Margie Anderson

Margie Anderson is a somewhat mysterious vocalist who made just this one LP - and I don't even think this began life as an album, rather a bunch of singles.

What we have here is a collection of 10 songs on the low-end budget label Spinorama. These materials also appeared in whole or part on other such supermarket collections from the early 60s. These labels generally operated by acquiring old material on the cheap, and then repackaging it. My suspicion is that this particular package began as singles cut for a small label from about 1953 to 1957 - although there is no hard evidence that this is the case.

Why do I choose those dates? Because By Myself, one of the songs here, was featured in the 1953 movie The Bandwagon, and because Ca, C'Est L'Amour was written for the 1957 film Les Girls.

It doesn't help that there is very limited information available on the singer. The first information I have is that she recorded two singles for Columbia in 1950. She then turns up singing with Louis Jordan in 1953. Finally, she recorded a single for ABC-Paramount in 1960. There also are scattered references to her appearing in night spots.

So, in short, I haven't been able to find out when these records were made or who plays on them - although they clearly are highly proficient musicians. Anderson herself is a very good singer - although she does have a tendency to mangle lyrics a little - and is particularly effective on The Thrill is Gone.

The production values are what you might expect from a low-end label. The sound was shrill, which I have adjusted, and the pressing is cheap. Added reverb is plentiful. Fortunately I have a mint copy of the record, so there is no need to endure any noise induced by mishandling over the years. Any noise here was built in by the issuing entity.

The pitching of some of these items is suspect, and I am sure that London Blues was about a half-tone flat, so I have adjusted it. (The original is also included in the download, in case you want to judge for yourself.)

This is presented (and in flac format) by request.

George Shearing

George Shearing has been a favorite of mine for a long time, so I wanted to provide a brief tribute to him by presenting one of his earliest LPs.

I've had this particular album in mind for presentation here for quite some time - mainly because I love the unusual cover - but I've never been able to coax decent sound from the execrable early-50s Savoy pressing. Well, I tried again today, with some minor success, and the results are at least listenable.

Note (March 2025): This LP is now available in a new transfer with greatly improved sound.

What we have here is Shearing's first US recordings, made for Savoy in 1947. The artist had recorded in London previously, and after nine sides for Savoy (eight of them here), would move on to Discovery briefly, then fame with M-G-M and Capitol.

The Savoy recordings present Shearing before he adopted the "Shearing sound" - the highly influential combination of his piano in unison with guitar and vibes. Here, it's Shearing with drums and bass only - and in a bop mood, only bringing out his locked-hands approach for his take on "So Rare." Also notable is the way he suggests the genesis of "'Round Midnight" in the opening bars of "Sweet and Lovely."

Savoy's sound may have been crude, but its artwork was avant-garde for the time, a minimalist approach with Burt Goldblatt's photo, the artist's name and not even a mention of the label.

I enjoy all eras of Shearing's long career - even (heck, especially) the cocktail music he produced for Capitol. These early recordings show a side that was overshadowed by his later, more popular efforts.

LINK to new transfer (March 2025)

Masses by Vaughan Williams and Rubbra

This record represents two notable firsts by London's Fleet Street Choir, which managed to premiere many important works even though it was an amateur ensemble.

Vaughan Williams

In the case of the Vaughan Williams Mass in G minor, this was the first LP version, recorded in Decca's West Hampstead studios in March 1953. The group had made the first-even recording of the piece in 1946, also for Decca.

The choir and its director, T. B. Lawrence, gave the first performance of Edmund Rubbra's Missa in Honorem Sancti Dominici in 1948. This is its first recording, also from March 1953. Lawrence died during the sessions, and the composer conducted the Kyrie and Gloria heard here.

Lawrence formed the choir in the 1920s, drawing its members from journalism and the printing trades. They gave a number of notable first performances, including Britten's A Ceremony of Carols and Hymn to St. Cecilia. (You can find a transfer of their 1943 recording of the latter at Bryan Bishop's Shellackophile blog.) Nonetheless, there is some evidence that Britten did not like the Hymn to St. Cecilia recording - a letter from his publisher tells him that "legally, I could not stop their issue". They also made the first recording of Byrd's Mass for Five Voices. Vaughan Williams and Rubbra both were influenced by the liturgical music of Byrd's 16th century contemporaries.

Rubbra

The performances here have their merits but are not all that one might hope. As the Gramophone reviewer, Alec Robertson, delicately puts it about the Rubbra mass, "The writing, harmonically, is sometimes very difficult for the singers and their intonation is not impeccable in the Kyrie". For "not impeccable" substitute "fairly painful" and you will be closer to the truth.

Despite its prominence in London musical life many decades ago, the Fleet Street Choir is largely forgotten and you will find little mention of it on the web, and no photographs, either of the choir or Lawrence. The overwrought portrait of Rubbra above is by the illustrator-photographer Peggy Delius, a niece of the composer. William Rothenstein did the Vaughan Williams portrait in 1919.

Addendum: note that the download also includes the choir's 1943 recording of Holst's "This I Have Done for My True Love," the fill-up to the Britten set mentioned above.

The Louvin Brothers

Charlie Louvin of the Louvin Brothers died this week, more than 45 years after his sibling Ira. (Charlie is on the left on the cover art above.) The Louvins were a duo for only about 15 years, but that was long enough for them to have a lasting influence on country music.

I first became aware of the Louvins second hand through Gram Parsons, first via his recording of The Christian Life with the Byrds, and then his version of When I Stop Dreaming. Emmylou Harris did a particularly gorgeous rendition on her 1977 LP Luxury Liner.

Billboard ad

The original version of the latter song can be found on this early EP, which combines the brothers’ two earliest hits. When I Stop Dreaming was a top 10 country record in 1955. I Don’t Believe You’ve Met My Baby followed in 1956 and became the Louvins’ only number one hit.

Charlie and Ira had been recording for Capitol for a time before that, but only were allowed to do gospel music. When I Stop Dreaming was their first secular recording. 

When you hear these records, you may note the influence of Bill Monroe. Ira played in Monroe’s band in the 1940s. When Ira died in a 1965 car wreck, Monroe performed at his funeral. The brothers had split up a few years before that, due to Ira’s drinking and foul temper. (See the interview with Charlie here.)

These days, the brothers’ entire recorded legacy is relatively easily available, but I did want to note the passing of this link to a great period in country music and perhaps introduce a few people to this legendary duo through this post.

Mickey Katz on RCA Victor

When 1946 dawned, Mickey Katz was a Cleveland musician. By the end of 1947, he had a record contract with RCA Victor. In between, he was with Spike Jones’ troupe. It’s hard to say how much of Jones’ manic style was already in Katz’ makeup before the two met, but the family resemblance is there, on the recorded evidence.

Katz’ side of the family is, of course, decidedly ethnic, and this is particularly true on these recordings, which are among the 22 (by my count) he made for RCA between 1947 and 1950. All were issued in RCA’s Jewish series, and when Katz left Victor for Capitol in 1950, he said it was because he wanted to broaden his audience. And while I have not done a study of the matter, it seems to me that the language in these particular recordings is far more heavily Yiddish than is his Capitol output. (That said, RCA did recognize that Mickey had potentially broad appeal—see the ad copy below. Click to enlarge.)

Detail from 1947 Billboard ad

What the two labels’ recordings have in common (and in common with Spike Jones) is parody. The earliest record here is Katz’ version of Tico-Tico, with Mickey taking the place of Carmen Miranda. Mississippi Mud becomes Mississippi Schmootz. Feudin’,  Fussin’ and A-Fightin’ (itself a hillbilly parody by Burton Lane and Al Dubin) becomes Feudin’ and Fussin’ with Mine Cousin. (The “cousin” here is the excellent Goldie Abbott, of whom I can find nothing. She also appears on one other title.)

Katz’ Capitol and Victor records also seem to feature nearly the same superb musicians. While this record does not tell us who is playing, I found a label shot of the Tico-Tico 78, which identifies the musicians—all except Mickey with their given names. The photo is small, so I hope I have the names correct.

Mickey Katz, clarinet

Barrell (Benny) Gill, violin

Mendel (Mannie) Klein, trumpet

Shimshin Chaim (Si) Zentner, trombone

Muttchia (Moe) Weschler, piano

Layzer (Larry) Breen, bass

Shimincha (Sam) Weiss, drums

All but Weschler also appear on The Family Danced, Katz’ klezmer record for Capitol, which I presented on this blog a while back. This RCA LP includes Katz’ first klezmer-style instrumental, Yiddish Jam Session, and of course other tunes include klezmer breaks.

The sound on this 10-inch LP, issued in 1954, is excellent. I assume from the cover that RCA is attempting to evoke the Borscht Belt comedians—but this baggy-pants fellow seems to suggest the burlesque comics of an earlier day.

Similar to Spike Jones, Mickey Katz’ music continues to have a delightfully wacky appeal, more than 60 years after it was issued.

Margaret Whiting's First Album

Margaret Whiting died earlier this week. To me, she was one of the great singers, with flawless technique and complete fidelity to the melody line and lyrics as written, as you might expect from the daughter of a composer.

The basic quality of her voice was gorgeous, and while she did not have a great range, her skill was such that it was never evident. She did not avoid difficult material—listen for example to the verse from My Heart Stood Still, which is hard to sing both as a melody line and a lyric. She makes it seem easy and entirely natural—which was her great gift as an artist.

Why isn’t she more celebrated today? Perhaps it is that ease, which can make her seem cool, almost disconnected. Perhaps it is because she concentrated on pop material, and even pop country material in her duets with Jimmy Wakely, and not jazz. Singers who had a jazz background or used jazz accompaniment are far more valued today than pop singers. Pop music of this vintage—we have been told—is at best bland, at worst evil.

Detail from 1947 GE ad

I hear nothing evil here. I do hear wonderful singing and delightfully florid arrangements by Frank DeVol.

This was Whiting’s first album, originally issued as a 78 set in 1947, and later as a 10-inch LP and double-EP set. This transfer is from a very clean copy of the EP version. It’s a fine tribute to a talented artist—and a terrific collection of some of the best Rodgers and Hart songs as well.

Parenthetical note: the front and back cover both allude to the album containing six songs—it has eight, and this was apparently true of the original 78 set, at least according to the Billboard review in 1947. Odd.

New Year's Waltzes with Ferdinand Leitner

To usher in the new year, here are some Strauss waltzes and polkas conducted by Ferdinand Leitner for Deutsche Grammophon in the early 1950s.

Ferdinand Leitner

Leitner made quite a few recordings for DGG during this period, when he was the music director of the Württemberg State Opera. He is not as well remembered as many of his contemporaries, but his recordings are good nonetheless. He also looked impressive in photographs. I like to think that had I been a German conductor in the 50s, I would have used such a cigarette holder and even used it to conduct the band on occasion.

DGG LPs

Although these were made with second-rank German orchestras from Bamberg and Stuttgart, the playing is fine and the conducting to my ears is just right. A most satisfying program in excellent sound (despite some background noise from the American Decca pressing). As far as I can tell, the recordings have not been reissued. The originals were issued on at least two 10-inch DGG LPs (at right). Wine Women and Song, If You Please and High Spirits are from 1950; Tales from the Vienna Woods and Emperor Waltz are from 1952, and Acceleration Waltz is from 1954.

Happy new year to all!