Variety (October 1957)

56 MUSIC PSKIllfY Wednesday, October 2, 1957 Jocks, Jukes and Disks By MIKE GROSS Elvis Presley (RCA Victors “JAILHOUSE ROCK" (Presleyt) is a wild blues rocker that can't help but be another hit for Elvis Presley. “TREAT ME NICE" (Presleyi) is in the Presley mum¬ bling tradition and will grab his ready-made aud. Both tunes are from Metro’s “Jailhouse Rock.” Frankie Lymon (Roulette): “MY GIRL" (Planetary*) sets Frankie Lymon in a nifty rhythm pattern and he swings it into the winner’s circle. “SO GOES MY LOVE" (Favorite*) gives the juve singer a chance to get romantically drama¬ tic. Roger Williams (Kapp): “TILL" {Chappell*) is a standout ballad that’s been kicking around on wax for some time. The Roger Wil¬ liams’ version with choral assist will push it to the top. “BIG TOWN” (Garland*) is just a show¬ case for Williams’ keyboard capers. Mindy Carson (Columbia): “SWEET GEORGIE BROWN" (Re- mick*) has the rhythmic pep that could pull it into the big spinning circle, especially the way Mindy Carson hits it. “WATER WHEEL" (Joy*) has a romantic turn which she rolls into a pleasing side. Eddie Fisher (RCA Victor): “SAYONARA" (Berlin*) is a melo¬ dic ballad that could give Eddie ever be a hot spinning item but it rates occasional play* Debbie Reynolds (MGM): “ALL GROWN UP” (Carrie*) proves that “Tammy” made Debbie Reynolds a disk name and pot. vice versa. “WALL FLOWER" (Ramrod*) is a so-so item which she delivers in a fair fashion. Steve Gibson Sc The'Red Caps (ABC-Paramount): “FLAMINGO” (Tempest*) apparently belongs to Herb Jeffries but Steve Gibson could move in. “SILHOUETTES" (Regent?) rocks in a familiar pat¬ tern but it’s made a little different by an involved arrangement. Doris Day (Columbia): “THE MAN WHO INVENTED LOVE" (Frank*) is an interesting ballad idea but it will be tough to get across in the pop market “RICK¬ ETY-RACKETY RENDEZVOUS" (Daywint) has a bright feel and Doris Day gives it some extra zip for okay returns. Eddie Dan© (Vik): “HOT KISSES” (Joy*) doesn’t generate enough heat to make its mark in the .spinning competition. “WHILE OUR HEARTS ARE YOUNG” (Maggie?) is a fair ballad with a rocking beat to make it acceptable to the teenage trade. Hal Mooney Orch (Mercury): “CHICK-A-CHICK” (Steinwayf) is Best Bets ELVIS PRESLEY ...JAILHOUSE ROCK (RCA Victor) .,.*..... Treat Me Nice FRANKIE LYMON..MY GIRL (Roulctfe) .......So Goes My Love ROGER WILLIAMS ................TILL (Kapp) ............. .Big Toum MINDY CARSON .....SWEET GEORGIE BROWN ( Columbia) ...’. .Water Wheel Fisher a chance to regain some of his spinning stature. “THAT’S THE WAY IT GOES" (Symphony House*) is a smart American lyric workover of a German click. Four Aces (Decca): “HOW DO YOU SAY GOODBYE" (Chappell*) is a showtune but of “Rumple" but the Aces give it a pop touch to help it make the deejay rounds. “I WOULD DOVE YOU STILL" (Frank*) is the ballad push from the upcoming tuner, “Carefree Heart.” and it’s given a pop zing that rates it a spinning potential. McGuire Sisters (Coral): “KISS THEM FOR ME" (Miller*) has a marching tempo that’s brightened for a pop takeover by the Mc¬ Guires. “FORGIVE ME” (Mon- taukf) is a neatly constructed bal¬ lad which should see lotsa turata- . ble action. Dick Haymes (Jubilee): “I’LL STILL BE TRUE" (Common¬ wealth-Cinema’)) is an attractive ballad that could mean new spin¬ ning action for Dick Haymes. “LONESOME AND SORRY” (Mills*) gives the crooner a rhythm opportunity and he makes the most of it. Lex Baxter Orch (Capitol): “SEARCH F v OR PARADISE" (Wit- mark*) gets the familiar Les Bax¬ ter lush orch and singing chorus treatment-for okay results. “RI- CORDATE MARCELLING" (Edizi- ono Paladium*) is a happy whis¬ tling item that will appeal to many. Hugh O’Brian (ABC-Paramount): “DON’T MOVE" (Longridge*) is a light western-flavored item that in¬ troduces Hugh (Wyatt Earp) O’Brian to the crooning corral. “I’M WALKIN’" (Longridge*) continues the western motif in O’Brian’s easy crooning style. The Glory tones (Epic): “YOU ONLY COME BACK TO HURT ME” (Mellinf) is a blues ballad with some rocking overtones that give it a spinning chance. “WAS THAT THE RIGHT THING TO DO” t Mellinf) is in a similar veih and it’s a tossup as to which way the spins will go. Robbin Hood (MGM): “SALTY, SALTY IS THE SEA” (Bourne*) is a likeable folk-flavored ballad which Robbin Hood builds into a jock Sc juke pleaser. “LIKE CRAZY" (World*) swings bard and probably means something to the teenage set. „ Kay Armen (Decca): “HAl HA! HA!" (Leeds*) has a brisk, catchy mood and Kay Armen turns it into a side that will attract play, “TILL" (Chappell*) has a lot of vocal wax to its credit already but Kay Ar¬ men will get herself heard. Ike Cole (Bally): “HEAR ME GOOD” (Famous*) has a rocking j spirit that’s good enough to keep it busy on the turntables. “YOU MELT ME" (Crosstown*) won’t i a tasty instrumental that rates a good share of the deejay turnta'ble time. “THE LEANING TOWER OF PISA" (Steinwayf) is a lilting tune with lots of melodic spark supplied by Hal Mooney’s orch and chorus. Hop a Long Wong (Decca): “I’M GONNA SIT RIGHT DOWN J AND WRITE MYSELF A LETTER" (DeSylva, Brown Sc Henderson*) gets a Chinese dialect workover hut it doesn’t add up to any fun. “G OODY GOODY" (DeSylva, Brown & Henderson*) becomes a Chinese torture in this gagged-up version. Sil Austin (Mercury): “FALL OUT" ISteinwayt) is a .swinging, raucous instrumental appealing to rock ’n’ roll fans. “GREEN BLAZER” (Cypress?) has ;the kind of beat which will keep th'e teeners happy. Vikki Nelson (Vik): “YOU CAN’T GET AWAY FROM ME” (Edenf) has enough of Vikki '• Nelson’s shouting style to make it interest- Goodys Album Bestsellers (Compiled by Sam Goody’s, leading New York disk retailer whose global mail order operation reflects not only the national ; market, but internationally). ing to some fans. “JUST ONE MORE SMILE" (Lowellf) rocks in a way that’s got to attract juke ac¬ tion. Joe Leahy Orch (National): “BE¬ YOND THE STARS" (Cromwell*) is a quietly appealing instrumentaL “TWICE ABOUND THE WORLD” (Maniowe*) has some ear-pleasing instrumental qualities. ASCAP* BMIt COURT GIVES RCA NOD ON GOMORGAN’SET Los Angeles, Oct. 1. Legal barriers to the distribution of the RCA Victor soundtrack al¬ bum from “The Helen Morgan Story, 4 ’ were cleared when Feder¬ al Judge Ben Harrison dissolved a temporary restraining order and denied an injunction requested by Era Records. It was the latest move in a legal battle that began some months ago when Gogi Grant sued Era to break, her contract with the indie diskery, alleging breach of fiduciary relations. Miss Grant’s voice is heard on the soundtrack and the album. Era had sought the injunction as an aftermath to Miss Grant’s suit and her subsequent tieup with Vic¬ tor for whom she is recording un¬ der the terms of an injunction ^pre¬ venting Era from interfering with her career or with any company for whom she records. Original suit brought by Miss Grant charged that Era made her etch tunes owned by the label’s publishing subsidiary and then sought cover records by other art¬ ists which nut into her potential earnings. ] Pipes and Drums and Regimental Band «f The Black* Watch? “High¬ land Pageantry" (RCA Victor). Tied in. with The Black Watch’s current U. S. and Canadian tour, this shapes a top seller all over. Of course the Royal Highland Regi¬ ment’s big draw is based on the pageantry and color of its parading but there’s a lot to be said about its military tootling. .With the bag¬ pipes highlighting/the band march¬ es bravely through a series of spir¬ ited melodies. Jimmy Dean: “Hour of Prayer” (Columbia). Jimmy Dean has taken the religioso route for his Colum¬ bia album debut. It’s put together with* effective simplicity and Dean handles each of the hymns with warmth and appreciation. Set’s im¬ pact should reach ieyong the Bible Belt. Jimmy Dorsey: “The Fahulotis Jimmy Dorsey" (Fraternity); “The Great Jimmy Dorsey’* (Decca). Both Liberty and Decca have come up with wax tributes to "the late Jimmy Dorsey. The liberty pack¬ age is of more recent cutting vin¬ tage but the Decca set is a standout compilation of the JD style when the orch was riding high with such vocalists as Helen O’Connell, Bob Eberly and Kitty Kallen. Liberty has the JD band in its 1957 come¬ back stage, including the Dorsey platter click, at the time of his death, “So Rare,” Both are nifty entries for the JD file. Gordon MaeRae: “Motion Picture Soundstage" (Capitol). Over the years Hollywood filmusical*. have come up with a long list of memor¬ able tunes. In this package Gordon MaeRae makes them worth bearing again. In his list of film evergreens are “Flirtation Walk,” “Pennies From Heaven,” “You’re A Sweet¬ heart" and “Hooray For Love,” Van- Alexander’s arrangements help bring the tunes to life. ^ 1. HONEYCOMB (3) ..... Jimmy Rodgers .......Roulette 2. TAMMY (9) ..... [Debbie Reynolds . ............. I Ames Bros . Victor 3. FASCINATION (4) ....... Jane Morgan .... 4. DIANA (8) ... Paul Anka ...... 5. THAT’LL BE THE DAY (3) .... Crickets .. 6. WHOLE LOT OF SHAKING (4) ...... Jerry Lee Lewis 7. CHANCES ARE U)...... Johnny Mathis. .Kapp.; ... ABC-Par, .Brunswick -- Sun .. Columbia 8. IN THE MIDDLE OF THE ISLAND (5) ...i Bennett . Columbia ...................... ^Termessen Ernie .Capitol 9. AND THAT REMINDS ME (1) .....................__ Della Reese ....Jubilee ..ABC-Par* Everly Bros, ...Cadence ...Cadence X Billy Williams .... • • Coral Janice Harper ......... Prep Johnny. Mathis , .Columbia Billy Ward .. .Liberty Buddy Knox ..........Roulette JUST BETWEEN YOU Sc ME ..‘ Chordettes .. ..Cadence J REMEMBER YOU’RE MINE ./..._ Pat Boone.. T.7. "....Dot t Figures in parentheses indicate number oj weeks song has been in the Top 10] Ann Gilbert: (< In A Swinging Mood” (Vik). Ann Gilbert’s pop- jazz blending savvy turns the dozen tunes here into a topflight musical package. She handles the rhythm tune and the mellow ballad with a lyric, understanding and a sense- of beat that give the standards a fresh- and intriguing quality. El¬ liot Lawrence orch supplies the backing. Grade Fields: “Our Grade" (Liberty). The Grade Fields song styling, already has made its show biz mark and this package just con¬ firms it again. Here, she runs the gamut from the inspiring “London Pride” to the wistful “How Are Things In Glocca Mora” with such sundries as “Sally In Our Alley,” “Nature Boy" and “The Wood¬ pecker Song” thrown in for good measure. The Hi-Lo’s: “Now Hear This" (Columbia). Few vocal groups can jazz up a standard with the tatse and Imagination that the Hi-Lo*s put into each effort. It’s all witty, flavorsome and appealing through¬ out. Howard Lanin Orch: “Dance Till Dawn" (Decca). The society dance beat apparently is making its way on wax and Howard Lanin’s offer¬ ing will continue the upbeat. Form¬ ula, like the others which preced¬ ed, is to pile lots of familiars (there are 25 times in this one) and give an easy, danceable beat. Set will find a big audience among the terp* at-home crowd. Benedict Silberman Orch: “Jew¬ ish Music" (Capitol). This is a var¬ ied roundup of familiar Jewish melodies played with taste by Ben¬ edict Silberman’s orchestra. It in¬ cludes such faves as. “Kol Nidrei," “Hatikah,” the nursery rhyme “A Flame is Burning In The Fire¬ place" and even the Sophie Tucker trademark “My Yiddishe Momme." Teddi King: “A Girt and Her Songs" (RCA Victor). There’s plen¬ ty of evidence here that Teddi King is developing os a potent song pur¬ veyor. Here, with intelligence of phrasing and rich vocal style, she belts across such varied items as “Pprgy” (out-of Dorothy Fields and Jimmy McHughs), “A Sailboat In The Moonlight ” “Alone Together" and “Autumn In New York”, among others. It’S all a tiptop time blend¬ ing. Ferrante A . Teicher: “Sound- . blast" (Westminster), This is an¬ other of (Arthur) Ferrante Sc (Louis) Teicher sound experiments to follow up their previously suc¬ cessful “Soundproof." The hi-fi fans should flock to it in a big way. Using a dozen Latino faves, the duo pianists have whipped up some electronic magic with a sound tech¬ nique that gives the 88s new di¬ mension. Lionel Newman Orch: “Ths . Roaring Twenties In Hi-Fi" (Lib¬ erty), To represent “The Roaring Twenties" in music, Lionel New¬ man has culled from the DySylva, Brown & Henderson catalog. "He couldn’t have made a better bhoice. “Black Bottom,” “Button' Up Your Overcoat,” “Varsity Drag” and “Sunny Side Up” easily conjure up a picture of that period. With lively arrangements by Billy May, Newman’s orch really gets that pic¬ ture across. , Jam Rrlrssrs Thelonlous Monk: “Thelonlons Ikuielf" (Riverside). A standout sampling of Thelonipus Monk’s key¬ board styling on some standards and some of his own tunes. . , Red Allen; “Ride, jtod. Ride In ] Hi-Fi". (RCA Victor). Lots of jazz {Continued on page 62) » -nv ■ »T"‘- ■■ i ig.!7r 15