With GRAMOPHONE and RADIO

Radio Record, Volume IV, Issue 1, 18 July 1930, Page 13

With GRAMOPHONE and RADIO

BY

B NATURAL

~ OLD-TIME MELODIES

eJ UST at present a return of old fayourites is taking place, and there are some splendid. new recordings of this music. Generally speaking, . the selections are bright; and with the free spirit that was evident in the music of twenty years ago, and make fine music. Columbia records in 07014. "Roses of Yesterday" and "The Sidewalks of New York." . These are a foxtrot .and waltz. respectively, by Paul Whiteman and his orchestra. A bright and ‘tuneful record, giving a modern setting to the old songs. The waltz has a flavour of the dance hall of a generation ago, but with the brilliance and colour that is ,characteristie of modern music. Both have vocal refrains. Is Two parts of Florrie Forde’s oldtime medley are found on Columbia 05073. This is a splendid collection ‘of songs of long ago. "She’s a Lassie of, Lancashire," "Who’s Your Lady Friend?" "Down at the Old Bull and Bush," "It’s a+ Long . Way to. Tipperary," "Has Anyone Here ‘Seen Kelly?*? "Hold| Out Your Hand, Naughty Boy," and "Pack Up Your Troubles," are a few of the bet-ter-known selections. Florrie Forde is @ comedienne of rare talent, and in these beautifully-articulated . excerpts she is heard to advantage. This is a good record, and many will delight to join in and recall the "good old days." The new recording preserves detail that was impossible before. ‘The ac- , companying orchestra is particularly fine, and there is a wealth of bass ac‘companiment that imparts to the record -the modern touch. ON Columbia, 01905 Charles Corban, comedian, records two well-known : songs, "Two Lovely Black Byes" and ‘he Man Who Broke the Bank at Monte Carlo." The latter was composed to mark.an event of, considerable s importance in the history. of the great gambling centre. The flawless enunciation of Corban enables the words -of this fine swinging air to be heard perfectly. Corban tells the story of the great event which necessitated the closing of the Monte Carlo "bank" ‘for the only time in. history. On the veverse is:"Iwo Black Byes." ‘The per‘sonality of this first-rate comedian -is brought well. in: these two ‘selections, for there.are many .xlaces where he departs from the original score to secure effect. They: are unorthodox recordings, and:of great interest to those who heard the songs long ago. SPLENDID collection of: airs that gained universal: popularity dur‘ing: the war. are collected. on H.M.V. |_ B.B. 33, and sung by the Male Voice "Parlez Vous," that good old singing march, introduces listeners into ‘ the of 1917. ‘ "K-k-Katey" follows. "The Old Grey Mare," with orchestral: imitations, is next, and then "Rose of No Man‘s Land" is sung with ‘all the tenderness that these noble lines éntend. But the old army favourite, . "Parlez Vous" is returned to, and done justice by tenor and acccompaniment. A fitting finish to the record. On the . reverse the Troubadours play "Songs of Yesterday," including "Maggie Murphy’s Home," "Two Little Girls in Blue," "Sweet Rosie O’Grady," and : "Little Annie Rooney." FURTHER old-time selections are recorded ‘by Nat Shilkret and the _ Salon Group on H.M.V. B.B. 48. "Nelly Was a Latty," "Jeanie With the Light Brown Hair," "Oh! Susanna," "Come

Where My Love Lies Dreaming." Accompanying are "Hard Times Come Again no More," "Angelina Baker," "Gentle Annie," "Old Dog Tray," and "Somes Folks Like to Sigh." These are vocal excerpts, with orchestra accompaniment. The airs are sung by the soloists, and the choruses by the company. As their titles suggest these selections are widely different. With banjo accompaniment, "Oh, Sus-

anna," is a delightful interlude. The opening of the other side is full and round, and follows on with other wellchosen airs. There is a good intermixture of voices, with the result that there are plenty of bright passages and breezy airs. On H.M.V. C1783 Jack Hylton and his orchestra present "More Old Songs," including "My Irish Molly, 0," "Following in Father’s Footsteps," "Sue, Sue, Sue," "Silver Threads Among the Gold," "She Cost’ me Seven and Sixpence," We all go the Same Way Home." The orchestra is supported by vocal refrain. On the reverse are "l’ve Made up my Mind to Sail Away," "Waiting at the Church," "Two Little Girls in Blue," "Killarney," "I Want to go to Idaho," "Let’s All go Down the Strand." This is a collection of airs that goes with swing from the start. The orchestra takes the leading part, but is well supported by vocal refrains. Waltzes, quicksteps, and old songs follow in quick succession, C1681 in another record by the same combination of artists. This time the Wurlitzer refrains give further variety. The airs on this record are, "Hello! Hello!" "Just Like the Ivy," "In the Shade of the Old Apple Tree," "Tt Wouldn’t Leave My Little Wooden Hut," "Has Anyone Here Seen Kelly?"

"Sunshine of Your Smile," while on the reverse "Broken Doll," "WHileen Alannah," "Pansy Faces," "Volunteer Organist," "Sweet Genevieve," and "They Don’t Believe Me." Another bright record in which the strains of the Wurlitzer, playing the old-time music, makes a novel effect. This instrument records well, and comes up to advantage through electric reproducers. The vocal refrains are both solos and choruses. STEPHEN FOSTHR melodies are recorded on H.M.V. EB47 by Nat Shilkret and his orchestra, with the Jubilee Singers, ‘""Massa’s in de Cold Ground" is on one side, while on the .reverse are more melodies. ‘Open Thy Lattice, Love,’ "Uncle Ned," Village Maiden," and "Beautiful Dreamer." In this latter the Salon Group replaces the Jubilee Singers. The former air is one of the old favourites given a modern touch. It has been well done, and this record should appeal to all those who like these old plantation airs. "The excerpts on the reverse com-prise-a good assortment of solo, orchestral;and chorus, A harp accompaniment employed to imitate the chimes. makes this side an unusually fine record. The vocalists include both male and female voices. .

N ©1657 there are more "Stephen Foster Melodies," played by Nat Shilkret and his and the Salon Group, These are "Old Folks at Home" on one side," and "Ring de Banjo," "Oh! Lemuel!" "Nelly Bly," "Oh! Boly, Carry Me *Long," Bell," "Camptown Races." This is a very fine rex cording of the old favourite, "Old Folks at Tiome." The theme is introduced by a violin, then it is taken up by the saxophone, and so other instruments take up the air, playing solo, but the background builds up until all are playing in unison. They die away, and variations are introduced to the violins, Then, after a brief pause, the contralto soloist breaks in, and translates the air with all the pathos’ that it is intended to inspire. Then it becomes a musie monologue, and the’ chorus complete the record. A vibraphone comes in with good effect toward the close. The other side is bright and novel, the harp playing a prominent part in the opening bars. Again the contralto soloist is heard, supported by the chorus, Even a jew’s harp is introduced, and so the quaint music of the niggers is interpreted.