GRAMOPHONES

Sun (Auckland), Volume III, Issue 652, 2 May 1929, Page 14

GRAMOPHONES

The Two Crows Mack and Moran Master Comedians FAMOUS DUO Charlie Mack is another Babe Ruth in appearance; not quite so elephantine yet more like Ruth than Ruth’s own brother. And George Moran —well, the first time Mack saw him, it was when a stage manager in a strange vaudeville theatre yelled at him in descriptive insult, “Hey, there, Mouth and Ears, you’re next.’’ A dozen years ago the two got together

in the combination which was to become as famous as Weber and Fields, David and Jonathan, or any other duet of history—their golden discovery of the “Two Black Crows.” As j such they have won fame in vaudeville, in musical revues here and in London, on the radio and through the distribution of more than 6,000,000 of their gramophone records. WHICH IS WHICH? Moran is the short, serious, bothered member of the team who attempts by his questions to keep the conversation within reach of sanity. He is Willie. Mack is the tall, serene, tired and poetic one who embroiders his absurdities to epic dimensions and baffles pursuit with his question of “What was your idea in bringin’ that up?” He has that fall-ing-away voice which somebody described as “grease your vocal cords with molasses, then breathe gently and there you are.” He is Amos. Off stage he is the spokesman, the business manager, and the author of most of their lines. Talk to Mack over the telephone and you get the same voice and inflection naturally that he puts out by radio and phonograph. It is effort for him to be a “straight.” Throughout the world, mankind is roaring at and echoing back such questions as “Doan you all know what goofer feathers is? They are so soft”; and “What is the worm’s idea in being there?” and “What is a head man?” EARLY DAYS Moran grew up around St. Joseph, Mo., and went on the stage as a negro boy in a touring company of

“Uncle Tom’s Cabin.” He has been doing blackface ever since. Mack always admired the end men of the minstrel shows and decided, instead of becoming a locomotive engineer, to emulate them. He also worked on a farm in summer vacations, and perhaps it was there that he learned how it happens that white horses eat more than black horses. And as a boy he sold papers in Tacoma. The two never have been in moving pictures before. But they have proved themselves, their technique and their inventive fertility in every other line of entertainment. They know they can give the public what it likes to see and to hear. And they are enthusiastic at the sort of immortality for their complete, rollickingjy absurd personalities which the talking films promise. MAY MUSIC MOUSSORGSKY’S “SONG OF THE FLEA” DAWSON’S MASTERPIECE Peter Dawson and the Philadelphia Symphony Orchestra .... In reviewing a batch of May records sent us by the H.M.V., once again we must bracket these two names. The Prelude from “Lohengrin” (Wagner), by the Philadelphia Symphony Orchestra (D 1463), was specially reviewed in these notes last week, but in passing I must again urge upon all Wagnerians the necessity of hearing this record. The ethereal music of Wagner’s masterpiece is magnificently played. Peter Dawson’s contribution is Moussorgsky’s “Song of the Flea,” and it

can be said without exaggeration that it is one of the best things that he has given us for some time. He certainly has made the best of the wonderful possibilities that lie in this sardonic song of Mephistopheles. He appears to delight in the cruel humour of the number, but it is never overdone and. thanks io his remarkably clear diction and really outstanding

i histrionic ability, every word is heard and every point made with telling emphasis. Admirers of Peter Dawson, and they seem to increase every year. ; must not fail to secure the record, ! which also contains a fine recording of “Oh! My Warriors.” from Sir Edward Elgar’s “Caractacus” (C 1579). “Valse Bluette” (Drigo-Auer), that popular little waltz tune, gives Jascha Heifetz an opportunity to demonstrate the wonderful perfection of his art. Drigo was for many years conductor of the ballet at the Mariensky Opera House in Petrograd. and with Heifetz as the player, the spirit of the dance is all there. It is an exhilarating number. On the reverse side an arrangement by Heifetz, of Ponce’s | “Estrellita,” provides a charming and very melodious contrast (DA9B4). In that fine love duet, “Love is the Sun Which Our Life Ever Brightens,” from the second act of Verdi’s “Rigoletto,” provides Joseph Hislop with an excellent opportunity of displaying his fine operatic tenor. He sings this in conjunction with Lotte Schoene, who possesses a fine, clear, flexible soprano Most admirable and very refreshing is the restraint exhibited by Hislop. Hearing this record one wonders whether the Scottish tenor was properly appreciated by New* Zealanders when he recently visited the Dominion. I He says this with a warmth and colour equal to the best of the operatic stars. The other side contains that poignant little duet, “While at the Altar Praying,” from the same opera. In this Jansen is the baritone (D. 8.1127).

The following list of best sellers has been compiled from the latest returns of H.M.V. retailers: “Dance Orientale” (Glazounov), played by the Philadelphia Symphony Orchestra. (E 521.) “Gay Caballero,” sung by Frank Crumit. “A* Room With a View” (fox-trot), by the Rhythm Band. (EA471.) “Chalita,” sung by George Metaxa I (tenor). (82928.) “ISI2 Overture” iTschaikowsky), played by the Coldstream Guards Band. (C 1369.) “Arlesienne,” played by the Kreisler Brothers (D.B. 1166.) ; “Shakesperean Speeches,” by John : Barrymore. (D 81177.) ‘“lmponete,” duet from “La Travi- ; ata” (Verdi), by Galli-Curci and De | Luca. 1 “La Campanella” (Liszt), played by j Levitzki. (D 1459.) “Song of the Vagabonds,” by Dennis King (baritone) and chorus. (82426.) “Darky Stevedore” (fox-trot), by j j Nat Shilkret and his orchestra, j (EA452.) | “Try Again To-morrow,” from “Lido ; Lady,” duet by Cicely Courtneidge and Jack Hulbert, with Gaiety Theatre orchestra; “Atlantic Blues,” from ,r Lido Lady,” Phyllis Dare, soprano, accompaniment by same orchestra. Columbia 01402. Really tuneful stuff are j these vocal slices from Loudon’s popular musical comedy hit of a couple of years ago. Accompaniments are by the Gaiety Theatre orchestra, identically as this band first presented them to London. The original stars, also, of course feature on this disc.