Radio fan-fare, combining radio digest (June-Oct 1933)

16 POPULAR TUNES An Analysis and Opinion By RUDY VALLEE "STORMY WEATHER" By Harold Arlen and Ted Koehler. Published by Mills Music, Inc. It was not until the appearance of Walter Winchell and Ben Bernie at the Paramount Theatre in New York that I fully appreciated Harold Arlen's genius as a song writer. I have admired him as a pianist and vocalist since he worked in Arnold Johnson's band, and when he wrote "Happy Feet" I knew he had the mark of cleverness. But the Paramount show made me realize what a truly great song writer Harold is. He had arranged a medley of his popular songs, and as he went through the list I heard "Get Happy," "Hittin' The Bottle," "You Said It," "Sweet And Hot," "Kickin' The Gong Around," "The Devil And The Deep Blue Sea," "I've Got A Right To Sing The Blues," "I Love A Parade," and "I've Got The World On A String." Associated with Harold as lyricist is the very capable Ted Koehler, and many of their songs have been used by the torrid colored singers at Harlem's Cotton Club. And after all the marvelous songs these two boys have turned out, they now top their work with "Stormy Weather." The first time you listen to it you may think it a bit disjointed and lacking in pattern, but the more you hear it, the more you will appreciate the true depth of the composition. As in other Arlen songs, this one shows the influence of Jewish religious melodies — in fact, Harold admits that his youthful days in the Synagogue left an indelible impression on his musical imagination. "Stormy Weather" is one of the most unusual song hits in years. It has already been given a magnificent stage presentation at the Radio City Music Hall, and will doubtless be featured by amateur and professional showmen all over the world during the next year. It should be played slowly. "I LAY ME DOWN TO SLEEP" By Allie Wruble. Published by Shapiro Bernstein & Co. During my college days in New Haven I associated myself with Messrs. Bolton and Cipriano, two Yale graduates who had been handling dance orchestras since their college days of 1913-1914. They, in turn, often worked for Ed Wittstein, who was the leading society dance orchestra leader in that New England territory. One weekend Mr. Wittstein brought down a young man from Wesleyan College named Allie Wrubel. My first impression of Allie was that he had a pointed chin and a rather humorous, eccentric disposition. Wrubel's folks were wealthy furriers in Middletown, Connecticut, where Wesleyan is located. Allie not only played the saxophone well, but his chin seemed to have been designed to sustain the silver length of the flute. Crazy tricks on that instrument were his forte, and, while I made a specialty of tone, I also went in for some of the trick stuff. Thus Allie and I were always friendly rivals. Shortly after I was graduated I moved to New York. When Allie decided to write songs he also invaded the Big Town. That he had an unusual talent was demonstrated even before his college Radio Fan-Fare days. He composed a little risque song called, "You'll Do It Some Day, So Why Not Now?" Allie has always leaned a bit toward the double entendre and I believe he has furnished Morton Downey with some unusually clever material suitable for drawing room and night club work. But Allie soon discovered that, in order to write good commercial music, the songs had to be tuneful and simple. As a result of his earnest efforts, we have "Now You're In My Arms," "Farewell To Arms," and "The Farmer's Daughter's Wedding Day." And now comes the lovely, almost concert type of melody, "I Lay Me Down To Sleep." This song will unquestionably make radio history, though, of course, Allie's best is still "Farewell To Arms." We play "I Lay Me Down To Sleep" quite slowly, taking about one minute to the chorus. • • • "WHAT HAVE WE GOT TO LOSE" By Lou Alter, Gus Kahn, and Charlotte Kent. Published by Robbins & Co. This is more a note of apology than an opinion, because you certainly know by now that "What Have We Got To Lose" is a hit song. Which just goes to show how wrong I can be. Jack Robbins mailed me a "ditto," or mimeographed copy, long before the song was published, but I couldn't see that it had any merit until Helen Morgan sang it on one of our programs. And so my belated congratulations, particularly to my good friend, Lou Alter. The tune should be given a breezy, lilting treatment. We take about fifty seconds to play one 32-measure chorus. "SHADOW WALTZ" AND "I'VE GOT TO SING A TORCH SONG" By Harry Warren and Al Dubin. Published by Remick Music Corporation These tunes are from the Warner picture, "Gold Diggers of 1933," and I mention them together because we recorded both of them for the Columbia Phonograph Company. (Continued on page 48)