I’d like to confirm that I do not yet own this UK pressing, it is currently listed on eBay for £26 + £6 postage. That is where I got these photos from. If this goes against any rules I’m happy to remove the photos but for now at least we know this is a legitimate release.
https://www.45worlds.com/78rpm/record/57604 here I have submitted the USA pressing, with a photo of the Jolly Jo side I found on my iCloud gallery, it seems I never took a photo of the Smiles side but once I locate the disc again, I’ll be sure to do so
The Jolly Jo side on my USA copy has slight label damage as you can see on the photo but I think Smiles is okay
The Downbeat article partially explains this "Alge-Bop" formula:
Melody (M) plus Harmony (H) plus Rhythm (R) times 3 "ee-oo" vocalizations over a 4/4 beat of "aa" vocalizations to the third power times 32 bars equals Bop.
Lee Ellen Martin writes in a 2016 Pittsburgh Ph.D. thesis entitled "Validating the Voice in the Music of Lambert, Hendricks, and Ross," page 154:
"Lambert chose to identify with bebop, and his identification with it was often featured in early reviews of his work. In a satirical display of bebop’s intellectual hipness, a Down Beat review of Dave Lambert and Jo Stafford’s recording of “M+H+R x 3ee – oo/ 4/4 aa3 x 32 bop (Jolly Jo)” refers to Lambert as a professor of “Alge-Bop.” Stafford and Lambert lampoon the visual markers of bebop hipness (see fig. 5.2 = Downbeat article). Stafford wears a beret and horn rimmed glass(es), and Lambert’s goatee is prominent. As a white man and a white woman the intellectualism of bebop is ambiguous (Unfortunately, the dangling modifier in this sentence adds to the ambiguity). Are they countercultural? Or since they are white(,) is this merely a reinforcement of the perception of the overly intellectual and overly white ivory tower? The photo satirizes the intellectualism of bebop for a more mainstream audience and presents the intellectualism of bebop through the guise of a white professor whose job it is to translate the bebop subculture for a white audience. This example reveals how the media carefully negotiated perceptions of race by interweaving the intellectualism of bebop hipness with more mainstream ideals of white-dominated academia."