Radio Broadcast (May 1927-Apr 1928)

The PHONOGRAPH ' 1 10 JUDGE by the sale of radio-phonograph combination instruments and the popularity of the various electromagnetic pick-up units, the phonograph and the radio set in combination are climbing to high favor among radio users. If you have a good radio receiver and loud speaker, the purchase of a magnetic pick-up makes your old phonograph up to date and all the fine new electrical recordings then pour out of your loud speaker sounding as well as the best radio program. This magazine and others have contained descriptions on how to bring the old phonograph up to date using the electromagnetic pick-up. These pages on the entertainment that the radio-phonograph offers to the user are a regular feature of Radio Broadcast. It is not enough to know that the combination of the radio and phonograph provides a flexibility of home entertainment that is astounding — we feel our readers would also like to know what the disks actually offer. These columns discuss only the records made by artists well known to broadcasting. — The Editor. A New Use for Records T N THE days when life was simpler, we thought ' of the phonograph merely as an instrument for the diversion of the multitude of home-loving folk, who were enabled by it to listen to jazz or classical music without budging an inch from their Franklin stoves. Then someone realized that by preserving on its records the speeches, music and other audible accompaniments of events of national importance the phonograph could be made to have a definite historical importance. And now the phonograph has had another burden laid upon it, that of delivering speeches for important individuals at gatherings at which they cannot themselves be present. This was actually done at the opening of the fifth annual convention of the American Institute of Steel Construction in Pinehurst, North Carolina, on October 25. Secretary of Commerce Herbert Hoover was asked to deliver the speech of wel a close-up of victor's no. 955 " electrola" This illustration shows the radio panel of this elaborate combination radio phonograph model. The radio panel can be tipped for convenience in operation as shown here, or it can be tilted upright. Pilot lights make tuning easy. This instrument, completely electrically operated will play 12 records without stopping, contains built-in loop, power loud speaker (shown behind the grille above) and power supply. Price complete, $1550 come at this convention, but he could not take the time to make the trip there and back. The Institute, determined to have the speech, enlisted the services of the Victor Company, who made a record of a speech which Mr. Hoover delivered in his own office in Washington, and on October 25 this record was reproduced in Pinehurst before the convention. As Mr. Hoover himself remarked, one of the advantages of this method is that it puts a definite time limit on speeches. What a unique device for curtailing long-winded recitations! And what a splendid way to eliminate superfluous oratory, for as the Secretary also noted, and as all who have broadcast well know, a microphone is about as inspiring an audience as a bathroom door knob! We foresee a great future for this branch of phonograph service. A Review of Recent Records BUT though the phonograph now has a Mission it still continues to provide amusement and entertainment for those who want it. And, as far as we can see, the recent output of records is much the same as ever; there are many good records, a few poor ones, and a goodly supply of in-betweens. Of the latter the majority seem to be instrumental dance records. The orchestras which play for these are admirable and the recording of their playing is in most cases all it should be, but the selections on which they waste their talent are just about zero in musical worth. The result is like apple pie without the apple. Alas for more Gershwins and Berlins! On the Victor, Columbia and Brunswick lists are many names familiar to those who sat at home turning the dials of their radio sets through the long winter evenings of 1926-27. They will recognize numerous regular performers and others who have made only a limited number of ethereal bows on such programs as Atwater Kent, Eveready, and Victor. New names are being added daily to this register of recording-broadcasters and now that Columbia has its aerial chain, we can expect even more. Of the recent dance records, Who Do You Love? and I'll Always Remember You played by Paul Whiteman and His Orchestra (Victor) head the list. This famed outfit have taken two of the best songs now extant and by decorating them with a trick orchestration in the inimitable Whiteman manner have made an unusually good record out of them. Is It Possible? and Just Call On Me played by Leo Reisman and his Orchestra (Columbia) is another grand record. If we hadn't always lived in the belief that Whiteman had no equal, we would say this was as good as the first record on our list. We will say it. Anyway, it is pretty smooth music and we defy you to keep your feet still when you listen to either number. Gorgeous by Johnny Hamp's Kentucky Serenaders would be an asset to any collection of dance records and its companion on the opposite side, There's a Trick in Pickin a Chick-Chick THE UTICA JUBILEE SINGERS There are those who are not especially impressed by negro spirituals. But if you like these interesting melodies and want to hear them sung as they should be sung, listen to this group on wjz and associated stations at 9:45 eastern time Sunday evenings. They have made one double-faced recording for Victor, one of the finest recordings of the kind we have heard Chicken by Nat Shilkret and His Vic-Vic-Victor Orchestra is just as full of pep. (Victor). Habitual listeners-in on Harold Leonard and his Waldorf Astoria Orchestra will want his latest Columbia product, Just A Memory and Joy Bells. You don't have to be told it is good. Once Again and No Wonder I'm Happy as played by Ernie Golden and his Hotel McAlpin Orchestra will have the ring of familiarity to those who tune-in on station wmca. They are good snappy numbers. (Brunswick.) Having heard excellent reports of the new Broadway show "Good News" we were disappointed in the three numbers from it which have found their way onto the rubber discs. The title number, Good News, and Lucky in Love have been recorded for Columbia by Fred Rich and his Hotel Astor Orchestra, and Cass Hagan and his Park Central Hotel Orchestra have done The Varsity Drag (also Columbia). If you are one of those who raved over the show you may enjoy the records. You may also like Dancing Tambourine by the Radiolites on the reverse side of The V arsiiy Drag, though we can't enthuse over it. If you stuff cotton in your ears during the seconds devoted to the vocal chorus in Baby Feet Go Fitter Palter you may agree with us that this record by Abe Lyman's California Orchestra (Brunswick) is one of the best that have appeared in many moons. In addition to an aversion to vocal choruses in general we detest the words to this particular song. It was an error on someone's part to attach such a silly lyric to such an excellent tune. However, it's short and the few seconds one sacrifices to get through it are a drop in the bucket and the rest of the record is fine. The other side carries There's One Little Girl Who Loves Me, also played by Abe Lyman, and also good. Another of the better records slightly marred by a vocal chorus is No Wonder I'm Happy and Sing Me a Baby Song by the George H. Green Trio with Vaughn De Leath doing the vocalizing. (Columbia.) The Ipana Troubadours, smile vendors under the direction of S. C. Lanin, have done a fine job with Are You Happy? and A Night in June, of which Frank Harris carols the chorus. (Columbia.) Inhabitants of Mayor Thompson's Strictly American City will welcome a Columbia disk made by one of Chicago's Municipal Heroes, Paul Ash, and his Orchestra. Just Once Again is excellent and its vocal chorus by Franklin Baur makes us eat some of our words just uttered; we must admit it is an addition to the 206