Variety (January 1952)

Forty+txih Annlttenmrf Wednesday, Jnuurf ^ 1952 FRANK By REG CONNELLY: London. Since Britishers sang and danced the '1950 year out, and the new one, in to the strains of “I Tawt I Taw a . Puddy Tat,” many unusual pop tit c$ have become great hits, and a tew original accompanying noises contributed in ho small degree to. the new successes. In ’50, Gordon Jenkins had paved the Way to some extent, costarred with the folksy and punchy Weavers vocal group, with their bcordiiigs of “Goodnight, Irene,” “Roving Kind,” etc., True, in these instances the songs concerned were lilting part-P, D.’s,. blit the introduction of a new type sound had started, and this year Jenkins skillful treatment of one T the best-written recent songs, “.My Resistance Is Low,” was suffi nent in Engiand-^-where it is still possible to obtain strong concentration on an outstanding record interpretation, that will get a “yes” or “no” from listeners-— to put the song rapidly in the No. 1 bestseller spot. With . vastly different and exceedingly well contrasted formats, Mitch Miller, producing an un-. broken chain of successes, month by month, indisputably became No. 1 record man of the. year, his series of accompaniments to Guy Mitchell’s vocals on a number of pop tunes having been so sparkling and zingy as to sweep both records and singer to stardom. And in the case of* Frankie Lame’s “Jezebel” the same feat was accomplished with just one record. The general standard of ail output on this particular label has been amazingly and consistently high, and is winning acclaim for vocalists and accompanying orchestras alike, the World over, prestige of names such as Doris Day, Tony Bennett, Rosemary ClOoney, Frankie. Laine, Jo Stafford, Percy Faith, Paul Wes Holiday Greetings SAMMY FAIN tort,, etc., to name a few of the , principal ones has never been so high. Reaction to all this in England has. been, instantaneous, some Of the titles having sold proportionately higher here than in America. Strangely, one of the year’s greatest records and biggest sellers, Patti Page’s “Tennessee Waltz.” did not share in the general upsurge due to this particular version not being available to British buyers. This omission did, however, provide a golden opportunity, which Was promptly seized by local a&r man Norman Newell, whose record of1 the tune, sung by Teddy Johnstone, secured sales comparing favorably with the , bestselling U. . S; artists. Significantly, local singers derived great benefit from this intensified public interest, records by new vocalist Jimmy Young of hit songs “Because of You,” “Too Young,” etc., having also hit top sales figures. | The Disk As New Talent Hypo [ Looking back on all entertain' ment activity in 1951, the record has been the greatest single factor to create new star talent, or to add to the stature of up-and-coming artists. Names in the first category are such as Laine, Nat Cole and Dinah Shore, and among the up-and-comings, Les Paul and Mary Ford, Tennessee Ernie and Guy Mitchell being a cinch to bring crowds not only to London’s Palladium, but to any other great provincial British vaudeville house where they might appear. Of course, this attraction is even more strongly emphasized in the case Where a successful recording artist is also a film star, such as Doris Day, Whose “Shanghai” record was smash hit. Either medium is effective in attracting attention, but the combination of both is irresistible. It is hardly surprising, therefore, with the hypo this buoyant record phase is providing, unexpected song hits have developed, Without apparent reason, more so perhaps in England than America, where the picture is less diffused due to the limited number of disk jockeys and record programs. Few though these are, one interesting aspect has emerged from the BBC’s decision to invite personalities from other sections of the entertainment World to emcee record presentations. In every case Where such personalities have continued these programs over a period, it has given a sudden but unmistakable spurt to their, popularity^— a further, indication of the potency of the record’s appeal. In the field of accompaniment, backgrounds to Vocal records, and purely light instrumental, records, there have been always outstanding American arrangers whose names became bywords, and who, like Ray Noble, Sid Phillips and Stanley Black in England, graduated via their own individual arranging styles to become directors of their own orchestras. Morton Gould* Raymond Scott, Axel Stordahl, .Hugo Winterhalter, David Rose, Percy Faith, Tutti Camarata and others equally gifted, have set a standard which continues to evoke universal admiration. On occasions in the past there have been good melodic compositions whose popularity and success were undeniably due to brilliant instru mental recordings, as for example “Pavane,” “intermezzo,” “Holiday for Strings,” “Third Man Theme,” etc. But With the development of this branch of recording, stimulated by the fresh ideas the past year has brought, examples are increasing of songs becoming hits from performances of instrumental records Without benefit of vocal refrai This happened in England with the “Petite Waltz,” and more recently With “Charmaine” and . ‘‘Love’s Roundabout” (“La Ronde”) due to English maestro Mantovani’s arrangements and interpretations. But whether it be Mantovani’s strings, Mitch Miller’s French horns and harpsichords, or Les Paul’s beguiling guitar performances, we are now embarked upon a new phase, of experiments with intriguing fresh sounds, the impact of which on listeners brings ; instantaneous reaction — or none at all! SEASON’S GREETINGS vith THANKS FOR YOUR PLUOS Licensed Exclusively by CASE KUSBY Pr'ee. 1143 West 17th STREET CHICAGO) 8. ILL. CA. 4-2782 ABELES & BERNSTEIN U • Season’s Greetings 745 Fifth Avenue, New York 2 6th Anniversary at the Palmer House RALPH GINSBURGH and His Concerf Ensemble COLUMBIA RECORDS JACK ROBBINS Season*# Greetings t EDDIE KASSNER CHARLIE ROSS "GOLDIE” GOLDMARK CARLYLE MUSIC CORP.