Variety (September 1952)

OBCmSTRAS-AirSlC Wwlmegday, gcptemher 3, 1953 WELL INTO NEXT YEAR Ray Anthony orch, which haa been hitting a solid boxofhce iitride for the past two years, has already been booked well into 1053. Cur- rently on ‘a one-nlghter •wing in the far west, the Anthony crew will remain on tlie shoi't-stand circuit in the southwest and midwest for September and October before set- tling down for two weeks at the Thunderbird Hotel, Las Vegas.- Anthony returns to New York Jan. 12 for a four-week booking at the Hotel Statler’s Cafe Rouge and has been signed for his fourth annual date at the Hollywood ladium next July. Anthony has also been lined up for 40 college dates during the next year. Tamara Hayes Shifts FrornTJecca to Victor Songstress Tamara Hayes, who recently obtained her release from Decefi Bfecords, pacted; with RCA Victor last week. Miss Hayes' initial sides for Vic- tor, which will be--released next week, are" “You’ Belong To Me” backed by “That's What A Song Will J)o.‘' By MIKE GROSS ONE OF THE TROLY GREAT SONGS of our TIME! The World-Famous Instrumental Hit Now Published with JOHNNY MERCER’S New, Exdting Lyric . . . EARLY AUTUMN Words by JOHNNY MERCER Owg.noi Mus.c fay RALPH BURNS and WOODY HERMAN I — ■•MBaw'WBan '•t ^mi »•’ a>i •■fHaakW isemumtmme i •■I'.v’caa ■•waiaaai ■aanviain* ■>■■■■ •um>j ■ avS aSSSianw ■■ ir all rus-set broion CMaj7 C6 Dra7 A frost- y win - dow pane-^ G7 CMaj7 E . shows me a town grown lone - ly m Dn7 G7 ' ' IMI i«r lims — B mm am mmm miss you so Let’s nev-er have to share— - oth-er EAR -LY. AlLitlMN Copyright. 1949, Qjarihig Music CorP*ik New York. N.Y. Copyn^t Assigned 1952, &ortweII Music Inc,.,. New York, N.Y. New English Lyric and Music Adaptation, Copyright 1952, Cromwell Music Inc., New York, N.Y, New RECORD. RELEASES Columbia) and Mors GEORGIE ^UUO Coral CROMWELL MUSIC, li Londo'’ m vBwmwtLL /WUbiC, Inc , 666 Fifth Avenue, New York 19, N. Y. g^LORING BUZZELL. Gen. Prof. Mgr. LUCKY WILBER. West Coost Rep. BltOS .THE GLOW-WORM johnS’kayV. V.V.V.V.V. V. ■ FAITH cim ■ *6 ve ■ moun™^^ (Columbia) ^*”8 NAT (K1NG).C0X,E... BECAUSE YOU’RE RUNE (Capitol) I’m Never Satisfied EULA MAE MORSE-TENN. ERNIE..FALSE HEARTED GIBI (Capitol) I’m Hog-Tied Over You Mills Bros.-Hal McIntyre Orch: “The Glow-Worm”-“After All” (Decca). The 50-year old .standard, “The Glow-Worm,” which recently has 'been given a new lyric by Johnny Mercer, get a solid push up the -eomeback trail via the Mills Bros, effervescent workover. Com- bo delivers the sparkling Mercer wordage with an appealing zest and a slick^harmony technique. Hal McIntyre’s otch adds to the spirit. i A surefire click in every spinning outlet. “After All” is a better than average ballad entry given a vivid interpretation. Rates plays. ' Johnnie Ray: “Faith Czfti Move Mbuntains”-“Love Me” (Colum- bia). Ray’s tortured-tonsil tech- nique should pay off again via this etching. On “Faith 'Can Move Mountains,” a semi-religioso bal- lad, Ray hits with a. solid line of emptipnai pyrotechnics that will click with his devotees. “Love Me” is in a pounding, rhythmic groo-ve which Ray^ delineates for top’ impact.' ’ Ho'tV ‘sides are hit bracket potential. ^ Nat (King) Cole; “Because You're Mine”-“I'm Never Satis- fied” ' (Capitol). ’ ‘ Cole has some strong competition on his “Because You're Mine” cut (Mario Lanzo, Victor; JDhnBaitty Hecca and Billy Eckstiiie, M-(y-M) but it's a potent version that. -wiH' give the earlier starters a run for the top- brackets. Previous shellac covering of the title tune from the forthcoming Metro' pic have .been in the big- voiced .grandiose styling, Cole, however, sticks to his tender and sincere reading -groove • maiking it a sock contender for big coin. Cole is in a livelier mood on “I'm Never Satisfied” giving it a good spin- ning potential. Nelson Riddle orch backs tastefully. Ella Mac Morsc-Tennessee Er- nie: “False Hearted. Girl”-“I’m Hog-Tied Over You” ((^apitdl). .Qoupling of Ella .Mae Morse and Tennessee ‘Ernie’ bh a pair of al- falfa tunes • should • payoff big for Capitol, especially in the grass- [ roots: The’ ‘etching' also has the •kind of • rocking. beat and cornfed lyric that could click in the urban jukes.’ “False Hearted Girl” is a fast‘.paced rhythmic entry which the duo belts out in a bouncing, twanging -fashion; • Reverse- is- given the same, W.^atment but the num- ber's lyric imagery' is less appeal- ing. Cliffie- Stone's orch supplies more of the “right off the cob” flavor. • Don Comcll-Tercsa Brewer: “You’ll Never Get Away”.-“The Hookey Song" (Coral). Teamflp of Don Cornell and Teresa Brewer On a pair of novelty numbers' adds up to only moderate platter fare. Tan- dem works well together but mate- rial never comes off. Get some zing into “You’ll Never Get Away” but for the most part .it’s handled witli a studied cuteness that doesn’'t ring true. “Hookey” is in a similar vein. Sammy Kaye Orch: “It Wasn’t God Who. Made Honk,y Tonk An*- geIs”-‘T Went To Your Wedding” (Columbia). Although the two num- bers waxed by the Sammy Kaye orch on this coupling already have broken out on other labels (“An- gels” via Kitty Wells on Decca; “Wedding” via Patti Page on Mer- cui-y) it’s still a .sock entiy -and should score especially in the juke market. “Angels,” a hokey folk item, is given a delightful tongue- in-cheek reading by the Ka.ye crew and chorus. The sentimental “Wed- ding” on the flip is adroitly, han- dled by Kaye‘with a lush orch and choral. setting. Danny Kayc-Gordon Jenkins Orch: “No Two People”-“Thumba- lina;” “Anywhere I Wander”-“Won- derful Copenhagen” (Decca). Four of Frank Locsscr’s tunes for the forthcoming Sam Goldwyn pic, Hans Christian Andersen,” are tricked, off via these two Decca platter^ featuring Danny Kaye, who's, starred. In the pic, and the Cxordon Jenkins orch. It’s a pleas- ant but average score and it's doubtful if any of the tunes, in- dividually,, will bi;eak out on the pop market. Disk sales will prob- ably be hypoed- after' pic’s* release but it’ll appeal more‘to‘collectors' tlwn t9 tlve. pop. buy4ug,tnade: Tune with best commercial potential is “No Two People” on v'hich Kaye gets a sock assist from Jane Wy- man. It’s a lilting romantic item which has a gay and ingratiating quality. Other diskeries will prob- ably hop on it with their guy-gal tandems. “Thumbalina” and “Won- derful Copenhagen” have some spark but seem meaningless out of the bic's context. “Anywhere I Wander” is in the pop ballad genre but gets a bit too cumbersome for clicko impact. Kaye works through all sides in his usual mellow-voiced style while Jenkins lends a stand- out backing job. June Valli; “Taboo” - “Mighty Lonesome Feelin’ ” (Victor). June Valli continues to impress as a warbler who’s due for a top bracket etching. This coupling, however, is not it. She generates an exotic and exciting mood on “Taboo” but it gets too involved melodically and lyrically for sock commercial values. Pleasant ballad on the re- verse, is better suited to her wist- ful styling and rates spins. Harry Salter’s orch supplies a standout backing. Kay Starr: “Comes A-Long A-Love”-“'rhree Letters” (Capitol), “Gomes A-Long A-Love” is a crisp, rh^hmic number which, could give Miss Starr another top-spin plat- ter. Lyric idea, which is above average, is set against a lively melodic pattern and Miss Starr gives 4t the kind of zestful reading that goes big with jocks and jukes. “Three Letters,” a melancholy item out, of the rhythm and blues field, is long oh lyric and short on me.Iody. Doubtful commercial pos- sibilities. BREAKING for a Big Hit! .‘Mademoiselle’ with I n Paired with 1 Didn’t Know Any Better’ Also Showing Lots of Activity MERCURY No. 5e»« ona 58?8X45