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The landscape changed abruptly in , when he was hired by Freddie Carlone's local touring band. Singers at this time were still struggling to escape from the naivete of the s, and Como told me an anecdote to prove the point. Like most vocalists of the period, he was as attached to his megaphone as a baby to it's dummy. When Carlone introduced him to the mysteries of the new-fangled microphone, he found it impossible to dispense with his beloved megaphone.

After three years with Carlone, Como was appearing with the band in a Ohio gambling casino when he was spotted by one of the customers, the bandleader Ted Weems. After watching the singer taking countless encores, Weems offered him a job. Como accepted and stayed for six years, perfectly well aware that, in the judgment of a connoisseur, the Weems orchestra was little more than a joke.

The band dispensed novelty effects, which included a great deal of whistling, yodelling and barber-shop sentimentality, and never came remotely close to the great bands of the day.

It says a great deal about Como that he should have spent so many happy years with a group of which a critic once said, "They sound run-of-the-mill, that is to say, like they're running a mill. With the entry of the United States into the second world war in , and the drafting of thousands of musicians, the balance between singer and bandleader began to change. Young men who sang with the big bands began to strike out on their own. Led by the example of Sinatra, most of these artists enjoyed some degree of success.

Como took the plunge in , and, so instantaneous was his advance, that within two years he had signed a Hollywood contract. He starred in three film musicals with Carmen Miranda, though the best that can be said is that each was worse than the others. He was stiff and ungainly in his movements, and so laid back that he seemed always about to slump into unconsciousness.

Later, this apparantly casual style, along with his cardigans, became Como's most famous trademark. Como was born and raised in the small coal-mining town of Canonsburg in southwestern Pennsylvania.

His first professional singing performance was with the Freddie Carlone Band. In , Como joined the popular Ted Weems Orchestra. To me, singing was a lark. The man who really influenced all of us was Bing [Crosby], and he was a very dear friend.

I used to buy all his records and find out what the hell he was doing and try to emulate him. He appeared with the Weems band through and then began a solo career that included smash-hit bookings at the Paramount Theater on Broadway. His Chesterfield Supper Club radio show premiered in and made Como a household name. His whole approach is very nonthreatening, which is one of the reasons men like him as well as women.

I always compare it to somebody knocking on your door. If you do, you are doomed. If you are a singer, you just do what you do and hope to God the audience accepts it. The spontaneity was the fun of it. And he always wants to sing.

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