Variety (March 1959)

58 MUSIC Z<£&l£Tf Wednesday, March ll, 1959 Jocks, Jukes and Disks . By HERM SCHOENFELD. Fabian (Chancellor): ‘‘TURN ME LOOSE” (Avalont) is a typical . rocking item which this young singer knows how' to belt for maxi¬ mum effectiveness. “STOP THIEF” (Rambed*) is another catching rhythm number with good potential. Lonnie Donegan (Dot): “DOES OVER” (DeSylva, Brown & Hen¬ derson*) also is delivered in the contemporary idiom, but with less effective results. Anne McCready (Coral): “THE WAGES OF SIN” (Leeds*), an ex¬ cellent country-styled ballad, gets a good straightforward rendition by this songstress. “FOOLISH RU- Best Bets THE PLATTERS.. . ENCHANTED (Mercury).. .The Sound and The Fury The Platters “Enchanted” ( Choice*) is a stick ballad with a light beat and romantic lyric which this combo turns into-a hot spinning item. “The Sound and The Fury” (Feist *), pic title song, is a classy ballad also due for heavy play: * + * DORIS DAY.. . LOVE ME IN THE DAYTIME (Columbia).He's So Married Doris Day's ' Love Me in the Daytime” ( Jack-Do* ) r a lightly swinging balled with a clever idea, is bounced into a big one via this catching performance. “He’s So Married ” (Artists*) is a good piece of material, but with doubtful pop impact. * • * * PAI L ANKA..LATE LAST NIGHT (ABC-Paramount)..I Miss You So Paul Anka’s “Late Last Night” (Spanka *) is a driving rocker which this youngster belts,with enough excitement to satisfy his folloicing. “I Miss You So” (Leeds" ) is a more conventionally styled ballad with okay chances . * * * PAT BOONE.WANG DANG TAFFY APPLE TANGO (Dot) .,.For A Penny Pat Boone’s “Wang Dang Apple Taffy Tango” (Spoone*) is an amusing takeoff on the Latin hoofing trend and due for u-ide jock and juke spinning. ’For a Penny” ( Roosevelt *) 'is a simple ballad nicely rendered. * * * JERRY SIMMS.DANCING PARTNERS (RCA Victor)..Dancing With A Memory Jerry Simms’ “Dancing Partners” iAdmont:*) is a promising bow for this youngster who belts this ballad with raw Intensity to. appeal to the teenagers. “Dancing With a'Memory” tTowne*) is an okay slow rocking ballad. { . * .*• * DICK LEE.. . 4 PENNY A KISS - A PENNY A HUG (MGM). .Bermuda Dick Lee’s “A Penny a Kiss—A Penny a Hug” * Shapiro-Bern- stein' :: > is a nifty rhythm entry brightly projected for ace impact. “ Bermuda” (Goday*) revives a hit of several years ago in a big production. * * * CLYDE McPHATTER.LOVEY DOVEY (Atlantic) ...My Island of Dreams Clyde McPhatter’s “Lovey Dovey” (Progressive i) is the type of swinging rocker which this singer can deliver with click results. “My Island of Dreams ” (Progressive’’) is a more ambitious ballad idea with uneven impact. YOUR CHEWING GUM LOSE ITS FLAVOR” (Mills*), a current British hit, is an amusing novelty which this skiffle artist projects brightly. “AUNT RHODY” (Essex*) is a nifty folk-flavored side. Lee Andrews (United Artists): “JUST SUPPOSE” (G&H*) is a pretentious religioso ballad which this singer sells in good rocking style. “BOOM” (G&H*) is an in¬ teresting offbeat item. Roy Hamilton (Epic): “I NEED YOUR LOVIN’ ” (Peer-Walnutv) is a fresh number in a Latin groove which this singer belts strongly with ace backing. “BLUE PRE¬ LUDE” (World*), the standard, gets a dramatic production. Buddy Knox (Roulette); “I THINK I’M GONNA KILL MY¬ SELF” (January*) has a suicidal theme in a swinging country framework. It’s somewhat macabre in its humor, but that should be no handicap in the current mar¬ ket. “TO BE WITH YOU” (Pa¬ tricia*) is a routine rocking ballad. The Cottontails (RCA Victor): “HIPPITY HOP” (Brighton*) is a very cute number in the “Chip¬ munk” groove which the kids may go for big. “THE THREE FUNNY BUNNIES” (Brighton*) is an¬ other pi *asing moppet - slanted entry. Rush Adams 'Virgo): “LOVER” (Sendme*), a swinging ballad, re¬ turns this fine singer into the disk picture after an absence of a couple of years. It’s commercially styled all the way. “PERFEC¬ TION” (Sendme-Ray-Dor-r) is a cliched ballad. Earl Grant (Decca): “IMITA¬ TION OF LTFE” (Northern*), pic title song, is a hig ballad with highblown lyrics wh ; rh this singer handles with sensitivity. “LAST NIGHT” (Criterion*) bounces along at a solid ciio. ’’’he Chateaus (Warner Bros): “IF I DIDN'T CARE” (Chappell*), the old Ink Spots*' click, comes back with an updated version by a contemno^^y rocking combo which de’ivers •*nn T 'nv'''i commercial style. “THE MASQUERADE IS MORS” (Kingway*) is an okay uptempo slice. Wally Lewis (Liberty): “THAT’S THE WAY IT GOES” (Owen*) is a lilting rhythm ballad -entry which this singer delivers in attractive style. “EVERY DAY” (Owen*) is more conventional material. Jack .Tones (CantioD: “MAKE ROOM FOR THE JOY” (Famous*). LAWRENCE WELK First DOT RECORD Releases “MR. MUSIC MAKER” Dot L.P. Album No. 3164 Two E.P.’s—Nos. 1079-1D80 (Also Available In Stereo) from the “Jukebox Jamboree” pic, is an excellent ballad rating plenty of spins via this winning vocal by one of the film’s stars. “WHEN I LOVE I’LL LOVE FOREVER” (Trinity*) is a neat ballad Idea. Max Bygraves (London): “NA- POLI-NAPOLI” (Lakeview*), an Italo-grooved ballad, gets a rous¬ ing workover by this British per¬ former. “MOONLIGHT OVER TYMES SQUARE” (Lakeview*) is an old-fashioned shuffle tune tailormade for this singer’s style. Georgie Shaw (Metro): “ONCE IN A WHILE” (Miller*) is revived with. a neat beat and slick vocal which could return this singer into the hit sweepstakes. “MAYBE YOU’LL BE THERE” (Triangle*) is another fine oldie in a solid workover. . Nancy Dupont (Trans-Continen¬ tal): “WEATHER REPORT LOVE” (Brad-Mart) spotlights a sexy voice in a hip recitation against a jazzy background. “AFTER I SAY J’M SORRY” (Miller*), the oldie, gives this songstress a chance to show off a savvy vocal style. The Tabbys (Time): “MY DAR¬ LING” (Danburyt) has the rocking ballad beat and an inserted recita¬ tion that the teenage femmes can’t seem to resist. “YES I DO” (Stein¬ way*) swings with a rocking beat that could pull coins into the boxes. The Peppermints (Hob): “TEEN¬ AGE IDOL” (B&B) plays up to the juve set with ah okay -beat and delivery to match. “BELIEVE ME” (B&B) is an average r’n’r ballad that sounds like so many others that never pulled through. Johnnie McCormick (Tiara): “PINK LADY” (Scherer*) spot¬ lights Johnnie McCormick’s trum¬ pet in an instrumental setting that ought to please many spinners. “TUMBLE IN DOWN” (Scherer*) could win some programming time because of its snappy instrumental lilt. * ASCAP. * BMI. Album Reviews Dean Martin-Frank Sinatra: “Sleep Warm” (Capitol). This is a click tandem effort of Dean Martin, who croons, and Frank Sinatra, who conducts. The conjunction of names is a definite eye-catching plus, but the music is what counts. Martin is in fine voice on standards like “All I Do Is Dream of You,” “Wrap Your Troubles in Dreams,” “Cuddle Up a Little Closer” and the more recent title song. Sinatra batons orch instrumental back¬ grounds. Lawrence Welk: “Mr. Music Maker” (Dot). In his album bow on Dot since switching from Coral, Lawrence Welk dishes up his fa¬ miliar brand of bouncing music in straightforward, listenable arrange¬ ments. Each side of this platter is divided into medleys of foxtrots, waltzes and polkas, all designed for easy dancing. “Maurice Chevalier Sings Broad¬ way” (MGM). Always an ingratiat¬ ing performer, Maurice Che¬ valier again is a charmer in this package of Broadway showtunes. His singing-recitation of “I’ve Grown Accustomed to Her Face,” his warm workovers of “C’est Mag- nifique” and “I Love Paris” and his rousing “Give My Regards to Broadway” furnish strong kicks to this offering. Mitzi Gaynor: “Mitzi’* (Verve). A name via her starring filmusical song-and-dance roles, Mitzi reg¬ isters on wax as a slick songstress who can swing on the rhythm tune and be warm on the ballads. There are no stylistic gimmicks as she does tunes like “Cheek to Cheek,” “The Thrill Is Gone," “Do W’hat You Do.” and “When Your Lover Is Gone.” Pete King backs up with a smooth instrumental framework. Chris Barber’s Jazz Band: “Petite Fleur” (Laurie). Latching onto the click of the single, “Pefite Fleur,” this set showcases the British combo in a full program of dixie¬ land. Standout are traditional jazz workovers of such classics as “When the Saints Go Marching In,” with a good vocal by Ottilie Patter¬ son. “Wild Cat Blues,” “Bugle Call Rag,” “Sweet Georgia Brown” and a syncopated “Old Rugged Cross.” “Aloha oe e Malia” (AM). This is interesting, offbeat set, featuring a children’s church choir in Hawaii, under the direction of Fr. John H. McDonald, who also narrates. In¬ cluded are religiosos, such as the title song, the fsland version of “Ave Maria,” other traditional liturgical works, some' native songs and adaptations of “Annie Laurie” and “Danny Boy.” The St. Cath¬ erine’s choir does this program with an innate musicality and con¬ siderable charm. Bluebird Home Playhouse: “Pi- nocchio”-“Cinderella” (RCA Vic¬ tor). This is a do-it-yourself acting kit for kiddies. On one side, the “Cinderella” legend is dramatized three ways: once by a full cast, the second time with the Cinderella part left open and the third time with the Cinderella and Prince i255?LlO Best SeHers on Coin Machines, 1. CHARLIE BROWN (3) ..... ... Coasters .• -Atco 2. STAGGER LEE (9) .... ... .... Lloyd Price . ABC-Par 3. ALVIN’S HARMONICA (2) . . David Seville . Liberty 4. VENUS (2) .. .. Frankie Avalon . Chancellor ....; ... . . Chris Barber . Laurie «nxrr> fi\ ( Cyril Stapleton .... - London aumu wi .) Mitch Miller . Columbia 5. PETITE FLEUR (5) . ... 6. CHILDREN’S MARCHING Second Croup HAWAIIAN WEDDING SONG TRAGEDY . COME SOFTLY TO SMOKE GETS IN YOUR EYES..... Platters (Figures in parentheses indicate number of weeks song has been in the Top 101 parts left open. “Pinocchio” gets, the same kind of treatment on the other side. Scripts are part of the package for children who want to play along. It’s strictly for the mop¬ pet set with ham in their blood. Kay Armen: “Golden Songs of Tin Pan Alley” (Decca). Kay Ar¬ men’s open-voiced style works out on a program of standards with highly attractive results. Miss Ar¬ men delivers warmly and directly such tunes as “When You Were Sweet 16,” “You Know You Belong to Somebody Else,” “After I Say I’m Sorry” and “Scarlet Ribbons.” She gets expert backing from orc’ns led by Ralph Burns and Jack Pleis. Les Paul-Mary Ford: “Lovers* Luau” (Columbia). Using his mul¬ tiple-track technique, Les Paul creates rich guitar sounds to set the Hawaiian Island mood for' the “luau,” or songfest. Mary Ford’s pipes, which are also amplified via the trick electronics, are blended into the backgrounds of some of the tunes. The repertory includes “Drifting and Dreaming,” “Sweet Leilani,” “Song of the Islands,” “My Little Grass Shack.” Jelly Roll Morton: “The Incom¬ parable Jelly Roll Morton” (River¬ side). The jazz buff is sure to get a kick out of this compilation of Jelly Roll Morton recordings made in the early 1920s. The disks are of Morton’s pre-Red Hot Peppers stage, but they do give a good dis¬ play of a jazz pianist at work. Some surface noise has not been com¬ pletely eliminated but it shouldn’t bother the jazz faithful. Josh White: “Chain Gang Songs’* (Elektra). No doubt about it, Josh White still ranks high among the folk balladeers. In this set he’s adapted some chain gang songs like “Trouble,” “Nine Foot Shovel” and “Going Home. Boys” with a delivery that’s vivid and moving. The flip side is devoted to spiritu¬ als and blues, and here, too. White is hard to beat. Herm. Humphrey Lyttelton Follows 1st Book With Pro-Satchmo ‘2d Chorus’ Humphrey Lyttelton, one of Brit¬ ain’s top jazz musicians, wrote a book called, “I Play As I Please.’*. Combined with tv appearances, publication of it made Lyttelton something of a national figure and has encouraged him to have a sec¬ ond bite at the cherry with a fol¬ lowup book called “Second Chorus’* (MacGibbon & Kee; $2.10). Written with a breezy wit, “Sec¬ ond Chorus” continues trumpeter Lyttelton’s personal story, offers some interesting views on the growth of jazz in Britain and also introduces some of the “greats” in jazz whom he has met and/or worked with. He has a particularly illuminat¬ ing chapter on Louis Armstrong, especially in relation to the alleged anti-Armstrong feeling in the jazz world. Lyttelton is a whole-hearted admirer of Armstrong and states his case vividly. The whole book is written with candor and affec¬ tion for the jazz he loves. Rich. ‘White Magnolia Tree’; Or Poetry by Design Helen Deutsch’s poem, “The White Magnoli^ Tree,” which re¬ ceived wide exposure last year when Helen Hayes read it on Gem eral Motors’ 75th anni show (NBC- TV), has been published by Frank Music and locked into the grooves by Design Records. The poem, running on one side of the disk, is a sentimental piece to which Miss Hayes brings a pro¬ per saccharine touch and Bernie Green’s music helps build the sugary mood. Orch Is conducted by D’Artega. Flip side spotlights Green’s instrumental setting which ought to do okay -with the late- hour dee jay programmers. The disk will win friends who go for poetry that tugs the heart $oap- Opera fashion. Gros, Garner $12,000 for 4 San Francisco, March 10. Erroll Garner, under Sol Hurok banner, grossed nearly $12,000 in four Northern California dates last week. Biggest draw was around $4,200 at Frisco’s Masonic Auditorium, with rest split fairly evenly among concerts at San Jose, Sacramento and Oakland.