Variety (July 1922)

'mWS OF RECORDING DISCS lYari^tv department of oritioti reviews of the current phonograph records) POPULAR CALIFOHNIA (FoK Trot)—Vin»»nt Loptf •"<* Oroh««tr« I'LL DREAM OF YOU—»•«♦•—Edi- son N«- 50i6# -California- haa caught on aur- orUlngly well, although It la not Mnerally known that practically Svary publisher In the metropolis had turned It down, including the oresent iponsor, because of Cliff Friend and Con Conrad's demand for a bi» royalty. The boys admit they were offered a nice advance royaltr at the beginning, but each time raised the ante, pitting one publisher against the other, until for A time it seemed the publishers had agreed not to take the song at all. One of the other music men said that he'd print it for them and maybe give it a chance to show up, but wouldn't give a penny advance. However. Remlck, the orlglaal bid- der, decided to put It out. with the result It has reaped a harvest in the mechanicals. Lopex has injected a number of novel effects in his ar- rangement of the number, making it aound new even at this late date. •I'll Dream of You,** from the long J departed "Hotel Mou8e." again raises the question why the record- ing managers are not foresigiited enough to gauge a production num- ber so as to have it on the market while the show la still running on Broadway. Unless It's a sensation, some of the songs first make their appearance when the show is in its final weeks or has closed altogether. firm, B. D. Nice & Co., before Wit- marks took it over. Witmarks' ar- ranger, Ltouls Katzman. then added to It in orchestration and thus be- came a co-author. The song Is a fox trot adaptation of • a number of Tschalkowsky's airs, and probably is intended to strike a responsive chord like the "Song of India" did. The theme, however, is too pedantic for popular appeal, although it makes for a staid and decorous dance. That probably is the main purpose of the song. On the reverse Is "Sue*." In which Ferdie Grofe. Paul Whiteman's pi- anist and arranger, had a finger, al- though the arrangement and theme are rather familiar in construction. But at that, all Oriental tunes sound alike and one may as well dance to this as anything else. VARIETY and done, the snwooth fox will hold sway the longest. Ilay Miller's "I Want You" record- ing has a little more flash and dash to it than some of his first work. He has peppered it with some of Paderewski's "Minuet" and other classics, making the Hugo Felix song a thing of distinction. It is from ''Marjolalne," the musicalieed version of "Pomander Walk." Why the song has not been recorded be- fore is a mystery in itself. It has delicacy and charm that'is appeal- ing. 17 BED^E CHATS BY ]f£LLI£ B£V£LL KITTEN ON THE KEYS (F«k frot)---Za« C9n§r^y and Or- chestra PICK ME UP AND LAY ME DOWN IN DEAR OLD DIXIE HONOLULU HONEYMOON—Fer rera and Franchini (Instru mental). HAWAIIAN NIGHTINGALE —Sams—Pathe No. 20762. Ferara and Franchini. Hawaiian guitarists, formerly adapted any kind of waits song for rocordiuB purposes, but witli the large cur- rent output of Hawaiian tunes they must be working overtime for the various companies to "can" every one-of them. Truth to tell, they all sound BO much alike one must be cxtroordinary to stand out. How- ever, the two Franks have proved themselves masters of the guitars long ago to reciulre commenting on the technique. SWANEE BLUEBIRD (Fox Trot)— Bsnnis Krueger's Orehsstra. SWEET INDIANA HOME—Same— Brunswick No. 22B1. For dance purposes, these two straight foxes are intended primarily for that reason. Both songs wore "made" via the dance floor, the "Swanee Bluebird" number being adapted from the chief strain of "Way Down Upon the Swanee River." It Is cleverly worked in, and with that familiar something to catch the ear. It should not be surprising the song catches on still further. In Idea it is a IMxie-Polly- anna hybrid, sure-fire lyrically, any- way. "Sweet Indiana Home" (Donald- son) is a dlKnificd dance number, played simply and effectively by Krueger's orchestra. 900THING (Fox Trot)—Oriole Ter- /' race Orohsstra. LOVEABLE EYES—Same—Bruns- wick No. 2280. ^,. ^, 4«-ft«, "Soothing" is truly a soothing fox LAND—Same—Victor No. i»900itrot. slow, sustained, melodious. The Zef Confrey, composer o£ "Kitten * Oriole Ttrrace orchestra sounds like on the Keys'* and "Stumbling" j a newcomer to the disks and should (which latter Paul Whiteman offers 1 prove a welcome one. Whoever on the current Victor records also)r'mukes the arrauKen^ont for the band debuts as a Victor artist with a re- I ha^ Secured some novel effects In cording of the first named compost- the first number, making it sound tion. Originally written as a novelty piano solo, it has proved a surpris- ingly good fox trot as well. The choppy rhythm is well defined and appropriately accompanied by inter- mittent me-ows. Played by the composer, who has an inning to himself at the piano, it is only nat- ural the composition is delivered at its best. Confrey has not neglected the other side, on which the saxos feat- ure the smooth passages* A two- piano Interlude makes for a novel effect. With two Victor releases, Zea should worry about royalties! OH I SINQ-A-LOO (Fox Tret)— Mardi Gras Sextst ROSY POSY—Sams—Gennett There's a bit too much jaxx in the arrangements to fit these selections. •'Oh! Sing-a-IiOo" is really delivered novelly, including snatches of "Chi- natown. My Chinatown" and the old Howard song, "WJiat's the Use of Dreaming" Jo fit the chlnky motif, but "Rosy Posy" (Romberg) Is a bit too strenuously ragged. For dance purposes it is effective, if not melodious. like a symphony string orchestra in s|>ots. "Loveable Eyes" leads off with the basso saxos hiccoughing and takes each saxo up the scale. An echo arrangement wherein the saxos pipe the melody and the clarionets echo back puts quite some "kfck" into It. Since these rt^vlews have appeared a number of cabaret orchestra lead- era have admitted they "get an idea" of trick arrangements from any disk that is recommended as a good ar KKKKISS MH AGAIN —Billy Jonss (Vocal). GEEI BUT I HATE TO GO HOME ALONE — Sams — Paths No. 20765. "K-K-K-Kiss Me Again." a stut- tering number, may develop into an- other 'K-K-Katy." There is room for a novelty song of its kind Ju.-^t now. It tells about stuttering Susie who starts to say good-bye to her beau at nine but does not finish un- til davbrcak because of her stutter- ing in.slatence to be k-k-kissed again. Jones has caught the spirit happily an^l puts a kick into it. "Gee! But I Hate to Go Home Alone" Is adequately rendered by the same singer In a more serious vein. BY THE SAPPHIRE SEA (Walts) —Grsen Brothsrs Novelty Band. MOON RIVER—Same—t^ison No. 50974. As always, the xylo thumping features the Green Brolhe«s* work. Ted Snyder's "By the Sapphire Sea" makes an even more pleasing waits than a fox trot. , ^ ..^ , ?'Moon River" medleyed with Col- 6rado and You" is also a waltz, the tinkling hammering injecting a snap Into it. According to Wm. Raymond Sill. I could never qualify as an authority on Who's Who, apropos of my list of newsi>aper men who have made their Influence felt in the producing, playwriting or managerial end ot the theatre. Will writes: Dear Nellie: Apropos of your list of newspaper men, Charles Bancroft Dillingham and Alexander John }3ruce Edwards never worked on the Hartford "Courant"—they served on the Hartford "Post," with Dillingham getting $15 a week. Bruce $12 and I $10. Our local olfices were Heublein's ,Cafe, and we got out a darned good paper. Tou aUso forgot that Bide Dudley once worked on the St. Joe "Gazette," made famous by Eugene Field by his poem, "When I Used to Do the LoCal on the St. Joe Gazette." Don't forget that Glen MacDonough was on the "Sun" and wrote under an alias for "Town Topics." Don't forget that John Peter Toohey once worked for the Scranton "Miner's Torch," and also the "Eve- ning World," and that Ring Lardner wai| on the-South Bend "Advocate." Jimmy Montague was qn the Seattle "Post-Intelli- gencer," and—well, I could go on indeflnitely if it would be of any u^ to you. Although I am not a producer (as Tommy Gray will tell you when I produced a .sketch he wrote for Lord Dan- agan), yet I have, worked for the Wlnsted "Citizen," Hartford "Post," Minneapolia "Tribune," New York "Recorder," New York "Journal," New York "American," New York "World," and am the oldest living graduate of the New York "Morning Telegra|>h.** Come down and see Mrs. Sill. She has lost over 56 pounds. * • The hotel business Is rotten, yes? ' With best love from us all. Bill. Tears ago, when Bruce Rdwarda, now Charles Dillingham's general manager, first broke into the business, he was ahead of Julia Marlowe in "When Knighthood Was In Flower," and Bill Sill was ahead of Stuart Robson in "The Henrietta." Bruce and Bill had been playmates to- gether on the old Hartford "Post." It so happened that they met in Minneapolis. Bruce was a busy boy those daya. He had to go to Dulutk for Miss Marlowe and a&ked tf Bill would take care of his Sunday ads for the Minnejipolls papery. Bill said he would wire him to Duluth Just what he had done. On Friday night Bill wired him: "Minneapolis ia the bifi;gcst flour manufacturing city in the world. Appreciating ttolts fact, ahd believing it will be a good business stroke, I have made your Sunday ads read: "Charles Dillingham pre.sents Julia Marlowe In Charles Major'* romantic play, 'When Knighthood waa in Flour.' *Thls should make a big hit with the Pillsburys, Washbumi^ and the rest of the local playgoers. Advise if I have done right." The early train brought Edwards purple and indignant to Minne- apolis from Duluth. Meantime Bill had taken a train for Omaha, but Bruce bought aeveral rounds the next time they met. Of coorae BtIL had not changed his ada. kind. DO IT AGAIN (Fox Trot)—Ernest Hussar and Orohsstra I'M JUST WILD ABOUT HARRY— Same—Paths No. 20775 - Here are two production songs that have caught on after the show has either closed or, as with the "Harry" song, when it has concluded a long run. While Irene Bordoni was •Inging "Do It Again" in the "French Doll," the song was first getting into the air. After the show closed it was deemed popular enough to re- cord. The plaintive tunc, almost Semitic In its construction, is a snai>ny dance number. The "Harry" song, from "Shuffle Along," is en^ Joying a current vogue. The show closed Saturday. SUPPOSE THE ROSE WERE YOU (Fox Trot)—Ernest L. Stevens Trio lOOLA— Natzy's Orchestra—Edison No. 50984 Lucien Dcnhi, a writer of better class ballads, composed the "Itoae" number, which explains Its delicacy and charm In rhythm and melody. Probably intended as a vocal num- ber primarily, its dance arrangement is beautiful. The Stevens trio (Thrall, sax; Aronson, banjo; Ste- vens, piano) got8«a lot out of it. the saxo carrying the theme throughout. Being a melody number, the dulcet reed.s take care of it, Stevens wisely submcrfiring his pedal work. In ad- dition to a snappy "stop time" (JToct. "Mighty L,aU a Hose" l.s modliyod for good measure. "Idola" is an Ori- ental plianlasy, thr banjo twan;;ini; forte, 8tran,;e as it may .seem ifn- an Oriental composition. Th<» Htrinq:."., ti-!o»igh, come in to balance it later. JUST A LITTLE LOVE SON<3^ ^ Ernest Hars (Vocal) rangemenL"*"fhis"record"i^^ that I ONLY A SMILE — Same —Bruns- wick No. 2285 Ernest Hare is always a con- vincing vocalist, his baritone carry- ing a strength that Impresses. In the "Love Song" number, made popular first as a dance tune, he has a corking lyric to sinf^, although the ingratiating melody aiJpeals first time heard. A neat saxo in- terlude' is sandwiched in between the choruses. "Only a Smile" (Edson-Zamec- nick) is a sentimental ballad that grows on the listener with repeti- tion. A bells and chimes Interlude adds a little dash Xo It. Wltho\it taking away anything from Mr. Haro's ability, the constant use of the words "Just," "shadows," "shin- ing," "joy," etc., in both lyrics only enhances the singer's continuous pronunciation of them as "jee-ust," "shee-adows." "jee-oy," "phee-In- Ing." It's those little things that count, although they certainly don't do much damage. ALL OVER NOTHING AT ALL— Nora Bayes—(Vocal). KINDNESS—Same —Columbia No. 3601. Misa Bayes does two different types of numbers on the July re- leases. One is a light love ballad, delivered in her inimitable style, and the other Is a sort of sermon song, the Golden Rule in lyric form. There is a sound gospel in the "Kindness" lyric, too, which the comedienne handles in a fashion that suggests she has an aptitude for sedate songs as well. Harry Van Hoven, who left Broadway flat to ballyhoo a large summer amusement resort In Baltimore, comes back to New York now and then to look over new attractions for the park. They are goinc to present grand opera in the park's mammoth theatre—one of the largest stages Ua the ea«t. At this hotel a summer resort booking agent came around to sign up a snake eater, a cooch dancer and a Icnife thrower. Van explained that they were going in for grand opera. "What!" cried the agent. "You don't mean to toll me you're to let 'em yell opera from that woaderful stage T' ^ SKATERS WALTZ—Robert R. Shultz (Instrumental). THE HIGH RIDERS MARCH— Same—Gennet No. 4854. This disk is a musical treat for i>ne who can appreciate Mr. Shultz', •oxpertness on the zither. The zither is a stringed instrument that is plucked and stilled with the other hand to prevent overtones. The in- strumentali.st must be exccedinsly proficient to get a loud, distinct melody out of it, and the process through tho recording laboratory certainly does not enhance It. It Is, therefore, so much more to Mr. Slujltr.' credit for what he has done with the t\v'» standard selections he has "canned." It is a novelty record. STATE STREET BLUES (Fox Trot)—Synco Jaxz Band. HOT LIPS—Same—Pathe No. 20770. Any blues, if it ever reaches the recording sta^c, mu.st be good for one reason or anf»lher. If it lacks melody, it probably is a wicked toddle. Or it may be a good comedy number. "Hot Lips," thouRh, has both melody and novelty. It is by Henry liusso. the "hot lips" cornetist of Paul Whitomnn'.s band, who also collaborated ou "\Van« Wang Jihws." LanRc-DavHi are in on the "Hot I.ips" nunibii. the title coined from KuHsc's appellation. It should de- velop into a k. o. of a song and dance hit. . ' ".State Street niuos." as plJ^yod by the .Synf'o b.ind, a corkinr: c«»mbina- lion, looks good al.«io if proprrly ex- ploiu d. WHERE THE VOLGA FLOWS IN BLUE BIRCJ LAND (Fox Trot) —Piul Biese's Orchestra. I WANT YOU (Fox)— Ray Miller and Orchostra—Columbia No. 3G10. Ti is '(Oily nalnral that DicHC. a (Fox Trot) —Rudy Wiedoffs riur.iuo.in. .sli<>u!d record a tunc Californians I that onianat«s from the Windy <-'''>' SUEZ—Same—Brunswick No. 2283 j^jni \^ i>cst knoWn thrre, in fact. It 'Where the Volga Klow.s," by l.ce ' i<i one <»f thosr nu lody f"^' t«'><« t'' '' Havid and Benton Ley (nom-de-1 were the vomie nnti.\ t>ie choppy. NOLA (Fox Trot)—Don Parker Trio I LOVE HER—SHE LOVES ME— Sama—Pathe No. 20769 Arndt's "Nola," since Vincent Lo- pez arranged it, has proved a popu- lar dance tune. It has arv odd, well defined rhythm, melodious withal, that makes for a sprightly dance. l>on Parker, one of Whiteman's fsaxophoni.sts, has given the pianist and banjoist who complete the trio a chance to shine here as well as In the other number when the banjo stands out. Parker injects nuance in some of his arrangements, the idea of sax and banjo "conversing" adding zest to the dance. MEMORIES OF THE SOUTH (Fox Trot)—Ernest L. Steven* (Piano Solo NOLA (Fox Trot)—Vincent Lopez and Orchestra—Edison No. 50960 Krnest Stevens lias arranged a number of standard *>outh«.'rn airs into -jfiox trot that is as danf^'-able a8 it l.s pleasing aurally. Felix -Arndt's "Nola," adapted for dance by Vinrrnt Lopez.'is .inappily d»?liv- orod by the arranger's orchestra. Loix'Z practirally "made" the com- position worth while for the mo- ch.inical.M through his arrangement and introduction at the r<.'nnsyl- vaiiia Hotel, NiW York. I am surprised at the number of people who did not know Lillia» Russell had four sisters. Mrs. Schulti and Mrs. v^^an Ross recently^ passed on. Mrs. Hattie Colburn, non-professional, rosidins In Schenoc- tady, and li^ucanne Westford, now playing in the Lyceum Theatre Stock Co. in Rochester, are tho surviving two of the quintet of the beau- tiful Leonard girls, three of whom were on the stage. Susanne West'* ford was in "Clarence" during Its entire run and came over from tl«#. Hudson theatre to my apartment across tho street to sit with roe th« first three months I was In bed before I wa« brought here. It is pleasing to report Rose Coghlan has recovered sufficientijr from her recent collapse to be able to attend the meetings of her favorite club, 'ttie Professional Woman's League. Harold Orlob found time between forming and directing milllo -dollar corporations, c6mposlng music for Alan Dale's latest effort, and col- laborating with Otto Harbach on a couple of shows, to run down to see how I was standing the heat, and to bring me the records of selec* tions from "Listen Lester," all of which he composed, a^d incidentallir was the last show I exploited; also the last one I witnesse<L Jule Dclmar got a good laugh at meeting my nurses. One named Keith and the other named Casey. I alMO know a spine specialint named Albee. I call uxS hi.story chart my route sheet, and call th« doctors agents. I see by the papers that Ford Is going to start a plant down la Mexico. I wonder If that is his Idea of reprisal. My foreign mail convinces me that my friends traveling abroad do not forget me. This week's mall Includes letters or cards from Max and Tillie Winslow, Mrs. Chas. Maddock, Clifton Webb, Alice Kobe. Pert Levy. Poggy ONell. Mathew White, Jr., Sophie Tucker, Frank Price, Jr., B. S. Moss and Fannie Hurst. The latter two arrived on the same boat with their cards. Fannie Hurst says she returned sooner than expect«.'d because there was no spaghetti in Italy, no ham in Hamburg, no cologne In Cologne, no Swiss choose in Switzerland, and, judging from the numb»;r of Americans she .saw abroad, «he feared there wore very few Americana b-ft in America and we might be lone.v)me. So she came back home. And I'm mighty glad she did. STUMBLING—Margaret Young and Bennio Krueger's Orchestra NOBODY LOVES ME NOW—Same — Brunswick No. 2284 .Marcari't V>»unq is singing tho popu'ar -Htiimbhng" on the curront j;run-\viok discs, assisted by Krue- gors orclu'stra. The songstross' cl«\ar onunciation diM-w much to on Mr. and Mrs. Lou Wiswoll. Zelda Sears. Frances Uockrrftller Kinir, Mrs. O. L. Hall, Esther Lindcr, Libblo McC^uin, Nellie Sterling, J. J. Maloney. Mrs. W. H. Donaldson, Molly King, E. F. Albee, Roger Imboff, \V. Dayton Wegorfarth, Ada Mae Weeks, Connie Farher, Harold Orlob, Tho*. J. Ryan outgue6sed tho doctors on something to bring or send me that wouldn't intoifero with their plans and speclflcations for my new ligure. ^ ,. v _j. . 1 iiw. i...iir... tUi. mo'iinii" of the Ivnr. iJc- lonosonio she wou d even I that will make the disc sound new. The '.Nobody" number in of tho u.sual "my svvootie's h-ft mo" bluos wail. Miss Y(*ung inHi^ting she la so bo glad s more, lot him raise her rent If only h« would stay a little while wh^n he calls. It winds up with an indigo coon shout, I'm u woman that oon't d') without love nohow." Wlmt % blues. < Abel,