Tuesday, December 25, 2007

Merry Christmas (especially for some pals in NH)!!

I called up a couple of old friends last night to wish them and theirs a Cool Yule...and mentioned that I have a (relatively) new music blog. They weren't aware of it yet. I told them to keep an eye on it...there'd be something special posted just for them.

...and here it is.

Isn't this cute? Les and Mary on a Christmas-oriented EP, issued October, 1954.

I'm posting the songs in the order shown on the front cover, but, should you want to save the files, I've numbered them to play back in the order presented on the record.

Jingle Bells
Silent Night http://www.box.net/shared/2tiwe8usc0
White Christmas http://www.box.net/shared/72w3bnsowg
Santa Claus Is Coming To Town http://www.box.net/shared/n1j0zr34ks

Here's another treat...the complete Christmas 1948 broadcast from the Royal Roost, featuring Charlie Parker and his Quintet. Let me rephrase that...Bird's broadcast set is complete, WMCA went back to the Roost to air Charlie Ventura's band shortly afterwards.

Anyhoooo....Bird and his men are in fine spirits. Parker even is persuaded to do White Christmas!

Royal Roost, NYC, Christmas 1948: Kenny Dorham, trumpet; Charlie Parker, alto sax; Al Haig, piano; Tommy Potter, bass; Max Roach, drums. Symphony Sid Torin, announcer.

1 Announcements & Sid's Theme http://www.box.net/shared/n08vrn4gcw
7. Closing Announcement & Sid's Theme http://www.box.net/shared/09ljfbew4g

Now one of my favorite Christmas novelties...Jim Backus, in his Mr. Magoo voice, as Santa Claus! The reindeer is played by Daws Butler, doing a younger-sounding variation of his Mr. Jinks hipster character.

My guess is that this was released in late 1958 or so.

I Was a Teenage Reindeer http://www.box.net/shared/5vhl506go4

And, last but not least, a song that will be forever linked in my mind to birthday cake, the King of the Hill marble game (http://www.boardgamegeek.com/game/4701 for a real Blast From The Past), and hot cocoa after sledding parties (has it really been almost 40 years?)...Allan Sherman's Twelve Gifts of Christmas.

Oh...the image I snagged off the 'net (I don't have a scanner) is of the mono issue...my copy is in stereo. Nyah-nyah!
...and a Happy Holiday Season to all!

Thursday, December 20, 2007

Happy Holidays!!!

Well...it's less than a week from Christmas...and I haven't posted anything yet! And I do have a couple of cool Yule sides to check out! Here's a gorgeous rarity...

It's not the most exciting record to listen to, though. That's the Jean Goldkette version of In My Merry Oldsmobile (with an all-but-inaudible Bix Beiderbecke in there) sampled at the beginning of this side. Then President Reuter delivers a pep-talk, painting a rosy picture for the upcoming year 1929 (things were rosy, all right, at least until late October!). There's a reprise of the Goldkette record...which ends abruptly...no fade. Oh...it's one-sided...with a typical Victor "spider web" on the flip.

48613-2 Holiday Message From Oldsmobile 1928-1929 Mr. I. M. Reuter Victor Special
Chicago, 22 November 1928: Reuter, speech.
For what it's worth...this is take -2...

The above Victor record was given to employees of the Olds Motor Works, obviously for the 1928-29 holiday season. One can assume that the Olds company paid for the recording and pressing.

Columbia made a lot of records for outside clients too, usually labeled simply "Personal Record."

This example was given to employees of the Humming Bird Hosiery Mills... 

I can't find much info on the Humming Bird Mills...although the Humming Bird brand was evidently made by the Davenport Hosiery Mills, of Chattanooga Tennessee. The only info I can find about T. Walter Fred is that he lived in Lookout Mountain and that he wrote The Story of a Pair of Silk Stockings: A Hand Book for Students and a Guide for Salespeople, published in 1923.

Yes, this is another somewhat dry "go, team, go" record, spiced (somewhat) by an invitation for the salesgirls to visit the mill. He notes that his factory workers are all "white folk, like you and I." Hmmmm.

170272 A Personal Message To Humming Bird Salesgirls (ca.1927) T. Walter Fred Columbia Personal 101-P

The oddest thing about the recording is that he says the the flip side is Bernie Cummins's record of Little Gypsy Sweetheart.

The actual flip side is the 1927 pop tune, Sam, the Old Accordion Man, credited to the Humming Bird Orchestra. It probably isn't conducted by Cummins, who didn't record for Columbia.
Sam, the Old Accordion Man Humming Bird Orch (1927) Columbia Personal 101-P

FLASH!! (February 2009)

Well...I'll be hornswoggled!

A few colleagues with better ears than I recognized the voice of Walter Cummins on this side...so the leader of this record is his brother, Bernie. I must have had too much eggnog when I posted this. Then again, I don't have a lot of Cummins to compare it with.
So...the listing should be edited:

170275 Sam, the Old Accordion Man Humming Bird Orch Columbia Personal 101-P
NYC, 6 May 1927: Bernie Cummins Orchestra; Walter Cummins, vocal.

Of course, we're still wondering what became of the Cummings version of Roam On, My Little Gypsy Sweetheart that Mr. Fred mentioned on his side.
Oh, I must thank The Toasters of New York and especially Taylor Bowie for supplying the correct information. 

Some ethnic goodies

We here in the Northeast have had our share of snow this week...one bad storm (around twelve inches of that fluffy stuff) and two or three annoying bouts with flurries.
It was enough to inspire me to poke around in my ethnic stash, to look for music from warmer climes. And I knew I had to find the Italian Christmas side that's next.

Here's an attractive label...the 1923-25 "banner" or "flag" label that Columbia used. This one has a metallic green background (which scanned a bit on the brown side. The correct shade of green is seen at the top of the label, in that deep groove). The green background was used by Columbia for miscellaneous ethnic series (They also used copper for popular, and both gold and silver for classical works. I've also seen metallic light blue and matte dark blue too.). This is obviously from an Italian series. 

This early-1920s recording features a pair of anonymous musicians, one playing the
Zampogna, or Italian bagpipes, and the Ciaramella, or reed pipe. My guess is that the latter is the vocalist as well. The music is traditionally played by the returning shepherds for the Christmas season.

More info on the tradition is here:

44455 Novena Di Natale Unknown musicians - Zampogna e Ciaramella Columbia 14068-F

This record seems to have sold fairly well...I've had two copies, and the Internet Archive has another copy here: http://www.archive.org/details/Zampogna_e_Ciaramella-Novena_Di_Natale
Here's a recent video clip of a very similar duo...

Sweden may not necessarily be a "warmer clime," but the prominent Hawaiian guitar on the following side certainly unthawed my cardiac cockles. 

109614 Sunlight Jahrl's Swedish Novelty Quintette (ca. April 1926) Columbia 38003-F

Here's what's probably the first recording of Green Eyes...from 1931 (according to http://library.fiu.edu/latinpop/SECCION05R.pdf)
XVE67159 Aquellos Ojos Verdes Orquesta Romeu Victor 30397
19 February 1931: Antonio M. Romeu, conductor; Antonio Machín, Daniel Sanchez, vocal. Others unknown.

Here's another rather scarce piece...an -X series (for export) Columbia, issued on their beautiful Royal Blue wax.

The Hurtado Brothers toured the United States in 1908, and recorded many records between then and WWII. This is the one that tickled me the most...it sounds like they heard some Jimmie Rodgers sides...the marimbas almost yodel on this side...

CO 16506 Guatemala Blues Marimba Hurtado Hermanos Columbia 5256-X
NYC 18 December 1934

Finally, the best record I ever found at the Goodwill in East Providence, a 1937 Brazilian Victor by Carmen Miranda's backup group, Bando da Lua. Both sides are delightful...the former having some Mills Brothers-like instrument imitations, and the latter obviously about a rooster. Nice Liszt quotation in there too!
Saudades Do Meu Barracao Bando da Lua Brazilian Victor 34232
Marchinha Do Grande Galo Bando da Lua Brazilian Victor 34232
recorded in 1937.
That'll do it for now...thanks for listening and have a happy holiday season.


Thursday, November 29, 2007

Inca Dinca Doo?

I spotted an interesting side in Lee Hartsfeld's Music You (Possibly) Won't Hear Anyplace Else blog (http://musicyouwont.blogspot.com/ ) the other day, the 1934 Decca of Louis Katzman's Orchestra playing Valderamma's Inca Step. It's a fine early example of exotica, recorded over fifteen years before Yma Sumac's Voice of the Xtabay album...and it's one of those pieces that quickly creates an "ear-worm." You'll carry it with you forever (at least it's not some awful disco record of the 1970s, right?).

Welllll....here's another version of the same piece! It's a completely different arrangement, however. It's from that stash of 1929-31 Brunswick Radio discs I had the privilege of transferring recently. Although the orchestra isn't credited, it's probably Katzman again (his name showed up on another disc or two in the same stash). The announcer is Norman Brokenshire.

XE-35709 Forget-Me-Not, show Y, part 3 (excerpt) Inca Step Brunswick Radio Orchestra (probably Louis Katzman) (early December 1930) radio show, unissued

Oh...the picture was shot at a friend's house a year or so ago. Nice Edison phonograph in the background, isn't it? I was actually doing a few steps to a bizarre 1910s ethnic Columbia 78...I may get around to posting that one too. I still have to get around to posting those silly line-dance records I mentioned here a couple of months ago.

Thanks to the generosity of Lee Hartsfeld, here's the Decca version!

38362 Inca Step Louis Katzman's Orchestra
Decca 462
NYC 21 August 1934: Louis Katzman Orch.
Lee says there's an Inca Tango (by Katzman's Castillians Orchestra) as well...I'll try to get it and post it. It's another Valderamma piece...

Tuesday, November 27, 2007


As promised in the last posting on Hitchcock-related records, here are three (count 'em, three!) completely different records, all called Psycho.

Of course, not one of them has anything at all to do with the Hitchcock movie...but the term "psycho" became such a common figure of speech that it was only a matter of time before a song or two would show up with that word as a title. As it turns out, there were three (and I'm not counting songs like Psycho Killer or Psychotic Reaction)..

The first Psycho is by Bobby Hendricks, who had a big hit in 1958 with Itchy Twitchy Feeling (he's also on The Drifters' side Drip Drop). Here Hendricks is being psychoanalyzed by WWRL (New York) disc jockey Dr. Jive (Tommy Smalls). This 1960 single hit the market when the movie was new in theatres, and made it to #73 on the charts. It's definitely one of the oddest Top 100 cuts ever...and one must wonder whether Hendricks's demented babbling might have been an influence on Shirley Ellis, who had a monster hit with The Name Game in 1964.

Psycho Bobby Hendricks Sue 732

The second Psycho is a cute novelty record by Huey "Piano" Smith and the Clowns. Smith had a number of good-selling records from 1956 to 1959 for the Ace label (Rockin' Pneumonia and the Boogie Woogie Flu, Don't You Just Know It, Don't You Know Yockomo, etc.), but Smith got ticked off by Ace owner Johnny Vincent's tampering with their recording of Sea Cruise (the original vocal was wiped off and Frankie Ford's was spliced in), so he left Ace and went to Imperial, where fellow New Orleanians Fats Domino and Smiley Lewis were doing pretty well. And Imperial was also distributing Minit records, where Allen Toussaint-produced records by Jessie Hill and Ernie K-Doe were also selling quite well too.

All should have been rosy for Smith, but it wasn't to be. Imperial had their money behind Domino and Ricky Nelson, and these delightfully catchy, but fairly lightweight records didn't sell at all. They were great sides, indeed, but a fatter, funkier sound was beginning to come out of the Crescent City and these sides sank without a trace.

Smith's 1961 Psycho, with Gerri Hall's bubbly vocal and humorous lyrics, actually remained unissued for quite a few years...I have it on a mid-1980s Pathe Marconi/EMI LP.

Psycho Huey "Piano" Smith and the Clowns Imperial unissued (EMI LP)

The first two records were amusing.

The next one is scary.

Leon Payne, San Antonio songwriter (They'll Never Take Her Love From Me and Lost Highway among others) wrote Psycho between 1966 and 1968...I've heard that it was inspired by Charles Whitman's sniping attack at the University of Texas in 1966, but I've also heard that he wrote it after watching Psycho in 1968 (actually, he had to have someone describe certain scenes for him. He was blind). In any case, his version, if there ever was one, seems to remain unissued. Maybe there's a demo tape out there.

Eddie Noack apparently was the first to record the song in 1968, for the K-ARK label. And the song's been covered by Jack Kittel, Elvis Costello, and several others. I think this is the most chilling version.

Psycho Eddie Noack K-ARK 45 (unknown number, got as a download)http://www.box.net/shared/hpzlzma5o5

Oh...in the final scenes of the Hitchcock movie, didja ever notice how Norman's mother's mummified face is superimposed over his own as the camera dissolves to the car being pulled out of the pond? It's so subtle...almost unnoticeable...unless you're looking for it.


That'll do it for now. I think I'll take a shower bath.

Tuesday, November 20, 2007

Exploiting Hitchcock, from a record-collector's perspective

A couple of months back I promised a posting on music associated with the films of Alfred Hitchcock...and almost forgot about it. I'm finally getting around to it...

A few years ago I watched a terrific documentary on Bernard Herrmann, one of my musical heroes. Two scenes really struck me. The first was about the early scenes of Psycho, before Janet Leigh stops at the Bates Motel...someone suggested turning the sound off for a minute during the scenes in which she's driving, especially during the rainstorm. They're well shot, of course, but nothing's really happening. Then watch those scenes with the sound on...it's Herrman's music that keeps you on edge...

Of course, the shower scene has been discussed so many times that I'm not going to bother. It's probably the most-recognized musical cue from the movies.

The other scene in the documentary dealt with Torn Curtain...a movie that's not all that bad, even though it's certainly not top-drawer Hitch. In the movie, there's a particularly brutal killing scene. The scene is run through twice, the way it exists now (with no music)...and then with the music that Herrman wrote. The latter was far more effective.

Yet, Hitch decided to scrap Herrmann's music and go with a score by John Addison. Why? That's anybody's guess, although it appears that someone wanted there to be a hit pop record from a Hitchcock movie, or at least some lighter-sounding music, and Herrmann wouldn't (or couldn't) comply.

And that's where this blog comes in...I'm going to show how the record companies tried to exploit Hitchcock films. Of course, there are several albums of Hitchcock soundtracks available now...but almost all of them came out long after the movie did. And there were a couple of LPs that Hitchcock himself was involved in...namely the Alfred Hitchcock's Music To Be Murdered By LP on Imperial by the Jeff Alexander Orchestra and his Ghost Stories for Young People LP, but that's not what I'm concerned with in this blog (but you can see/download them here
http://scarstuff.blogspot.com/2006/02/alfred-hitchcock-music-to-be-murdered.html ) I'm going to play selections that have been overlooked by most of the experts...records that were issued at the same time as the movie that inspired them.

I'm going to start with Spellbound, from 1945. There actually was a soundtrack album issued on 78s (ARA pressed it...and poorly, I might add...it seems the records all came out slightly off-center), but here I'm more concerned with the popular market of the day. There was a big-selling 12" Victor called Spellbound by the Al Goodman Orchestra...an adaptation of the Miklos Rosza score.

Spellbound Al Goodman Orch., Irving Prager, violin Victor 28-0404

The next time a record connected to a Hitchcock movie shows up is for 1955's The Trouble With Harry...which was the first movie with Shirley MacLaine, featuring Herrmann's first score for Hitchcock. And six-year-old Jerry Mathers discovers the body of Harry. Yes, Harry's trouble is the fact that he is dead...and his body keeps getting buried, exhumed, and finally stuck in a bathtub. The movie's a dark comedy, obviously.

There was a cute novelty record that's labeled as being "inspired" by The Trouble With Harry. Here, Harry's a pianist who's stuck in a rut and seems incapable of playing anything other than a catchy little riff...that is Harry's trouble. He's not dead here...and there's absolutely none of Herrmann's lovely score here either.

Oh...does the voice sound familiar? Imagine it yelling at a singing rodent named Alvin. Yup...it's David Seville, alias Ross Bagdasarian.

The Trouble With Harry Alfi and Harry (Ross Bagdasarian and Friends, 1956) Liberty 50008

This was a fairly big seller, peaking at #44 in the States and #15 in the UK.

It was big enough to inspire two cover versions...this one by the Les Elgart Orchestra...

The Trouble With Harry Les Elgart Orchestra (1956) Columbia 40617

...and this one by Poppa John Gordy, buried in an RCA Victor Extended Play 45.

The Trouble With Harry Poppa John Gordy and his Piano (1956) RCA Victor EPA 719 http://www.box.net/shared/jep6fyvbz8

Hmmm....three different versions of a ditty that really has nothing at all to do with the Hitchcock movie...but all three plugging the film that "inspired" them.

The next Hitchcock movie, his 1956 remake of The Man That Knew Too Much actually did have a hit single...Doris Day's record of Whatever Will Be Will Be (Que Sera Sera) hit #2 on the US charts. The Jay Livingston/Ray Evans song has become her theme song, at least for her 1968-73 CBS television show. And the song was indeed in the movie...actually, it's an important element of the plot.

The record is so well known, in fact, that I'm going to skip playing it...instead. I recommend that you see the movie...it's very exciting and entertaining...and you actually see Herrmann conducting during the climactic Albert Hall scene. You might want to compare it with the Hitch's 1934 version...that one is just as entertaining, and it's a helluva lot shorter. And Peter Lorre is a memorable villain. They're both great movies.

The Herrmann score for 1958's Vertigo was actually issued then on a Mercury LP at the time...one that didn't sell all that well at the time. It has been reissued several times since...I have it on CD, but I'm covering pop singles here.

Bypassing 1959's North By Northwest, which has another terrific Herrmann score, but didn't generate any kind of vinyl at the time, we come to 1960's Psycho. That movie didn't generate any vinyl either, at least not intentionally (I'm imagining a Bates Motel Twist...shudder). However, the term "psycho" became part of the vernacular...and there are three very different records that have that word as their title. I'll post those next time around.

1963 was the year of The Birds, which had no real score, just bird sounds (electronically manipulated by Herrmann). There was also a strange little 45, again "inspired" by the Hitchcock movie...a surf instrumental and a bossa-nova blues, both written by Decca staff men Bud Dant and Sonny Burke. Needless to say, this record never made a ripple on the charts.

Blues For The Birds The Surf Riders Decca 31477 http://www.box.net/shared/85eqjgqapc
The Birds The Surf Riders Decca 31477 http://www.box.net/shared/gcod5hx1pm

Finally, we reach 1964, and Marnie. There was a rather pleasant song by Nat King Cole released then. This one's unusual, because it's probably the only time anybody tried to make a hummable pop tune out of a Herrmann melody, one that was indeed in the movie, but not sung. It's too bad that this attractive side never charted, and never showed up on any album until the compilations of the 1980s were issued.

45-AA52146 Marnie Nat King Cole (1964) Capitol 5219
1964: Nat King Cole, vocal; Ralph Carmichael Orchestra.


The next movie was Torn Curtain, but I've already covered that....

...and that's the final reel.

Next time around I'll dig out those Psycho records. Save an aisle seat for me...I heard there's dim sum in the lobby.

Monday, November 05, 2007

For my friends at the Havana Cafe

Finally, North Addleberry has something different, restaurant-wise...Havana Cafe. It's run by a couple of very nice folks...this posting is for them.

This version of Mama Inez is fairly straightforward...from the late 1920s, by the Sexteto Habañero...this is the version that's on a CD I burned for them the other day.
Mama Inez Sexteto Habañero (Victor 81272)

I just got a flash from Steven Abrams, who supplied me with the recording date (28 May 1928) and the original Victor release number. Thanks, Steve!

And here's the really strange version of the same song...my copy is titled Oh, Mama! It starts out as a straight rumba, but the soloists start to clown a bit...there's some bizarre laughter...and it ends up with some fairly hot jazz.
Oh, Mama! Havana Novelty Orch Victor 22597
NYC, 19 December 1930: Nat Shilkret, conductor; featuring (among others) Mike Mosiello, Bob Effros, trumpet; Andy Sannella, alto sax, clarinet & steel guitar. Who did the crazy laughter? I've heard it's Bob Effros.
Apparently this record was also released with the (correct) title Mama Inez as well...that seems to be the more common issue.

Here are a couple of other sides, also recorded in Cuba, and issued in the American Victor International Series just after WWII. Unfortunately, I have no info on these sides, but they're good.

Flash! I just found this website: http://library.fiu.edu/latinpop/downloadfiles2.html and it supplied me with the recording dates, anyway. (5 March 2008)

Muero Por Ti Septeto Habañero Victor 23-0831
3 March 1948: It looks like the Sexteto added a seventh member...

Dos Gardenias (vocal by Alberto Ruiz) Conjunto Kubavana Victor 23-0821
12 February 1948: vocal by Alberto Ruiz...gee...sounds like Jalousie to me.

Hmmmm....I just realized that I don't have any pictures this time around. I think I can remedy that sitchy-ashun....

Here's another pic from our recent NYC excursion...I brought a few 45s to play before the party that night (notice the Jazztime USA EP set in my lap). The Gorshin record is rather weird...and it has a terrific picture sleeve. It's a rare one, too.

That'll do it for now. Time for some flan.

Tuesday, October 23, 2007

Late October goodies

I recently got in touch with another high school chum...it had been quite a while since our paths crossed last.

Anyhooooo...I said I'd post a couple of selections that I thought he'd like. I hope you do too.

Here is one of the few classical 78s I've kept...it's still a favorite. It's by Soprano Bidu Sayão with eight cellos (solo by Leonard Rose) ...from what I've been able to find on the web, Villa-Lobos originally scored his Bachianas Brasileiras No. 5 for violin and eight 'cellos, but Sayão suggested to Villa-Lobos that she sing the violin part, without words, and with humming on the last chorus. Though he was reluctant, he agreed to try it, and the crew assembled at a recording studio. According to Sayão, she and the cellos did the piece once and Villa-Lobos decided the result did not require a second take. (info borrowed from

Villa-Lobos: Bachianas Brasileiras No. 5 - Bidu Sayão, soprano, eight 'cellos conducted by the composer, Leonard Rose, solo 'cello - Columbia 71670-D
recorded in 1945

And now for something completely different...some early Cajun music!

Allons a Lafayette Joseph Falcon
Columbia 15275-D
New Orleans, 27 April 1928: Joe Falcon, vocal and accordion; Cleoma (Breaux) Falcon, guitar. From the first Cajun recording session (at least the first session for general release...I've heard there was some Cajun music recorded around five years earlier, but came out on a private issue)...this song is still being performed...

I've always liked the following song...I remember hearing Marc and Ann Savoy doing it quite a few years back. The original version is just as pretty.

The Waltz I Love (La Valse J'Aime) Falcon Trio Bluebird B-2182

New Orleans, 20 February 1936: Moise Morgan, fiddle; Joe Falcon, accordion; Cleoma Falcon, guitar and vocal. http://www.box.net/shared/iv14xaek35

And finally, a somewhat weird one...The Little Sparrow rockin' and rollin'!

Black Denim Trousers and Motorcycle Boots Edith Piaf Capitol F3219

1956: Piaf belts out a cover of the big hit for The Cheers of the previous year. Apparently foreign issues use L'Homme a la Moto as the title. The American issue uses this title. http://www.box.net/shared/2jj4eymesn

Recent Acquisitions

A few friends and I attended the big Phonograph/Record show in Wayne, NJ last Sunday, and I found a few rather nice 78s...

Here's a fairly big seller in the Decca Race series, the slightly naughty Don't You Make Me High, by Blue Lu Barker.

Don't You Make Me High Blue Lu Barker Decca 7506
NYC 11 August 1938: Blue Lu Barker, vocal; with Danny Barker's Fly Cats: Henry "Red" Allen, trumpet; Buster Bailey, clarinet; Sammy Price, piano; Danny Barker, guitar; Wellman Braud, bass; Paul Barbarin, drums.

I got the next gem for the princely sum of one dollar...the Kentucky Grasshoppers (an Irving Mills-led contingent from the Ben Pollack band) Makin' Friends.

Makin' Friends Kentucky Grasshoppers Banner 6360
NYC 4 April 1929: Jimmy McPartland, cornet; probably Tommy Thuman, trumpet; Jack Teagarden. trombone & vocal; Jimmy Dorsey, Gil Rodin, Larry Binyon, reeds; Vic Breidis, piano; Dick Morgan, banjo; Harry Goodman, bass; Ray Bauduc, drums.

Here's its flip side:

I Get The Blues When It Rains Fred Rich Orch
Banner 6360
NYC 29 March 1929: Large studio band, exact personnel unknown, but featuring Leo McConville, trumpet; Tommy Dorsey, trombone; Jimmy Dorsey, reeds, among others.

I'll end this section with a couple of pleasant Bob Haring sides, both with vocals by The Chickster:

Ho Hum Bob Haring Orch
Banner 32162

Let's Get Friendly Bob Haring Orch
Banner 32162
NYC 15 April 1931: Large studio band, Chick Bullock, vocal. Maybe I'm mellowing as I grow older (or perhaps I'm merely going soft in the head) but I find myself liking Bullock's rather ordinary singing more and more...it's a lot less mannered than most of the singing of the period.

After we were done with the show, seven of us sped off to the 88 Palace in Chinatown for a sumptuous dim sum feast...we filled up for $14 a person, including tip. Amazing...bargains like that do exist in NYC!

Do you get the impression I love this place?

I don't have any songs that specifically mention dim sum, but I do have this:

Ling Ting Tong The Five Keys Capitol F2945
NYC 30 August 1954: Maryland Pierce, Ulysses K. Hicks, Ripley Ingram, Ramon Loper, Bernie West, vocal quintet; Unknown Chinese percussionist, gong.

Tie-ess-a mo-cum boo-die-ay, indeed! I found a photo taken at this session: http://home.att.net/~marvy42/5Keys/5keys10.jpg and a good article about the Keys here http://home.att.net/~marvy42/5Keys/5keys.html .

Here's a rather hard-to-find side for a friend...the Mad Doughnut Man of Pennsylvania. I played it for him in NYC the day before the bash...it's a funny record, if a bit on the sick side:

The Last Blast of the Blasted Bugler Sonny Gianotta ABC-Paramount 45-10308
1961-62: Gianotta, narrator; Tommy Cardinale, trumpet.

Pain Set To Music Phil Cammarata ABC-Paramount 45-10308
The flip side, not quite as funny, but certainly almost as weird...or should I say sick:

........And that's "thirty" for yours truly...later!