AND DANCE By H.S. Quentin Reynolds again heads the list with his now famous Postscript, Dear Mr. S. (alias Adolph Hitler). This had, for me, even more appeal than his first. The title alone had such possibilities and the whole postscript so fully realised them that once more no criticism is permissible ; but just one small protest, Mr. Reynolds, please do not compare the Nazi acrobats with the masterpieces of our friend, Walt. Disney. Both raise a laugh, but one is of derision and the other of real joy. Nothing less than one postscript a month is going to satisfy your growing public, Mr. Reynolds, so please get busy on a chat to " Slap Happy" or "The Jackal of Rome." (H.M.V. BD947-8.)

Many who have heard the theme tune of the " V" Campaign—Beethoven's Fifth Synzphony—may have looked through their catalogues in an attempt to find a " popular " rendering of this work. For those who have been unsuccessful, I recommend the abridged version by Debroy Somers and His Augmented Orchestra on Columbia DX1o28.

Humorous

There is certainly a wide choice of comedy, with nearly all the well-tried recording favourites giving of their best.

First, George Formb.y returns with four numbers from his recent film " It's Turned Out Nice Again," and those who saw this will not need to be reminded that the humour is definitely " spicey." You Can't Go Wrong in These with Auntie Maggie's Remedy is on Regal MR3520, and The Emperor of Lancashire and You're Everything to Me on Regal MR3512.

Arthur Askey varies his style to give us two of Marriot Edgar's monologues, The Fair Rosamond and The Channel Swimmer. Whilst these are both quite funny, they do not reach the high standard set by Stanley Holloway with this sort of material (H.M.V. BD942).

A very old friend, Albert Whelan, introduces some of his Little Friends in Tiger Tim's Party, ana on the other side tells, with appropriate instrumental effects, the very sad story of The Butterfly (Columbia FB2664).

Bunny Doyle sings of the glories (!) of Ancient Rome in The Gladiator. He backs this up with that horticultural masterpiece, The Garden Near the Gas Works (H.M.V. BD943).

Passing from the rather saucy to the "almost banned," Ronald Frankau, accompanied as usual by Monte Crick, gives us Nine Weak Girls, and as this does not quite complete one side, he fills in with some new verses of " Heil Hitler," with all the latest wise-cracks regarding clothes rationing, etc. On the reverse, the trials and tribulations of Celia the Centipede are such that the most appropriate needle for playing this would be a blue pencil ! (H.M.V. B9195.)

The second Let Me Tell You Series, presented by The Happidrome Artists couples The Baby in the Flat Upstairs and Our Up-to-date Farm (Columbia FB2679).

Bing Crosby makes, what I feel to be, his best recording for many months with Camptown Races. Accompanied by Victor Young and the King's Men, he sings Stephen Foster's old tune in the best Christie Minstrel tradition, banjos and all. On the other side, he is ably supported by Bob Crosby and the Merry Macs in the best vocal version of Dolores I have heard so far (Brunswick 03190). His other Brunswick records are four tunes from his film "Road to Zanzibar," It's Always You and You

Columbia give us three hitherto unissued records of the Bing Crosby we knew in earlier days, and collectors may find it worth their while to investigate DB 2035/ 36/37.

Deanna Durbin likewise produces what will probably be one of her most popular records from "Nice Girl "—Perhaps and Love At Last are two of her very best numbers and the recording is excellent (Brunswick 03186) .

There is a nice balance between satire and sentiment in the two numbers chosen by Noel Coward. In his Could You Please Oblige Us With a Bren Gun? he tells of the early difficulties of the Home Guard in obtaining equipment, while the other side There Have Been Songs in England is selfexplanatory (H.M.V. B9204).

There is a very effective orchestral accompaniment to Monte Rey's The Things I Love, and quite apart from his excellent singing this alone justifies my recommendation. Equally good, although more hackneyed, is I'll See You Again from " Bitter Sweet" on the reverse (Columbia FB2661).

Of Leslie Hutchhison's two records, I feel that the better coupling is This Heart of Mine with Just a Little Cottage (H.M.V. BD944) as although the other What Do We Care ? and Dolores is sung with all the usual Hutch, smoothness, the last-named is, for me at any rate, slightly worn (H.M.V. B945).

For practically the same reasons, my vote goes to I Hear a Rhapsody and Love in a Misty Lane, sung by Turner Layton (Columbia FB2666), as here again Dolores, in this case coupled with London Pride, is on his second disc (Columbia FB2665).

In more serious vein than any of the fore going, Sidney Burchall gives a first-class rendering of Old Father Thames, with which is linked another favourite, God Keep You is My Prayer (Decca 7925).

In direct contrast, Flanagan and Allen sing in their usual tempo, Let's Be Buddies and Round the Back of the Arches, the latter being the latest of the famous "Arches Series " (Decca F7910).

Four coloured artists, playing their own stringed accompaniment, The Ink Spots, produce a lively tune called Java Jive. For the uninitiated this is in praise of strong black coffee. On the other side Do I Worry? is a well sung, though quite usual, sentimental melody (Brunswick 03197).

Unfortunately Gene Autry's record has not arrived in time for review. I was looking forward to this as the titles are, to say the least, odd-Wild Cat Mamma Blues and Bear Cat Papa Blues. For those interested the number is Regal MR3513.

Light Music and Miscellaneous

With a fair balance between light classical and dance music, the Organists are once again well in the limelight. Of the former, I thoroughly recommend Reginald Foort's version of the famous Four Indian Love Lyrics, all of which might easily have been written for the organ, so well are they played (H.M.V. BD946).

In quieter mood, Sandy Macpherson produces Songs My Mother Taught Me and Salta d' Amour on Columbia FB2676.

Reginald Dixon has a representative selection of current dance music in Dixon Time No. 9 (Regal MR3518), while Ena Eager combines both light classical and dance with Evensong and Jealousy (Regal MR3498).

Organola and The Organ, The Dance Band, and Me are both exponents of dance music. In the first case, the titles are Pretty Little Busybody and They're Building Another Alley for Sally, on Columbia FB2677, whilst the second comprises Tonight My Heart Will Sing and Good-bye Heait aches (Parlophone Fi 856).

Turning from multiple manuals to two keyboards, once again Rawicz and Lan- dauer come to the fore, this time with Rustle of Spring and Troika. The latter is a Tschaikovsky number which, whilst not so well known as the other, makes equally good material for these versatile pianists and arrangers (Columbia DB2032).

With the same number of keys, but backed up by string bass and drums, Moreton and Kaye reach No. 37 of The Tin Pan Alley Series, introducing such titles as " Hey, Little Hen," "Boa Noite " and "There Goes that Song Again" (Parlophone F1854).

Two equally well-known solo pianists, Billy Mayerl and Carroll Gibbons, give excellent examples of their respective styles, Mayerl's being Falling Leaves and Pacific Party (Decca F7o91), while Carroll Calls the Tunes on Columbia FB2675.

Strings of a different character are presented by the Albert Sandler Trio playing two of Beethoven's Sonatas, the Moonlight and the Pathetique. In both cases, it is the slow movement which is rendered (Columbia DB2o33).

Two bright Hill-Billy numbers are contributed by Big Bill Campbell and His Rocky Mountain Rhythm, Hill-Billy Jamboree and Covered Wagon Lullaby are the titles (Rex 10004).

Sole representative of the strictly Hawaiian type of music is Sol Hoopii with his Iniki Malie, but even so, the coupling seems to be a normal dance nuniber, Don't stop Loving Me (Regal MR3509).

In contrast, Felix Mendelssolui swings his Serenaders to good effect in two hot numbers, in the Mood and I Got Rhythm (Columbia FB2667).

Once again the most noticeable feature of this month's dance music is the distressing lack of variety in the choice of times. Such bands that did not record numbers from "That Night in Rio " last month seem to have done so this, and even the others have found more tunes from the same film.

Ambrose and His Orchestra (Decca) link Boa Noite and They Met in Rio with Sam Browne and Anne Shelton vocalising to good effect on F7903, but for their second contribution they go back quite a few years with good versions of Learn to Croon and I Cover the Water-Front, both played in slow tempo (F7909).

Nat Gonella (Columbia) makes an excellent recording of Somebody's Walking My Girl Out, and both the orchestration and playing are worthy of comment. Unfortunately the Hut-Sat Song on the other side is not nearly so enjoyable (FB2669). In fact it is Lew Stone (Decca) who takes all the laurels for this number and backs it up with a pleasant version of I Hear a Rhapsody (7919). Lew Stone now records as Lew Stone and His Band, having dropped' the " Stonecrackers ", and to my mind is vastly improved.

Geraldo (Parlophone) has only two titles, and these are both of the comedy type, Seven Been With the Wrong Woman and Prairie Mary (F185 ).

Harry Roy and His Band (Regal) have made three records, and of these the most interesting coupling should be Corn Silk and the Hut-Sut Song on MR 3516. The former comprises one side of Guy Lombardo's (Brunswick) latest offerings and very well played it is, whilst on the other is Taking a Chance on Love (03187).

Jimmy Dorsey (Brunswick) joins I Hear a Rhapsody with High on Windy Hill, which is a particularly effective piece of descriptive music. It might well be included in the Light Music series, and I recommend this because it is quite unusual (03192).

Carroll Gibbons (Columbia) makes a good dance number of London Pride, and from the film "One Night in the Tropics" plays You and Your Kiss, with a pleasant vocal by Anne Lenner (FB2672).

Joe Loss (H.M.V.) has two new titles, Russian Rose and Just a Little Cottage on BD5694, whilst his second record couples You Don't Have to Tell Me, I Know with I'll Be With You in Apple Blossom Time (BD5695) .

Followers of Cuban music will thoroughly enjoy Siboney and Maria La 0, two rumbas played by Don Marino Barreto and His Orchestra on H.M.V. 8D5693. The first-named is particularly noteworthy for its excellent piano introduction, and more recordings of this type should do much to popularise this style of music.

Edmunds) Ros (Parlophone) is another exponent of the rumba, this time the titles are Blen! Blen! Blen ! and Chico, Chita, Boom, Chic (F185o).

Billy Cotton (Rex) is well up to standard with Arnapoia and Falling Leaves on (moon,) whilst his America I Love You and Soul I. America Way is on (9999).

Victor Silvester and His Ballroom Orchestra, Inside My Wedding Ring-Slow fox-trot ; Where You Are-Quickstep (Columbia FB2673. )

You Don't Have to Tell Me, I Know-Waltz; What's at the Top of the Sunbeam ?-Quickstep (Columbia FB2674).

Victor Silvester Strings for Dancing, The Gipsy Princess Selection-Waltz ; Grinzing-Waltz (Columbia FI32668).

Oscar Rabin and His Strict Tempo Dance Band, Rosalie-Quickstep ; You Were Meant For Me-Quickstep (Decca F79o7).

Joe Loss and His Band, Dancing Time for Dancers, with Pretty Little BusybodyQuickstep ; The Things I Love-Slow foxtrot (H.M.V. BD5696).