Variety (April 1952)

46 MCHSnU9-MII8IC f' jaae rf Wt& m r mlmy, April 16, 19S2 Jocks r Jukes and Disks By MIKE GROSS NBC Sets More Band Remotes Chicago, April 15. NBC is upping its hand pickups, Dinah Shore; “To Be Loved By Carol, former Louis Prima orch You”- M I Am a Heart” (Victor), vocalist, gets off to an okay start "Loved By You” fits Dinah Shore’s a$ a sole thrush on her Victor melodious lyrie • handling excels initialer. She's got a solid piping lently. It’s a lilting tune which style and isn’t afraid to let go Jn Miss Shore makes brighter via her projecting mood demands of the slick piping. Could brteajc through lyric. She shows up best on Blue, for big returns. "I Am a Heart,” a good ballad number that s got a an interesting ballad item Which is. rhythmic heat as well as a catchy built around a heartbeat effect lyric. Good bet for a big jock backing, gets an impressive treat- and juke play. "Raindrops is a ment. This has a tremendous po- fair number which Miss Carol han- tential if it catches on. dies nicely. The Hi-Hatters back Sammy Kaye Orch? "You”-"Oh excellently. How I Miss You Tonight” (Colum- Danny Winchell: "Two (Who bia). Sammy Kaye has come up Love As One) - Why Did You with an unusually rich orch styling Leave Me” (M-G-M). Danny on this coupling via the addition Winchell, M-G-M’s newest entry of a dozen strings. It’s a new in the male disk sweeps, looks like sound for the-Kaye contingent and a winner. His soft' and easy wax should payoff. On "You,” Kaye manner has an ear-arresting qual- gives full play to the strings pro- ity that should be particularly ap- ducing a pleasing, lush quality. His pealing to the femmes. Winchell trademarked styling is worked in gives "Two,” a pleasant romantic for sock impact. Number, adapted item, a sock commercial potential from “Musetta’s Waltz” from “La via his tender workover. He’s Boheme” has been given a top- equally effective on the reverse drawer lyric which is delivered ef- but the jocks’ll probably give the fectively by Tony Russo. Reverse spins to "Two.” also shows off the new Kaye PIPninteri strings^and looms as a good com- riwlw ruu,lcri jnercial entry. Kitty Crawford makes an im- Don Cornell: "I’m Yours”—“My pressive debut on the indie An- Mother’s Pearls” (Coral). Don gelique label with "Every Time I Cornell has a topnotch followup to Light a Cigarette” . . . Guy Loin- his click "I’ll Walk Alone” in "I'm bardo scores nicely with his work- Yours.” It’s done in the same big- over of the lovely tango, "More voiced style that kicked off his Than Love” (Decca) . . . -Dick Hajr- Coral initialer and should send this man, has a fine slice in "It’s a Sin side along in the same direction, to Tell a Lie” (Mercury) . . . Ink Cornell’s distinctive selling drive Spots also have a click potential makes it solid jock and juke fod- of the same number on the Decca der. Cornell is also effective on label . . . Bill Hayes-Judy Johnson . "Pearls,” which, although not as tandem gets off to bright start potent ah entry, rates spins, with "When I Dream” (M-G-M) Norman Leyden orch supplies class » . . Herb Jeffries and Les Brown backing. . have .a firstrate side in "Flamingo” Kay Starr: "I Waited A Little (Coral) . . . Eddy Howard's work- Too Long”-"Me Too” (Capitol), over of the oldie, “All I.Do Is Miss Starr’s "Wheel of Fortune” Dream of You” on Mercury rates Should get this coupling off to an plenty of spins . . . Jane Froman okay start but it’s doubtful if either'is warmly effective on 4 YU Walk side’ll hit market with impact of Alone” (Capitol) . . . Cindy Lord her current highrider. "Too Long,” could break through with "Walkin’ a familiar-grooved ballad, should to the Mailbox” (M-G-M) . . . Sue get some spinning, action because Evans pleasant handling of "Piano of Miss Starr’s standout workover, in the Parlor” on the indie Cadil- "Me Too” is a run-of-the-mill lac label rates spins . . . Ann Gib- entry. - - son impresses on "I Can’t Stop Tommy Edwards: "My Girl”- Loving You” (Capitol) . , .' The "Piano, Bass and Drums” (M-G-M), Normanaires workover of a _ cute "My Girl” is a tender ballad that’s seasonal item, "Play Ball You All,” right up Tommy Edwards’ alley, on the indie Imperial Crown rates Blending of rich melody and to- jock attention . . . Phyllis Branch mantle lyric makes it a solid com- has an okay slice in "Think of Me merclal bet. Edwards handles the in Your Spare Time” (Tuxedo) . . •. lyric affectionately in his Soft, Larry Darnell has a solid cut in relaxed styling. He changes pace "Darlin” (Okeh) . . .Curt Massey on "Drums,” a cute item from the clicks with "Just for''Today,” a Warner Bros, pic, "About Face,” neat religioso item on Coral for fair results. Andrews Sisters have a cute slice Ella Fitzgerald: "Goody Goody”-, in “Music Lessons” (Decca) . . . "Air Mail Special” (Decca). Re- Barry Frank does an okay job on freshing treatment given the oldie, “Night of Nights”. (Cadillac). "Goody Goody,” by Ella Fitzgerald will help tune's comeback- try. Bright rhythm and cute lyric fit into current market pattern and Miss Fitzgerald’s solid wrapup assures plenty of spins on all levels. Sy Oliver orch gives a snappy backing assist. On the Decca flip, Miss Fitzgerald belts out some speedy scatology which should please the hepsters. Nat (King) Cole: "Somewhere Along the Way”-"What Does It . ,, . .. , , Take to Make You Take to Me” having set aside late evening half- (Capitol). This coupling offers hours on Friday and Saturday further evidence that Nat (King) nights for "cqpcert ’treatment air- Cole is one of the top song stylists ers. Web is currently featuring the around. His smooth vocaling is Stan Kenton orch. presently ap- given a standout showcasing here, pearipg here at the Blue Note. Ken- giving both sides breakaway poten- ton is set for four weeks on the tial. "Along the Way” catches. AM .shows and whether he’ll con- Cole in a slow-tempered groove tinue to be featured after he leaves while "Take to Me,” displays his Chi will depend on whether the deft handling of bright rhythm n ne hookups-can be arranged for numbers. Each rendition rates re- the new location ?! a ^ SpinS> ° rc !5 Kenton is emceeing the shows Billy tS Mays orch^elps give 5 ""Take with a fulwled £ ed commentary on to Me” Its snappy ffavor h . is Progressive jazz. If it’s impos- Billy Eckstine? y "Kiss of Fire”- “{Jf |? r network to continue "Never Like This” (M-G-M). with Kenton after he leaves here, "Fire,” the tango-coated pop entry another name group will be lined which got off to a flying start via U P* Georgia Gibbs’ sock workover-on the Mercury label, gets another click rendition in the Billy Eck- MRRfllRY PAfTS WIW stine treatment. It’s his best side, BllilVvUIVI I xlLlv} TTluLi in some time and should be a big AO MV Oil TO Iff AM A PUD disk for him despite Miss Gibbs Ao H.I* OALtiO JnAnAuJuR early getaway. "Never Like This” ,. r . ., , . has a good- melodic line and *an ^ lse was signed last week interesting lyric which Eckstine as district sales manager for Mer- belts out with zest. Should get an cury Records, working out of the impressive jock and juke ride. N. Y. office. He’ll be on sales and Frankie Laine: “Snow in Lover’s sales promotion of their classical Lane”-"That’s How It Goes?” (Co- disk line, with accent on the new lumbia). Lames highpowered vpcal Olympian longhair series. Latter is style gets a lot of mood into featuring new recordings by the covers Lane” but tune doesn’t Chicago Symphony, under Rafael Tvipin^v wort i 1 i lls e ^fojts. Slight Kubelik, and Minneapolis Sym- meiody is overburdened with - pretentious lyric. "Goes” is mere commercial item setting an vvl ? e nas a e *Penence m me effective Laine rendition Jocks classical disk field, having been for might get behind this side. Paul a lon S time , with RCA Victor in Westen orch and the Norman Lu- sales promotion, and on artists arid boff Choir supply a tasteful back- repertoire. He also headed Colum- ln 8- * bia Masterworks in N. Y. for five hihIh .m 11 " Carol: "Lonesome and years and was with Decca arid ■fcfiue - Raindrops” (Victor). Miss- Majestic, too. OF TOP TALENT AND TUNES Compiled from. Statistical Reports of Distribution Encompassing the Three Major Outlets Coin Machines Retail Disks Retail Sheet Music A as Published in the Current Issue for WEEK ENDING APRIL 12 NOTE: The current comparative tales strength of the Artists and Tunes listed hereunder Is arrived at under a statistical system comprising each of the three major sales outlets, enu- merated above. These findings are correlated with data from wider sources, which are exclusive with. Variety. The positions resulting from these findings denote the OVERALL IMPACT de- veloped from the ratio of points scored: two ways in the case of talent (disks, coin machines) B and three ways In the case of tunes (disks, coin machines,"sheet music). POSITIONS This Last week* week. 1 2 3 4 1 2 5 8 6 ,8 9 10 4 3 6 10 POSITIONS This Last week. week. 1 2 3 4 5 6 7 8 9 10 1 2 3 6 4 5 10 7 8 9 TALENT ARTIST AND LABEL TUNE Kay Starr (Capitol) Wheel of Fortune -Leroy Anderson (Decca) Blue Tango Ella Mae Morse (Capitol) Blacksmith Blues Doris Day (Columbia) A Guy Is a Guy fAnytime Eddie Fisher (Victor) .‘.-{Tell Me Why (Forgive Me I Cry Little White Cloud Please Mr. Sun Whiat’s the Use Four Aces (Decca) ‘Why Ray Anthony (Capitol) At Last Guy Mitchell-M. Miller (Columbia) Pittsburgh Penn, Frankie Laine (Columbia) *. Gandy Dancers Ball TUNES TUNE ^ PUBLISHER Wheel of Fortune Laurel Blue Tango : . Mills Blacksmith Blues Hill-R A Quy Is a Guy... .Ludlow Anytime ‘ Hill-R Teil Me Why.... * .Signet Pittsburgh Pennsylvania Oxford Cry Mellow Please Mr. Sun Weiss-B Perfidia Peer 10 Best Sellers on Coin-Machines week of April 12 PfaniEft 1. WHEEL OF FORTUNE (9) (Laurel) Kay Starr Capitol 2. BLUE TANGO (8) (Mills) .. \ V er °£ £ nders071 J^ e ?. ca : \ Les Baxter Capitol 3. A GUY IS A GUY (2) (Ludlow) Doris Day Columbia 4. AT LAST (4) (Feist) Ray Anthony .....Capitol 5 V BLACKSMITH BLUES (4) (Hill-R) Ella Mae Morse .• Capitol 6* PITTSBURGH, PENNSYLVANIA (1) (Oxford) Guy Mitchell-M.^Miller.Columbia 7. PERFIDIA (2) (Peer) Four Aces .Decca 8. ANYTIME (13) (Hill-R) Eddie Fisher Victor 9. 10 . TELL me why (15) (signet) CRY (15) (Mellow) Johnnie Ray , Columbia Second Croup t LITTLE WHITE CLOUD (13) (Spier) Johnnie Ray t COME WHAT MAY (7) (Shapiro-B) * Patti Page + TIGER RAG (4) (Feist). [Figures 'in parentheses indicate number of weeks song lias been in the Top 101 + ♦»»♦♦♦♦■♦ ♦»+♦♦♦ ♦ 4 4 0 0. 4 +0 0 0 044440 ♦ ♦♦40444 0 * * 0 > I * I t