St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1954-02-19
RATING THE
r { c Q R D S
BY j. HENRY RANDALL
Sittin' In With skitt"-en

she seems definitely ON the way TO
carving an indelibie niche in the
show biz hmelight in her enchant-
ing way, Already La Kilt has
racked up No. 5 in album-lengih
discs OF her specialities- most OF
which are drawn from a repertoire
dating back TO '1eaner" days.
Title for the third album Is Pre-
senting Eartha Kilt"
However. it's about her second
collection with which we are inn
mediately concerned. It sports the
rather descripuve--in light OF re-
cent publicity about the gal-title,
That Bad Eartha," three-speed
release which incidentally makes
use Of the new high fidelity sys-
tenn of recording.
With the orchestral accompani-
ment, as in the past, under the
capable direction of Henri Rene.
Eartha breathes her special brand
of come hither" in an octet of
tunes. This time she holds her
self down to three languages -
English, French and Spanish
with most of the numbers being In
the good ole English we under
stand so well.
The Kilt madness is especially
good in her speaking intro of MY
HEART BELONGS TO DADDY.
the Mary Martin populariZed song,
which goes something like this:
II used to fall in love with all
those boys who courted the young
cuties. but now I find I'm more
inclined to keep my mind on my
duties" With that she bounces a
bout with the lyrics, in the little
girl-tremolo style.
Another especially noteworthy
item is LET'S DO 1T, one which
you may remember as being the
Ida James best some years ago.
While the styles are different. we
wouldn't want to be pinned down
on choice between the two. Both
versions are exceptionally good
for their expressiveness.
A resurrectee from World War
land vets of the era will remem-
Der 1t is UNDER THE BRIDGES
OF PARIS. This is the French
item and Eartha portrays a
sophisticated little girl much too
worldly wise for her years.
Displaying her versatility to the
hilt. Eartha tackles vocally the
matchless Duke Ellington instru-
mental composition, THE BLUES,
and comes out on top. She pulls
all the stops on this one.
Rounding out the group are
SENIOR, the Spanish tune;
SMOKE GETS IN YOUR EYES;
SANDYS TUNE. in which she
displays a fetching Scottish burr;
and SALANGA DoU, with a vocal
group repeating the title ala
"C'est 81 Bon" (Victor).
And They All Sing
Already n hit in the pop COM
mercial field is STRANGERS IN
PARADISE, one of the II tunes
making up the hit musical, "Kis-
met" but we wonder how many
people have heard the original
strangers" as performed by
Richard Kiley, and Doretta Nor
row, or course, there are thous-
ands OF us who will never get TO
see the stage playa lamentable
but certain fact.
However, for those who will
never have a chance TO see it as
well as those who will or have,
there is provided a high fidelity,
12-inch LIP Waxing Of the entire
musical selections from the show,
by the original cast, from OVER
TURE to FINALE.
This musical Arabian Nights is
unlike many other original cast
in that all members OF
this cast can sing, and because the
music is well worth singing, IL
thus becomes an unusual re-
corded show score.
After the OVERTURE by the
orchestra, In which strains Of
Strangers" can be heard, the
show gets into the business Of pre-
ferring the various tunes, among
which are RHYTHM HAVE !,
BANGLES AND
NIGHT OF MY NIGHTS
and AND THIS Is MY BELOW
ED.
We noted above that the team
Of Kiley and Morrow were respon-
sible for the rich vocal on
Strangers" and not Alfred Drake
as is commonly thought. Drake,
though is excellent in his appear
ances on "Rhythms". GEsTTCU-
LATE, RAHADLAKUM, Below
ed" THE OLIVE TREE and in the
finale SANDS OF TIMES.
From beginning to end, II Is as
II for want Of a better description
you were there" (Columbia).
Extended Garner
There have been complaints a
bout the brevity Of certain |
gents wsSings-they were much
90 short, they don't allow him /
% really get into the meatiness
II the tunes. and that sort Of
hing. The gent, Enroll Garner, |
,r,tty has one ~ thnse b{o I1Ynrh