Amos Milburn was one of the brightest stars in the Aladdin label's stable. This disk is a fairly good example of why that was the case, although I would not say this was one of Milburn's very best recordings. Money Hustlin' Woman is the better of the two tracks for the simple reason that it has a Milburn vocal on it. Both tracks showcase Milburn at the piano with a light touch on the keys and a melodic sensibility that you frequently find among jazzmen but not as often among bluesmen. His vocal and piano work gives at least a veneer of sophistication to what is still fundamentally a blues record. On "Real Gone" he shares the track with an unidentified tenor sax player. The sax has a good mellow tone but isn't very creative. I would have rather had a vocal on this side as well.

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Absolutely gorgeous - the music and the package.

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I'm going to review this record, but I don't intend to rate it. Any rating I would give it would inevitably be very personal to me and might lead others who would actually like it to give it a pass when they shouldn't.

In Memory of Hank Williams starts and ends with excerpts of Hank Williams' recording of I Saw The Light. You either like Hank Williams or you don't. The rest of the record is a rhyming tribute to Hank recited by Sonny Smith. This kind of thing used to be fairly common. I never much appreciated the genre. I'd rather hear Hank sing or Arthur Smith play a Williams tune with a dedication to Hank. If you like mawkish sentiment, it's here in abundance.

I'm Richer Than You has a distinct feel to it. It is a religious song and both the song and the performance would have been right at home on a 1930's mail order record from Montgomery Ward or Sears. It would have been labelled old time singing even then. It is an anachronism on a 1950s MGM disc, but if you liked The Carter family or Jimmie Rodgers, you'll probably like this, too. There's a nice leisurely banjo solo in the middle that I thought was the best part.

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This is another intreresting record by Arthur (Guitar Boogie) smith and his Cracker-jacks.

Mr. Stalin, You're Eating Too High On The Hog is a topical piece with a vocal by Arthur Smith and lively accompaniment by the Cracker-Jacks. The main subject seems to be the perception that Stalin was over-reaching in his dealings with the rest of the world, but there is some irony in the fact that he was, at the time, engaged in deliberately starving millions of Russians as part of his pogroms. I doubt that many people in the US knew that at the time, though. It's a nice musical artifact of the early Cold War.

Banjo Buster is just what the title suggests: a rollicking, beautifully executed banjo solo. We need to hear these kinds of things now and again to remind us that there is so much more to the banjo than Won't You Come Home Bill Bailey sung by some guy in a straw hat and garters, Steve Martin would appreciate this one. I hope he has it in his collection.

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The A Side contains one of the slowest renditions of "On The Sunny Side Of The Street" I've ever heard. It swings mostly because Lionel Hampton plays wonderful vibraphone and breaks up Crosby's straightforward singing of the lyrics with a few comic asides.

On the B Side (Pinetop's Boogie Woogie"), Bing Crosby plays the role of dance caller, telling the audience to stop or boogie woogie at his signal. At some point one wishes Bing would simply shut up and let us enjoy the music.

Here's what the Billboard reviewer had to say.

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These two songs from "Show Boat' show Thelma Carpenter off somewhat better than her debut Majestic record (#1023) did. They are more even from the engineering point of view, and Earl Sheldon's orchestra provides the accompaniment on both. The dramatic subtext of "Show Boat' would seem to be Carpenter's meat. She reaches for and largely achieves a Billie Holiday sound on "Bill". She lets it go in the more aggressive environment of "Can't Help Lovin' Dat Man" and returns to her more typical dramatic-emotive style. It ought to have worked out fairly well, but belting was apparently not in her playbook on this day, and the last bars are disappointingly anti-climactic as the band builds through a surprisingly fiery trumpet solo and a stirring arrangement to a big finale in which she seems unwilling or ill-prepared to join. It doesn't say much for the A&R man on the session that he left the nominal star of his recording at the mercy of such a huge disconnect with her backing and wouldn't or couldn't work around it to savean otherwise promising record.

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Thelma Carpenter was a competent vocalist somewhere between Ethel Waters and Ivie Anderson. She delivers attractive renditions of Duke Ellington's "Just A-Sittin and A-Rockin'" and of "Hurry Home", although I think they would have been more attractive with a better engineer on hand. Some of her softer moments are swallowed up on this recording. The Ellington side is the better of the two, thanks largely to the suitable and well-executed accompaniment by Earl Sheldon's orchestra. The Deep River Boys and Bud Freeman AHO are virtual non-factors on "Hurry Home". The Deep River Boys provide a few organ-chords behind Thelma and then largely disappear. Their space would have been better allotted to wider and more imaginative use of the Freeman orchestra. Freeman provides a single microscopic sax solo but fails to leave an impression. Even a sax great like Freeman can't be expected to do much rhythmically or melodically in three or four notes.

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By the time this record was made, Louis Prima had pretty much evolved the approach for which he would be known throughout the rest of his career: high energy swing-oriented music laced with irreverent or nonsense lyrics sung by Prima and sometime by his female sidekick, who would eventually, and spectacularly, be Keely Smith. "Who Threw The Whiskey In The Well" pretty much fits that mold, and is an okay but unexceptional example of his usual work. "You Gotta See Baby Tonight...", on the other hand, is a stellar example of what Prima could do when he settled down a little bit and let his softer side out. He plays a beautiful extended trumpet solo wrapped around a pensively delivered vocal and some sensitive guitar work. The band's pianist also contributes a notable solo. None of contains even a smidgeon of Prima's usual raucousness and the track almost glows as a result. I would have bought this one for the B side and it probably would have set me up for disappointments well into the future, in spite of my liking the basic Prima show as well as most people.

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Rock Around The Clock
cool, man, cool…..
Never heard this before, what with Bill Haley & His Comets original version? being imprinted in my brain for many a long year.

…..for some reason the YouTube link box has not appeared, so I cannot direct link to the video…..maybe later. The link box has now appeared (weird that!), but KeithS has kindly linked the YouTube video, so I’ve deleted my earlier link….well done, that man!…..

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Important performance. Hard to beat

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The composer of these two songs, Charles S. Skilton (1868-1941), was a leading representative of the "Indianist" movement in American music. "Indianist" composers tried to create a "genuine", national American music by borrowing melodies and rhythms from Native American songs, in the same way that European classical composers sometimes used melodies from their own countries' folk music.

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I have the same record on Vocalian. Same matrix number as the Decca

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Has anybody ever seen this record ?......Or better still has it ??........Have yet to see any collector that has included it in their collection or any photographic evidence of its existence in any music lists......I would love to be proved wrong by the way

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The JA press will in at least 1955, when Records LTD started pressing in King Street,

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Bob Mosely is my Dad. He is the pianist on album. He was murdered 2 weeks before I was born. My mom told my brother 5 yrs old, that she was raped. She had a LOVE affair with a black man. When she went to LA to deliver and adopt me out, little John probably told his grandfather Jack Tweedie what his mom told him. Assume the rest. I wish I could find more pictures of my dad. Robert Powhatan Mosley

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The recordings made at Birmingham Town Hall (UK), 30th March 1948 and issued on Esquire were among the very first made of British Be-Bop jazz.

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Excellent. Thanks historyofcountrymusic.

Out of curiosity, went to see if there was a video... and found 'The Motor March'.
[YouTube Video]

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Video of Side - B: I'll Never, Never Let You Go.
[YouTube Video]

Nice slow tempo soothing early 50's ballad.

Plus two additional article links. One by VGH website, the other by Marv Goldberg..
https://www.vocalgroupharmony.com/ill_nevr.htm
http://www.uncamarvy.com/Shadows/shadows.html

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"On sait que la gamine a déjà, dans les comptoirs à musique, un disque “ Pathé ” , sorti des presses il y a quinze jours, et qui porte notamment “ Ma p’tite polka". Cette chanson, enregistrée avec environ 10 musiciens, est fort plaisante à écouter, très “ dansante ” aussi, et elle a séduit le public américain aussi bien que celui du Québec."
(André Rufiange - Radiomonde et Télémonde, samedi 29 juin 1957, page 3)

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La compagnie Alouette vient de lancer deux nouveaux disques du PERE BERNARD. Les chansons qu’ils portent sont “ Coeur de mie ”, “Souriez bonnes gens”, “Manteau de joie" et “Frère feu”.
(Jac Duval - Radiomonde et Télémonde, samedi 5 juillet 1958, page 20)

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La compagnie Alouette vient de lancer deux nouveaux disques du PERE BERNARD. Les chansons qu’ils portent sont “ Coeur de mie ”, “Souriez bonnes gens”, “Manteau de joie" et “Frère feu”.
(Jac Duval - Radiomonde et Télémonde, samedi 5 juillet 1958, page 20)

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Nouveaux disques de Gérard Barbeau

Le jeune soprano, Gérard Barbeau, vient d'enregistrer deux nouveaux disques aux studios de RCA Victor. Pour répondre à la demande générale, il chante "Ave Maria" de Gounod, "O vos omnes", extrait des sept paroles du Christ, de T. Dubois ainsi que "Écho Suisse" de Eckert et "Maman" de Yvain. Ces disques, de même que les précédents, distribués par Ed. Archambault, Inc., sont en vente chez tous les marchands de disques de la province.
(Le Devoir, jeudi 11 janvier 1951, page 6)

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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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Written by the best - Joseph Palermo

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My father had the record and I remember the story told. About a German on the telephone trying to get "a carpenter, to mend a broken shutter." "The man that hits the hammer with the nail!" and "A shutter, a shutter, no I did not say shut up!" I remember it well, almost 60 years later.

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I was really impressed with this music.

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Fair play to The Mills Brothers for not singing that awful patronising patois bullsh*t in the title. They sing it in proper English, thankfully.

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Gettin' Sentimental is a new song for me, and I highly rate it, a charming typical song of its time.

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Standard Talking Machine Co. ( On Wikipedia )

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Composer of A Side.

http://australian-pow-ww2.com/lark_force_28.html

A.I.F. 2/22 Battalion, Regimental Band

Every member of the 2/22 Battalion Regimental Band was originally a Salvation Army Bandsman. Of the twenty-four who enlisted, only one survived their deployment to New Britain in 1941.

Jack Stebbings was killed on the 23 January 1942 while riding. William Haines and Ronald Cook died at Tol Plantation on 4 February 1942. A. Creed lost his life on one of the mountain tracks of New Britain. Frederick Meyer died on 27 April 1942 of illness at a mission station and Stanley French died on 15 February 1942.

Bandmaster William Gullidge and bandsmen Wilfred Trigg, Raymond Cairns, Kenneth Drew, Albert Fry, T. Henderson, Harry Harvey, Mervyn McPherson, Francis Meddings, B. Morgan, Stanley Parker, Harold Pannell, John Robertson, N. Smith, M. Thomas and Reginald Watkins were listed as being on board the Montevideo Maru when it was sunk on 1 July 1942.

The only survivor was Fred Kollmorgen.

In One Bloke's Story, page 27, Rob Mitchell writes:

The Salvation Army band, or should I say the Battalion band, continued to add colour to army life at Bonegilla. Occasionally the band would march around the camp in the early morning playing bright and happy tunes. On a few of those occasions the drummer, a short, rotund man with a big brass drum balanced out in front of him, would march along wearing only a towel. What a sight! The band, being Salvationists, naturally took part in the life of the local Salvation Army Corps. Some opposition arose from the military hierarchy regarding their playing at the Salvation Army open air meetings. Eventually the order came through that no Army personnel were to stand at street meetings. After that they marched around in big circles during the street meetings until they were finished.

http://www.jje.info/lostlives/people/gullidgewa.html

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