directed by Orchestra Jack Shaindlin from Flickers to Wide ...
Transcript of directed by Orchestra Jack Shaindlin from Flickers to Wide ...
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<K SIDE ONE
I-. FIRST FILM MUSIC (Medley)
2. THE CHASE Jack Shaindlin
3. SLAPSTIX Jack Shaindlin
4. NEWSREEL In Medley: Jack Shaindlin
Fanfare And March
Mississippi Flood
Bathing Beauties
Kentucky Derby
5. CHARMAINE Erno Rapee-Lew Pollack
(From 20th Century-Fox Picture
“What Price Glory”)
Organ Solo By Raymond Bohr
6. IF I HAD A TALKING PICTURE OF YOU B. G. DeSylva-Lew Brown-Ray Henderson
(From Fox Picture “Sunny Side Up”)
7. BEYOND THE BLUE HORIZON R. A. Whiting-W. Franke Harling-Leo Robin
(From Paramount Picture “Monte Carlo”)
8. CAR I OCA Gus Kahn-Edward Eliscu-Vincent Youmans
(From R.K.O. Picture "Flying Down To Rio”)
SIDE TWO
1. KING KONG SUITE Max Steiner
(From The Film “King Kong”)
2. THE INFORMER Max Steiner
(From R.K.O. Picture “The Informer”)
3. SPELLBOUND Miklos Rozsa
(From David 0. Selznick Film "Spellbound”)
4. MEDLEY: Intermezzo h. Provost (From David 0. Selznick Film “Intermezzo”)
The Third Man Theme Anton Karas
(From David 0. Selznick Film
“The Third Man”)
Warsaw Concerto Richard Addinseii
(From Republic Release "Suicide Squadron”)
5, THEME FROM “THE MAN WITH THE GOLDEN ARM”
Elmer Bernstein-Sylvia Fine
(An Otto Preminger Film)
years of
Movie Music from Flickers to Wide Screen
Orchestra directed by
Jack Shaindlin Jack Shaindlin one of the country’s top musi¬ cal directors actually did play the piano in a Chicago silent movie house at the age of fifteen. He is the only musical director work¬ ing in all wide-screen mediums — Cinerama, Todd A-O and Cinemiracle. He also con¬ ducted Carnegie “Pop” concerts and lectured on film music at various colleges.
Despite more than thirty years of silent films,, there was never such a thing as a really silent movie. This is not so much a paradox as a con¬ sequence of the fact that pictures made their public bow in the music halls and variety theaters shortly before the turn of the century. The nov¬ elty of the day, they came on “next to closing” -traditionally the star spot on the bill. And from the pit, the same orchestra that had played for the singers, dancers, and acrobats provided a musical accompaniment to the 50-second glimpses of trains, breaking waves, and street parades that made up the first film programs. Music-was there when the movies were born and, as this record amply suggests, has remained close to the medium ever since. The invention of the sound track, some thirty years later, merely transformed a companionate marriage into holy wedlock.
Inevitably, the novelty value of the new movies quickly wore off. By 1900, they had slipped from star billing to “chaser”—the closing act that signified the program was ended and it was time to go home. With increasing frequency, the orchestra disappeared at this point and the solo pianist took over, playing appropriate salon music as accompaniment to the assorted views of exotic scenery, local fires, and pretty dancers that had become the new staple of cinematic fare. The entire film show lasted all of ten minutes—apparently all that was needed to chase an audience effectively. Band one of the first side, with its quotations from Poet and Peasant, Mel¬ ody in F, For Elise, The Erl King, and The Flower Song, affords a fair sampling of the musical olla-podridas assembled for such pres¬ entations.
After 1903, the movies began to find a home of their own — humble, cramped, and dirty to be sure, but nevertheless no longer a sub-let from the more prosperous and respectable vaudeville. Nickelodeons spread like crab-grass through the poorer working-class districts of every city and
town. Generally, they were nothing more than converted stores, the projector in a box at the ; rear, a white sheet at the opposite end, and chairs or benches rented from the local caterer or undertaker in between. But way down front, angled to face the screen, stood an object that was to become as firmly identified with the era as the nickel stein of beer-the battered, upright, nickelodeon piano, with- its yellowed keys and tin-pan tones.
The nickelodeon piano was less a touch of elegance than an out-and-out necessity. The floors of these grimy arcades were either of wood or concrete, uncarpeted, while the seats were highly mobile. With shows running continuously, and a complete changeover of audience every thirty or forty minutes, the racket from the woodwork alone was not inconsiderable. But there was also the stir and rustle of human beings bent on a good time, the crunch of peanuts and candy wrappers, the whispered (or not so whis¬ pered) conversations, and the persistent clatter of the projection machine. Over all of these, the piano threw a thin veneer of mellifluous sound. It provided the continuity of emotion that en¬ abled the patrons of this primitive art to lose themselves, however briefly, in the melodramat- ics up on the screen.
The movies themselves also changed during the nickelodeon period. For one thing, they grew longer—to ten or twelve minutes for a dramatic subject. But more important, apart from the ever-popular travelogues, they were now telling stories. After the tremendous success of The Great Train Robbery in 1903, the Western was firmly entrenched (most of them shot in the wild, wild West of New Jersey’s Palisades). Trick films, often culminating in comic chases, were extremely popular. There were highly condensed, one-reel versions of the classics—Hamlet, Silas Marner, Oliver Twist, even grand operas (with the “professor” at the piano obliging with his version of the more familiar arias). But most of
all, there were the little dramas that poured from the studios of the day—Edison, Biograph Selig Kalem, Vitagraph, Thanhouser. Intensely’moral’ they pointed out the evils of drink, the virtues of poverty, the iniquities of politicians and pluto¬ crats. Honest poverty, they argued, was no dis¬ grace a message that had particular relevance for the poor but honest habitues of the nickelo¬ deons. (The poor but dishonest, apologists for the nickelodeons were quick to state, frequented the saloons.)
After 1912, however, the movies, the theaters, and their audiences too began to change again Influenced by the longer films imported from abroad, the American producers hesitantly ad¬ vanced from one to two reels, then to three five even seven. Finally, in 1915, D. W. Griffith released his Birth of a Nation in twelve reels_ over three hours long—and proved conclusively that audiences could sit through any length of film, provided the picture was good enough. Simultaneously, the theaters were increasing in size and opulence, moving out of their old neigh¬ borhoods in a determined wooing of the middle classes. The opening of the Strand (now the Warner) on Broadway in April, 1914, symbol¬ ized the end of the nickelodeon era. Its well- cushioned seats, carpeted aisles, crystal chande¬ liers, and hand-painted paintings (all for 25 cents admission) established a standard of elegance that soon was being emulated throughout the entire country.
As an added refinement, the Strand crowded its pit with more than thirty musicians (described as a “symphony orchestra”) to accompany both its stage show and the evening presentations of the feature. Other houses immediately followed suit, although not necessarily on the same scale. Band three of side one recreates a more typical pit orchestra sound—an orchestra of six to eight men, heavy on the brass, the lead violin usually handled by the conductor—playing for a com¬ pletely typical newsreel. Following the opening
fanfare is a march suitable either for national figures or football games, a more ominous theme that served equally well for shots of a million- dollar fire or the aftermath of a flood on the Mississippi, jazzy strains for the inevitable beauty contest, and notes heralding the equally inevitable horse race.
With smaller houses springing up in the resi¬ dential neighborhoods, however, even a six-piece orchestra represented an extravagance that few could afford—while a reversion to the solo piano represented a penury that few would admit. The compromise was that musical mastodon most closely identified with the final decade of silent films, the “mighty Wurlitzer.” This versa¬ tile, multi-throated organ with its gleaming banks of stops could simulate not only a full orchestra but virtually every type of sound heard by man —whistles, bells, horns, the patter of rain, the roar of thunder, the drone of an airplane, the chatter of machine-gun fire. On occasion, for really “big” pictures like Ben Hur, The Big Parade, or Wings, these were supplemented by a percussionist armed with a full battery of sound effects equipment.
Although most organists and house conductors improvised or compiled their scores out of clas¬ sics, semi-classics, mood pieces, and the popular songs of the day, by the Twenties the major studios were making it a point to send along with the prints of their pictures especially prepared “cue sheets”—a few bars of melody specifically cued to the sub-titles as the film progressed, upon which the musicians could enlarge ad lib. And for the more important releases, as early as The Birth of a Nation, complete scores were prepared in a wide variety of instrumentations, ranging from a small symphony orchestra right down to the lowly piano. In this way, many of the silent pictures acquired theme songs that achieved a tremendous popularity without the assistance of radio or television “hit parade” plugging—among them the wistful Charmaine,
the love theme from What Price Glory, heard here (Band four) with all the breathy swells and refined diminuendos of the theater organ of the mid-Twenties.
What more could the sound track add to all this, at least so far as music was concerned? The answer is that for a number of years, the sound track actually detracted. Early sound recording was so primitive that even a full symphony orchestra seemed thin and scratchy as it came through the loudspeakers. When Warner Broth¬ ers introduced the Vitaphone in August, 1926, with a series of short subjects in sound and a symphonic accompaniment to the feature, John Barrymore in Don Juan, they fully expected an immediate revolution. But audiences were un¬ impressed. At the theater down the street, they could see live acts and a live orchestra—and for the same amount of money. Nevertheless, Warners continued to score their features, and Movietone soon followed suit. Theater owners began to wire their houses for sound, although they were swayed more by economic rather than by aesthetic considerations. Quite simply, “canned music” was cheaper.
It was another full year, however, before the first “talkie” made its appearance, and assured a future for the new medium. Contrary to the popular impression, A1 Jolson’s The Jazz Singer, released in November of 1927, was not an all- talking picture; only four times did Jolson actu¬ ally talk or sing in the film. But these were enough. Audiences jammed the theaters where The Jazz Singer was showing—and each of the subsequent “part-talkers” rushed into release to capitalize on its success until bona fide “100% all-talking” pictures could be prepared. (The first of these, Warners’ Light of New York, was not ready until July, 1928.) Although few of the studio heads were prepared to admit it—and even fewer critics — the death knell had already sounded for the silent era.
Obviously, the new medium was superbly adapted to the presentation of musical films, and
the marquees of movie houses everywhere were soon promising the mathematical absurdity of “100% all-talking, 100% all-singing, 100% all¬ dancing” features. Popular in this category were the Janet Gaynor-Charles Farrell co-starrers, as recalled here in If I Had a Talking Picture of You, from Sunny Side Up. The redoubtable Ernst Lubitsch, wearying of musicals in which the songs came as interruptions to the story, attempted to weave his musical numbers more firmly into the tapestry of the plot. One of his early successes was Monte Carlo, a modernized version of the Monsieur Beaucaire story with Jeanette MacDonald and Jack Buchanan. As the train bearing Miss MacDonald gets under way, the orchestra picks up the rhythm of the loco¬ motive and spins it into the song, Beyond the Blue Horizon. All that is lacking from the re¬ cording here is the sound of the beauteous Miss MacDonald singing obligato to the peasant choruses in the field as the train flashes by. Completing the medley of early musical hits is Carioca, the dance high-light of Flying Down to Rio, which simultaneously launched the team of Astaire and Rogers and set the pattern for musical films ever since.
“Film music is like a small lamp placed be¬ neath the screen to warm it,” Aaron Copland once said. In the years immediately following the introduction of “talkies,” its special potency was forgotten while directors concentrated on the dialogue. First and foremost of the studio staff composers to restore it to its rightful place as an adjunct to the unfolding drama was the prolific Max Steiner, represented here (Side two, bands one and two) by his pioneering scores for King Kong and The Informer. The latter, with its simple yet memorable leitmotifs, remained for years a model of functional film music. It did far more than simply underline the action. When, for example, Gypo Nolan (Victor Mc- Laglen) sees a travel poster offering a trip to America for £20, the music recalls his friend Frankie, with a £20 price on his head. The score has done the work of a visual flashback.
In the years since The Informer, movie music has become considerably more sophisticated and complex, more adept at conveying nuances of emotion, at setting the mood for a scene, or at creating a bridge from one sequence to the next. It is difficult and demanding work, requiring disciplines and techniques found in no other form of musical composition—the synchroniza¬ tion of beat to the rhythm of the action, orches¬ trations that will not interfere with dialogue, a split-second sense of timing to bring the music in and out at the precise moment selected by the director. Furthermore, the music must be sufficiently melodic as to be exploitable. Miklos Rozsa, whose theme music for Spellbound is heard on Band three, is only one of dozens of composers now recognized as “old pros” by the studios, a list that includes such familiar names as Hugo Friedhofer, Johnny Green, Bernard Herrmann, Bronislau Kaper, Alfred Newman, David Raksin, Max Steiner, Dimitri Tiomkin, Franz Waxman, and many more.
Already, however, a new generation of film composers has begun to emerge, men more thor¬ oughly identified with the jazz idioms and the most modern of modern music—Elmer Bernstein, Ernest Gold, Henry Mancini, Alex North, Andre Previn, Leonard Rosenman . . . Bernstein’s score for Man with the Golden Arm, reproduced here in its original instrumentation, is typical of the advanced musical ideas now finding their way onto the sound track. Its pulsating, atonal wails are a far cry from the sedate salon pieces that once accompanied motion pictures.
Has movie music at last become an art in its own right? Elmer Bernstein thinks so. “In motion pictures,” he said recently, “music is an art where words and action leave off. Whether the music can stand up by itself is up to the com¬ poser.”
The music on this record stands up.
—Arthur Knight
The
Library Of
Recorded (lassies
RliDVARD KIPLING
JUNGLE BOOKS
BASIL RATH BONE
MAURICE EVANS SELECTIONS FROM
JAMES MASON OLIVER TWIST
SHAKESPEARE DL 9110
DL 9107
BASIL RATHBONE SELECTIONS FROM RUDYARD KIPLING’S JUNGLE BOOKS OL 9109
THE VOICE OF F. D. R. THE PRESIDENTIAL YEARS (1932-1945) DL 9628
CHARLES LAUGHTON/MOBY DICK and
THOMAS MITCHELL/TREASURE ISLAND DL 9071
ROBERT FROST READS THE POEMS OF ROBERT FROST DL 9033
°imtfa
JsMl (
THE BEST OF AL JOLSON DXA-169
THE JOLSON STORY YOU MADE ME LOVE YOU DL 9034
AL JOLSON
JOLIE DL 9099
AL JOLSON With OSCAR LEVANT DL 9095
THE WORLD'S GREATEST ENTERTAINER DL 9074
AL JOLSON OVERSEAS DL 9070
THE IMMORTAL AL JOLSON DL 9063
THE JOLSON STORY AMONG MY SOUVENIRS DL 9050
THE JOLSON STORY MEMORIES DL 9038
THE JOLSON STORY YOU AIN'T HEARD
NOTHIN' YET DL 9037
THE JOLSON STORY RAINBOW 'ROUND MY
SHOULDER DL 9036
THE JOLSON STORY ROCK-A-BYE YOUR
BABY DL 9035
invitation PETER DUCHIN,
I Wish You Love
CARMEN CAVALLARO
PIANO
GEORGE FEYER GOLDEN WALTZES
EVERYBODY KNOWS DL 74455
DL 4455
PETER DUCHIN INVITATION DL 74471 . DL 4471
CARMEN CAVALLARO I WISH YOU LOVE DL 74566 • DL 4566
CARMEN CAVALLARO DL 74489 SONGS EVERYBODY KNOWS DL 4489
CARMEN CAVALLARO CHERRY BLOSSOM TIME
PETER DUCHIN HIS PIANO AND ORCHESTRA DL 74373
AT THE ST. REGIS DL4373
EDDY DUCHIN REMEMBERED BY CARMEN CAVALLARO
FOLK THE KINGSTON TRIO NICK - BOB - JOHN DL 74613 • DL 4613
THE BEST OF BURL IVES DXB-167
THE GREENWOODS DL 74496 FOLK INSTRUMENTALS DL 4496
TOMPALL AND THE GLASER BROTHERS DL 74041
THIS LAND DL 4041
RICHARD DYER-BENNETT DL 79102 TWENTIETH CENTURY
MINSTREL DL 9102
BURL IVES WOMEN DL 8246
BURL IVES sings . . . IN THE QUIET OF THE NIGHT
BURL IVES CORONATION CONCERT
TEXAS BOYS’ CHOIR FOLK SONGS and
WESTERN BALLADS
THE TARRIERS GATHER 'ROUND
THE WEAVERS WEAVERS' GOLD
DL 8247
DL 8080
DL 74379 DL 4379
DL 74538 DL 4538
DL 74277 DL 4277
COUNTRY AND WESTERN
LORETTA LYNN SONGS FROM MY HEART
VARIOUS ARTISTS 1964 COUNTRY AND WESTERN
AWARD WINNERS
THE WILBURN BROTHERS COUNTRY GOLD
ERNEST TUBB THANKS A LOT
THE RED FOLEY SHOW
JIMMIE DAVIS SINGS
DL 74620 DL 4620
DL 74622 DL 4622
DL 74615 DL 4615
DL 74514 DL 4514
DL 74341 DL 4341
DL 74495 DL 4495
KITTY WELLS BURNING MEMORIES DL 74612 • DL 4612
WEBB PIERCE MEMORY #1 DL 74604 • DL 4604
INSTRUMENTALISTS I mm-|-|-■-“~
Peg 0’My Heart TRADE Wiping
ROBERT MAXWELL HIS HARP AND ORCHESTRA EARL
GRANT '
ROBERT MAXWELL EARL GRANT PEG O’ MY HEART DL 74563 • DL 4563
TRADE WINDS DL 74623 • DL 4623
HENRY JEROME VOCAL VELVET
LES BROWN’S IN TOWN!
HENRY JEROME STRINGS IN DIXIELAND
SAM (THE MAN) TAYLOR SOMEWHERE IN THE NIGHT
JESSE CRAWFORD A LOVELY WAY TO SPEND AN EVENING
DL 74440 DL 4440
DL 74607 DL 4607
DL 74307 DL 4307
DL 74573 DL 4573
'DL 74477 DL 4477
LENNY DEE MOST REQUESTED!
EARL GRANT JUST ONE MORE TIME
ETHEL SMITH AT THE END OF A PERFECT DAY
THE ROMANTIC GUITAR OF VICENTE GOMEZ
BOBBY GORDON YOUNG MAN’S FANCY
DL 74572 DL 4572
DL 74576 DL 4576
DL 74467 DL 4467
DL 74558 DL 4558
DL 74507 DL 4507
a new world Hof soumLon
Dl CCA* Printed in U.S.A. NUMBERS PRECEDED BY 7 INDICATE ALBUM AVAILABLE IN STEREO
am
THE BEST OF ELLA ELLA FITZGERALD DXB-156
THE BEST OF JUDY GARLAND DXSB-7172 • DXB-172
THE BEST OF PEGGY LEE
THE BILLIE HOLIDAY STORY
THE BEST OF DANNY KAYE
LOUIS ARMSTRONG SATCHMO
THE ERNEST TUBB STORY
ISEGOVIA PI. ATF.RO AND 1 «.«»... ...
... |
DXB-164
DXB-161
DXSB-7175 • DXB-175
DXM-155
DXSB-7159 • DXB-159
BING-A MUSICAL AUTOBIOGRAPHY OF BING CROSBY
THE PATSY CLINE STORY
THE KITTY WELLS STORY
THE BEST OF COUNT BASIE
THE BEST OF JESSE CRAWFORD
THE RED FOLEY STORY
THE BEST OF BARBERSHOP
£!§Ssd THE PLAY OF
BRENDA LEE CWaTOP TEEN HITS
NEW YORK PRO MUSICA THE PLAY OF HEROD DXSA-7187 • DXA-187
ANDRES SEGOVIA PONCE: SONATA ROMANTICA CASTELNUOVO-TEDESCO: SECOND SERIES FROM “PLATERO AND I” DL 710093 • DL 10093
MUSICA AETERNA DXSA-7178 HANDEL: ISRAEL IN EGYPT DXA-178
NEW YORK PRO MUSICA DL 79421 IT WAS A LOVER AND HIS LASS DL 9421
NEW YORK PRO MUSICA DL 79402 THE PLAY OF DANIEL DL 9402
MUSICA AETERNA DL 79422 SCHUBERT: MASS NO. 6 IN E FLAT MAJOR DL 9422
RUGGIERO RICCI DL 79423 VIVALDI: THE FOUR SEASONS DL 9423
LEOPOLD STOKOWSKI DL 710077 DAWSON: NEGRO FOLK SYMPHONY DL 10077
ERICA MORINI DL 710102 AN ITALIAN BAROQUE VIOLIN RECITAL DL 10102
THE “WHOOPEE” JOHN ORCHESTRA
OLD TIME DANCE PARTY DL 74534 DL 4534
WAYNE KING DANCE TIME
DL 74551 DL 4551
SAMMY KAYE COME DANCE WITH ME
DL 74357 DL 4357
BERT KAEMPFERT THAT LATIN FEELING
DL 74490 DL 4490
WARREN COVINGTON IT TAKES TWO TO
CHA CHA, TANGO, etc. DL 78980 DL 8980
JAN GARBER THEY’RE PLAYING
OUR SONG DL 74543 DL 4543
WAYNE KING’S GOLDEN FAVORITES DL 74309
DL 4309
BERT KAEMPFERT THAT HAPPY FEELING
DL 74305 DL 4305
GUY LOMBARDO GOLDEN FOLK SONGS
FOR DANCING DL 74430 DL 4430
WARREN COVINGTON IT TAKES TWO TO FOX
TROT, WALTZ, etc. DL 78996 DL 8996
GUY LOMBARDO THE SWEETEST MUSIC
THIS SIDE OF HEAVEN DL 74328 DL 4328
GRADY MARTIN DL 74476 SONGS EVERYBODY KNOWS DL 4476
JAN GARBER DANCING UNDER
THE STARS DL 74443 DL 4443
SAMMY come KAYE DANCE
ID HIS ORCHESTRA 2 WITH ME NO.i
HOLD, DOLLY! ; PEOflf
AMD I LOVE HER THEME FMM "SOU>0( DOY" ON IDE STREET WHERE YOU LIVE
EVERYBODY IMS SOMEBODY THE GIRL FROM IPAHEMA
THE HOUSE OF THE RISING SUN
SAMMY KAYE COME DANCE WITH ME, NO. 2 DL 74590 • DL 4590
THE HONOLULU SYMPHONY MUSIC FROM THE MAJESTIC ISLANDS DL 79104 • DL 9104
THE BEST OF ALFRED APAKA DXSB-7163 • DXB-163
RICK NELSON SPOTLIGHT ON RICK DL 74608 • DL 4608
PATSY CLINE THAT’S HOW A HEARTACHE
BEGINS
ARTHUR PRYSOCK STRICTLY SENTIMENTAL
BRENDA LEE LET ME SING
RICK NELSON THE VERY THOUGHT OF YOU
THE SURFARIS HIT CITY '65
THE SURFARIS FUN CITY, U.S.A.
BRENDA LEE BY REQUEST
SAMMY DAVIS, JR. TRY A LITTLE TENDERNESS
BURL IVES SINGS
DL 74586
DL 4586
DL 74581 DL 4581
DL 74439 DL 4439
DL 74559 DL 4559
DL 74614 DL 4614
DL 74560 DL 4560
DL 74509 DL 4509
DL 74582 DL 4582
DL 74578 DL 4578
WiNNiE tfiePOOH CHR!ST5PMER ROBiNH
RUGGIERO RICCI PAGANINI: CONCERTO NO. 2
SAINT-SAENS: CONCERTO NO. 1
ANDRES SEGOVIA PONCE: CONCIERTO DEL SUR •
RODRIGO: FANTASIA PARA UN GENTILHOMBRE
ANDRES SEGOVIA SEGOVIA AND THE GUITAR
ANDRES SEGOVIA CASTELNUOVO-TEDESCO: FIVE PIECES FROM “PLATERO AND I”,
and others.
DON COSSACK CHORUS ON THE RIVER DON
HERMIONE GINGOLD/RUSSELL OBERLIN FACADE
CHILDREN'S STORIES ana SoNGS NAWBATEB 5K3 SDNG By FJ3JCNK LUTHER.
FRANK LUTHER WINNIE THE POOH AND CHRISTOPHER ROBIN DL 4203
FRANK LUTHER MOTHER GOOSE SONGS DL 8357
DANNY KAYE FOR CHILDREN DL 8726
PAUL WINCHELL and JERRY PINOCCHIO
MAHONEY DL 8463
BURL IVES THE BEST OF BURL'S FOR
AND GIRLS BOYS DL 74390
DL 4390
I Blue p- Midnight
„ BERT KAEMPFERT
. ROSES &SL FOR A •rr blue
\vy. LADY
THE ADVENTURES OF THE LONE RANGER DL 8578
DANNY KAYE HANS CHRISTIAN ANDERSEN And TUBBY THE TUBA DL 78479 • DL 8479
JANE CONE ADVENTURES IN RESTING-Volume I
ROSEMARIE JUN and ROBERT SPIRO CHILDREN SING AROUND THE YEAR
RINGLING BROTHERS AND BARNUM AND BAILEY CIRCUS BAND
CIRCUS TIME
JANE CONE ADVENTURES IN RESTING-Volume II
DL 74204 DL 4204
DL 74406 DL 4406
DL 8451
DL 74272 DL 4272
PULL STEREO Cl ... MUSIC FROM
DECCfl THE SOUND TRACK
TJie Original Cast Album RODGERS AND HAMMERSTEiN'S
THE KING
BERT KAEMPFERT BLUE MIDNIGHT DL 74569 « DL 4569
AROUND
thu^VORIDot
80 DAYS
MUSIC BY
VICTOR YOUNG
THE EDDY DUCHIN STORY- Sound Track
FLOWER DRUM SONG- Sound Track
OKLAHOMA—Original Cast
GUYS AND DOLLS- Original Cast
CAROUSEL—Original Cast
DL 79017 DL 9017
DL 79023 DL 9023
DL 79020 DL 9020
THE BENNY GOODMAN STORY DL 78252
VICTOR YOUNG AROUND THE WORLD IN EIGHTY DAYS-Sound Track DL 79046 > DL 9046
'Recorded By Deutsche Grammophon/Polydor’s Series
a new world ■ of sound...on
DECCA*
ORIGINAL CAST THE KING AND 1
Volume 1—Sound Track DL 8252
DL 79008 • DL 9008 PICNIC-Sound Track DL 78320 DL 8320
DL 79024 Original Cast DL 9024
GEORGE BASSMAN GERSHWIN • FROM DL 74468
BROADWAY TO HOLLYWOOD DL 4468
THE GLENN MILLER STORY DL 78226 Sound Track DL 8226
NUMBERS PRECEDED BY 7 INDICATE ALBUM AVAILABLE IN STEREO
/r a5°years movie musit
* FRO jaSEcLTO W’DE***<\ ANDhkSJ,ND L,n AND H,s orchestra
W 9079
# Side 1
“®S^pi»sr W Monte carlo" S^cariqo? * Ffom F'lm > V caisS^- ^