So This Is Paris

Continuing our long-running series of obscure and semi-obscure musicals, here is the soundtrack from the 1955 sailors-on-leave epic So This Is Paris.

Musicals focusing on the antics of American military personnel at their leisure date back at least to the 1944 opening of On the Town on Broadway. I am not even sure this was the first musical that set sailors loose in Paris to pursue love and adventure. So there is nothing new here in that regard.

But we're concerned with the soundtrack and it is pleasant, if (like the story) hardly original. The songs are the handiwork of Phil Moody and Pony Sherrell.

A few words about this relatively unfamiliar team might be helpful. Phil Moody was a British-born composer and Doris (Pony) Sherrell was a lyricist and singer. They met when Moody became the music director for the act that Pony formed with her sister Grace. Phil and Grace married while Pony, who was then married to singer Gene ("My Blue Heaven") Austin, became Phil's musical partner.

In the mid-50s, Moody and Sherrell were assigned to a few low-powered musicals besides this one - including Three Nuts in Search of a Bolt and, in the 60s, The Second Greatest Sex. They also did songs for Paris Follies of 1956 and Fresh from Paris (I am detecting a theme here). Their two songs from those latter films were recorded by Margaret Whiting and can be found here on this blog. (Caveat: I called "All There Is and Then Some" an awful song when I posted that collection.)

Unusually, So This Is Paris starred Tony Curtis in a singing role. Of course I can't be sure that Curtis isn't dubbed; if so, the vocal double isn't that great a singer. Otherwise, we have Gloria De Haven, who can sing (she was a band vocalist), and Gene Nelson, who also can sing, although he was primarily known as a dancer.

The soundtrack was issued as a 10-inch LP and a double EP. The cover of my copy of the EP set is very worn but the records are in good shape, so the sound is pleasing.

Return of RCA's "Show Time" Series

Here's another installment in RCA's "Show Time" Series of potted musicals, issued in 1953. This one was spurred by a request for The Little Show, and so we start off with an EP that presents hits from that 1929 revue.

You'll notice that the cover calls this The Little Shows rather than The Little Show. That's because one of the songs is from The Third Little Show, from 1931 - "When Yuba Plays the Rhumba on the Tuba," which hardly merits its inclusion.

Carol Bruce as Julie

The star of this record is Carol Bruce, who presents two songs associated with Libby Holman (recently heard on this blog), outdoing the originator with superb versions of "Can't We Be Friends" and "Moanin' Low." Bruce is perhaps best known for appearing as Julie in the 1946 revival of Show Boat. At the time of this recording, she was touring in Pal Joey. I was so impressed by her performance, that I went in search of my copy of her 1958 Tops LP, only to find it has gone missing. I'll be sure to transfer it if I ever locate it.

The EP's second side is less enthralling. Sheila Bond (then in Wish You Were Here and previously heard on this blog post) belts "I Guess I'll Have to Change My Plan." Her rendition will be a shock to those used to the urbane Fred Astaire-Jack Buchanan version or the wry Sinatra recording.

Finally, Hiram Sherman sprechstimmes his way through "Yuba," Herman Hupfeld's other hit. Arranger Lehman Engel thankfully spares us the tuba effects. I wonder if Yuba, his tuba and Cuba inspired "Katie Went to Haiti," which didn't appear for another eight years. Sherman had won a Tony that year for putting up with Bette Davis in Two's Company, and would win another one 15 years later.

Note that although the back cover credits Howard Dietz and Arthur Schwartz with the score of The Little Show, only "I Guess I'll Have to Change My Plan" is by that team. "Can't We Be Friends" is by Paul James and Kay Swift, and "Moanin' Low" is by Dietz and Ralph Rainger.

Morrow and Lanza match pompadours

To fill out this post, I've added the Show Time Series version of Naughty Marietta, the 1910 Victor Herbert operetta with lyrics by Rida Johnson Young. For this EP, RCA paired Doretta Morrow with Felix Knight. Morrow was a fine artist who introduced many famous songs during her appearances in the original casts of Where's Charley (the incredibly gorgeous "My Darling, My Darling"), The King and I ("I Have Dreamed" and "We Kiss in Shadow") and Kismet ("Baubles, Bangles and Beads"). When this record was made, she had just appeared with Mario Lanza in the film Because You're Mine and was on Broadway in Kismet.

Felix Knight is perhaps best known for singing in three Laurel and Hardy films. A reliable artist, he pops up on a number of operetta recordings.

This version of Naughty Marietta was conducted by Jay Blackton, who was in the pit for many famed Broadway productions, starting with Oklahoma. He was conducting Wish You Were Here when these records were made.

More from RCA's "Show Time" Series

Helena Bliss

In this, the second installment in my protracted exploration of RCA Victor's 1953 "Show Time" Series of potted musicals, we hear from two favorites from my first post (Lisa Kirk and Jack Cassidy), one less-favored hold-over (George Britton) and two other performers who were prominent on Broadway at the time (Helena Bliss and Helen Gallagher).

In the "Show Time" Series, RCA devoted one side of a 10-inch LP to the high points of a notable musical. Each was also offered as an EP. This LP combines Kiss Me Kate of 1948 with Anything Goes from 1934.

Lisa Kirk - from the original cast - is top billed in Kiss Me Kate, but performs only one number - "Always True to You in My Fashion," which she introduced. The other songs are presented by George Britton, who had succeeded Ezio Pinza in South Pacific, and Helena Bliss, who herself had recently been in a London revival of Kiss Me Kate. Bliss' most famous role was in the Wright-Forrest Grieg farrago, Song of Norway. She soon was to appear in a Broadway revival of Show Boat.

Helen Gallagher

The other side of the record, devoted to Anything Goes, is dominated by Helen Gallagher, who had the daunting task of presenting songs that had been introduced by the force of theatre named Ethel Merman. Gallagher, herself no little personality, was appearing on Broadway in Hazel Flagg, the musical version of the screwball comedy Nothing Sacred. When Hazel Flagg was made into a movie, under the title Living It Up, Hazel somehow turned into Jerry Lewis. (Lady!!)

Gallagher acquits herself beautifully here. Although she was on Broadway for many years, she is perhaps best known today for her many years in American soap operas. Jack Cassidy duets with her on "You're the Top."

The sound here is quite good. More to come.

Betty Garrett in Call Me Mister

Betty Garrett died last week, and I am honoring her by presenting the cast album from Call Me Mister, a 1946 revue that was a big break for her - and is a favorite show of mine.

Betty Garrett asks South
America to take it away

Now why would Betty Garrett star in something named Call Me Mister? It's because the review pertains to soldiers who were being discharged into the postwar world, and who now could be called "Mister" rather than by their rank. Most of the cast was composed of ex-military personnel - Garrett and some others excepted.

Garrett takes on the role of a worker in a military canteen - in one scene teaching the soldiers to do the then-popular Latin American dances ("South America, Take It Away" - her show stopper); in another lamenting the fact that with the end of war came the end of her clientele ("Little Surplus Me"). She also presents an ode to conspicuous holiday consumption ("Yuletide, Park Avenue").

Lawrence Winters

The rest of the cast is uniformly excellent - the other main vocal star is Lawrence Winters, who later had a distinguished career as an operatic baritone. His numbers include "Going Home Train" (quite similar to "This Train Is Bound for Glory"); a mawkish ode to the late US President Franklin Roosevelt ("The Man on the Dime"); and "The Red Ball Express," which is about the supply-chain convoy in the European theater of war.

The music and lyrics are by Harold Rome, and with few exceptions, the songs are very strong. "South America, Take It Away" was the only hit, in a bowdlerized version by Bing Crosby with the Andrews Sisters. The original is not especially risque, but in 1946, lyrics concerning "my pan-American can" were not heard on the radio. Despite the lack of hits and the topical nature of the lyrics, the score is quite effective and affecting. It strongly conveys the joy, relief and pride of the ex-soldiers. My own favorite is the ballad "Along with Me."

Harold Rome

Call Me Mister was Rome's second notable revue, following Pins and Needles. His first book musical was Wish You Were Here, in 1952. Other scores include Fanny, Destry Rides Again, and I Can Get It for You Wholesale.

Betty Garrett went from this review to Hollywood, appearing in several notable musicals, including On the Town with Jules Munshin, who also was in Call Me Mister and is heard in one number here. She later was often on US television shows.

The cast album, conduced by the show's musical director, Lehman Engel, was first issued on 78s in 1946. This transfer is from the 10-inch LP issue of 1949. The sound is quite good.

Lisa Kirk and the RCA Show Time Series

When RCA Victor decided to issue a series of musical comedy recordings in 1953, for the most part it turned to performers who were then in leading roles on Broadway, but it made sure to include Lisa Kirk, who, will not then currently in a play, had been memorable in Allegro and Kiss Me Kate in previous years.

The post is something of a tribute to Kirk, a wonderful singer who is heard far too little these days, as well as RCA's venture into potted musicals. It includes three of the shows RCA issued in its Show Time Series, along with a number of Kirk's RCA singles from the same era.

The Show Time Series included four songs each from 18 shows. Limiting the number of songs to four meant that the company could issue each show on an EP, and combine two shows on a 10" LP. It also differentiated the RCA effort from Columbia's popular series of records that already had presented LP-length revivals of several shows - notably Pal Joey, which led to it being revived on Broadway.

The RCA and Columbia series shared a number of artists - Jack Cassidy, conductor Lehman Engel and, notably, Harold Lang, who starred as Pal Joey on the RCA record and in the subsequent revival.

We begin this post with an RCA LP that combined songs from two Rodgers and Hart scores, Babes in Arms and Jumbo, both featuring Lisa Kirk. On the Babes in Arms side, Kirk is excellent in "The Lady Is a Tramp" and "My Funny Valentine." William Tabbert, who was then on Broadway as Joe Cable in South Pacific, does "Where or When" (not very well). And Sheila Bond, who was in Wish You Were Here at the time and won a Tony, has her way with "Johnny One Note."

In the songs from Jumbo, Lisa has only "Little Girl Blue." Joining her is the superb Jack Cassidy on "My Romance" and "The Most Beautiful Girl in the World." Cassidy was starring with Sheila Bond in Wish You Were Here at the time. The LP is rounded out by Jordan Bentley (Wreck in Wonderful Town - "I could paaaaas that football"), with "Over and Over Again."

Before moving on to Lisa Kirk singles, I've added a bonus EP of The Band Wagon, with two songs from Harold Lang. Lang started as a dancer, and while he could sing, subtlety was not his specialty, perhaps because he was used to playing such bluff characters as Pal Joey and Bill Calhoun (he was in Kiss Me Kate with Kirk). Here Lang blasts his way through "I Love Louisa" and "New Sun in the Sky." Lang is joined by George Britton, who had replaced Ezio Pinza in South Pacific, and Edith Adams (later Edie Adams), who was in Wonderful Town at the time. Britton does "Dancing in the Dark" and duets with Adams on "High and Low."

Billboard ad

Finally we have six Lisa Kirk songs from RCA singles - "Exactly Like You," "You're a Sweetheart," "Charlie Is My Darling" and "Beautiful Brown Eyes" from 1951, and "Do Me a Favor" and "King Size Kisses" from 1953. Kirk is generally fine but the material is variable here. None were hits (although Rosemary Clooney's rival - and superior - cover version of the country tune "Beautiful Brown Eyes" was a good seller).

The sound is excellent on all items except for the first two singles mentioned, which are transferred from a worn 78. The download includes contemporary photos of all the artists mentioned.

I've often remarked that it's a shame that a certain artist isn't better remembered - and that's once again true with Lisa Kirk, a glamorous, talented singer and fine actor. I'll probably be back later with one of her LPs.

NEW LINKS - REMASTERED AND REPITCHED VERSIONS (JUNE 2014):

BABES IN ARMS-JUMBO | BAND WAGON | SINGLES

On Your Toes

I recently came across this, the original edition of the 1952 Columbia studio recording of On Your Toes, the 1936 Rodgers-Hart musical.

This was one of a notable series of studio recordings of Broadway shows guided by Columbia's Goddard Lieberson. For many years this series was the only way to hear scores like On Your Toes, Babes in Arms and other shows. The Columbia edition of Pal Joey inspired a Broadway revival - and there was also a revival of this show soon after this LP appeared. (That production was recorded by Decca.)

Lieberson had a tendency to use the same singers in several of these recordings, most notably Mary Martin, but also Portia Nelson and Jack Cassidy, who are featured here. I admire both Nelson and Cassidy, but they weren't quite right for their roles. Possessors of perhaps the most prominent vibratos in New York, neither sounds especially youthful (even though they were). Nelson also has little sense of rhythm. That's important in this score, which after all is about dancers.

You can hear the difference in approach in the 1983 recording of the revival, where the timing of Christine Andreas and Lara Teeter is much more acute - helped no doubt by it being a recording of an actual cast.

Now that I am through caviling, let me assure you this recording is very enjoyable. The score is wonderfully varied, the lyrics are by turns witty and touching, and the crowning touch is the glorious ballet Slaughter on Tenth Avenue, with its remarkably beautiful slow music. The sound from Columbia's 30th Street Studio is very good, as well. And despite my carping above, it's always a pleasure to hear Portia Nelson and Jack Cassidy.

While the cover above is from the first issue, I have made the dub from the second issue, circa 1956, which had a different cover but used the same matrices for its pressings.

REMASTERED VERSION