Phonograph Monthly Review, Vol. 4, No. 10 (1930-07)

July, 1930 The Phonograph Monthly Review 357 Swing of the Kilts The once highly popular role of Scottish singing comedian is now left to the almost uncontested ownership of Sandy MacFarlane, who indeed is by far the best to follow in Laud- er’s footsteps. His Bonnie Heilan’ Maggie and Wedding of Sandy McKie (Columbia 2193-D) are characteristic of the skill with which he contrives his infectious tunes, and the clever effortless manner in which he sings them. There are also the inevitable spoken and laughing passages. Tale from History Benny Rubin never succeeds in convulsing me with laugh- ter, but his Milt Grossian recital of episodes from LTncle Tom’s Cabin—with each character and action given appro- priate musical illustration—is silly enough to be really fun- ny. It is like a slap-stick comedy,—one knows it’s ridiculous, and laughs as much as ever. The Laugh Song from “Sunny Skies” on the other side is not exceptional (Brunswick 4798). Dangerous Nan Dan’s mate, Dangerous Nan McGrew is the latest char- acter of the song world to rise to popularity. Helen Kane, who plays the title role in the film of the same name, does the best version of the song of the girl who was so tough that when mad dogs bit, she bit them back. I Owe You, on the other side, is a return to Miss Kane’s now stereotyped ma- terial (Victor 22407). Charlotte Miller (on Columbia 15558- D) doesn’t take the part as well, but she and Bob Fergu- son have a clever imitative song on the other side—Poker Alice. Movie Organs Lew White and the Jesse Crawford, indefatigable and un- swervable, continue their respective series with typical or- ganizations of popular tunes. White goes slightly Southwest- ern with Under a Texas Moon and It Happened in Mon- terey (Brunswick 4781), while Jesse alone plays the latter song, and with Mrs. Crawford The Moonlight Reminds Me of You (Victor 22413). Instrumental Trios Okeh issued both discs in this classification; the Roy Smeck trio in Telling It to the Daisies and I Never Dreamt (41420), and Frank Ferara’s Hawaiian trio in Under a Texas Moon and It Happened in Monterey (41420)—all highly conven- tionalized performances with much bland guitar work. Sing You Sinners I discover that I omitted the best vocal ensemble disc from its proper classification, but perhaps the error is a fortunate one—the merits of the record entitle it to separate mention. Sing You Sinners as done by the Revelers is not only one of the best versions of a fine song, but one of the Revelers’ best pieces of work. The coupling is in sharp con- trast: Lewis James singing Looking at You in the blandest and most sugared manner. (Victor 22422). The Best Songesters Out of the long list of popular songsters I should pick the following for first mention: Grace Hayes (far in the lead) with just the right touches of graceful lilt, a fine tone, and an attractive manner in On the Sunny Side of the Street and Exactly Like You (Victor 22428), both of which are so good as to make most of the others who have essayed the same or similar pieces seem very inadequate indeed. A first rate popular record. Marion Harris is another songster to depend on, and her current recording of a catchy Wasn’t It Nice? and Cole Porter’s fine song, You Do Something to Me, is well up to her standards (Brunswick 4806). Ruth Ettinq has characteristic material for her talents in Dancing With Tears in My Eyes (coupled with a very sad and slow I Never Dreampt, on Columbia 2216-D), but the voice as well as the eyes contains a few tears. The other Etting release (2199-D) couples a slow, feeling-full version of It Happened in Monterey with a more animated Exactly Like You. Miscellaneous Warblers Okeh: William Dutton is very tender and highly sweet- ened versions of Sing a Little Theme Song and It Happened in Monterey (41419). Columbia: Roy Evans, of yodel fame, doing some good straight singing in blue but spirited songs. I Lost My Gal from Memphis and Ro-Ro-Rollin’ Along (2198- D), Oscar Grogan in welcome contrast with his usual lugu- brious style singing plaintive, but fairly animated versions of If I Had a Girl Like You and I Still Remember (2210-D); Charles Lawman with intimate, husky-voiced, and yet quite effective performances of I’m in the Market for You and Blue is the Night (2209-D). Brunswick: Harry Rickman leads with swinging versions of Without Love and Thank Your Father (4799); Eddy Thomas tends to monotonous stresses in The Moon is Low, but the easy-mannered Bench in the Park is more effective (4786); Dick Robertson is very soft and sentimental in Somewhere in Wyoming, while the gay style of his singing in They Cut Down the Old Pine Tree contrasts oddly with the pathetic words (4785); Freddie Rose does well with a light-hearted What Kinda People Are You? and less well with a saccharine version of Promises (4815). Victor: Gene Austin finds typically honeyed morceaux in Under a Texas Moon and Telling it to the Daisies (22416); Johnny Marvin does a spirited Ro-Ro-Rollin’ Along and a blander River of Golden Dreams (22418); Frank Crumit is really in a class by himself—his current coupling of Around the Corner and Down by the Railroad Track, done in his best infectious manner with the excellent accompaniments that distinguish all his releases, is well worth}' of him (22423). Them Thar Hills The features of the Southern series are the elaborate sketches in which a number of leading hill-billy artists par- ticipate. Brunswick gets out a four-part tale of the Great Hatfield-McCoy Feud (422-3) done in highly realistic fash- ion, with of course the customary musical interludes. From the same company comes a sketch of a Bootlegger’s Joint in Atlanta (419) masquerading as a musical conservatory (the pronunciation is impossible to indicate in type) that is amus- ing as well as novel. Columbia’s hit is Takin’ the Census (15549-D), with McMichen, Puckett , Tanner, et al, in a realistic description of any Government feller’s difficulties in the back hills. There is fiddling on the side. Best in the Victor lists are sad cowboy songs by Carl Sprague (Wayward Daughter and Mormon Cowboy—V-40246) and Bud Billings' version of the Ohio Prison Fire, done to the same tune and nearly as good effect as Carson Robinson last month for Columbia (V-40251—a song of the Old Parlor Organ is the coupling). Blues None is outstanding. The more interesting are a Darktown Gamblin’ sketch by Robert and Charlies Hicks on Columbia 14531-D; Bessie Smith's very mournful Blue Spirit and Worn Out Papa Blues (Columbia 14527 with Prof. Jimmy Johnson very much at the piano); Little Hat Jones' Rolled from Side to Side and Little Hat Blues (Okeh 8794); singing and pian- nying by Speckled Red (Brunswick 7151—Dirty Dozen and Right String but the Wrong Yo-Yo ; Frank Stokes in Right Now and Shiney Town Blues (Victor V-38598). There are of course many other race and hill-billy discs from all the com- panies. DANCE Teutonic Style The continental orchestras can occasionally best even the best American jazz bands in the smoother variants on mod- ern dance music. Marek Weber provides apt examples on Victor V-6069, with a slow tango—Wenn du einmal dein Herz verschenkst—and a most attractive, easy-going fox trot —Der Duft, der eine schone Frau begleitet. In both the vocal choruses are sung in a way that should shame a good many of the American and British choristers out of record- ing, and in the fox trot particularly the orchestral playing is very neatly turned and well colored. And incidentally it is highly danceable. British Visitors Jack Hylton and his orchestra of “Lift Up Your Finger” fame are back again this month with a rousing hail-fellow- well-met tune. Give Yourself a Pat on the Back, a highly spirited opus done in hearty fashion by one of the finest dance orchestras (Victor 22434). The counting is a more mellow affair, When the Organ Played at Twilight, a rather seductive slow waltz with considerable solo work on the or- gan of Madame Tussaud’s cinema palace. For those who like their dance music dreamy. (Give Yourself A Pat on the Back is also done in brisk fashion by Johnny Walker's band for Columbia, together with the Mug Song on 2201-D).