"TOP TUNES."
Sir,-It’s about time someone put in a_word about 2ZB’s Sunday session, "Top Tunes." Firstly why are there so many American tunes? They’re all so very much of a muchness — or they make them so,. As far as I can see, they've developed a very irritating, whining sort of accompaniment. They alter a tune hopelessly. Take for instance, the quite pleasant "Just a Little Fond Affection." I think it was Joe Loss who used to play it. Then Kate Smith got hold of it, whined it out, and there it is, a "Top" tune. Besides, are these songs really any good? I love modern music, but far more pleasant and really beautiful tunes are played in the average morning and afternoon sessions. Picking @ few at random, aren’t "Something to Remember You By," "What’s New?", "The London I Love" and countless others, far more rhythmical than "Some Sunday Morning," "Now I Know," "It Isn’t a Dream Any More"? Then why are these songs unfairly popular? Because they are played when most people have a chance to listen, and vice versa with the others. Personally I never hear Dinah Shore, Dick Haymes, The Inkspots, those annoying Mills Brothers, and several others without a desire to melt all their records down to make fruit bowls. Yet they’re played far more than, for instance, Bud Flanagan and Chesney Allen (those two very génuine and -refreshing stars), Frances Day, Donald Pears, Dick Todd, Anne Shelton, Harry Kaye, Alan Breeze, and so many others who really deserve popularity.
HI-DE-HI
(Masterton),
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19460418.2.14.6
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New Zealand Listener, Volume 14, Issue 356, 18 April 1946, Page 5
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255"TOP TUNES." New Zealand Listener, Volume 14, Issue 356, 18 April 1946, Page 5
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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