St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1949-05-06
RATING THE
RECORDS
By J. Henry Randall
a uTTLE HOT SAUCE

~ AtIAk MOI SAUCE
Milton Bucl<ner, ex-Hampton
pianist-arranger. now on his own
with a new 17-piece orlx, runs wild
under the MGM banner on his
first two waxings. Milt, who COM
posed items like Ramps Boogie
Woogie" and slide, Hamp, Slide"
throws up two originals, radically
contrasted. as his latest do. Titles
are MILTS BooGIE, a rolling
boogie-tempo'd vehicle which
spots Milt's loose styling cloal1ed
with ensemble vocal and clapplng;
and BUCKS BOP, progressive
"bop-iazz" item. The latter has a
fast vibes solo ride buttreased by
the powerhoused brass and reed
sections.
In VlctOr's corner, Maurice
Rocco and his Rhythm take q
jump ride ON the novelty qucs-
tiOn, WHY DOES 1T HAVE TO
BE ME. The bop influence Is
noted In the solid beat and
characteristic breaks. Maurice
(the standing pianist, as you
know sings this and the reverse
romantic tune, CLOSE YOUR
EYES, utilizing In the latter the
AfrO-Cuban bop idlOm. Compare
this item with Herb Lance's
waxing, and there's a world Of
difference-but both are good.
Switch to Exclusive label for a
McNeely pair Of originals that
really put a little hot sauce on
it," A racuous vocal and a rowdily
barrelhOuse boogie piano topped
by Big Jays tenor solo, wrap
around a tale Of what goes on at
the joint by the wayside, ROAD
BooGIE. Big Jay-McNeely, that
is,-flips to a piece dedicated to
Willie Bryant, popular disc jockey
at Radio station WHOM, New
York, called WILLIE THE COOL
CAT. willie" is really cool and
smooth on this side, which intros
with a Count Basie-ish like piano.
THAT DOOR" AGAIN
Novelty items like open the
Door, Richard" and all the other
Door" stuff take the back seat
now that the new ditty OPEN
THE DOOR POLKA has caught
the public's fancy. A fast-paced,
gay and abandoned polka, it's
interspersed with dialogue be-
tween a girl and a stranger knock
ing insistently at her door. MGM
has It by Blue Barron and ork,
with Judy Valentine and Phil
Goulding on dialogue. Paired is
the waltz tempo'd novelty,
WHOSE GIRL ARE YOU, with a
bit Of the Austrian peasant land
tendance showing in the choruses.
Victor also has door" by Buddy
Moreno and ork. Buddy and Perry
Mitchell handle the through the
door chatter. Paired is the hill
billy item DROP DAD, LITTLE
DARLIN DROP DAID, Buddy
and the Nappy Notes singing.
On the way TO the top and des-
tined to become a permanent fix
ture in Americas musical heritage
is the western ballad RIDERS IN
THE SKY. A simply wrought
musical legend, 1t has been
handled by many Of the popular
vocalists, especially good by
Vaughan Monroe. Derry FalHgant
on MGM label turns in a stellar
performance on the item, backed
by a small but effective unit under
Hugo WHITEWATER. Paired is the
gentle love story weaVed around
THE LITTLE OLD CHNRCH IN
LEICESTER SQUARE.
Continuing to use the new
Mooney sound (made up Of Or
gan, celeste, and gIee club, Art
Mooney and his Ork whip out
THE HEART OF LOCH 10.
M0ND to augment the vocal Of
Johnny Martin, MadeIyn Rus.
sell Paired Is the waltzed
MERRY GO ROUND WALTZ
with a good imitation Of amuse-
ment park sounds. The ensemble
takes takes the vocal. MGM
markings.
Perk up your ears for the Art
Lund version Of IF COULD BE
WITH YOU on MGM. Relaxed as
usual, Lund bounces through this
oldie, with a couple of assists by
ziggy Elman's trumpet. Paired Is
a straight version Of the pop hill
billy tune HOY IT LIES, HOW IT
LIES, HOW IT LIES. DIRK is
handled by Johnny Thompson.
StiIl on novelties, take q gan.
der at FIDDLE A DELPHIA as
sung by Leon Rene and the -Four
Hits and a Miss on Exclusive. A
bouncey ditty, it's backed up by
the Paul Martin DIRK. Flip 10
PENELOPE, q side where Mar
tins music has that cham
payne" quality characteristic Of
Lawrence WeIk. Vocal IL by
Rene again.
INTIMATE SESSION
Or "a jug of wine and thou"