The Edison phonograph monthly (Mar 1906-Feb 1907)

EDISON PHONOGRAPH MONTHLY. COMMENTS ON EDISON GOLD MOULDED RECORDS FOR AUGUST, 1906. As more appropriate to the summer season, the August list of Edison Gold Moulded Records abounds in music of light character. It is the vacation month and the one time in the year when business and other cares are laid aside and people seek amusement. Therefore, this August list, in the main, seeks to amuse, although there are several selections of a more serious and dignified character. All of the selections are by the old favorites, whose past efforts have endeared them to the Phonograph public. No. 9314, ''Polonaise Militaire," by the Edison Concert Band, is a composition by F. Chopin, the celebrated composer, and is the first polonaise listed in our catalogue in some time. It is military in its character and the various instruments of the band in turn are featured with bits of solo work. "Polonaise Militaire" was one of the musical numbers played at the Longworth-Roosevelt wedding at Washington. No. 9315, "Waiting at the Church," by Ada Jones, is the much talked of song in English dialect, sung by Vesta Victoria, the great English music hall singer, during her recent successful engagement at the New York vaudeville theatres. The music is by Henry E.„ Pether and the words by Fred. W. Leigh. The song relates the troubles of a young girl who had made, all arrangements to be married and was waiting at the church when her lover sent word that he could not marry her, for his wife wouldn't let him. It is excellently sung, as are all of Miss Jones' Records. No. 9316, "Afloat on a Five Dollar Note," by Collins and Harlan, is a new summer waltz song descriptive of the pleasures of a trip afloat by Dolly and her beau, the expenses of which are covered by a five dollar note. It has all the rhythm essential to the success of a summer waltz song. Collins and Harlan sing it with the abandon required by a song of this kind. They are accompanied by the orchestra. The music is by Fred J. Helf and the words by Arthur Lamb, both of whom have been identified with a number of successful songs. No. 9317. "St. Louis Tickle," by Vess L. Ossman, is a decidedly gingery banjo solo by Barney and Seymore. We have had repeated requests for this selection. It is full of rag-time, and is played in a masterly manner by Mr. Ossman, a two banjo effect being one of the features, and the player is accompanied by the orchestra. No. 9318, "After They Gather the Hay," by Harry MacDonough, is one of the late popular ballads written by S. R. Henry (music) and J. J. Walker (words) and splendidly rendered by Mr. MacDonough. The title suggests the sentimental character of the ballad. The singer lovingly recalls the past to his fair one, declares his devotion and states that he will come to her "After They Gather the Hay." Sung with orchestra accompaniment. No. 9319, "Heaven is My Home," by Anthonv and Harrison, is the well-known hymn by Sir Arthur Sullivan (music) and Thomas R. Taylor (words). The popularity of this selection will make the Record sought by all lovers of sacred music. The singers are accompanied by the orchestra. m No. 9320, "Bill Simmons," by Arthur Collins, is one of the biggest hits in the summer show, "The Social Whirl," which has had such a run at the Casino Theatre in New York. In this show the song is rendered by Maude Raymond. The sub-title of the composition is "I've Got to Dance 'till the Band Gits Through." It tells of the troubles of Bill Simmons, who had to dance when he heard a band no matter what happened. He got a job in a ham and egg place and one day was carrying a tray piled four feet high when the band began to play. Bill had to dance, the tray of eatables was thrown to the floor and Bill" lost his job because he had to dance until the band got through. That Mr. Collins has made a splendid Record of a composition so well fitted to his style goes without saying. He is accompanied by the orchestra. G. A. Spink wrote the words and music for this song. No. 9321, "Gen. Mixup, U. S. A.," by Edison Military Band, is a characteristic march, well described in its title and introducing various national and popular airs. At times two or three different airs are being played at one and the same time, each, however, being easily distinguishable and forming as a whole a brilliant, effective and interesting unity. Probably twenty different national airs are played at one time or another on this Record. The composition was written by Thomas A. Allen, composer of "Any Rags" and other song successes. No. 9322, "Smile On Me," by Irving Gillette, is a sentimental ballad, the music of which was written by Henry O. Sutton and the words by Jean Lenox. Mr. Gillette's splendid voice appears to advantage, as usual, in this song, being accompanied by the orchestra. No. 9323, "Daughter of Vanity Fair," by Harlan and Stanley, is a splendidly sung Record of a pathetic ballad written by Ed. Rogers (music) and Jimmie Burrell (words). Sung with orchestra accompaniment. No. 9324, "Bell Solo from The Magic Flute," by Albert Benzler, is a fine bells solo from Mozart's favorite opera, "The Magic Flute," and never before produced so accurately on a Record. It is one of the most effective instrumental hits of the opera and one very difficult to perform well. This presentation of the selection was specially arranged for our Record and cannot be had in published form. We think this beyond question the most effective Record by the bells that we have ever made. It is played with orchestra accompaniment. No. 9325, "Bonnie Banks O' Loch Lomond," by Marie Narelle, is a delightful Record of this well-known and ever popular Scotch Melody. Sung with orchestra accompaniment. The song is a great favorite of Miss Narelle's and one she takes unusual interest and delight in singing. Her specially fine rendition of the ballad abundantly bears out this statement. No. 9326, "The Morning After," by Len Spencer and Steve Porter, is a companion selection to "Flanagan's Night Off," (our Record No. 9244). It is the morning after Flana