Variety (July 1953)

48 ORCIIESTRAS-MrSIC P'kniEfY Wednesday, July 8, 1953 ►By IIERM SCUOENFELD. 4 Margaret Whitlng-Jiminy Wakely: “My Heart Knows”-** When Love tines Wrong” (Capitol): “My Heart Knows” is a neat ballad with an arresting beat that could be a standout' for the Whiting'*. Wakely * tandem. They, handle, it simply and tliis side shaped up as . double, entry in the country and pop hit lists. The original vershin by Dotti Dunn and Will. Harvey for the indie BUS label is also flavorsome and will garner, a big share of the spins. Oh the. Capitol flip, “When Love Goes Wrong” is a fair * rhythm ballad from the 20th-Fox Mi. The theme melody from . 20thFox’s “The President’s Lady”, continues to pile up the pic themes on wax. This is a flrstrate number interpreted with a rich arrangement by Le : Roy Holmes orch, The theme from ,,Carmqn” on the flip .gets a nifty quasi-jump ride for good results. . Homer & Jethro: “I’m Walking Behind You All” •■Mexican Joe No, C7h” i Victor). Homer & Jethro have developed into the ace parodists on. wax and they make one of their murderously corny assaults on the current hit; . "I’m Walking Best Bets MARGARET WHITING-JIMMY WAKELY MY HEART KNOWS Capital . . . . . . ... ..... ... . , . . . v . . . ; . When Love Gods Wrbny MINI) Y CARSON ... , . .... . . . . HONEY-PARLIN’ ; Columbia •. . ; , v. .=: . . . . .Free Home . Demonstration pic, “Clcntlemeh Prefer Blondes. • Mindy Carson: “Hohey-Darlin' ” '‘Free Hume Demonstration” : (Columbia). Mindy Carson is still looking for . that big dlsclick and .she could turn up with a topseller on “Honey-Darlin’,” still a n o t h e r number by Bob Merrill in collaborationwith Jay Livingston. It’s a sprightly: side spiced by a penny-? 'whistle accompaniment. Miss Carson also gives a socko treatment on that, pseudo-hillbilly entry, “Free Home Demonstration,” Jimmy Carroll supplying flrstrate backgrounds. Vic Patriotic: “Simonctta’ -“Eternally” (Mercury).; A coupling .of. ace material for Vic Dairionc; “ Simon etta” is a big ballad that gets . a solid commercial . ride by Vic Damone. Flip is the lyric version to the “Limelight” theme and, ; though tastefully done, IPs doubtful whether It takes the play away from the Instrumental slices of tills lovely melody. Betty ilutton: “No Matter How You Say Goodbye”-“Goln' Steady’ (Capitol).; These sides attempt to switch from usual frantic typecasting of Betty Hutton bn wax, but the material fails to come off. “Goodbye” is a “crying” ballad not projected with much genuine feeling. Reverse is a rhythm tune more suited to the Hutton piping style blit it’s, a routine entry despite the solid vocal. Rusty Draper: “Lighthouse”-”! Love To Jump” (Mercury). Rusty Draper has considerable, talent as . a balladeer but unfortunately lie’s developed a style that’s virtually a carbon of Frankie Lalne’s. . Even bis type; of material is the same which compounds . the identity. “Lighthouse,” a dramatic song, is a typical example of the similarity. • Flip is more original and Draper gives it a good ride. Tommy Dorsey Orch: “One Kiss’VThe Most Beautiful Girl In The World” . (Decea); These' are two of the best sides turned out by Tommy Dorsey in the past couple of years. Both standards are given polished, f refill arrangements with TfD. supplying some flrstrate trombone solos. Smooth scat vocalling by .a choral ensemble lends ‘color for the jock and juke spins. Gisele MacKcrizie-Helen O’Connell: “When The Hands Of The ('lock Pray At Midnight“-“Glve Me The Name, Age, Height and Size” (Capitol). “Hands of the Clock” is a flrstrate new ballad entry which has been getting a stack of wax. versions. This duet Is another neat slice which will give this tune Impetus. Cindy Lord also has fl'ie eichiivg for M-CrM, Records, apitol flip, the MacKonzie■ i t onnoll duo' sock. across a clCver ltein with plenty of, verve,. Jbis could die a big juk,e number. . llie MHaclifino Strings: “The . ' .• a h d RQ-se”-“Sbado\vs”. . (\ icioi I he pic theme Cvc.le. .is ir'w rl-'' r()l,>,.1ff b) high. From the . »V alt Disney pie of the same name, Sword . makes for a hi ghly 1 1 s. tenable instrumental, especially as piojected by t he flashy Mol nch ri no organization, This number,; how-; ever, doe. so ,t. have the strong meJodic hne needed to break into the top brackets, .vshadovys” is a pleas*, in^ atmospheric instrumehial ■■ •ixP*^t?tKoSe' °rch: “All l DesireV’* No Other Love” (M-G-M).. Another pic title tune, “All I Desire,” from the Universal film, shapes up as. a highly attractive instrumental which may climb fast via this lush David Rose slice. Fhp, from the Rodgers & Hammerstein legit lnusical,' “Me and Juliet,” ' is neat lv i + ^reiidered==^villu=a^=rDannv^-W#»B.rtM-LI ma n V v ’ a la Ai<rhard I,av’ I J * AM IN LOVE ...... Le Roy Holmes Orch: “The PiesJ t TI,K BREEZE (BRINGIN* BACK) ldent’s Lady”-”Habanera” (M-G1 * " * : LAWKENCE welk . and his CHAMPAGNE MUSIC 98th Consecutive Week, Aragon Ballroom, Santa Monica* Calif. . Exclusively for Coral Records •• .. . oil; Backed by HALLELUIAH BROTHER I' Behind You.” This duo tends to. repeat trieir jokeg on each of their sides but their fans will no doubt go , for this effort. The flip is fair. A| (Jazzbo) Collins: “Little Red Riding Hood/V’Three Little Pigs” (Brunswick). The idea of doing jivey versions of juve fairy tales, isn’t particularly novel but these sides are tops for the genre. Steve Allen supplied the; scripts for these “Grimm Fairy Tales For Hip Kids” and Al (Jazzbo) Collins, WNEW, N,: Y. disk jockey, delivers the narration in a breezy, definitely cool groove, Lou Stein ably provides the piano accompaniment. Album Review Fred Asiaire-Nanette FabrayJack Buchanan: “The Band Wagon” (M-G-M). The soundtrack from the M-G-M fllmuslcal version . of “The Band Wagon” hiis been packaged Into a sock album by M-G-M. The Howard Dletz-Arthur Schwartz score includes several beautiful standards and Fred Astaire is in top form with his casual piping style. Astaire solos on “Be Myself” apd “A Shine on Your Toes,” and joins with Jack Buchanan and Nanette Fa bray on the . clever “Triplets.” Miss Fabray clicks smartly on “Louisiana Hay ride” while India Adams registers strongly on “New Sun. In The Sky;” A big slice of tliis set is allocated to “The Girl Hunt Ballet;” a musical takeoff on “private eyes.” Astaire handles the narration lightly and this comedy piece lends an offbeat note to this fllmuslcal set. Adolph Deufacih batons the studio orch and chorus in .ace ‘Hollywood fashion . Plotter Pointers . Nornian Granz adds a quartet of topflight Jazz . sets to his catalog wi th sax packages by Lester Young, Illinois Jacquet, Flip Phillips and Johnny Hodges on the Mercury label . . . Another svelte instrumental set by Mantovanl on a flock o* tangos has been released by London . . Eddie Fisher clicks as uauaL with hts open-voiced attack , on living Berlin Favorites,* an ! varied irtists RGA Victor ’package of standards. . . . Jo Aim Tolley impresses on “I’ll Go On Loving You” (M-G-M). . . (Charlie Ferguson has an in teresting rhythm 3c blues side In “Hard Times” (Apollo) . . v Irving Fields, has an okay Instrumental in “KCy West Rhumba” (King) . a . Bob Eberly has little impact on “Cryin’ My Heart To Sleep” (Capitol), Ravel: Quartet jn F and Debussy: Quartet in G Minor (Columbia; $5.45). Only quartet either man wrote makes a fine, congenial coupling. The Debussy is .exotic and graceful; the Ravel strong; sensuous and more expressive. Budapest Quartet gives them lively, choice readings, Brahms: Concerto: No. 1 (RCA Victor; $5.95). Sturdy, forthright reading of the master work by pianist Solomon, assisted by the Philharmonia Under Rafael Kubelik. Emanuel Feuermann : (Columbia; $5.95). For the Collector’s Series, Columbia had re-pressed in . LP some choice 78 disks of the late cellist, that are really treasures. One ; backs the melodious Haydn Cello ..Concerto, with the equally appealing Schubert: Sonata In A Minor. Other;, combines Beethoven’s Sonata No. 3 In A and Seven Variations in E Flat with the Reger Suite in G, Dame. Myra Hess assists on the Reger. .Feuermann’s lusli tone anid brilliant." technique are always standout. Other disks of interest: Haydn Symphonies No, 44 and 49 (Westminster), by .Vienna State Opera orch; Brahins Variations on Theme by Haydn and Schumann Andante and Variations In B Flat i M-G-M), ■Ethel. Bartlett and Rae Robertson;Schoenberg’s Survivor From Warsaw, Kol Nidre & . Second Chamber Symphony (Columbia), by Bvon,. New York, .. Editor, Variety: . This Is a request to ramble In space— yours and outer— for a f^w realistic thoughts and a little speculation about the strange music world of, say, 1993. It’s bad enough now, but pity the poor publisher a mere 40 years hence! At the moment the struggle is so intense that the publisher’s main interest is taken up with tonight’s plugs and tomorrow’s recordings. This is regrettable because if he had time to spare for an anxious peek into the future it might occur to him that tlie problems of 1993 will be multiples and complications of what they are tor day, •: ; r . . The reason is clear. The. musical director, the disk jockey or the a&r man of 1993, or whoever w'ill have taken their plUce by then, will have a vastly greater repertoire of music from which to select items for his program or releases. And here’s the snag: they will be mostly, in the public domain. Also^ as be will be working for af adio or TV or some sort of Ultrasonic; network, it will ; be td the advantage and profit of his employei^s if he makes up liis lists from P4* sources arid theSe sources by then will embrace most of the current fee-earning works, including such composers ; as Victor Herbert, Sousa and other greats, much of George Gershwin,; Vincent Youmahs and Jerome Kerri, as well as many works of Cole Porter and Richard Rodgets: ; These; together with the classic European favorites from Beethoven arid Chopin to Strauss and Lehar and^the vast field of p d. music, Will constitute a formidable opposition ; and the task of . the publisher will be to get. his 1993 plug tunes played in face of this competition. Ope wonders if lie will have a chance against .such a lineup. ; (Thought for today: If you have songs to write— write them now!) ''' It is possible that the publisher of the future may hope to counteract this by revenue from performing rights in Europe and other territories where there is fuller; copyright protection, but not every catalog contains the necessary longdiVed standards to produce income from foreign fees, so it will be on his: own U, S;. territory that lie will have to rely. The remedy for this problem is already known — a revision of the U. S. Copyright Act to .bring American copyright protection Up to the level of the greater part of the civilized; world, namely coyer “for the life of the writer and 50 years thereafter.” . : Of course, it may be that the publishers and copyright owners are not worrying. The recent foraging expedition to Japan under command of the able Abeles I (Julian T.) has opened up a new source of revenue arid when this starts to come in, along with the possibility of other similar deals the resulting income will help to make up deflcits in the home account. ‘Space on My Hands* On tile other hand, it may be that the publishers are smarlt r than we think and are already envisaging that by: 1993 the Rocket Age . will have set them si ngin g “Space on My Hands” and will produce new. extraterrestrial rights from such things as space-beaming of transcriptions, inter-stellar transmissions and rights for ffesii copyright territories such; as . tite Moon, Alpha Gentaurus and the Nearer Planets and even points in Outer Space from which royalties may be wrested by a future arid evert more fabulous space-abeles. I ' submit, however, that in -spile o( tremendous progress in interplanetary prospects, such cannot be counted oil for reyeriUe. just yet. Also in the early contacts With the space-races or the humanoid publishers of other worlds, there will Undoubtedly be mariy cpriflictions, possibly even less . copyright protection and maybe more .difficult a&r men ' armed with awe inspiring: and unimagined negafiyes-— some even may Use the Paiv alyzer-ray! Inter-planetary publishing will certainly have a multitude of undreamt-of problems, Apart' from having to eppe with 'a spate oiEarth titles such as (Jim Waish,. please, note!) “My Galactic Sweetheart,” “One Night on Neptune ” “Moon Man I Love You,” “You Look So Cute in Your New ''Space-'.; Suit,” or “Wave Your Antenna As You \Say Goodbye,” arid their ver- • sions in other speech forms, there will also be such space imports as Other ^ World Thing publishers beam their plugs onto Earth and our owri .space boys will be. singing, “She’s the Cutest Little Plutist,” or snatches of songs picked up from the green-haired Mooriwomen, or the duck-fpoted halfdragon gals of Mercury, or the humming, bird-lovelies of Venus, such as “I’m in Love With An Earth Man,” or “Only a Light-Year Ago” (“No. 1 on Mars, old boy”), 3. 4. 5. 6. -1. 8: 9. 10. • < .4.8 i 4 | » 1. I’M WALKING BEHIND YOU (7) 9 SONG FRbM MOULIN ROUGE (9) , AFRIL IN PORTUGAL (9) RUBY (8) . . . . VAYA con DIOS (3) ANNA '-(3) OHt (1) SAY YOU’RE MINE AGAIN (9) Ai.LEZ-VOUS EN (1) . G A MBLER’S GUITAR (1 ) ♦**•**♦• i f » t r *• '•*•<*«« «,r , •• t • *. *; • . • y * *. V *. * f •. r « • « « < c , 4 NO OTHER LOVE . . PitETFNiy ' . ;' TERRY S THEME FROM LIMELIGHT YOU, YOU, YOU i believe . JOHNNY DOWN BY THE RIVER SIDE . HALF A PHOTOGRAPH APRIL IN PORTUGAL crazy, Sian, crazy . . YOUR CHEATIN’ HEART . . the nearness of you Second Group ♦ • > • ♦ i) <• • •• t « • « «• « i •• • 1-4 4. * 44. • 8 *• « 4 k ■ * 4444 84 b|l4 «•«•' 4 4 4 • 4 4 .4 I t»Tt4444H>4tt Eddie fisher. . . . . . ; . . .Viator Percy Paitli Coltnubta Les Baxter . .Capitol ^ Richard Haymem ■ ». ■ j Mercur y r ■ ’ Paul-Ford . . . , Capitol '< » Sytvaim Mangano . . , . . . . A/-G-M . * i Pee Wee Hiint: ; Capitol J Perry Como -. . , , ', , . Victor Kay Starr.;-, , ..Capitol Busty Draper ... , .; . .. .. ...Mercury . Perry Co, iio 'P,\ . . .Victor ■Nat ( King) Cole ... .... Capitol ■ ■ ■ Frank Ch acks field ; London ‘ * Awes Bros. . .:. .:.Victor t Frankie Lain? . . . , . . . Columbia , P“Ul-Ford ' . (:, i -r ; . .Capitol t Four Lads ; . . . ... ; . , , Columbia ' . Kay Starr. ; ; , , . , , . . Capitol l Freddy Martin , , , . . Victor • Bill Haley, ....... f ...... Essex . • Joni Janies-. . . , . . . , . . ..M-G-M ^ =K<>*=iV7 a.T,^ (.f7 ■Nai iKinpi -Cole ...... .Capitol. ] Trudy Pickards . , ....... .Derby Sonic of the other Worlds may be in a different time-universe; making it possible for a song to bo copyrighted on Uranus 100 years before it is Written on Earth! Also there will be problems of release dates in the different planetary systems where time is measured not in years, but. probably in sidereal periods. There Will be strange ultra-electronic systems of musical reproduction, different forms of notation, . information re space ship routes for shipping orders, printing of copies on anti-Uraniuiri magnesium-foil, contactmen’s expenses on Moon trips, not to mention competition from space-oldies written light-years ago and just reach ing this universe. Nashville, Tenn., Instead of keeping an eye on “Brill-Billies,” will have “Spades” to contend with— the possibilities are really endless. So the publisher of the future may weM look back and sigh for the good old times, of 1953. and the happy days of a&r men who merely said W’ In the Words Qf Bolr Merrill, “Tell Us Where the Good Times Are?” the answer fs Stii'ely*' “Here and Now — if you fix up that copyright extension!” i t* * . „ .Timmy Kennedy. \ I -f S*—A11 rights resented in titles of space songs mentioned; Booking Sked in Fall Currently booked solid on a summer one-niter trek, Billy May plans to set tip a. new booking pattern after a six-week vacation layoff heginning in Heptember. During the hiatus May Will . settle his rhanageirient difficulties with Carlos Gastel ^nd formulate plans for location arid ohe-iiitcr dates for the winter season. '. May’s decision follows on Hie heels --of '.Ralph Flanagan’s plans to |-ya qa t i on==f or-^=s i-x=Aveeks7==begiii ni n gin September, to blueprint a new’ booking policy;, Both' outfits are booked through General Artists Corp.