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KAY STARR & TENNESSEE ERNIE (Capitol 1124)
"I'LL NEVER BE FREE" (2:35)
"AIN'T NOBODY'S BUSINESS BUT MY OWN" (2:38)
Kay Starr and Tennessee Ernie combine on two sides that are juke box
dynamite. "Free" is a blues duet that is compulsive, impelling, forceful
and packs a "rock and roll" arrangement that will kick up a storm.
Reverse is a rhythm, country styled tune in a completely different vein
than "Free." The mixture makes for sockeroo double feature listening and
either or both sides could bust wide open as smash hits. Ops will find
this one of their best record buying investments in a long, long time.
(A review from August 1950 mentions that the record has a "rock and
roll" arrangement, for those of you who don't think rock and roll was
around already by then)
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FRANKIE LAINE (Mercury 5458)
"DREAM A LITTLE DREAM OF ME" (2:44)
"MUSIC MAESTRO PLEASE" (2:47)
The up and coming ballad side that cons the top spot gets a typically
rhythmic Frankie Laine treatment to make it a switch in melody pace that
should please the many fans of the "modern Al Jolson." Bottom is a
romantic end plaintive oldie that contains a very quiet talking and
singing session that might too easily be missed in the average noisy
juke box location. Still, the tremendous feeling put into his voice by
Frankie Laine and the fine piano of Carl Fischer may put the tune over.
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CASH BOX JAZZ 'n BLUES REVIEWS
*AWARD O' THE WEEK*
LOWELL FULSON (Swingtime 226)
"BLUE SHADOWS" (2:45)
"LOW SOCIETY BLUES" (2:26)
Here's a side that looks to give Lowell Fulson the biggest ride since
his smash hit, "Every Day I Have The Blues." The upper waxing has the
low down quality that lends itself to an interpretation by Lowell
Fulson. "Shadows" grants full scope to his gripping pipes and voice
quivers that never fail to break up the phono fans. Fulson's delivery is
deeply stirring and this is one effort that is a sure bet to get under
the skin of his listeners and force replay after replay to jack up the
juke box take to new heights. Diskmate, "Low Society Blues," is a
quiet, blues instrumental in an easy pace that advances some fine piano
fingering. Bottom side offers a good play and ops should find the "B"
deck spearing a few sheckels on its own. But it's that upper circle,
"Blue Shadows" that we're picking to create a storm of excitement around
and about the jazz 'n blues locations throughout the country. The song
has that sort of smash appeal. Ops get with this record-it's going to be
a hotter than fire attraction in the juke boxes.
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JOE MORRIS ORCH. (Atlantic 914)
"ANYTIME, ANYPLACE, ANYWHERE" (2:39)
"COME BACK DADDY DADDY" (2:38)
With Joe Morris handling the orking arrangement behind her Laurie Tate
steps into the spotlight to thrush some low down wailing on the upper
whirling blues ballad. Under spinning is set in the same vein as the top
with an added dash from the "Rapsody In Blue" melodic line that is woven
into the theme. Ops will like both sides.
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RAY CHARLES (Swingtime 228)
"THE EGO SONG" (2:20)
"LATE IN THE EVENING BLUES" (3:03)
"The Ego Song" is our bet to skyrocket Ray Charles into the big-time
class in wax makers. The singing pianist has a style that sounds very
much like King Cole and the delivery on this top ballad is one of the
strongest selling jobs we've heard in a long time. Bottom doesn't slow
down in the least and we think that music ops will find either edge one
of their best record buying investments.
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LILLIE GREENWOOD (Modern 20-757)
"AIN'T GONNA CRY" (2:30)
"COME BACK BABY" (2:17)
Lillie Greenwood's marvelous voice shines to good advantage on these two
new cuttings by the thrush. First ring is a slow drag that gives her
plenty of opportunity to employ voice tricks and weave in and around
her music. Coupler is a shouting and stomping blues number that finds
Lillie Greenwood going all out on the vocal. Ops will want to give both
ends a hearing.
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BROTHER BLUES (Abbey 3015) (Jack Dupree & Brownie McGhee)
"FEATHER WEIGHT MAMA" (2:09)
"DAY BREAK" (2:51)
Here's a sure winner in the juke boxes. Top side has very good wordage,
an impelling boogie beat and first-rate singing and playing throughout.
Ditty has a great deal of possibility. Brother Blues is going to have
to be reckoned with after this wax gets hot. Platter mate is a quiet;
easy going, instrumental that moves in an appealing pattern. Ops won't
want to miss that upper deck-it's strong juke box wax.
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KING PERRY (Specialty 367)
"MELLOW GAL BLUES" (2:28)
"EVERYTHING'S GONNA BE ALL RIGHT TONIGHT" (2:23)
King Perry lends his powerful pipes and waves the baton as he takes the
double threat lead on the shouting vocal of "Mellow Gal Blues." The tune
is potent and King Perry's singing is throaty and in the best tradition.
Turnabout offers Perry and his group on a mad, jazz ride. Ops should
lend an ear to the topping.
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BIG JEFF (Dot 1004)
"JUKE BOX BOOGIE" (2:34)
"YOU TALK IN YOUR SLEEP" (2:34)
Big Jeff handles the chanting chores while the Radio Playboys supply
this ditty appropriately titled "Juke Box Boogie." The tune actually
does have a great deal of juke box potential in its rhythmic flow with a
peppy country beat. Platter mate is modified novelty material with nice
bounce and a happy pace. Ops should find these sides highly engaging and
good material for them.
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Savoy's Little Esther "Mystery Tune" Stirs Up Juke Box Play
NEWARK, N. J. - Herman Lubinsky, president of Savoy Record Company,
Inc., this city, in conjunction with Zenas Sears, top Jazz and Blues
disk jockey on WGST, Atlanta, Ga., are creating quite a stir with its
promotion of Little Esther's next release, still untitled. Listed as a
"Mystery Tune" by Lubinsky, and broadcast as such by Sears, listeners
are offered several substantial prizes for guessing its title. They are
offered the opportunity to listen to the song, which has a complete set
of lyrics. They then send in their choice of title. Prizes consist of
merchandise contribute d by the merchants of Atlanta. Jake Friedman,
Southland Distributors, Savoy's distributor in this area, has been
selling records to juke box operators in large quantities. While the
song can be heard over the air only a few times during the day when
broadcast by the DJ, listeners keep pouring nickels into juke boxes to
get a clue from the lyric as to the title. August 15 has been set as the
date when the regular label will be sent out nationally, and which time
the winners will be announced. Meanwhile, it is reported, that many
other cities have picked up this twist. Among those are Baltimore,
Miami, Jacksonville, Cleveland, Charlotte, Cincinnati, and others.
(The record is probably "Deceivin' Blues" which charted in September
1950)
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