Radio and television mirror (Jan-June 1942)

OFF THE RECORD Some Like It Sweet: Glenn Miller (Bluebird 11342) "Dreamsville, Ohio" — "Papa Niccolini." An amiable lament to the midwest combined with a cheery novelty that relies on affable Tex Beneke's voice for its best mornGnts. Russ Morgan (Decca 4069) "Buckle Down, Winsocki" — "Everytime." Rousing football tune for a mythical prep school that is far superior to most authentic ones. The reverse is easy on the ears. Charlie Spivak (Okeh 6476) "Autumn Nocturne" — "Clock Song." Laurels for the top side. Spivak's trumpet plays the haunting melody beautifully. One of the outstanding tunes of the season. Kay Kyser (Columbia 36441-36433) "Thank Your Lucky Stars and Stripes" —"How Long Did I Dream ? "—"Humpty Dumpty Heart" — "Romeo Smith." Four tunes from the professor's new film, "Playmates" and they run the gamut from pertness to patriotism. All good. Sammy Kaye (Victor 27666) "Honeybunch" — "No Laughing Matter." Not as stickily sentimental as recent Kaye platters and therefore refreshingly welcome. Freddy Martin (Bluebird 11347) "Who Are You"— "Whistling in the Night." Now recognized as one of the country's top bands and so appropriate for this pillar to say "I told you so." Here's another Martin smoothie. Some Like It Swing: John Kirby (Victor 27667) "Tweed Me" — "Night Whispers." Handsome rhythms that should embarrass larger sized aggregations and their unrestrained brass sections. Harry James (Columbia 36434) "My Silent Love"— "Melancholy Baby." One of the fast-rising bands shows its ability on a pair of old but still swell tunes. James' blending of brass and strings deserves mention. Count Basic (Okeh 6475) "King Joe." A most unusual recording combining the talents of three great Negro artists, Basic, Paul Robeson and playwright Richard Wright. It is a tribute to the prowess of Joe Louis done in low-down blues fashion. Sidney Bechet (Victor 27663) "Laughin' in Rhythm"— "Rippin' Up the Joint." Pure, unadulterated swing if you like it that way. Benny Goodman (Okeh 6474) "The Earl"— "Let's Do It." Goodman's debut on a more moderate priced disk. Les Brown (Okeh 6475) "Pushin' Along" — "As We Walk Into the Sunset." Play the top, skip the reverse, for a better appraisal of a fastrising band. (Recommended Albums: Hildegarde's superb, sophisticated cooing of Cole Porter's tunes from the show, "Let's Face It" for Decca, Tschaikowsky's "Romeo and Juliet," played by Arthur Rodzinski and the Cleveland Orchestra on Columbia.) RADIO MIRROR DANCE BAND CONTEST BALLOT To Ken Alden, Facing the Music Radio Mirror Magazine, 122 E. 42nd Street, New York City. Please consider this a vote for your fourth annual dance band popularity poll. (Voter's name: ) Unexpected Romance Continued from page 7 He drank. The color came back to his cheek. He tried to struggle to his feet unaided and smiled in that embarrassed way sick people do when weakness overcomes them. "Silly of me to take a dive like that," he apologized. "I've been having a touch of flu." He looked at Bea. "Thanks very much," he said. "You were very sweet." Bea regarded him anxiously. "You can't walk yet." "I'll be okay," he insisted. "I'll take a cab over to my apartment and rest till the rebroadcast." "Is there anyone else there?" she asked. "I share my place with Mel Allen and Ralph Edwards," he told her. "I'm sure one of them is home now." Allen and Edwards were fellow announcers. (Edwards now has his own show, Truth or Consequences, and Allen announces it.) "I'll help you to your apartment," Bea volunteered. "You're very sweet," he said again. Bea took his arm and he walked weakly to the elevator. Downstairs she got him into a cab. They talked little. Andre lived nearby, and in a few minutes, they were in his apartment. Mel Allen was there. She and Mel made Andre comfortable. Then Bea prepared to leave. "Won't you stay awhile?" Andre pleaded. Bea hesitated. "Just a little while. You've been a great tonic. Imagine waking up from MAHCH, 1942 a faint and finding yourself looking into such friendly eyes." Bea stayed, not a little while, but until it was time to return for the rebroadcast. Andre regained his strength rapidly. But whenever Bea attempted to leave he persuaded her to stay. "Can't you see how much good you're doing me?" They returned to the studio together, and the rebroadcast of the show went smoothly. Andre had no more spells of weakness. When the program ended, he came over to her. "Won't you go out with me some night soon?" he asked. "How about Monday?" "I'd love to," Bea said, "and Monday will be fine." Monday night came and found Bea and Andre in a night club. Still recuperating from his illness Andre was not quite fit enough to dance, so they sat and talked, and discovered that they had so many things in common that their friendship seemed inevitable. They both loved music, they both had started their careers in radio, they both loved sports, they both loved the same kinds of amusements, they both loved the same kind of home, they both loved the same type of friends — it was really remarkable. Bea learned something about Andre's life, and her admiration for him increased. His accomplishments were not confined to announcing — he had studied art in Paris — on a scholarship, too — and he was a very good pianist. In fact, it was as a pianist that he had \H^ ctavb ^ (^/ted^^^^mued/ Today, Greyhound and the motor bus industry are actively in the war, carrying thousands of seleaees to military centers— other thousands of soldiers in vital military movements. 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