The record changer (Jan-Dec 1954)

STAR STUDDED SHELLAC john mc cmdrew With practically everything these days being transferred to second and third speeds, and with all three speeds indicating marked differences in reproduction, dubbing no longer signifies what it did in the past; nevertheless, I can see absolutely no excuse for inferior pressings being distributed indiscriminately with superior ones, of the same recording and in the same speed. It may be that there aren't enough people who are aware, or even who care, to make that much difference, but it is basically dishonest merchandising, and we all should do what we can to discourage it as much as possible. For the Tune Collectors: A rare version of Star Dust you may not have discovered is a solo by the famous violinist, Eddie South, done in commercial-hot style with orchestra ace, on Pilotone P45-5063, a vinylite 78, a mid-'40's release. There's also a version of this song on a label called Anchor (A-20) by vocalist Jerry Cooper, and he sings the verse, too, which is a phenomenon these days. The accompaniment is conducted by Leo Reisman. This is the first we've heard of him for several years outside of another Jerry Cooper date, probably made at the same time, of I'm Sorry I Made You Cry, which, although made independently, was bought by Mercury. I do not particularly recommend either of these, especially if your heart doesn't do nip-ups at the mere mention of the songs. Lovers of George M. Cohan and his music may be interested to hear that Camden has issued a second EP of his most renowned melodies, such as Over There, Little Nellie Kelly, Give My Regards to B'way, You're a Grand Old Flag and Harrigan all of which are ground out by George M. Cohan, Jr., whose other claim to distinction is that he may be the one person alive with a set of pipes that suggest the mating of a calliope and a kazoo. I am very fond of saxophonist Freddy Gardner, and I particularly like his record of / Only Have Eyes For You, an English recording which appeared in this country on Co 38346. It is an especially powerful recording, and having played it quite a bit, I sought a duplicate before the 78 RPM version is out of print. I was astonished to find that my second copy, supposedly a replica of the first, wasn't, exactly. It was much duller. I compared the master numbers, and found that my first, the good copy, bore the numbers CA 20730-2, and the other, CA 20730 1A. I still am not sure whether they are different takes, or one is a dubbing of the other. I rather fancy the latter to be the case, because the same procedure applies to the reverse side, I'm In The Mood For Love, the mate to my first copy of which is stamped CA 20729-1 and the second, CA 20729-1A. My prime objection to the second copy is that both sides have a marked lack of sharpness and definition, almost always the indication of a dubbing. I thereupon examined several more copies, and found some of each, on some of them one good and one bad side on one record, and others as noted above. This was disconcerting, but knowing the masters originated in England, I could see how it may have been expedient to replenish the sides in a hurry, and with no master available at the moment, and with tapes doing such a good job, dubbings were supplied in the emergency. I cannot be sure, mind you, that this is what was done, but there is no escaping the inferior reproduction on the alternate sides. Now, in the process of listening to a second copy of Doris Day's A pril in Paris and The Cherries, on Co. 39881, I find the same thing has happened, and this time it really disturbs me, and there's no telling where a thing like this will end. On my copy of the record, The Cherries (RHCO 101921N) is especially brilliant, but I had already noted that the reverse April in Paris (RHCO 10193-1C) was noticeably less crisp than its backing. To my consternation, on a friend's copy, The Cherries (RHCO 10192-1A) is the dull side, while April In Paris (RHCO 10193-1N) is breathtakingly clear. But for the last named, I never should have known that this side could be a superb recording, which it is. Now, these are only two examples of juggling that I happened to discover, but it has made me wonder uncomfortably exactly how many more I may have in my collection of which I know nothing simply because the copy I originally bought is the only one I ever heard? Lady . . . I just play from the heart