The Talking Machine Forum — For All Antique Phonographs & Recordings

mjbramham wrote:I think there are some aspects of musical taste that carry and some that don't. I've certainly sent more than my share of 'comedy foxtrots' on to the next collector when they have fallen into my hands. Some types of humour just make no sense at all to modern ears and I feel judged by the performer when they put on their best show for me and I hardly break a smile!

I must confess I didn't know what a 'coon song' was until about 10 minutes ago. Collecting material largely from the 20s and early 30s I never see them. Wikipedia seems to think they were popular here in the UK for a brief period at the turn of the century but then no more. I think I'd refer back to the very first sentence of this post though. Some things just don't compute anymore. I'm happy to just leave those to history

Have you no discs by G. H. Elliot, the "Chocolate Colored Coon"? His act was popular up through the War on your Isles. Then there was the sublime Eugene Stratton, who made famous "Lily of Laguna", a coon song if ever such there was. Of course your British songs in this vein tended to be more affectionate and adult in tone than some American numbers.

gramophoneshane wrote:

Wolfe wrote:A couple more sacred cows, one being Vernon Dalhart, who with a couple exceptions, I find boring to listen to. He sings everything the same.

Totally agree!
Hands down winner for me though is Clara Butt. Is that her last name or the orifice from which she sings
Im not real keen on Caruso either. I think he's very over-rated.

I have always found her recording of "Three Fishers" to be quite touching, and her waxing of the "Bridisi" from Lucretia Borgia
Is downright exciting, even when compared with Mme. Schumann-Heink's fine performances. Then her disc of "Where Corals Lie" from Elgar's "Sea Pictures" must rank as among the best recordings of a piece fromthat now seldom performed song cycle. I fear that I must agree with the estimation of Dalhart. As far as Caruso, well his work is so often sublime BUT we moderns often forget the delicacy of the older generation of Italian tenors. I often prefer Costantino's interpretations to those of
Caruso, and at times even McCormack ( in the Italian rep.) then of course ther is always Bjorling...

You know, I suppose that it is possible for me to find something nice to say about just about any recording which doe snot include an ELECTRIC GUITAR.

Gigli, I hate that Neapolitan frog in his voice. The hprrible re-orchestrations of Carusoe. And of, couse, Bing's Wet Chirstmas, the most overrated record of all time.

VintageTechnologies wrote:
I DO like many of Billy Murray's songs, e.g. I Love A Piano, Three Thousand Years Ago, and Napoleon.

I do, too. Whatever you want to say about stylistic geew gaws of yesteryear, he usually found a way to make a song interpretively interesting and engaging.

Waiting for some CD label to finally issue The Complete Billy Murray. Every disc and cylinder.

Probably be waiting a long time. But he deserves it.

There are good and bad records of just about anyone you could mention, but I cannot bring myself to disparage all the output of any performer. Listen, for instance, to Jolson on acoustical Brunswicks with the "Carl Fenton" orchestra, and his electrical Brunswick of 'Sonny Boy'. I find these far superior to the Deccas he did near the end of his life. As for John McCormack, listen to the record he wanted to be remembered by: "Il mio tesoro" by Mozart. I don't think ANYONE has ever sung it as spectacularly. Caruso's "A Dream" is not my favorite version of that song, but no-one has successfully pulled off his cadenza on "La Donne e Mobile"[the 1908 recording]---especially Mario Lanza, who otherwise did some very nice singing.

The only Jolson records I really don't like are his Columbia blue labels- they just don't capture him.

hillndalefan wrote:There are good and bad records of just about anyone you could mention, but I cannot bring myself to disparage all the output of any performer. Listen, for instance, to Jolson on acoustical Brunswicks with the "Carl Fenton" orchestra, and his electrical Brunswick of 'Sonny Boy'. I find these far superior to the Deccas he did near the end of his life. As for John McCormack, listen to the record he wanted to be remembered by: "Il mio tesoro" by Mozart. I don't think ANYONE has ever sung it as spectacularly. Caruso's "A Dream" is not my favorite version of that song, but no-one has successfully pulled off his cadenza on "La Donne e Mobile"[the 1908 recording]---especially Mario Lanza, who otherwise did some very nice singing.

John McCormack has his detractors, some on boards like this one. Worst I could say of him is that he recorded some very dull songs, moon june spoon my blushing Irish rose...blah blah. He was a marvelous singer, given material worthy of him, I still remember not liking him very much, it taking me time to come around. It still wouldn't bother me to use many of those Victor records of I Hear You Calling Me as frisbees. Once you get done with the Edison DD's of I'll Take You Home Again Kathleen.

The Decca Al Jolson records, sound like he's caricaturing himself to a degree. I think the Brunswicks of the late 1920's are his peak, and some were really well recorded, too. Post Light Ray process.

This is my favorite McCormack record- "Kathleen Mavourneen"
A beautiful song, beautifully sung.

http://www.youtube.com/watch?v=WUEAhhMtd8k

A vocal by Irving Kaufman has marred many an otherwise great hot dance/jazz record.