The Edison phonograph monthly (Mar-Dec 1907)

EDISON PHONOGRAPH MONTHLY. COMMENTS ON EDISON GOLD MOULDED RECORDS FOR JUNE. There is nothing surprising after all about the great success of the lists of Edison Gold Moulded Records put out month after month, as evidenced by their phenomenal sales, for they comprise selections of such a varied character as to appeal, in part at least, to all tastes. There is something for everybody. Each list is a delightful evening's entertainment. In addition to good things by all the Edison stars in the June list, there is a clever vocal imitation of a violin by Edith Helena, and a funny Record by the Edison Vaudeville Company, from whom other good things will come later. Steve Porter's contribution is irresistible in its drollery. The following paragraphs tell more about the list : No. 9554, "Golden Rod," by the Edison Concert Band, is a charming intermezzo by Mabel McKinley, a niece of the late President. Miss McKinley has achieved a national fame as a composer of popular music. Among her best known works are: "Anona" (our Record No. 8474) ; "Feather Queen" (our Record No. 9257) and "Karama" (our Record No. 8780). This new selection is quite as attractive as her previous efforts. No. 9555, "With You in Eternity," by Irving Gillette, is not a sacred selection, as its title at first suggests, but a sentimental and pathetic ballad in which the lover sings his devotion to the memory of the dear one who has passed away. The music is by Alfred Solman and the words are by Arthur J. Lamb. Mr. Gillette sings the words with much feeling. He is accompanied by the orchestra. The chorus : Although in this world we may meet no more; Although it may seem love's dream is o'er, Some day, my own, I'll happy be, With you in eternity. No. 9556, "Intermezzo from Cavalleria Rusticana," by Edith Helena is a vocal imitation of a violin playing Mascagni's well known composition. It is one of the most novel and at the same time most clever Records so far made for the Edison catalogue. Miss Helena sings this on the vaudeville stage, playing a violin in pantomime the while. In our Record the final notes are sung just to convince the listeners that the violin is being imitated. No. 9557, "Pretzel Pete," by Vess L. Ossman is a banjo solo, with orchestra accompaniment, with which Mr. Ossman has placed to his credit another splendidly rendered Record. His banjo work never fails to please the admirers of this instrument. "Pretzel Pete" was written by Hampton Durand. Suggestions of German airs are woven in the melody. No. 9558, "In Washington," by Billy Murray, is a topical song. Mr. Murray sings of the foibles and peculiarities of life at the nation's capital. These touch upon the cost of living, the lack of limit of its games, the hotel charges and finally the practice of sending statesmen to the Senate when they need a change and rest. Charles Bigelow makes a big hit with this song in Anna Held's "The Parisian Model" at the Broadway Theatre. The music was written by Gertrude Hoffman and the words by Vincent Bryan. Mr. Murray sings with orchestra accompaniment. No. 9559, "Reed Bird," ("The Indian's Bride") in an Indian song by Collins & Harlan. Songs of the noble Red Man continue to compete with coon songs for the center of the stage of popularity. Reed Bird is the squaw beloved by a "big, bold Indian brave." She is stolen by the foes of the tribe. The rivals fight, the squaw is rescued and "the big chief weds her in the morning." Dave Reed, Jr., is responsible for both the music and words. Of course, the song is much more attractive than anything actually produced by Indians, but the words are Indian, there are whoops of the braves and the torn tom's beat, therefore, it is an Indian song. Collins and Harlan sing with orchestra accompaniment. No. 9560, "It's a Long Way Back to Dear Old Mother's Knee," is a sentimental song by W. H. Thompson. It's a long way back to dear old mother's knee, And it's there to-night I long to be; And I'd gladly live life o'er To retrace my steps once more; It's a long way back to dear old mother's knee. Thus the singer views in retrospect the days of his boyhood, when his mother took him on her knee, crooned to him a love song sweet and low and read from the family Bible the sweet story of Bethlehem long ago. The music fits both the sentiment of the verses and Mr. Thompson's splendid voice. Mr. Thompson seems to sing better with each new selection. The music of this song was written by Halsey K. Mohr and the words by Alfred Bryan. The Record is made with orchestra accompaniment. No. 9561, "The Telescope March," by the Edison Military Band, is a new composition by Frank R. Seltzer. The orchestration includes some attractive effects. No. 9562, "School Days," by Bryon G. Harlan and Chorus, is a new descriptive song by Cobb and Edwards, with a subtitle "When we were a couple of kids" and the two titles give a fair idea of the story in the song. The chorus tells it more fully, as follows : School days, school days, dear old golden rule days; Readin' and 'ritin' and 'rithmetic, _ Taught to the tune of a hickory stick, You were my queen in calico, I was your bashful barefoot boy And you wrote on my slate, I love you Joe, When we were a couple of kids. Mr. Harlan's excellent rendition of the song is enhanced by the Edison Male Quartette, who join in the chorus, all being accompanied by the orchestra. No. 9563, "Sometime We'll Understand," is the monthly sacred number by Anthony & Harrison. Ever since our sacred Records have been so successful we have had scores of requests for this hymn by James McGranahan (music) and Maxwell N. Cornelius (words). It is one of the most attractive of sacred selections. The Record is made with orchestra accompaniment. No. 9564, "The Last Rose of Summer is the Sweetest Song of All," is sung by Harry Anthony, who has not in some time made a more