The record changer (Jan-Dec 1952)

14 STAR STUDDED SHELLAC jehn mc andrew The MGM Walk, Jennie, Walk by Marjorie Garretson mentioned in a recent column is one of the few present-day releases that, but for its accompaniment, might be the replica of an old mid-twenties disc, such as Patricola and Aileen Stanley used to make. It makes me wonder why you rarely see either of these grand old-type singers of the not-too-long-ago on want lists or in articles of the early bootleg era — booze, not shellac. Isabelle Patricola was a great vaudeville personality who registered beautifully on wax. She recorded for both Victor and Red Vocalion, doing much in her versions of Lovin' Sam, Away Down East in Maine, Hot Lips and Runnin' Wild (Victor) to make them the standards they are today. Likewise with Hula Lou, Whose Izzy Is He, Josephine, Walk, Jennie Walk (In my opinion the best of the Jennies), If I Can't Get the Sweetie I Want I Pity the Sweetie I Get, Doodle-Doo-Doo and a fine Somebody Loves Me, on which she is assisted by her brother Tom Patricola, on sax and banjo; Mama Goes Where Papa Goes, and the sparkling, unappreciated and definitely never revived Somebody's Wrong, all on Vocalion. Most every pop singer of note at that time duetted with the perennial Billy Murray, and Patricola did, too. An especially enjoyable item was their When You and I Were Young Maggie Blues, the recently revived hit which first saw the light of day about ,1923. Of the same general type, Aileen Stanley could tear into a No Man's Mama with verve equal to Patricola, and she recorded largely for Victor. "Largely" it was, too, for her platters were practically legion, including duets with practically every male vocalist on the pop Victor roster, and extending well beyond the introduction of electrical reproduction, which Patricola's etchings did not. An early Stanley was her Okeh of My Man, tastefully expressed and with none of the comic qualities with which she later became associated. On Victor she did a fine Singin' the Blues, the equal of the best of later revivals of the number; I've Got the Blues for Old Kentucky, A New Kind of Man, Flamin' Mamie, Six Feet of Papa, You're, in Wrong With The Right Baby, and Somebody Loves Me which, unaccountably, was very poor and vastly inferior to Patricola's. However, Stanley was equally adept at the torch song and the simple love song, as in All By Myself, Mighty Blue, Looking At The World Through Rose Colored Glasses, and sweet, without resorting to bathos, in the currently reprised Broken Hearted, I'll Never Ask For More, Give Your Little Baby Lots of Lovin' and /'// Get By. She was often accompanied by featured musicians of the day, including pianist Frank Banta, Billy "Uke" Carpenter and the International Novelty Orchestra. Patricola included amongst her backgrounds The Ambassadors, Ben Selvin's Orchestra and the popular band, The Virginians. Stanley also sang with Billy Murray, and in my opinion their best included It Had to Be You, Nobody's Sweetheart and Down By the Winegar Woiks. Amongst her last duets, several good ones with .Johnny Marvin included Side By Side, Red Lips Kiss My Blues Away and Under the Moon. By this time, the first of the big radio singers, Vaughn DeLeath, was well represented on discs. I never cared much for her often heavy style, but she did make a few really superb sides, such as Ukulele Lady, the Collectors' Item Whiteman Man I Love; and Till We Meet Again, with Eddie Thomas' Collegians, all Columbia; and Song of the Wanderer on Victor. Not many months ago, an Aileen Stanley, Jr. was launched. She is the protege, not the daughter, of the famous Aileen, who has been training her, and others, it seems, for recording and club dates. Something was said at the time about Stanley doing an album of her old songs for Victor, but apparently nothing ever came of it. Well, better that than the disastrous results produced by Benny Fields, Blossom Seeley and Rudy Vallee on current releases. I wish it were possible for, say, one LP to be made of each of these wonderful Golden Era singers, in the manner of the Bessie Smith and Mildred Bailey LP's, but on a more modest scale, of course: they, too, take their place in the progress of popular music and could serve as textbooks of the past. Alas! How well we already know the complete disdain of the majors for contributing to the history of any form of music: the only reason Caruso is still being pressed is that he is as popular now as when he was alive. As a matter of fact, while usually indicating the label numbers of the records I discuss, I omitted these as I'm afraid there aren't enough collectors interested in this sort of collecting. Nevertheless, if anyone really wants any of the numbers, I'll be glad to furnish them. Will Buy KCOiO COLLECTIONS ANY AMOUNT. I hava 100,000 records; her swoot; ovarything, avaryono. Sand want*. Will Trad*; Sell; l«y Raca; Mu««; Now OrWans; PareonalBy: Jacob Schneider 128 WEST 66TH STREET. N. Y. C WARNING TU ALL RECORD COLLECTORS STEVE MAISTC, OF 27|6 DECATUR AVE., BRONX 58, N.Y. WHO ALSO USES THE NAME OF FRANK SUPPA CF 601 E |78 ST., N.Y.C., HAS HAD NUMEROUS COMPLAINTS LODGED AGAINST HIM BY COLLECTORS WHICI HE FA I IS TO HONOR OR EXPLAIN. STILL AVAILABLE — BUT GOING FAST — VALUE CATALOG NUMBER THREE The revival of interest in record collecting lately has made this catalog in greater demand than ever — and no wonder. Imagine the convenience of having the most complete list of valuable popular records ever printed — over 13,000 alphabetically, numerically classified listings, each with the disc's current value on the collectors' market — all in one handy pocket-size hook! It's really a must for every collector. Don't delay any longer. Fill out the blank and mail your order today! Price: $2.50 per copy, postpaid 10 or more to dealers, $1.25 each (No C.O.D.-S) I Enclose $ Please send cop of VALUE CATALOG No. 3 Name Address City State HOLLYWOOD PREMIUM RECORD GUIDE Post Office Box 2SZ9R Hollywood 28, California GIGANTIC 50(* SALE ALL COLLECTORS ITEMS. MANY IN MINT CONDITION. BLUES, RACE, HILLBILLY, SWEET, JAZZ, SWING. SATURDAY & SUNDAY lOAM-10 PM MAY 24TH & 25TH JACOB S. SCHNEIDER 128 W. 66 ST. NEW YORK CITY AN AUTHORITATIVE D I SC0GRAPHY OF A GREAT ARTIST J0LS0N ON WAX BY WARREN K. PLATH 00VERING THE INCOMPARABLE AL ON RECORD FROM |9|0 THRU | 950 J COMPLETE WITH DATES AND MATRIX NUMBERS. PRINTED & AVAILABLE FOR IMMEDIATE DELIVERY. WITH COVER DESIGN BY MAURICE L. BRENNER AND AN INTB0DUCTI0N BV TOM LINNELL. POSTPAID $ |.|0 FOREIGN $ 1.25. SEND REMITTANCE TO WARREN K. PLATH, 305 S. CUYLER AVE., OAK PARK, ILLINOIS.