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

46 POPULAR TUNES (Continued) played from merely looking at the black and white notes and lyrics. But there are many songs that require a demonstration, not alone by a piano, but by ' instruments of the sustained type as well. I believe "Hold Me" is in that class. Had I heard it played moderately slowly by a good dance orchestra, featuring the reeds and strings, I might have realized that the song was very much on the same order as "Tell He," a tune over which I went into rhapsodies many, many years ago. When I did come to the conclusion that "Hold Me" was a grand tune for popular consumption, it had been whacked out by most of my colleagues on the air. And in many cases it was played and sung so much better than we could ever hope to do it that I felt it best to forget about it entirely. "THREE WISHES" By Douglas Furbur and George Posford. Published by Sam Fox Publishing Co. From the British movie, "The Good Companions," comes a song that we feel is a credit to our repertoire, "Three Wishes." There seems to be something successful about having the word "three" in a song : "Three Little Words," "Three Guesses," "Three On A Match" are examples. "Three Wishes" is unusually well written. It is, incidentally, one of our first recordings for the new Bluebird 25c Victor record. The proofs of the records, to which my boys and I listened today, were pleasing — especially the record of "Three Wishes." We play the song after the style of Ray Noble, whose English Victor record showed me just how lovely it really could be. "BLUE PRELUDE" By Gordon Jenkins and Joe Bishop. Published by Keit-Engel, Inc. Just a little bouquet in the general direction of Isham Jones and his orchestra. Two of his boys, Gordon Jenkins and Joe Bishop, evidently inspired by the prolific output of their director (who has been writing tunes since the World War, and whose run of hits during 1923 and 1924 was unprecedented), have given Isham and the rest of us an unusually fine number. I would call it a combination of "Song Of The Bayou" and "Chloe," as its thought, rhythm, and general minor quality are a bit like both. It makes a delightful trombone and trumpet feature fox trot. The boys saw fit to make it an oddity, having no verse, and 40 measures. We take it at what is commonly called "stomp tempo," with accented rhythm, accenting equally the four beats of the measure. 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Y. — I take pleasure In expressing my real satisfaction with the Capacity Aerial Eliminator. I can get with loud speaker-volume, KFI, Los Angeles, 3000 miles away. It Is not only satisfactory — It is wonderful. Signed: Robert Woolley. F. & H. RADIO LABORATORIES Dept. 33 Fargo, N. Dakota Radio Fan-Fare each beat of the measure — thus stamping into the mind of his audience each word and each note of the composition. "FREE" By Dana Suesse and Ed Heyman. Published by Harms, Inc. I have previously mentioned Dana Suesse on this page. Her "Jazz Nocturne" brought her into Tin Pan Alley prominence. And her earlier "Whistling In The Dark" and her unusual piano style have made her the subject of much discussion at Lindy's, where musical notables meet daily. Larry Spier, who was probably responsible for the development of Johnny Green and Ed Heyman in the popular music field, saw fit to merge Dana's unusual melody with a lyric by Ed Heyman. The combination is "Free." The song haunted me for days after I first heard and played it. As to its chances of becoming a rival to "Hold Me," I have my doubts, because Miss Suesse, like Johnny Green, is inclined to write beautiful things which rarely are as easily absorbed as the triter melodic twists of Other composers. Still, I thought enough of "Free" to include it in our first Bluebird recordings. The record passed muster (although it sounded as if our rhythm section had gone out for a shave during the chorus). "RADIO UNCLE" (Continued) 11. Jimmie Peterson 12. Joe Wiggin 13. Louie Brendel 14. Helen Connell "O.K.," said Nails. "And for Gaw's sake, bawl out the key name a little louder than the others when you come to it. Now, here, on the eleventh, for instance, when you come to Jimmy Peterson, give us the Jimmy Peterson good and loud, or clear your throat or sumpin', so we'll wake up and listen. Gawd knows it's hard enough to keep awake having to listen to all that other drivel of yours, just to get ten or fifteen words meant for us. Wake us up somehow when our turn comes." "And try to give us our stuff a little earlier on your program. Then we can tune out on you and get back to doing something useful on the boat." This from Splinter. "And ain't there something that you can do about that giggle of yours? That ha, ha, ha makes me sick," snarled Sneerface.