Variety (August 1952)

OR€HKSTaAS-MtrSIC Vte&lWTY _ w«itMSBd»y, August 13. la g. Love ^ttd. ■Devotion’' (Columbia), trademarked all he£ piping efforts. 1 potent Actor In the m/T/"/ ’’Make It . Soon " an off-beat novel- Dm* Kedman’a orch PVovrSe* tlve disk sweepstakes with Ms ty tune, give# Mias Day * sock fol- backgrtmml kick. Heverse shows pop pressing tor Decca ffi.iJ* 1 * lowup to her clicko “A Guy 1$ A off more of I* Baileys technique peared on Broadway sev^ J- Guy/ Tune has a neat bounce'and but to lesserjidvantage than its sons ago m the leadinEmM; ^ a ilk meUlUJrinn T^OVT ^tfAI’Vc WOftt. lH ^ TfrU)«iL T\ *a<ue nk By MIKE GROSS Patti Page: “I Went To Your Wed5ing’-“You Belong To Me’' (Mercury). This is a money platter. Both numbers are hit list poten- tials and Patti Page’s excellent de- livery assures a fast getaway. “Wedding” is right up Miss Page’s piping alley in melody and lyric moojd. It’s sentimental, \ flavorsome and should get a solid ride on all levels. “Belong To Me” is a stand- out ballad entry which is getting wide diskery coverage. Miss Page’s rendition will be hard to boat. Perry Como: “Sweetheart’s Hol- iday ”-“My Love and Devotion” (Victor). “Sweetheart’s Holiday” is a lilting number which _shows Per- ry Como off in a gay, zestful mood. Tune has a rollicking beat and a rousing lyric which Como belts out with an ingratiating spirit Rates plenty of spins. “Love and Devo- tion” is a grandiose ballad which Como handles eloquently. Dick Todd: “You’re More Like Your Mommy Ev’ry Day”-“Some- one To Kiss Your Tears Away” (Decca). Dick Todd has a surefire follow up to his .clicko “Daddy’s Little Girl” in “You’re More Like Your Mommy Ev'ry Day.” It’s in the same simple groove, loaded with paternal sentiment and worked over in top form by Todd. His pleasant vocaling manner gets the most out of the neat lyric. Bot- tom slice is a slow, moody ballad that gets a standard Todd treat- ment. Ray Shaw: “The World Is Mine”- •‘Today, Tomorrow - and Always” (Mercury). Ray Shaw, newest addi- tion to the Mercury stable, im- presses as a good bet to crash the solid bloc of male vocalists, He’s got a full-bodied piping quality and knows how to project the kind of wax excitement that clicks with the teen-age platter buyers. 'More c x are in enunciation is about all he needs. “World Is Mine” is another offspring of the “Kiss of Fir*- genre but it still packs plenty of drive. Shaw belts it out for all it’s worth. On the reverse, he works over an average waltz ballad for fair results. Xavier Cugat’s orch provides a-fiery backing. June Christy: “Some Folks Do’- “Bei Mir Bist Du Schoen” (Capitol). June Christy, who has worked over some solid jump tunes as vocalist with Stan Kenton’s orch, has come up with a so-so solo effort in “Some Folks Do.” The spirit is still there but the number, in general, doesn’t seem to be worth her efforts. The oldie on the flipover, however, shows her off in top form 1 and it could start a revival. Fete Rugolo assists with a firstrate backing job. Neal Hefti Orch-Franccs Wayne: “ Jambalaya”-“Two-Faced C1 o c k” (Coral). The captivating bayou bounce of “Jambalaya” gives the Neal Hefti orch and warbler Fran- ces Wayne plenty of opportunity to showcase their stylish musician- ship.,. It’s a slick, commercial number which most of the diskeries are hopping on but the Hefti-Mtss Wayne treatment will be able to hold its own in the compe- tition. Jocks and jukes will over- look the reverse, “Two-Faced Clock,” to spin its mate. Tune has a distinctive beat but a pointless lyric.- April Stevens: “That Naughty Waltz”-“I Like To Talk To Myself” (Victor). The whispery April Stev- ens styling gets the echo chamber treatment on “That Naughty Waltz,” an ear-appealing number with mid-hit possibilities. The mul- tiple-voice gimmick doesn’t hinder Miss Stevens smooth delivery and makes the side okay juke fodder. Miss Stevens puts it on a little too thick on “Talk To Myself” dissi- pating tune’s values. Henri Rene orch lends an appropriate backing. Bill Hayes: “My Search For You Is Ended”-“Say You’ll Wait For Me” (M-G-M). Hayes has one of his most impressive sides in some time in “My Search For You Is Ended.” Number lends itself to the big-voice, lush orch backing that’s currently clicking with the platter. buying clientele and it could take ' off. Hayes projects plenty of appeal with his rousing vocal and the femmes will go for his emotional styling. Reverse is a sock adaptation of an Italian tune which get solid spins. Doris Day: “Make It Soon”-“My Guy/ Tune has a neat bounce and nut to msserjaavantage inan ixs sons ago in the leam n e™vu a cute lyric which Miss Day works mate. . • , } n Carousel/’ which Decca YiJh over in a sly and charming fashion. Jeanne Gayle: “Bim Bam. Baby”- , an original cast album The jukes should go for this in a “it Wasn’t God Who Made The Ho s-.got a strong set of pine? 3ft big way. On the bottom slice, Miss Honky Tonk Angels” (Capitol), he handles for top results HENRY JEROME AND HIS ORCHESTRA YOU SO MGM 11284 I’LL SI-SI YA IN BAHIA 78 RPM MGM RECORDS the greatest name ! \ 7 0 SEVEMh a v E Nr;’. \ v r. \ T big way. On the bottom slice, Miss Honky Tonk Angels” (Capitol). ne handles for top results Hi? ™)? Day changes pace for a serious bal- “Bim Bam Baby” is an okay jump range and excellent phrasing IS lad number for fair results. Tune tube which Jeanne Gayle socks wand attention. Tunes fm™ a is a routine Tin Pan Alley entry across for maximum impact. Her forthcoming Metro musical but Miss Day’s treatment gives it drive and enthusiasm will get' it cause You’re Mine,” serve «/ some distinction. Fercy Faith sup- plenty of spinning time especially ceilent showcases for his vorSini* plies a topflight backing job on on the juke level. “Honky Tonk Tltle song has a quasiclassicni S*' both sides. Angels” is strictly off the cob ih necr but has a sock pop potentS Pearl Bailey: “Takes Two-To melody, and lyric sentiment. Miss ,^ge^Smg is a standoutadattS Tang o”-“Let There Be Love” Gayle delivers with a twangy au- BJ®. * he Third Movement^ (Coral). Pearl Bailey gets a chance thenticity and Cliffie Stone’s orch HI and itftM at some excellent material ui dishes out a snappY alfalfa backing the pop market “Takes Two To Tango” and she but it’ll be hard thing -to sell to camarat* s backing is excellent * makes it a good commercial entry, the urban ear. • . She belts out the catchy Jyric, John Raltt: “Because You re r latter* blended with a captivating beat. Mine”-“The ’ Song Angels Sing” in the effortless manner that’s (Dacca). John Raitt steps out as a -4-4-4 Disk Companies' Best Sellers CAPITOL ARTIST ,Kay Starr KAY’SL LAMENT /. •. *. - Kay Starr FOOL/FOOL, FOOL SOMEWHERE ALONG THE WAY Nat (King) Cole WHAT DOES IT TAKE ' IN THE GOOD OLD SUMMER TIME. .Les Paul-Mary Ford SMOKE RINGS LOVE IS JUST AROUND THE CORNER Billy May GIN AND TONIC WALKIN’ MY BABY BACK HOME -.(Nat (King) Cole FUNNY 1. PRETTY BOY Jo Stafford YOU BELONG TO ME 2. BOTCH-A-ME Rosemary Clooney . ON THE FIRST WARM DAY * 3. HALF AS MUCH ...‘ Rosemary Clooney PQOK WHIP POOR WILL 4. HIGH NOON Frankie Laine ROCK OF GIBRALTAR 5. HOW LOVELY COOKS THE MEAT Frankie Laine-D. Day SUGARBUSH CORAL ’ 1. STRING ALONG Ames Bros. ABSENCE MAKES THE HEART GROW FONDER 2. MY THRILL Alan Dale YOU’RE MY DESTINY 3. JAMBALAYA ..... Neil Hefti & F. Wayne TWO FACED CLOCK : ' THIS IS THE BEGINNING OF THE END. /I CAN’T CRY ANYMORE IT TAKES ^WO' TO SAMBA LET THERE BE LOVE . .Don Cornell Pearl Bailey DECCA 1. SHOULD I Four Aces THERE’S ONLY TONIGHT 2: BLUE TANGO Leroy Anderson BELLE OF THE BALL 3. AUF WIEDERSEH’N SWEETHEART Guy Lombardo HALF AS MUCH 4. BLUE AND SENTIMENTAL Mills Bros. JUST WHEN WE’RE FALLING IN LOVE 5. WISH YOU WERE HERE Guy Lombardo HONKY TONK SWEETHEART MERCURY 1. AUF WIEDERSEH’N SWEETHEART Eddy Howard I DON’T WANT TO TAKE A CHANCE 2. ONCE IN A WHILE ,,, Patti Page I’M GLAD YOU’RE HAPPY WITH SOMEONE ELSE 3. SO MADLY IN LOVE Georgia Gibbs MAKE ME LOVE YOU 4. ROSANNE Vic Damone TAKE MY HEART 5. YOU BELONG TO ME Patti Page I WENT TO YOUR WEDDING M-G-M 1. I’LL FORGET YOU Alan Dean LUNA ROSA . * ’ 2. STRANGE SENSATION Billy Eckstine HAVE A GOOD TIME 3. BEYOND THlf NEXT HILL. Acquaviva & Orch TILLIE’S TANGO 4. KISS OF FIRE ,,Billy Eckstine NEVER LIKE THIS * 5 * * David Rose & Orch. ALL THE THINGS YOU ARE RCA VICTOR 1. WISH YOU WERE HERE Eddie Fisher the Hand of fate 2. IM YOURS Eddie Fisher JUST A LITTLE LOVIN' 3. VANESSA ! .....Hugo Winterhalter SOMEWHERE ALONG THE WAY vvmteraaiter 4. SOMEDAY * LUNA ROSSA Platter* Pointers Red Foley and Roberta Lee have a surefire commercial slice “Don’t Believe Everything You Hear” (Decca)... Ray Blochorch's workover of “Someday” on the Coral label rates lots of spinning time. Ronnie Deauville’s vocal h standout...Jan G arber hiu smoothly on “You Belong To Me" (Capitol).. .Henri Rene orch dnpi a neat job on “Since You W f0 / Vict ? r - Loa DinS warbling is an added fiUp.. .Xavier Cugat s orch has an exciting treat, ment of “Oooh!” (Mercui) n »y Prophet impresses oi Z h !r r f In ,?>? Wo /, ld '' to £ die Kern label... Alfred Ncwm™ batons the Hollywood Symph Orch in a standout cutting of “Jamaican Rhumba (Mercury)... Nora Mor* ales has a good bolero entry in Bella Mujer” (M-G-M),. .Ralph Flanagan has a hit potential in "I Should Care” (Victo?). .Scnc! Welk orch has a pleasant slice in Cocoanut Grove.” Standout folk, western, religious, blues, rhythm, etc.: Bill Monroe, Pike County Breakdown” (Decca) ■ • • Slim Williams, “Yoke of Oxen” (Coral)... Skeets Yaney, “So Dis- hearted” (M-G-M)... The Harmon* eers Quartet, “I Just Can’t Help Loving My Jesus” (Bibletone). " Forms Whitehall Music Co, Whitehall Music Corp. char- tered to conduct a music publish- ing business in New York. Capital stock is 200 shares, no par value. A. Edward Masters is a director and filing attorney. “I WENT TO YOUR WEDDING” Tony Martin ^ Hugo Winterhalter MERCURY RECORD Ho.-5899 and 5899X45