Variety (May 1952)

44 <Uy» Umy 14, 1952 By MIKE GROSS Tony Bennett ‘Here In My Heart”-“I’m Lost Again”' (Colum- bia). Tony Bennett has hopped on the “Here -In My Heart” snowball with a powerful workover that earmarks it for big returns. It's schmaltzy melody and. lyric is grooved to current market tastes and Bennett sells with same big voiced emotionalism that had him riding high last y ear with several’ simultaneous disclicks. *Tm Lost mands replays. “Old Joe Clark” Again” is a pleasant but less ek- j s the better bet to capture .the citing side which’U probably -get sp i ns ; _ » > « . A. II - ^ ... MTT ab a uti I * .. Di Campo drives out for sock im- pact. Should get plenty of plays on all levels. Coy McDaniel: ”01 d Joe Clark”- ‘*Dey|r$ Pr6am ;r (M-G-MJ. This coupling of Cop McDaniel's guitar- ing fits neatly into current 4 'new sound” groove and should nab big plays especially in the jukeboxes. McDanielV guitar work is super- imposed Wkr times producing an unusual and interesting sound. The sides come across with a nifty barrelhouse beat that de- lost in the scramble for “Heart” spins despite Bennett’s warm treat- ment. Judy Lynn: “Riverboat Rag”- “Blow Out The Candle” (Coral). Danny Sutton: “Is It True”- “Johanna” (Federal). Danny Sut- ton gets off to a nice start in the male disk sweeps with, his initialer on the’ Federal, labek Although •‘Kiverboat Rag” is an okay novelty lacking the hokey dynamics of bis it-m that’s due for a good juke platter rivals who’ve been riding ride. Tune has a buoyant melodic the platter crest for the past year, line and a catchy Interspersiori of Sutton Should be able to hit With riverboat sound effects. Miss Lynn his sincere, straightforward deliy- gets the lyric across with a ragtime ery. He projects an appealing zest but at times she becomes a wax charm and a consent platter bit too coy for solid impact. Nor- delivery that’ll build him into a man Leyden orch backs excellently. potent wa* entity, ' His preem Reverse is a medidcre rhythm item sides seem a little .overburdened with little jock or juke potential, by a choral backing which dimm- Leyden’s orch and the Kay Charles ishes much of .the tunes’ lngrati- Quartet assist Miss Lynn on this slice. JanPeerce: “These Things Are Known”-“A Mother As Lovely As You” (Victor), Jan Peerce has a standout pop release coupling here that could buck the current fad waxings for a big commercial score, Peerce’s brilliant, tenor shines through each slice and his clear, modulated tones give the lyrics added impact. “Known” is a big number with slight religiose over- (Continued on page 530. Jessel’s Plea for The Oft-Sung Bat Always Anonymous Lyricists Hollywood Editor, Variety; Having -been in the show busi- tones that’s got a hefty appeal for ness . practically all- of my life, I mass consumption. “Mother As have been keenly aware of the iPT 61 ? At fact that glory is. so transient. And Maioi’i (New Zealand) folk song, £ ronl j^y earliest days I have relays an effective sentiment in a charming melody and tasteful fought to get whatever recognition lyric. Hug*, Winterhalter’S orch Icoilld in everything I did—ancl as supplies a topflight backing on the the^ears have gone by, I have alsd coupling, - Dinning Sisters: “I'm Lost”- *‘Love Me Sweet and Love Me Long” (Capitol). Coupling of corn- belt vintaged numbers by the Dinning Sisters is a lacklustre offering that doesn’t have much to fought a little. for th® other fel- ] low. I was the first man with a radio show to announce the writer’s name at the end of the, program. For more than 10 years I have had a grievance against the radio’ break through. Gals’ voices blend announcers and the stations and excellently but they fail to project the networks, who, for some un- any enthusiasm in their rendition, known reason, never mention the It’s probably due to the mediocre lyrlg writer of a song. In A series of Reticles for Esquire a few years Long has a bit more life than t •‘I’m Lost,” giving a better spinning ag0 > Jpolnted out the fact that no chance. one knew who the author of the. Billy Eckstine: “Hold Me Close S’.*Edited m°the To You”-“If They Ask Me” was. as it ls always credited to the (M-G-MK Billy Eckstihe has cut £! elo< * Ethclbert Nevm. a poor followup to his • exciting The poor lyricist was Frank L. “Kiss of Fire.” Although tunes are Stanton who wrote many beautiful rendered in the typical Eckstine poems used for songs, such as. manner, they’re just run-of-the- mill entries that have small chance’ to make any noise with either the jocks or the jukes. “Close To You,” from the forthcoming Metro pic, “Skirts Ahoy,” is .a belabored Latino flavored tune that- fails to come to life. “Ask Me,” a so-so ballad, sounds too much like so many other minor entries to hold up. Andrews Sisters-Dlok Haymest “Here In. My Heart’-“.I’m Sorry”: (Decca).!•:. Andrews Sisters - Dick Haymes tandem on a pair of high- riding tunes comes across with lots of taste-but without much imagina- tion. Ther ..schmaltzy veneer that’s accented On other Wax versions of “Heart” is played down on this slice in favor of an old fashioned straight workover. Tune needs a big dramatic reading to click, and this low gear workover only shows up Its corny features. Their voice blending on “I’m Yours” is better suited to tune’s quality giving it a better commercial potential. Tommy Dorsey Orch: “I Got Big Eyes”-“Homing Pigeon” (Decca). “Eyes,” a charming Alec Wilder composition, has a fair chance to step out via this Tommy Dorsey waxing. Tune’s ingratiating beat and cute lyric could click With the jock and juke trade. Dorsey gives it a flavorsome workover while thrush Frances Irvin neatly belts out the vocal. “Homing Pigeon” is out too late to catch up to Henry Jerome’s sock M-G-M etch- ing but it’s an okay sampling of the Dorsey orch’s styling. r Vinni De Campo: “Raindrops”- “I Understand” (Coral). Vinni De Campo continues to impress as a top’ ballad handler. Although he hasn’t yet broken through with a clicko etching this coupling’ll help boost his stock in the market. “Raindrops,” a pleasant item, is enhanced* by his effective work- over. His smooth delivery projects plenty -of warmth and should win * solid femme following.’ “I Un- derstand” is a,bigger ballad which . ,'l' i • i Tj , “Just ’a Wearing For You,” that Carrie Jacobs-Bond gets all the, credit’ for. That most beautiful lyric, “The Rosary?’ is also.an? nounced as a song hfy Ethelbcrt Ncvfci—and even h don’t know who the lyricist . is/- ■ ■ > *• I pointed out In my articles that if’ the lyrics .of /‘Old Man River” meant nothing to the tune, why not call it “Stewed Tomatoes”—it fits the melbdy. If the lyric of “The : Last Time I Saw Paris” means nothing, why not put the same tune to “My Aunt Lives,in Glendale.” This also fits the melody. The othCr night on station 1 WFAC, Los Angeles, the an- nouncer on the Union Pacific pro- gram seemed to fie articulately sadistic in riot mentioning the lyric writer, tl wonder how the Union Pacific would take it If he had just said Paclf.) Anyway, his an- nouncement went ’ something like this: “We will now hear Dorothy Kirsten sing Jerome Kern’s “Yes- terday” and Jerome Kern’s “Look for the Silver Lining,” the orches- tra arrangement is by Percy Faith”—(and if I am not mistaken I think he also mentioned the trumpet-ployer’s cousin who was passing through town). The beau- tiful lyric of “Yesterday” was by Otto Harbach. But, no, not a men- tion of his name. Why don’t they call this song, “Where is Mo°”- this fits the melody. ' The “Look for the Silver Lining” lyrics wore by Buddy DeSylva. It could be called “Here Comes Mathilda Matza.” That fits the melody. Could someone tell me what is the reason for this and how tori" is it going to continue? Can’t ASCAP or the Songwriters Pro- tective Association — or can’t Variety do something about thi* flagrant abuse of creative talent? George Jos*'* 1 ■ (Who's also a lyric 'writer ); ,; •*.'ut *v *i, . i or- TOP TALENT AND Compiled from Statistical Reports of Distribution Encompassing the Three Major Outlets Coin Machines* Retail Disks Retail Sheet Music • t as Published in the Current Issue for —WEEK ENDING MAY 10 NOTE : The current comparative tale* 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, tWitch 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)„ and three ways in the case of tunes (disks, coin machines, sheet musig), - * « I >’ TALENT POSITIONS Thin Lost week, week* 2 3 1 4 5 6 ,7 8 9 10 6 7 8 10 POSITIONS This Lest week, week. 1 5 3 4 5 - 6 7 8 9 •10 •1 : 2 3 5 4 6 8 10 9 ) ARTIST AND LABJL TUNE DON CORNELL (Cofal) ' KAY STARR (Capitol) Wheel of Fortune LEROY ANDERSON (Decca) Blue Tango fAny time EDDIE FISHER (Victor) j forgive Me . ' U«i Yours [That’s Chance You Take GEORGIA GIBBS (Mercury): 1.. Kiss of Fire ELLA MAE MORSE (Capitol) Blacksmith Blues DORIS DAY (Columbia) A Guy Is a Guy EDDY HOWARD (Mercury) Be Anything PERCY FAITH (Columbia) Delicado GUY MITCHELL-M. MII. T WR (Columbia) Pittsburgh Penn, I TUNES « •t TONE . 'V PUBLISHER •Wheel OF FORTUNE: r ;. .Laurel BLJUE TANGO -.1 .Mills KISS OF FIRE ....... ■.....' ...■...-Duchess I’LL WALK ALONE .Mayfair BLACKSMITH BLUES .'1.. Hill-R A GUY IS A GUY .iLudlow ANYTIME _ ..." ;... .; Hill-R BE ANYTHING 1 ,..Shapiro-B I’M YOURS ...» Algonquin FORGIVE ME ;...; ; Advanced 10 Best Sellers 4+ m ♦ > ♦ ♦ ♦♦♦ ♦ mV t 1. WHEEL OF FORTUNE (13) (Laurel). i 2. 3. 4. 5. «. 7. 8. 9. f 10. on Weckof May 10 BLUE TANGO (13) (Mills) I’LL WALK ALONE (3) (Mayfair)............. KISS OF FIRE (2) (Duchess) ...! FORGIVE ME. (3) (Advanced) A GUY IS A GUY (6) (Ludlow) BLACKSMITH BLUES (8) (Hill-R) BE ANYTHING (3) (Shapiro-B) PITTSBURGH, PENNSYLVANIA (5) (Oxford). I’M YOURS (1) (Algonquin) ♦* # ♦4 »■ » Kay Starr Capitol J Leroy Anderson ....... j. Dacca ( Les Baxter Capitol Don Cornell *,. * .Coral Georgia GibbsMercury Eddie Fisher .... Victor Doris Day Columbia Ella Mae Morse Capitol . Eddy Howard ......... Mercury GuyMitchellM, Miller .Columbia ( Don ; Cornell Coral )'Eddie Fisher Victor Second Croup f THAT’S THE CHANCE YOU TAKE (1) (Paxton) - „ PERFIDIA (5) (Peer) ; :: anytime (i4) (Hiii-R) 1 j at last.(c) (Feist) ’ GAlibY DANCERS BALL (Disney) »» 1 HEAR A RHAPSODY (Broadcast) ' ‘ CRY (15) (Mellow) AY-ROUND THE CORNER (Frank)...,.!.. :: TELL ME WHY (16) (Signet) -e I WANNA LOVE YOU (Finburgli) * ‘ BROKENHEARTED (5) (DeSylva-B&H) . ► Tenderly (e. h. Morris) COME WHAT MAY (7) (Shapiro-B) | BE MY LIFE’S COMPANION (1) LMorris) LITTLE WHITE CLOUD (13) (Spier) ' • « < M H M » * ,' ,1 |<| M J 4 •* ’ WMres in parentheses indicate number of weeks song 1 1 < tHttmt ft tt n t m i f Tttt t immmu Eddie Fisher Victor . Four Aces Decca Eddie Fisher , ^1.... Victor Ray Anthony Capitol Frankie Laine Columbia Frank Sinatra Columbia Johnnie Ray W dolumbia Jo Stafford Columbia *• j Four Aces Decca .. | Eddie Fisher Victor ;; i Ames Bros Coral -» | Kay Starr ....Capitol J Johnnie Ray Columbia ■ Rosemary Clooney ... Columbia Patti Page Mercury i Rosemary Clooney .... Columbia ) Mills Bros Decca 4 Johnnie Ray-.- Okeh X has been in the Tpp, 101 X •f-f ♦ f f f f t M ♦ 4 f | f 4 t ♦ ♦ ( I ♦ 4 444 t * 4 4 4 4 4 4 4 4♦4 4 4 4 444444 ♦ ♦ 4 4 4444 4 ♦ 4 ♦ 4 4 ♦4