Variety (December 1957)

Jocks, Jukes and Disks ■ * By HERM ewmwiwifl . Sam Cooke (Keen): -'FOR SEN- “IT’S YOU” (Brandom*) has less T1MENTAL .REASONS’’ (Duch- impact. I ess«), the oldie, turns up ' a Jack Jones (Capitol): “FOR crackerjack current-style version CRYING OUT. LOUD” (Roose- by Sam Cooke who should continue veltt), neat ballad, is delivered his hot disk pace with this slice, in fine crooning style by Jack Jones “DESIRE ME” (GuildtJf is another whose major influence has un¬ strong ballad entry in the same 'doubtediy been Frank = Sinatra, groove. “BORN TO BE LUCKY” (Danbyt) Kay Starr (RCA Victor): “HELP has a catching lyric. . . ME’’ (Hill & RangetJ,'a romantic- The Lane Bros. (RCA Victor): religioso ballad with a definite beat “DON’T TEMPT; ME. BABY” and an arresting lyric, is delivered (Markst) is a driving rhythm .tube for maximum returns by Kay. Starr, with potential for the current teen* “THE LAST SONG AND DANCE” age market. “A LOVER’S HEART” (BVC*) also gets a lilting waltz (Rusht) is smoothly, handled workover for Solid returns. ballad. Barbara McNair (Coral):- “BOB- The Sugar mints (Brunswick): “I- BY” (Sheldon t) is a swinging item I-I COULD LOVE YOU” (Gilt), a delivered stylishly by. this song- fast, offbeat rocking ballad,Ms sold stress in her Coral bow. “TILL by a colorful vocal: “YOU’LL Wednesday, December 4, 1957 (Compiled by Sam Goody's, leading. New York disk retailer whose global mail order operation reflects Mot only the national market, but internationally}. Best Bets SAM COOKE ............... FOR SENTIMENTAL REASONS (Keen) ..., ......... .Uesire Me Album Reviews KA Y STARR — • ME - . --- - “On Bourbon Street With The for appeal in this direction. A cou- (RCA Victor ) . . i.. . . »• The Last Song and Dance. belted with a strong beat by this c f Dixieland” (Vo! 4) (Au- Pl« °f songs are pop flavored, but BARBARA McNAIR BOBBY vocal combo. “26 MILES” (Beech- t i_.» the lyrics hy Hal Stanley and Irv- <5g5» Till There Was You* Wodt) is a cute ton. about Santa dio^FideUty) .nd. <MMrel Wm* lng Taylor, iet for the most parf to (coral) .. ..iut mere was xou Catalina, a natural for the local (Vol. 5>, with the same arch, con- Grieg’s music, are generally de¬ al JOHNNIE RAY ............ -SOLILOQUY OF A FOOL Chamber of Commerce. .tinues the string of standout jazz signed for this specific tale. Joseph ( Columbia > .a.... .Miss Me Just a Little Kathy Nelson (Liberty). “SANTA ^ bv this dixie combo The Sargent handles narration between " ■' ■ ' 1 -- - ~ ----- DEAR” (Orr*) Is a moppets, plea ^ . o n , » vnnna onmhai songs lucidly, while Van Johnson ■ . for presents and It comes out Dukes of Dixieland, a young combo Snf i „ vocal ensemble deliver the THERE WAS YOU” (Frank*), from HAVE EVERYTHH^G” (Gilt), the sticky. “GIMME A LITTLE KISS from New Orleans, play With zest songs in pleasing style > Marie, ie«r^.e * One Slow ballad s.de. Is more routine WILL YA BUIF’* .(ABC*) will bold airi<I; color in smooth, integrated Emie Beekseber Oreh;, "Dance “ T ; ' , (rniiimWflV «cn. GlorU Wood (Columbia): “BACK - U ^i^a«k i ^ fal.v ;, nv!sie> e ^‘ ,I TmCTF performances. The repertory in Atop Nob Hill” (Verve), Part of LILOQUY OF A FOOL” (Beach- DOOR (Amenrat), a fast rhythm BELLS’* (Management) gets a 4 as^R^l*^^^ Sy Wfe * 0 *' wax^Ern^V^k- LITTLE’’ (Acuff-Roset) is a more familiar entry. JEAN BLUES” (Opportunity*), a same results, cute rockihg tune slanted for the * ASCAP. t BMI. Th „ Twin toum (RCA Victor)- cute rockihg tune slanted for the wrote this song. “BEFORE YOU ^MrC-nlr^lstcr. (CnralV »«iTTC GO” is another* rhythm item in ARTTM^fNi!?^ Tj£*i*£’a #S?k” which the lyric is not too impor- ' i? tant. Hounding out this extended- British Pop Reviews - London, Dec. 3. ^ whichAhe lyric is not too impor* ^novelty \deV projected'via^a Alin* Cogan (HMV): “WHAT BurTh^Swinging”*(Decca)T6iie r of straightforward style ' for parlor n^v coloriSl ?nsSnble P vocil '‘HA- JCrtrtt DONE TO MESj[Berry) *«»» the StaUer Hotel nnrl’ NANA SPLIT” (Rosemeadow*) is has the usual laugh-in-tlfe-voice Sammy Davis Jr. keeps churning * n , San Francisco, Dick Stab le’s J‘OT?F MATT another cute teenage-slanted item, gimmicks familiar to Cogan lis- out fine collections of standards, J rch , m a Tops label set also plays ONE MAIL A DAY is a change- The Neptnhes (Glory) ‘ “FRAIDY- teners, and as always the spirit is In this set. Davis delivers an excel* for dancing, but with a more swing¬ le oJ'ShS? CAT” (StaiSnSrydeS), a rb^ng infectious. “THAT’S HAPPINKS>’ l?„t songaloT locluding" Zoine heat orchestrated in big band, Jy-£ e same idiom as the other numbel . ^ts one of those unhf (Francis, Day) is one of her best to numbers that have not been over- style. Stabile is spotlighted on sax ^ v i.gf teiligible slices by a group that has, date - exploited. In this category are “I ,n a dozen varied numbers. : however, the right kind of sound. Ilene Day (Nixa): “BEAT UP Guess I’ll Hang My Tears Out To “The Weavers on Tour 1 !' (Van- READY FOR LOVE (Progressive- “ AS LONG AS” (Simon-Brydent) THE TOWN” (Essex) is another Dry” “Where’s That Rainbow,” guard). A follo\yup to their click Sbalimart), a rocking tune whose j s a good ballad for this idiom. lively jump number, and show- “Better Luck Next Time”, and “It “At Carnegie Hall” album for the title T refrain is tinged with mdigo The Turbans (Herald): “CON- cases ilene Day’s driving chirping. Never Entered My Mind ” Orchs same, label. The Weavers, who are implications, stands out_ via the GRATULATIONS” (Angelt), a She has a warm, throaty voice, and under the baton of Morty Stevens on the comeback trail, have an- unusual delivery of Otis Blackwell, slow rocking ballad with the usual on the slower “COME BY SUN- and Jack Pleis supply slick back- other first-rate folksong: package, lost-love motif, is projected in ex- DAY”-(Essex) gives it a nifty work- grounds. , including a couple^of the past hits WHEN YOU RE AROUND (Pro- ce ll en t style for the idiom, this out, “The Pied Piper of Hamblin’* such as Tzena, Tzena” and “On gressive-Shahmart) is in a more crew featuring a high-pitched ten- Terry Wayne (Columbia): (RCA Victor), recent NBC-TV spec Top Of Old Smokey.” Once agairi« familiar vein. or. “THE WADDA-DO” (Angelt) “MATCHBOY” (Aberbach) follows which is due to get theatrical ex- this quartet swings some highly in- Kitty Kallen (Decca):. “CRYING is a tricky uptempo item. the teenage tradition of almost un- hibition. “The Pied Piper” shapes teresting material, including work ROSES” (BVC*), a very senti- The Four Preps (Capitol): “IT’S intelligible lyrics .with a driving U p as a difficult scorefor transla- spngs.rcligiosos, tall tales, Civil mental number, gets a similarly- YOU” (Frank*), from the Meredith beat. On “YOUR TRUE LOVE” tion into a disk package. Although ' v . ar numbers, Hebrew tunes, etc.,; keyed rendition by Kitty Kallen. Willson score to the legit musical; (Aberbach), you can tell what he’s the story is essentially, slanted for their infectious style. “I NEVER WAS THE ONE” “The Music Man,”-is a fine ballad singing about. Pip. the juves, the’songs are too tricky “George Feyer and- Orchestra (Forster*) is an okay, conventional —?——---- v ; . • —■ ■■■ ■ —------—^ Plays Jerome Kern” (Vox). George some public domain material, in- ments. Heckscher serves up 34 eluding Stephen Foster songs like standards in a dozen meldeys. An- “Jeannie With The Light Brown other large-sized order of stand- Hair” and “Old Kentucky Home,” ards is served up on Seeco Rec- among others, also with foot- ords by Milt Saunders’ orch in a stomping beat. The quality of the set titled “Dancing At The Tavern sound of these disks is standout. On The Green,” the Central Park, adding an extra dimension to the N. Y., spot, Saunders ranges over musical impact. the gamut of tempos from foxtrots Sammy Davis Jr.: “It’s All Over ^ f°d cha chas, all done in 7. RAUNCHY (2). (Forster*) is an okay, conventional —r————;- ballad. _ Doris Day (Columbia): “WALK ^S©/i?TY THE CHALK LINE” (Meridiant), ^ . , a bouncing number with a neat ♦♦♦♦♦♦♦♦♦♦♦♦♦( lyric, gets, an attractive rythra T workover by Miss Day. “SOFT AS, X THE STARLIGHT" . (Daywiny) is X 1. YOU SEND ] a classy romantic ballad. f The Gaylords (Mercury): “MAG- X 2. JAILHOUSI IC SONG” (Pearlt), a rock ’n* roll f tune with an offbeat lyric, gets a t 3. SILHOUETI neat workover by this combo. “O X MARI’’ (Puret), an old Italo tune, l 4. APRIL LOV1 is liltingly handled With Italian 4 wainrriw v lyrics. X 5 * WAKEUP L Clint Miller (ABC-Parampunt): r 4. KISSES SW “DOGGONE IT, BABY, I’M IN f LOVE" (Hill & Ranget), a bounc- I » AfTW rirr i iug folk-flavored tiine, gets a catch- 4 7 * RAUNCHY ( ing version by this easy-voiced per- t former, “BERTHA LOU” (Robin I ___ ___ , Hoodt) is a fair rocking item. • ♦ 8. MELODIE ] Seger Ellla (Kapp): “I’M NEVER ± . ^ . THE LOVER” (Garland*), an okay X CHANCES ballad, is vocalled in fair style by 4 ISeger Ellis, who also cleffed. “WHO 7. 10. MY SPEClA IN THE SAM HILL IS SAM HILL” X (Ellist) doesn’t come off as a novel- 4. ty idea. ^ J Johnny Pate Quintet (Federal): ^ yjj AVAILABL1 “SWINGING SHEPHERD BLUES” 4 (Benellt), performed by this small T FASCINATION combo with a flute lead, has an X rnrrrv citir unusual sound that could earn it 4 plenty of spins. “THE ELDER” t LEICHTENSTEI (Armot > is another interesting in- J , strumental, also spotlighting the f PUT A LIGHT ] flute. ' f LITTLE BITTY Valerie Carr (Roulette): “YOU’RE X „ TC ,^, THE GREATEST” (Lowe*), a solid 4 JUST BORN ^ ballad, is belted home effectively X ALL THE WAY by this savvy songstress. “OVER X ‘ THE RAINBOW” (Feist*) is also 4 BE BOP BABY oivpn a npat slirp -.T __: JO Best Sellers on Coin Machines, 1. YOU SEND ME (6) .v,........... i Sam Cooke .......... ...Keen \Teresa Brewer .Coral %, JAILHOUSE ROCK (8).. .. Elvis Presley .......,.,, . .Victor 3. SILHOUETTES (6)____ .; .. { . .. Cameo . .. X Steve Gibson . . .ABC-Par 4. APRIL LOVE (4).... Pat Boom.... _ ......Dot 5. WAKEUP -LITTLE SUSIE (8). . Everly Bros. .......... Cadence 6. KISSES SWEETER THAN WINE (2). 8. MELODIE D’AMOUR (7), 9. CHANCES ARE (10) . . .. 10. My SPECIAL ANGEL (5)\. , Jimmie Rodgers . . . . . ..Roulette [Bill Justis ..... _ ....Phillips .'{ Billy Vaughan .............Dot lEmie Freeman ....... ...Imperial t ( Ames Bros. ... Victor * (Edmiindo Ros .London . Johnny Mathis ........ Columbi ^ (Bobby Helms .. . Decca. * ( Sonny Land Trio ....... . . Prep given a neat slice. . Lillian Brgeks (MGM): “SORRY” (Brandoni!*)' is a conventionai bal¬ lad handled in straightforward Style by this open-vpiced.songstress* A Second Group _ I’M AVAILABLE ............. Margie Rayburn ,.; i... Liberty FASCINATION Jane Morgan ........... .Kapp PEGGY SUE Buddy Holly .........Corat' LEICHTENSTEINER POLKA Will Glahe ... London PUT A LIGHT IN THE WINDOW Four Lads . ....... .Columbia LITTLE BITTY-PRETTY ONE Thurston Harris Alladdi JUST BORN Perry Como Victor ALL THE WAY Frank Sinatra f .......-..-..Capitol BE BOP BABY Ricky Nelson. ......... Imperial HONEYCOMB Jimmie Rodgers ...... .Roulette v XFigures in parentheses vndicate number bl weeks song has been in the Top 101 Feyer, the Hungarian-born pianist ; whose numerous albums for Vox have ranged over, the global music catalog, including Broadway, here . meets. up With one of * the most melodic of all showtune compos¬ ers,, Jerome Kern. Feyer, backed by a stringed orch, plays- in his rich and easy keyboard style such evergreens as. “The Way You Look Tonight,” “They Didn’t Believe Me,” “Smoke Gets In Your Eyes” and other songs of that calibre. Llonal Hampton Orch:- “Jivin’ the Vibea” (RCA Camden). Out of the RCA Victor archives,'this low- priced RCA subsid label Is “re¬ printing” some great swing sides by Lionel Hampton made in the late 1930s with various combos. Hampton is spotlighted on vibes, piano, drums and vocal in a top- notch jazz exhibition. The sound quality of these resurrected sides are entirely satisfactory. Also on the. Camden label in the jazz series is a "set of oldies by the Count Basie orch titled “The Count,” another bargain for the jazzophiles. Teddy Phillips Orch: “Concert In the Sky” (Decca). This package is an interesting attempt to recreate the styles of some top maeslroes, instrumentalists and performers .of the past. It’s a good offbeat peg for the presentation of a flock of familiar oldies associated with per¬ sonalities like A1 Jolson, Mildred Bailey, Ben Bernie, Glenn Miller, Bunny Berigan, Henry Busse, Eddy Duchin and others. The taLkeoffs of the instrumentalists are gen¬ erally okay. Vocalist Russ Carlyle gets a quality, of the late; Russ Co¬ lombo, while Lenny Collyer does , creditable carbon of Jolson, Margi Little's' impression of Mildred Bai¬ ley also comes off well. Ken Nor- :t (Continued* pq .psage, §?)