for Hire before premiering on his signature program, Dragnet, in June 1949. After 10 months, Jeff Regan was brought back to the air on October 5, 1949. After auditioning some 60 top actors for the role, Frank Graham was selected to play Regan. Regan’s boss Anthony J. Lyon had been voiced by Wilms Herbert and then Herb Butterfield during the Jack Webb era. The 1949 revival cast Frank Nelson as Lyon. Nelson was best known as the sarcastic character who would pop up almost anywhere on The Jack Benny Show. Paul Dubov assumed the Jeff Regan mantle during a part of the program’s run. For eight weeks between April and June 1950 he stepped in to replace an ailing Frank Graham. Frank Graham’s return as Jeff Regan lasted just a couple months, with the last episodes being recorded on August 2, 1950 for broadcast later. However, the program ended after Graham’s tragic death at the age of 35 on September 2, 1950. The final episode of Jeff Regan, Investigator titled “The British are Coming” aired the following day, September 3, 1950. Bob Stevenson was the primary announcer for the show. Del Castillo, Dick Aurandt, and Milton Charles were responsible for the music. Although there was indication to take it to a national audience, the show never aired beyond CBS’ West Coast network. Jeff Regan, Investigator holds up as an above-average example of the mid-century detective genre. This is due to the considerable talent invested in the program which included the voice talents of Jack Webb, Herb Butterfield, and Frank Nelson as well as the writing skills of E. Jack Neuman, who created the program, Larry Roman, William Froug and William Fifield. Some of his stories were good enough that E. Jack Neuman would re-use many of the Jeff Regan scripts when he worked on other series. This synopsis was written by Patrick Andre and Ryan Ellett with information taken from John Dunning’s Encyclopedia of Old Time Radio, The Great Detectives of Old Time Radio website, Jay Hickerson’s Ultimate History of Network Radio Programming, and “The Secret Files of Jeff Regan, Investigator" by Stewart Wright, published in Radiogram, June 2019.
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JOYCE WALLACE CASE and THE PRIVATE EYE TEST RICHARD DIAMOND , P.I.
09/03/2025
JOYCE WALLACE CASE and THE PRIVATE EYE TEST RICHARD DIAMOND , P.I.
n 1945, Dick Powell portrayed Phillip Marlowe in the movie "Murder My Sweet" based on Raymond Chandler's novel "Farewell My Lovely". This was a radical departure in character for Mr. Powell from a Hollywood song and dance man to a hard-boiled detective. On June 11,1945, Lux Radio Theatre brought "Murder My Sweet" to radio, again with Dick Powell in the lead. These two performances prompted his selection for the part of Richard Rogue, in Rogue's Gallery after his role for Lux Radio Theatre and Richard Diamond came four years later. Richard Diamond, Private Detective came to NBC in 1949. Diamond was a slick, sophisticated detective, with a sharp tongue for folks who needed it. Diamond enjoyed the detective life, but not as much as entertaining his girl, Helen Asher. After each show, he would croon a number to his Park Avenue sweetheart. Mr. Powell, a former song and dance man, was perfect for the role. He added an extra dimension to the 40's hokey private eye drama. Diamond was a rough gumshoe that would often get knocked on the head with a revolver butt or other items. His counterpart on the police force was Lt. Levinson who often accepted Diamond's help reluctantly. Levinson would claim to get stomach trouble whenever Diamond would call him and would take bicarbonate to settle his aching stomach. Although they always seem at odds with each other, Diamond and Levinson were best friends. The plot theme remained fairly constant throughout the entire run of the show, Diamond getting beat up and solving a tough murder case with the support of the police department. Remarkably, for all the gun fights, Diamond never got shot. And for all his bravado, he had a serious case of vertigo. Helen Asher was portrayed by Virginia Gregg, who also played the part of Brooksie on Let George Do It and Betty Lewis on Yours Truly, Johnny Dollar. Blake Edwards wrote the early shows and also directed a few. Music was composed by David Baskerville and later by Frank Wirth.
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THE BLIND MAN AND THE COP KILLER and LOUIS SPENCE CASE RICHARD DIAMOND PI
08/31/2025
THE BLIND MAN AND THE COP KILLER and LOUIS SPENCE CASE RICHARD DIAMOND PI
n 1945, Dick Powell portrayed Phillip Marlowe in the movie "Murder My Sweet" based on Raymond Chandler's novel "Farewell My Lovely". This was a radical departure in character for Mr. Powell from a Hollywood song and dance man to a hard-boiled detective. On June 11,1945, Lux Radio Theatre brought "Murder My Sweet" to radio, again with Dick Powell in the lead. These two performances prompted his selection for the part of Richard Rogue, in Rogue's Gallery after his role for Lux Radio Theatre and Richard Diamond came four years later. Richard Diamond, Private Detective came to NBC in 1949. Diamond was a slick, sophisticated detective, with a sharp tongue for folks who needed it. Diamond enjoyed the detective life, but not as much as entertaining his girl, Helen Asher. After each show, he would croon a number to his Park Avenue sweetheart. Mr. Powell, a former song and dance man, was perfect for the role. He added an extra dimension to the 40's hokey private eye drama. Diamond was a rough gumshoe that would often get knocked on the head with a revolver butt or other items. His counterpart on the police force was Lt. Levinson who often accepted Diamond's help reluctantly. Levinson would claim to get stomach trouble whenever Diamond would call him and would take bicarbonate to settle his aching stomach. Although they always seem at odds with each other, Diamond and Levinson were best friends. The plot theme remained fairly constant throughout the entire run of the show, Diamond getting beat up and solving a tough murder case with the support of the police department. Remarkably, for all the gun fights, Diamond never got shot. And for all his bravado, he had a serious case of vertigo. Helen Asher was portrayed by Virginia Gregg, who also played the part of Brooksie on Let George Do It and Betty Lewis on Yours Truly, Johnny Dollar. Blake Edwards wrote the early shows and also directed a few. Music was composed by David Baskerville and later by Frank Wirth.
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