This record reminds me of the television series 'Westworld'.

It is said that if you go to West World, then you can choose whatever you want - I would want these songs playing, sounding exactly as they do on this record, when I first walk into the saloon.

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So, there I was this morning, ferreting around with some of my Parlophone records to decide which to keep and which to not keep.

I listened to 'The Cuckoo In The Wood' and was entranced. It immediately cut through the silence and quickly established it's haunting effect. Very much so on my modest floor-standing Geisha gramophone. There is a lovely occasional deep echo. I wonder how they achieved that effect ?

I have never heard anything like it before. But then again, the only other Yodelling record I believe I have is by 'The Yodelling Cowboy' and, some-what bizarrely, there is no actual yodelling on that one. Anyway, I digress ...


... and so, it is a 'keeper' and very worthy of a place in my humble collection.

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A charming record which (to me) sounds like a cross between 'The Laughing Policeman' and a Billy Williams record. (I assume it isn't Billy pretending to be Harry). The volume is surprisingly loud I think, compared to say Zonophones from the same year.

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I have just played 'Murder In The Moonlight'.

It is one of those magical songs which immediately transfixes and transports you back in time and to a different place. Where ? I will have to listen a few more times to be sure.

Leslie Hutchinson has such a unique voice. I knew nothing about him and enjoyed reading his Wiki entry.

I think that this track is essential for any collection so I am extremely pleased to have it.

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Buddy Weed was a highly-acclaimed American jazz pianist / arranger / session musician who worked prolifically in the musical genres of " swing " and jazz from the early 1940s - early 1980s , primarily with big bands but also solo artists. In addition , he performed as part of The Buddy Weed Trio , with Tommy Kaye and Felix Griobe , on records and gigs.

On the " A " side of this disc , the trio perform a jaunty little number called " Ready To Go Steady ". However , it is too jazzy, noisy and syncopated for me , and , in my opinion , a more mellow version issued at the time by the 5 DeMarco Sisters is much superior. The girls harmonize flawlessly on the track , to a slick arrangement incorporating a great instrumental break , and the appealing melody is emphasized much more effectively than on Buddy Weed's take on the song. Unfortunately it is not on this website , but it is available on YouTube if you're interested.

Finally , Buddy Weed was born in New York on January 6 1918 in New York ; and he died in Arizona on May 25 1997 , aged 79.

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'Fools Like Me' is a wonderful composition and maybe his finest Country Music performance. 'High School Confidential' was maybe a bit of a let-down after the dynamite start but still a treasured performance.
Dick Jacobs was upset that it made the charts, forcing him to play it on his Sunday evening show. He assured us it would drop out the charts by next but he was wrong again.

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The " A " side of this single is Irish-born Rose Brennan's superb version of the much-recorded " Band Of Gold " ( NOT to be confused with Freda Payne's later smash hit which shared this title ). Brennan is supported to good effect by male backing singers , and the track is lavishly orchestrated. The flip side is her engaging take on Joni James' minor U.S. hit " My Believing Heart " , a tuneful ballad marred to some extent by rather saccharine lyrics.

Rose Brennan released 15 singles in the U.K. between March 1955 - October !964 , but unfortunately she scored only one ( minor ) hit , the rather strident " Tall Dark Stranger " which stalled outside the Top 30 at no. 31 in early 1962.

Finally , by the mid 1960s Rose Brennan had retired from the music business.She was born on January 1 1931 ; and , as far as I'm aware , she is still alive , aged 88 , living somewhere in the South of England.

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I have had this since I was a kid it is good

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The US London label shows the artist as: The Multiple Voices of Frann Weigle.
The A side is like the Ink Spots and the flip is like the Mills Bros.
The male vocal group sound would clearly have been created by multi-tracking. For 1949 it's a great effort and very enjoyable.

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From Paal's Record:

The Sydney Morning Herald printed this review on May 23, 1931:

"One of the most important novelties is the introduction of the double-track Regal records, the first of which was released during this week. The "double-track" record consists of two different versions of the same number on each side. On the outer edge of each side of the record the letters "A" and "B" will be noticed, which indicate the starting point of the sound grooves of the dual recordings. Thus, for instance, by placing the needle on the "A", we shall hear "Elizabeth" from the musical production "Wonder Bar", played as a fox trot by the Rhythmic Troubadours. If the needle is placed on the mark "B", the same melody is heard as a vocal number, sung by Lawrence Allen. The same applies to the reverse side. "A" is the orchestral version of "Love is Like a Song", the theme song from "What a Widow", and "B" is the vocal arrangement sung by Lawrence Allen.
Recorded in London, January 31, 1931.
The Rhythmic Troubadours: Stan Greening - bj - g dir. probably: Bert Heath - Charles Mead - t / Ted Heath - tb / Nat Star (definite) - Tom Gregory - cl - as / Jack Pearce - cl - ts / Joe Kosky - vn / Fred Coocke - p - a / Jack Merrett - bb / Wag Abbey - d - x - chimes / Joe Sargent - v.

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" Wake The Town And Tell The People " is a captivating mid-tempo song with smart lyrics , performed with zest by Rose Brennan to a swingin' big-band style arrangement. It was an American hit in 1955 for Les Baxter ( no. 5 ) , and also Mindy Carson ( no. 13 ) , but chart success eluded Rose Brennan. The flip side , " Ten Little Kisses " , is a catchy up-tempo number with a light springy arrangement , very typical of the mid-1950s.

Rose Brennan was born in a suburb of Dublin on January 1 1931. From 1951 - 1966 she sang with the Joe Loss band in England , performing on the radio as well as in concerts. Then in 1966 she left the music business in order to run a public house with her husband in West London.

Between March 1955 - October 1964 Rose Brennan released a total of 15 solo singles in the U. K ., yielding a very disappointing result of just one minor hit. This was " Tall Dark Stranger " , which stalled just outside the Top 30 at no. 31 in early 1962.

Finally , as far as I'm aware , Rose Brennan is still alive ( aged 88 ) , living somewhere in the South of England ( in the vicinity of the River Thames ? ).

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This was absolutely my favorite song and 78 record when I was a child. So sad that there is nowhere it can be found for purchase.

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I remember this from my childhood. When I listened on YouTube, it really took me back in time. Tommy Dorsey had a great orchestra and Ray Wetzel was a great vocalist. I would really love to own a noise free version, as the YouTube vinyl is noisy, but I still loved it. I give it a 10 for a great recording from the Pop/Big Band era.

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Re the Locomotive name:- There was a locomotive of the coronation class which was named"Coronation". This was LMS No 46220. I am not sure which locomotive was involved but in the mid to late 1930's, the LMS was in competition with the rival LNER company for the fastest run between London and Scotland. During an attempt at the record by the Coronation Scot, the train went through the complex junctions south of Crewe way over the speed limit. The panic braking then required, managed to smash a lot of crockery in the dining car!

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The B side is The Trolley Song. Both are definitive versions. My #1 prize recording.

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The A side of this 78, "C'n I Canoe You Up The River ?", is a quasi-novelty up-tempo number, on which Arthur Godfrey's distinctive vocal is augmented to good effect by male backing singers, to a sparkling arrangement. The flip side, "A Marshmallow World," is a fairly well-known Christmas song, on which Godfrey is joined by the Chordettes and the Cherry Sisters. Very melodic and mellow, but neither side of the record charted in the U.S.

Bing Crosby had a minor American hit (no. 24) in 1951 with "A Marshmellow World" (slightly altering the spelling of "Marshmallow"), but the song is probably best-known for the 1963 updated and rousing version by the Phil Spector protege Darlene Love.

Finally, the acclaimed American radio and television broadcaster Arthur Godfrey was born in Manhattan, New York, on 31 August 1903. He died from emphysema in Manhattan on 16 March 1983, aged 79.

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The " A " side of this single is English singer Janie Marden's cover version of Jonie James' 1955 U.S. no. 6 hit " You Are My Love ". It is a charming romantic ballad with a lilting melody , set to an appropriately restrained arrangement , but unfortunately Janie Marden failed to chart with it.

The flip side is another cover , a song quite similar in style to " You Are My Love " but more intense - " A Teenage Prayer " is enhanced by Janie Marden's heartfelt vocal. In America , three versions of this winsome song entered the Hot 100. Gale Storm did best at no.6 , while Gloria Mann ( whose version is my favorite ) trailed behind at no. 19 and , much lower down the chart , Kitty White stalled at no. 68. There is really little to choose among the four versions. While my favorite is Gloria Mann's , in my opinion Janie Marden's is as good as any of the others even 'though it flopped in the U.K.

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The much-acclaimed bandleader / conductor / composer Geraldo was born Gerald Walcan Bright in London on 10 August 1904 , and he died from a heart attack while on holiday in Switzerland on 4 May 1974 , aged 69.

This 78 , released in October 1948 , comprises two familiar songs : " Take Me To Your Heart Again " and " So Rare ". The former is the English version of " La Vie En Rose " , most notably recorded by Edith Piaf. In fact , in 1950 seven versions of " La Vie En Rose " reached the American Top 30 , with Tony Martin doing best at no.9 while Piaf trailed behind at no. 23.

Geraldo was known for his " sweet music " style , also known later as " elevator music " , and he performs " Take Me to Your Heart Again " as a slow fox-trot. I find it very bland , lacking any spark , and he really brings nothing new to it. However , it is redeemed by the impressive contralto of vocalist Doreen Lundy.

Finally , the popular band singer Doreen Lundy ( born in Ireland on 4 November 1925 ; disappeared off the radar , late 1950s ) released a single entitled " Falling Star " on the U.K. Oriole label in 1955. This charming lilting song and also its up-tempo jazzy flip side " A Man " provide her with a good opportunity to display her vocal prowess. Unfortunately , however , neither track is on either this website or YouTube.

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Joyce Frazer, who sounds quite young, has a strong clear voice with perfect diction, and she delivers the romantic ballad "I Went To Your Wedding" with conviction, to a lush orchestration. This song, penned by Jessie Mae Robinson, was recorded by many artists, including Patti Page, Alma Cogan, Dawn Barraclough, Florence Wright, Sammy Kaye, Dick James, Steve Gibson and The Red Caps, Spike Jones, and Hank Snow. Patti Page scored a no. 1 hit with it in 1952, while Steve Gibson and The Red Caps' version stalled at no. 20 the same year, and then in 1953 Spike Jones' comedy take on it also reached no. 20. Joyce Frazer's version is at least as good as any of the others, but unfortunately as a new unknown singer she lost out.

The flip side is a slow atmospheric ballad, in the style of the "Japanese Farewell Song," and here again Frazer displays her impressive vocal range. The track is enhanced by Ray Martin's intricate arrangement incorporating oriental sound effects.

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The "A" side of this single, "Do You Miss Your Sweetheart?", is a sentimental ballad about separation. It is taken at a slow tempo, to a fox trot arrangement, and the band led by Jurgens is augmented to good effect by vocal input from Harry Cool. Rather surprisingly, this disc failed to chart in the U.S. for Jurgens, who was then (1942) at the zenith of his career. The flip side is quicker in pace, a spirited version of one of Rodgers' & Harts' lesser-known compositions "Ever'thing I've Got", which appeals to me more than the top side because it's got more spark.

The song "Do You Miss Your Sweetheart?" was also recorded by a mixed-gender vocal group called The Marshalls, released on the Hit label in 1942 in competition with Jurgens' take on the song. Theirs is a smooth choral version, in the style of the Ray Charles Singers, with an appropriately restrained arrangement, and I prefer it to Jurgen's version because, in my opinion, the simplicity of the track enhances the appealing melody. The flip side of the Marshalls' disc, "Under A Strawberry Moon," is an attractive rhythmic number, also delivered in an unembellished fashion. Unfortunately this record bombed, and it is on neither this website nor YouTube.

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Firstly , I am not really a fan of opera , but I like both these tracks , particularly the " b " side , which I think should have been the top side. Both are from the 1934 American musical film " One Night Of Love " , which was set in the world of opera and in which Grace Moore appeared. " One Night Of Love " is a beautiful love song with a wonderful flowing melody. It is delivered with intensity by Grace Moore , whose soaring soprano is supported by the Metropolitan Opera Male Chorus , to a sumptuous orchestration by Wilfred Pelletier. The official " A " side , " Ciribiribin " , is a jaunty number in three-quarter time which dates back to the late 19th. century and has been recorded thru the years since then by many artists , including Gracie Fields and Jeannette McDonald. It is faster than the " b " side , quite catchy , but too over-elaborate and with too many musical frills for me. In 1934 , " One Night Of Love " was a no. 1 hit in America for four weeks while " Ciribiribin " reached no. 15.

The operatic soprano / film and musical theater actress Grace Moore was born in Tennessee , U.S. , on December 5 1898. She quickly became a highly-acclaimed award-winning star , and during the 1930s and 1940s she performed in concerts across America and Europe , with a wide repertoire including not only operatic arias but also English , French , Italian , and Spanish songs. During the Second World War , she also entertained American troops abroad.

Finally , Grace Moore sadly died in a 'plane crash near Copenhagen Airport on January 26 1947 , at the very young age of 47. Also killed in the crash was Prince Gustaf Adolf of Sweden.

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" A Teenage Prayer " is an attractive romantic ballad , on which English singer Janie Marden delivers a heartfelt vocal to an appropriately restrained arrangement. In America , three versions of this song made the Hot 100 in 1956. Gale Storm did best , at no. 6 . followed by Gloria Mann ( no. 19 ) , and much further down the chart Kitty White stalled at no. 68. In my opinion , there is little to choose among all four versions , and Janie Marden's take on it is at least as good as any of the others 'though her version bombed in the U.K.

My copy of this " 78 " disc isn't a one-sided demo. The " A " side is Janie Marden's impressive cover of Joni James' " You Are My Love " , which was a no. 6 U.S. hit for James in !955.

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Both Tracks are splendid film music. Film can be seen online.
I placed this record in Singapore because the artists involved are on Parlophone Singapore when making 45 rpm records. I haven't been able to find any info on Malay Records. I have another 78 rpm by same group of artists on same record label, so any mistakes in placing record can be put right then. Any info on Malay Records would be appreciated. Any help in placing in correct country likewise.

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These are two very manly attempts to translate onto an accordion what the Original Dixieland Jazz Band was doing at about the same time with five guys. As such, they are not entirely successful, but then, they probably were doomed to that from the get go because that was a very ambitious notion. That Guido Deiro and whoever did his arrangements (Deiro himself?) got as close as they did is quite remarkable.

Deiro's touch on the accordion is surprisingly light and his rhythm is nimble. He handles the ragtime elements of the tune adroitly. Of the two sides, "Ostrich Walk" is the more successful. "Jazz Band Ball" is marred (at least to my mind) by the recurrent "crashes" at the end of particular phrases. I suspect it is some element of the ODJB's rendition that doesn't translate well (or that I would probably find jarring on their record, too).

I would give "Jazz Band Ball" a 7 and "Ostrich Walk" at least an 8. Dyed-in-the-wool accordion fans might well go higher.

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Firstly, there have been many record labels called "Bell" thru the years. This one, specifically called "Bell Record," was just one of several "budget" labels specializing in "copies" of current American hits, and it released well over 200 singles between 1954-'60.

Four of these, all in 1957, featured Janet Eden, an outstanding vocalist with a strong clear voice. On the "A" side, ably supported by male vocal group the Michael Stewart Quartet, she delivers a potent version of the Dell-Vikings' 1957 no. 4 hit "Come Go With Me," which became a rock 'n' roll classic. There is a change of musical style on the flip side, where Eden tackles country singer Patsy Cline's no. 17 hit "Walkin' After Midnight " with impressive results. She manages to sound quite like Cline, and the arrangement replicates the original.

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Dick Weems (fiddle); Frank Weems (fiddle); Alvin Conder (banjo/violin); Jesse Weems (violin). Recorded Memphis, TN, Friday, December 9, 1927.

One of the most loved by collectors of String Band 78rpm of the 1920's

"Davy " is one of only two songs -- two sides of a single record -- ever documented from this Tennessee family string band. That seems unfathomable considering how good it is, and how unique. The band played rural music unlike any other captured on record. Brothers Dick and Frank Weems played their fiddles with advanced fingering positions usually employed only by classically trained musicians. Another brother, Jesse, played cello, an instrument also typically reserved for classical music. While all of this created a sophisticated sound, the band was still using these instruments to play "hillbilly" music, and the unexpected juxtaposition was exhilarating. The cello, for example, shifted between a thumping, staccato beat and a low, brooding drone. And brother-in-law Alvin Condor added banjo and down-home vocals for a clear mountain music touch.

The lyrics are simple and spare, but classic. Condor delivers them in a voice that starts as a yell and ends as a statement.....................

Adding to the excitement was the way the band members improvised variations and created a tapestry of interlocking melodies, all while keeping a steady rhythm. While everyone appears at first to be playing regular, repeating themes, as the song progresses, one notices frequent, subtle variations. At times, they add a few unexpected notes, and at other times an instrument will drop away completely, its presence still somehow felt as the rest of the band fills the gap seamlessly. Sometimes an instrument will even play out of key for a few notes, heightening the tension of the moment and then snapping back into the familiar pattern. Altogether, the band exhibits a tremendous sense of awareness; if they were playing jazz, you would call it "swing."

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Written by the best - Joseph Palermo

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Who cannot agree ?? Is this possible to like ??? Has anyone EVER liked it ?????

The bugle is appalling but not only that. Maybe it just might have been bearable if it was way in the background to give the effect of a bugle call way over the hill in the distance. But the studio wasn't capable of doing this.

I tend to wonder whether they had the capability to dub this on and re-record the acetate in this way. It was possible by playing back the original acetate in the studio. I remember that Modern did this with a Pee Wee Crayton disc. But Cosimo's original studio was very basic at this time. Also, if this was done, I'd think Cosimo would get a better balance than this.

Every 5 years or so I try to 'like' this but it remains unlistenable. A real shame because Fats does a great blues beneath the noise, so bad it hurts my teeth. Maybe this was originally intended by Bartholomew to actually be the "A" side (gasp) but I'm sure Imperial immediately swapped it round. Why didn't they use "Hey Fat Man"? Maybe they deemed that Korea was topical. But, if so they should have remade it. I'm left wondering if Bartholomew actually heard the results played back?

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This was Georgia White's most successful record. It is a striking combination of a sexually charged feminist statement with a gospel-like blues hoping for relief. Both sides were recorded on May 12, 1936 in Chicago, IL, with the singer accompanied by the veteran jazzman and producer Richard M. Jones on piano, the young white guitar virtuoso Les Paul and the in demand session bassist John Lindsay.

On "I'll Keep Sittin' on It (If I Can't Sell It)" the singer comes up to expectations with some of the more risqué material that she had successfully delivered since "Get 'Em From the Peanut Man (Hot Nuts)". Written by Alex Hill and Andy Razaf, the lyrics describe a woman contemplating selling a chair but only for the right price, and it is hard to ignore the sexual innuendo:

If I can't sell it, keep sitting on it
Before I give it away
You've got to buy, don't care how much you want it
I mean just what I say

Just feel that nice old bottom built for wear or tear
I really hate to part with such a lovely chair
If I can't sell it, keep sitting on it
Before I'll give it away

If I can't sell it, I'll keep sitting on it
Before I'll give it away
You've got to buy, don't care how much you want it
I mean just what I say

When you want something good you've got to spend your jack
I guarantee you will never want your money back
If I can't sell it, I'll keep sitting on it
Before I'll give it away

If I can't sell it, keep sitting on it
Before I give it away
You've got to buy, don't care how much you want it
I mean just what I say

When you want something good you've got to spend your jack
I guarantee you'll never want your money back
If I can't sell it, I'll keep sitting on it
Before I'll give it away

Some sources take it for a song about prostitution, but this view seems too narrow for me. The singer does not say that she wants to sell her goods more than once, only that the potential buyer has to pay the appropriate price. So it looks much more like the manifestation of female self-confidence and pride than the willingness to prostitute herself. White presents her serious message in a most humorous way, accompanied by her highly competent trio, featuring Les Paul's acoustic guitar in the bridge. (Ruth Brown's version of some years later is much more explicit.)

"Trouble in Mind", written by Richard M. Jones, is today mostly associated with Bertha "Chippie" Hill who recorded it with Louis Armstrong (cornet) and Jones (piano) in February 1926 (though it was first sung around May 1924 by Thelma La Vizzo, again with Jones, on Paramount 12206), but the song was largely forgotten in 1936.

It was however not forgotten by Georgia White who in 1929 began performing "Trouble in Mind" regularly with Jimmy Noone's jazz combo at Chicago's Apex Club and, as Big Bill Broonzy once reported, was giving the song great visibility until she finally got around to recording it.

Her seminal recording started a new game. After an extensive instrumental introduction, White's powerful contralto voice delivers the sad yet hopeful message most convincingly:

Trouble in mind, I’m blue,
But I won’t be blue always,
For the sun's gon' shine
In my back door someday. ...

As said by Lea Gilmore: "You may have listened to an infinity of versions of this classic, but Georgia's melancholy, world-weary vocal approach over Les Paul and R.M. Jones delicate guitar-piano dialogue belongs in the Twentieth Century Music (any Music!) Hall Of Fame, if there is one."

It was an extraordinary seller for a "race" record and "Trouble in Mind" became Georgia White's signature song, followed by variations like "New Trouble in Mind" and "Trouble in Mind Swing".

From then on, hundreds of cover versions were recorded and "Trouble in Mind" became a blues standard, crossing over to country (Bob Wills and His Texas Playboys made an impressing Western swing version in the same year), pop (Dinah Washington and Nina Simone had chart hits with it in 1952 and 1961 respectively) and jazz.

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Beautifully sung by Anne Sheldon one of my most listen To's

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