Minneapolis spokesman. [volume] (Minneapolis, Minn.) 1934-2000, 1954-02-19
RATING ThE
r e G q r D 8
NJ ,, HENRY RANDALL
Sletin' m win sKlsts-

ene boenaA ueKtntkoty on me way 20
carving an indetbls niche IN the
show bin hmshght In her enchAnt-
ing way, Already Ia Kit has
raeked up No 3 IN aIbum-length
discs Of her specialities most Of
which are drawn from a repertoire
dating back 20 '1eaner'' days.
Title for the third album n Pre-.
senting Eartha Kit"
However. it's about her second
collection with which we are I'm.
mediRtely concerned. II sports the
rather descriptive--in light Of re-
cent publicity about the gal-title.
That Bad Eartha," q three-apeed
release which incidentally makes
use Of the new high fidelity sys-
tenn Of recording,
With the orchestral ACCOMPANY.
ment, a. 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 30 well.
The Kit madness II especially
good in her speaking intro OF NY
HEART BELONGS TO DADDY.
the Mary Martin populariEed song,
which goes something like this:
Il used TO fall IN love with all
those boys who courted the young
cuties, but now I find I'm moro
inclined TO keep my mind ON my
duties" with that she bOuncea a.
bout with the lyrics, In the little
girl-tremolo style.
Another especially noteworthy
item 10 LET'S DO IT. one which
you may remember a. being the
Ida James best some years ago.
While the styles are different, we
wouldn't want TO be pinned down
on a choice between the two. Both
versions are exceptionally good
for their expressiveness.
A resurrectee from World War
and vets Of the era will rsmem-
Der Il 10 UNDER THE BRIDGES
OF PARIS. This In the French
item and Eartha portrays .
sophisticated little girl much too
worldly wise for her years
Displaying her versatility TO the
hIlt. Eartha tackles vocally the
matches 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;
sANDY's TUNE, In which she
displays a fetching Scottish burr;
and sALANGA DoU. with q vocal
group repeating the title ala
"C'est 81 Bon" (VictorD.
And They An Sing
Already a hit In the pop COM
merciaI field IL 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" a. performed by
Richard Kiley. and Dorstta Nor
row. OF course. there are thous-
ands Of IN who win never get 10
see the stage play lamsntabie
but certain fact.
However, for those who will
never have a chance 20 zee u ~
well az those who win or have,
there II provided q high fidelity,
I2-lnch Up Waxing Of the entire
musical selections from the show,
by the original cast. from OVER
TURE 70 FINALE.
This musical Arabian Nights IL
unlike many other original cast
recordings In that all members Of
this cast can sing. and because the
music IL well worth singing. u
thus becomes an "unusuar' 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-
ferFing the various tunes. among
which are RHYTHM HAVE ].
BAUBI.Es, BANGLES AND
BEADS. NIGHT or Ny NIGHTS
and AND THIS rs MY BELOW
I'D.
We noted above that the team
Of KIlsy and Morrow were respon-
sibIs for the rich vocal On
"BtFangsrn' and not Alfred Drake
a. IL commonly thought Drake.
though n excellent IN his appear
anoss on 'Rhythms". OEsTTCU.
LATE. RAHADLAKUM. 'Bel0v-
sd' THE OLIVE TREE and In the
finale SANDS or TIMES.
From beginning 20 end. II IL ~
n for want of q better description
you were there" (Coiumbiaj.
EHtendad Garner
Thsrs have besn complaints y
bout the brsyfty q . certain
gents waxings-thsy were much
too snort, they don't allow him
70 really get into The msatInsss