120786bk Guys&Dolls 4/11/04 4:42 PM Page 2

Guys And Dolls 14. Sue Me 2:25 21. Make a Miracle 3:29 All Music & Lyrics by Frank Loesser Original Broadway Cast Vivian Blaine & Sam Levene Ray Bolger & Allyn McLerie, with orchestra Transfers & Production: David Lennick 15. Sit Down,You’re Rocking the Boat conducted by Sy Oliver Digital Restoration: Graham Newton 1. Runyonland Music; Fugue for Decca 40065, mx W 74760 2:11 Original 78s from the collections of David Tinhorns 2:05 Recorded 15 February 1949 Stubby Kaye, Johnny Silver & Douglas Deane Stubby Kaye & Chorus Lennick and the Belfer Audio Laboratory and 22. The New Ashmolean (Marching Archive, Syracuse University 2. Follow the Fold 1:15 16. Marry the Man Today 2:53 Society And Students Conservatory Cover: 1929 poster of New York Broadway (Mary Isabel Bigley & The Mission Group Vivian Blaine & Isabel Bigley Band) 2:31 Evans Picture Library); ‘dollies’ by Ron Hoares 3. The Oldest Established 2:35 17. Guys and Dolls: Reprise 0:38 Johnny Mercer with Paul Weston’s Orchestra Guys And Dolls Chorus Sam Levene, Stubby Kaye, Johnny Silver & Capitol 15385, mx 3881-3D-4 Producer’s Note Chorus Orchestra conducted by Irving Actman Recorded April 1949, Hollywood By the time Guys And Dolls came to Broadway, 4. I’ll Know 3:29 Decca 27379/85, mx W 80219/32 23. My Darling, My Darling 2:30 Issued as 78 album Decca DA 825 and ‘LP’ the long-playing record (‘LP’) had been Robert Alda & Isabel Bigley Jo Stafford & Gordon MacRae & The established as the favoured format for Original DL 8036 Starlighters, with orchestra 5. A Bushel and a Peck 1:32 Cast Albums,with the 45 RPM version running a Recorded 3 December 1950, New York Capitol 15270, mx 3462-4D-4 Vivian Blaine & The Hot Box Girls distant second and 78s barely noticed. But they Alternative Versions Recorded 23 September 1948, Hollywood still existed, and so most Broadway shows 6. Adelaide’s Lament 3:18 24. Once in Love with Amy 3:04 continued to be issued at all 3 speeds through Vivian Blaine 18. The Three-Cornered Tune 2:49 Dinah Shore with Henri René’s Orchestra Norman Wisdom with Norrie Paramor’s 1953. Luckily so, because many early micro- 7. Guys and Dolls 2:50 RCA Victor 20-4107, mx E1-VB-592-2 Orchestra & Chorus groove recordings were uneven in quality,while Stubby Kaye & Johnny Silver Recorded 8 March 1951, Hollywood English Columbia DB 3133, mx CA 22266-1A the 78 RPM issue of Guys and Dolls, on a near- 8. If I Were a Bell 2:53 Recorded June 1952, London mint Canadian pressing, proved to be the best 19. Sue Me 2:54 sounding source for this transfer. Ray Bolger’s Isabel Bigley Morey Amsterdam with Al Goodman & His 25. Make a Miracle 3:03 Lynn & Frank Loesser with piano songs from Where’s Charley? were issued as a 9. My Time of Day 1:55 Orchestra premium pressing on non-breakable ‘Deccalite’. Robert Alda RCA Victor 45-0091, mx E0-VB-5751 Mercury 5307, mx 2762-2 Recorded c.April 1949 The remaining selections were issued as 10. I’ve Never Been in Love Before 2:37 Recorded 18 October 1950, New York conventional 78s, but quiet vinyl pressings were Robert Alda & Isabel Bigley Bonus Track often made exclusively for radio stations. The 11. Take Back Your Mink 2:52 Where’s Charley? 26. Baby It’s Cold Outside 2:22 tracks by Dinah Shore, Johnny Mercer and Jo Vivian Blaine & The Hot Box Girls Various Recordings Featured in the film Neptune’s Daughter Stafford & Gordon MacRae were transferred from these ‘disc jockey’ issues, recently found in 20. Once In Love with Amy 4:19 Lynn & Frank Loesser with piano 12. More I Cannot Wish You 2:29 a private collection. Pat Rooney,Sr. Ray Bolger, with Orchestra & Chorus Mercury 5307, mx 2761-2 conducted by Sy Oliver Recorded c.April 1949 David Lennick 13. Luck Be a Lady 3:00 Decca 40065, mx W 74761 Robert Alda & The Guys Recorded 15 February 1949 Also Available: SOUTH PACIFIC Original 1949 Broadway cast and bonus recordings (8.120785)

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(1910-1969) with whom they had worked on was in a desolate seven-year stretch of performances, was turned into a film starring released a two-side 78 featuring the popular Guys And Dolls Where’s Charley? uninterrupted flops. Frank Sinatra and Marlon Brando and is “Amy” and the love song Make a Miracle. Original Broadway Cast 1950, and Alternative Versions 1950-1951 The fast-talking, New York-born Loesser was Fortunately,he too rose to the occasion, constantly being revived on Broadway,in This CD also features cover versions of The almost a Runyon character himself, a guy who badgering Burrows to keep polishing the book London and around the world. New Ashmolean Marching Society And Where’s Charley? Various Recordings 1948-1952 liked to live large. He’d wake up at 3:00 AM and and squabbling with Loesser about the number During its initial run, it was so popular that Students Conservatory Band by Johnny mix himself a double martini before starting to of reprises the composer wanted in Act II. numerous “cover” versions of the songs were Mercer (1949) as well as My Darling, My All Music and Lyrics by Frank Loesser write songs. “I’ll let you play the same songs if you let released, in versions especially doctored by Darling from Jo Stafford and Gordon Macrae Sometimes in the world of musical theatre, all In gambling parlance, it’s a natural. He began his career in Hollywood in 1936, me tell the same jokes,”is how he settled that Loesser. The Three-Cornered Tune, heard (1948). Norman Wisdom played the leading the right people come together in the right It all began with Damon Runyon (1884- where he wrote songs for over sixty films, until argument. here in a 1951 Dinah Shore recording is a light- role in the London production and his Once In place at the right time. 1946), the hard-edged, soft-centered journalist being lured to Broadway by Feuer and Martin. The show was cast with actors, rather than hearted distaff reworking of the “Fugue For Love With Amy is represented as well in this When you do, you get Guys and Dolls. who filled his writing with characters who bore Without knowing anything about the show singers, although listening to this recording, Tinhorns” theme and Sue Me is a rare 1950 1952 recording. Although it lacks the historical importance names like Dave the Dude and Harry the Horse. except that it was based on Runyon’s milieu, he most acquit themselves admirably. Robert Alda’s recording by Morey Amsterdam of the original The recording ends with a pair of selections of Oklahoma!, the cultural cachet of Porgy and He only wrote in the present tense (“I am immediately wrote the perfect genre piece: Sky Masterson has the right world-weary rasp version of the song, before Loesser had to from Loesser and his then-wife, Lynn, who rel- Bess or the sheer panache of My Fair Lady, walking down Broadway last night and who do Fugue For Tinhorns, a three-part round in and no one has ever made an impacted sinus rethink it as a duet, thanks to the feeble voice of eased their version of Make a Miracle in 1949. many critics and commentators – when pressed I see?”) and he loved to twist a phrase (“The which a trio of racetrack aficionados try to pick sound as adorable as Vivian Blaine’s chronically Sam Levene. Frank and Lynn used to perform at parties and – wind up citing Guys and Dolls as their race is not always to the swift, nor the battle to a winning horse. The combination of classical catarrhal Miss Adelaide. The rest of this recording is a pleasing their most popular piece is also included here: favourite musical. the strong, but that’s the way to bet.”) form and conversational slang (“I got the horse Borscht belt performer Stubby Kaye was a potpourri of Loesser from this period. Where’s Baby, It’s Cold Outside. It wound up being It’s not hard to understand why. It’s one of Over the years, sixteen of his short stories right here …”) captured the essence of how welcome addition to the musical comedy stage Charley? was his first Broadway show,which used in the 1949 film, Neptune’s Daughter and those rare works of art where form and function would be turned into movies, and by the late Runyon could be sung. and his rendition of Sit Down, You’re opened in 1948 and ran for 792 performances. won Loesser his only Oscar in 1950. as well as style and substance are joined 1940s, a collection of his work, called Guys and Hollywood screenwriter Jo Swerling tried an Rocking the Boat has never been bettered. This lighthearted romp was a musical A final note about the couple. Lynn was together with a deceptive ease that makes for Dolls, struck sophomore Broadway producers early draft of the script for the show,but was Isabel Bigley was hand-picked by Loesser to version of that old farcical chestnut Charley’s notoriously acrimonious and obsessed with delightful listening. Cy Feuer and Ernie Martin as perfect material found to lack the combination of flexibility and be his shining soprano lead, but the hot- Aunt and it received fairly tepid notices. But it money. Many of Frank’s friends were delighted Every time you breeze through Frank for a musical. (For some insights into their first flair that Feuer and Martin found essential. tempered songsmith grew so outraged with her survived on genuine audience affection for the when he finally divorced her in the 1950s, Loesser’s terrific score, the first thought that show, Where’s Charley?, see below.) So they then turned to Abe Burrows, riding “break” near the end of I’ll Know that he lead, Ray Bolger, and his big song Once In Love although it meant an end to one of their comes to your mind is how good it is.The tunes The major source of their inspiration was a high as the head writer on the wildly successful supposedly slapped her during an orchestra With Amy. wickedest witticisms: referring to Lynn as “the bounce, the lyrics snap, the performances have story called “The Idyll Of Miss Sarah Brown”, radio comedy series Duffy’s Tavern. He grasped rehearsal, only to return ten minutes later with a No complete original Broadway cast evil of two Loessers”. just the right edge. about a Salvation Army “doll”who worked the Runyon style as quickly as Loesser had and diamond necklace. recording exists, because the show opened Or as Frank wrote: Just like the rye and ginger ale highballs that among the lowlifes in Times Square. before long, a promising show was being Sam Levene’s Nathan Detroit sings hardly at during the 1948 “Petrillo Ban”, in which the “Call it sad, call it funny, were such popular drinks when the show came Runyon had based his character on the real- assembled. all, which – to be honest – is a good thing. His head of the musicians’ union, James Petrillo But it’s better than even money out, it goes down nice and smooth, with a life Captain Rheba Crawford, known as “the Veteran playwright and director George S. character originally had four songs, but they battled with the record companies over a better That the guy’s only doing it for some doll.” pleasing kick following not too far behind. angel of Broadway”, who had led a series of Kaufman was once one of the hottest names in were gradually whittled away due to the actor’s deal for his players. After the ban ended in Only later on, do you become aware of just successful all-night prayer meetings in the the theatre, with shows like You Can’t Take It vocal ineptitude, with the last one “Travelin’ 1949, Bolger and his leading lady Allyn McLerie Richard Ouzounian how smartly each song fits each character and Broadway area in 1922. With You and The Man Who Came To Dinner to Light”, being cut only a few hours before the their situation, with a minimum of apparent As soon as Feuer and Martin secured the his credit, but when Feuer and Martin New York opening night, 24 November 1950. NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia strain. rights, they offered the score to Frank Loesser approached him to stage Guys and Dolls,he The show was an enormous hit, ran 1200 www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 2 8.120786 3 8.120786 4 8.120786 120786bk Guys&Dolls 4/11/04 4:42 PM Page 1

(1910-1969) with whom they had worked on was in a desolate seven-year stretch of performances, was turned into a film starring released a two-side 78 featuring the popular Guys And Dolls Where’s Charley? uninterrupted flops. Frank Sinatra and Marlon Brando and is “Amy” and the love song Make a Miracle. Original Broadway Cast 1950, and Alternative Versions 1950-1951 The fast-talking, New York-born Loesser was Fortunately,he too rose to the occasion, constantly being revived on Broadway,in This CD also features cover versions of The almost a Runyon character himself, a guy who badgering Burrows to keep polishing the book London and around the world. New Ashmolean Marching Society And Where’s Charley? Various Recordings 1948-1952 liked to live large. He’d wake up at 3:00 AM and and squabbling with Loesser about the number During its initial run, it was so popular that Students Conservatory Band by Johnny mix himself a double martini before starting to of reprises the composer wanted in Act II. numerous “cover” versions of the songs were Mercer (1949) as well as My Darling, My All Music and Lyrics by Frank Loesser write songs. “I’ll let you play the same songs if you let released, in versions especially doctored by Darling from Jo Stafford and Gordon Macrae Sometimes in the world of musical theatre, all In gambling parlance, it’s a natural. He began his career in Hollywood in 1936, me tell the same jokes,”is how he settled that Loesser. The Three-Cornered Tune, heard (1948). Norman Wisdom played the leading the right people come together in the right It all began with Damon Runyon (1884- where he wrote songs for over sixty films, until argument. here in a 1951 Dinah Shore recording is a light- role in the London production and his Once In place at the right time. 1946), the hard-edged, soft-centered journalist being lured to Broadway by Feuer and Martin. The show was cast with actors, rather than hearted distaff reworking of the “Fugue For Love With Amy is represented as well in this When you do, you get Guys and Dolls. who filled his writing with characters who bore Without knowing anything about the show singers, although listening to this recording, Tinhorns” theme and Sue Me is a rare 1950 1952 recording. Although it lacks the historical importance names like Dave the Dude and Harry the Horse. except that it was based on Runyon’s milieu, he most acquit themselves admirably. Robert Alda’s recording by Morey Amsterdam of the original The recording ends with a pair of selections of Oklahoma!, the cultural cachet of Porgy and He only wrote in the present tense (“I am immediately wrote the perfect genre piece: Sky Masterson has the right world-weary rasp version of the song, before Loesser had to from Loesser and his then-wife, Lynn, who rel- Bess or the sheer panache of My Fair Lady, walking down Broadway last night and who do Fugue For Tinhorns, a three-part round in and no one has ever made an impacted sinus rethink it as a duet, thanks to the feeble voice of eased their version of Make a Miracle in 1949. many critics and commentators – when pressed I see?”) and he loved to twist a phrase (“The which a trio of racetrack aficionados try to pick sound as adorable as Vivian Blaine’s chronically Sam Levene. Frank and Lynn used to perform at parties and – wind up citing Guys and Dolls as their race is not always to the swift, nor the battle to a winning horse. The combination of classical catarrhal Miss Adelaide. The rest of this recording is a pleasing their most popular piece is also included here: favourite musical. the strong, but that’s the way to bet.”) form and conversational slang (“I got the horse Borscht belt performer Stubby Kaye was a potpourri of Loesser from this period. Where’s Baby, It’s Cold Outside. It wound up being It’s not hard to understand why. It’s one of Over the years, sixteen of his short stories right here …”) captured the essence of how welcome addition to the musical comedy stage Charley? was his first Broadway show,which used in the 1949 film, Neptune’s Daughter and those rare works of art where form and function would be turned into movies, and by the late Runyon could be sung. and his rendition of Sit Down, You’re opened in 1948 and ran for 792 performances. won Loesser his only Oscar in 1950. as well as style and substance are joined 1940s, a collection of his work, called Guys and Hollywood screenwriter Jo Swerling tried an Rocking the Boat has never been bettered. This lighthearted romp was a musical A final note about the couple. Lynn was together with a deceptive ease that makes for Dolls, struck sophomore Broadway producers early draft of the script for the show,but was Isabel Bigley was hand-picked by Loesser to version of that old farcical chestnut Charley’s notoriously acrimonious and obsessed with delightful listening. Cy Feuer and Ernie Martin as perfect material found to lack the combination of flexibility and be his shining soprano lead, but the hot- Aunt and it received fairly tepid notices. But it money. Many of Frank’s friends were delighted Every time you breeze through Frank for a musical. (For some insights into their first flair that Feuer and Martin found essential. tempered songsmith grew so outraged with her survived on genuine audience affection for the when he finally divorced her in the 1950s, Loesser’s terrific score, the first thought that show, Where’s Charley?, see below.) So they then turned to Abe Burrows, riding “break” near the end of I’ll Know that he lead, Ray Bolger, and his big song Once In Love although it meant an end to one of their comes to your mind is how good it is.The tunes The major source of their inspiration was a high as the head writer on the wildly successful supposedly slapped her during an orchestra With Amy. wickedest witticisms: referring to Lynn as “the bounce, the lyrics snap, the performances have story called “The Idyll Of Miss Sarah Brown”, radio comedy series Duffy’s Tavern. He grasped rehearsal, only to return ten minutes later with a No complete original Broadway cast evil of two Loessers”. just the right edge. about a Salvation Army “doll”who worked the Runyon style as quickly as Loesser had and diamond necklace. recording exists, because the show opened Or as Frank wrote: Just like the rye and ginger ale highballs that among the lowlifes in Times Square. before long, a promising show was being Sam Levene’s Nathan Detroit sings hardly at during the 1948 “Petrillo Ban”, in which the “Call it sad, call it funny, were such popular drinks when the show came Runyon had based his character on the real- assembled. all, which – to be honest – is a good thing. His head of the musicians’ union, James Petrillo But it’s better than even money out, it goes down nice and smooth, with a life Captain Rheba Crawford, known as “the Veteran playwright and director George S. character originally had four songs, but they battled with the record companies over a better That the guy’s only doing it for some doll.” pleasing kick following not too far behind. angel of Broadway”, who had led a series of Kaufman was once one of the hottest names in were gradually whittled away due to the actor’s deal for his players. After the ban ended in Only later on, do you become aware of just successful all-night prayer meetings in the the theatre, with shows like You Can’t Take It vocal ineptitude, with the last one “Travelin’ 1949, Bolger and his leading lady Allyn McLerie Richard Ouzounian how smartly each song fits each character and Broadway area in 1922. With You and The Man Who Came To Dinner to Light”, being cut only a few hours before the their situation, with a minimum of apparent As soon as Feuer and Martin secured the his credit, but when Feuer and Martin New York opening night, 24 November 1950. NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia strain. rights, they offered the score to Frank Loesser approached him to stage Guys and Dolls,he The show was an enormous hit, ran 1200 www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 2 8.120786 3 8.120786 4 8.120786 120786bk Guys&Dolls 4/11/04 4:42 PM Page 1

(1910-1969) with whom they had worked on was in a desolate seven-year stretch of performances, was turned into a film starring released a two-side 78 featuring the popular Guys And Dolls Where’s Charley? uninterrupted flops. Frank Sinatra and Marlon Brando and is “Amy” and the love song Make a Miracle. Original Broadway Cast 1950, and Alternative Versions 1950-1951 The fast-talking, New York-born Loesser was Fortunately,he too rose to the occasion, constantly being revived on Broadway,in This CD also features cover versions of The almost a Runyon character himself, a guy who badgering Burrows to keep polishing the book London and around the world. New Ashmolean Marching Society And Where’s Charley? Various Recordings 1948-1952 liked to live large. He’d wake up at 3:00 AM and and squabbling with Loesser about the number During its initial run, it was so popular that Students Conservatory Band by Johnny mix himself a double martini before starting to of reprises the composer wanted in Act II. numerous “cover” versions of the songs were Mercer (1949) as well as My Darling, My All Music and Lyrics by Frank Loesser write songs. “I’ll let you play the same songs if you let released, in versions especially doctored by Darling from Jo Stafford and Gordon Macrae Sometimes in the world of musical theatre, all In gambling parlance, it’s a natural. He began his career in Hollywood in 1936, me tell the same jokes,”is how he settled that Loesser. The Three-Cornered Tune, heard (1948). Norman Wisdom played the leading the right people come together in the right It all began with Damon Runyon (1884- where he wrote songs for over sixty films, until argument. here in a 1951 Dinah Shore recording is a light- role in the London production and his Once In place at the right time. 1946), the hard-edged, soft-centered journalist being lured to Broadway by Feuer and Martin. The show was cast with actors, rather than hearted distaff reworking of the “Fugue For Love With Amy is represented as well in this When you do, you get Guys and Dolls. who filled his writing with characters who bore Without knowing anything about the show singers, although listening to this recording, Tinhorns” theme and Sue Me is a rare 1950 1952 recording. Although it lacks the historical importance names like Dave the Dude and Harry the Horse. except that it was based on Runyon’s milieu, he most acquit themselves admirably. Robert Alda’s recording by Morey Amsterdam of the original The recording ends with a pair of selections of Oklahoma!, the cultural cachet of Porgy and He only wrote in the present tense (“I am immediately wrote the perfect genre piece: Sky Masterson has the right world-weary rasp version of the song, before Loesser had to from Loesser and his then-wife, Lynn, who rel- Bess or the sheer panache of My Fair Lady, walking down Broadway last night and who do Fugue For Tinhorns, a three-part round in and no one has ever made an impacted sinus rethink it as a duet, thanks to the feeble voice of eased their version of Make a Miracle in 1949. many critics and commentators – when pressed I see?”) and he loved to twist a phrase (“The which a trio of racetrack aficionados try to pick sound as adorable as Vivian Blaine’s chronically Sam Levene. Frank and Lynn used to perform at parties and – wind up citing Guys and Dolls as their race is not always to the swift, nor the battle to a winning horse. The combination of classical catarrhal Miss Adelaide. The rest of this recording is a pleasing their most popular piece is also included here: favourite musical. the strong, but that’s the way to bet.”) form and conversational slang (“I got the horse Borscht belt performer Stubby Kaye was a potpourri of Loesser from this period. Where’s Baby, It’s Cold Outside. It wound up being It’s not hard to understand why. It’s one of Over the years, sixteen of his short stories right here …”) captured the essence of how welcome addition to the musical comedy stage Charley? was his first Broadway show,which used in the 1949 film, Neptune’s Daughter and those rare works of art where form and function would be turned into movies, and by the late Runyon could be sung. and his rendition of Sit Down, You’re opened in 1948 and ran for 792 performances. won Loesser his only Oscar in 1950. as well as style and substance are joined 1940s, a collection of his work, called Guys and Hollywood screenwriter Jo Swerling tried an Rocking the Boat has never been bettered. This lighthearted romp was a musical A final note about the couple. Lynn was together with a deceptive ease that makes for Dolls, struck sophomore Broadway producers early draft of the script for the show,but was Isabel Bigley was hand-picked by Loesser to version of that old farcical chestnut Charley’s notoriously acrimonious and obsessed with delightful listening. Cy Feuer and Ernie Martin as perfect material found to lack the combination of flexibility and be his shining soprano lead, but the hot- Aunt and it received fairly tepid notices. But it money. Many of Frank’s friends were delighted Every time you breeze through Frank for a musical. (For some insights into their first flair that Feuer and Martin found essential. tempered songsmith grew so outraged with her survived on genuine audience affection for the when he finally divorced her in the 1950s, Loesser’s terrific score, the first thought that show, Where’s Charley?, see below.) So they then turned to Abe Burrows, riding “break” near the end of I’ll Know that he lead, Ray Bolger, and his big song Once In Love although it meant an end to one of their comes to your mind is how good it is.The tunes The major source of their inspiration was a high as the head writer on the wildly successful supposedly slapped her during an orchestra With Amy. wickedest witticisms: referring to Lynn as “the bounce, the lyrics snap, the performances have story called “The Idyll Of Miss Sarah Brown”, radio comedy series Duffy’s Tavern. He grasped rehearsal, only to return ten minutes later with a No complete original Broadway cast evil of two Loessers”. just the right edge. about a Salvation Army “doll”who worked the Runyon style as quickly as Loesser had and diamond necklace. recording exists, because the show opened Or as Frank wrote: Just like the rye and ginger ale highballs that among the lowlifes in Times Square. before long, a promising show was being Sam Levene’s Nathan Detroit sings hardly at during the 1948 “Petrillo Ban”, in which the “Call it sad, call it funny, were such popular drinks when the show came Runyon had based his character on the real- assembled. all, which – to be honest – is a good thing. His head of the musicians’ union, James Petrillo But it’s better than even money out, it goes down nice and smooth, with a life Captain Rheba Crawford, known as “the Veteran playwright and director George S. character originally had four songs, but they battled with the record companies over a better That the guy’s only doing it for some doll.” pleasing kick following not too far behind. angel of Broadway”, who had led a series of Kaufman was once one of the hottest names in were gradually whittled away due to the actor’s deal for his players. After the ban ended in Only later on, do you become aware of just successful all-night prayer meetings in the the theatre, with shows like You Can’t Take It vocal ineptitude, with the last one “Travelin’ 1949, Bolger and his leading lady Allyn McLerie Richard Ouzounian how smartly each song fits each character and Broadway area in 1922. With You and The Man Who Came To Dinner to Light”, being cut only a few hours before the their situation, with a minimum of apparent As soon as Feuer and Martin secured the his credit, but when Feuer and Martin New York opening night, 24 November 1950. NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia strain. rights, they offered the score to Frank Loesser approached him to stage Guys and Dolls,he The show was an enormous hit, ran 1200 www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 2 8.120786 3 8.120786 4 8.120786 120786bk Guys&Dolls 4/11/04 4:42 PM Page 2

Guys And Dolls 14. Sue Me 2:25 21. Make a Miracle 3:29 All Music & Lyrics by Frank Loesser Original Broadway Cast Vivian Blaine & Sam Levene Ray Bolger & Allyn McLerie, with orchestra Transfers & Production: David Lennick 15. Sit Down,You’re Rocking the Boat conducted by Sy Oliver Digital Restoration: Graham Newton 1. Runyonland Music; Fugue for Decca 40065, mx W 74760 2:11 Original 78s from the collections of David Tinhorns 2:05 Recorded 15 February 1949 Stubby Kaye, Johnny Silver & Douglas Deane Stubby Kaye & Chorus Lennick and the Belfer Audio Laboratory and 22. The New Ashmolean (Marching Archive, Syracuse University 2. Follow the Fold 1:15 16. Marry the Man Today 2:53 Society And Students Conservatory Cover: 1929 poster of New York Broadway (Mary Isabel Bigley & The Mission Group Vivian Blaine & Isabel Bigley Band) 2:31 Evans Picture Library); ‘dollies’ by Ron Hoares 3. The Oldest Established 2:35 17. Guys and Dolls: Reprise 0:38 Johnny Mercer with Paul Weston’s Orchestra Guys And Dolls Chorus Sam Levene, Stubby Kaye, Johnny Silver & Capitol 15385, mx 3881-3D-4 Producer’s Note Chorus Orchestra conducted by Irving Actman Recorded April 1949, Hollywood By the time Guys And Dolls came to Broadway, 4. I’ll Know 3:29 Decca 27379/85, mx W 80219/32 23. My Darling, My Darling 2:30 Issued as 78 album Decca DA 825 and ‘LP’ the long-playing record (‘LP’) had been Robert Alda & Isabel Bigley Jo Stafford & Gordon MacRae & The established as the favoured format for Original DL 8036 Starlighters, with orchestra 5. A Bushel and a Peck 1:32 Cast Albums,with the 45 RPM version running a Recorded 3 December 1950, New York Capitol 15270, mx 3462-4D-4 Vivian Blaine & The Hot Box Girls distant second and 78s barely noticed. But they Alternative Versions Recorded 23 September 1948, Hollywood still existed, and so most Broadway shows 6. Adelaide’s Lament 3:18 24. Once in Love with Amy 3:04 continued to be issued at all 3 speeds through Vivian Blaine 18. The Three-Cornered Tune 2:49 Dinah Shore with Henri René’s Orchestra Norman Wisdom with Norrie Paramor’s 1953. Luckily so, because many early micro- 7. Guys and Dolls 2:50 RCA Victor 20-4107, mx E1-VB-592-2 Orchestra & Chorus groove recordings were uneven in quality,while Stubby Kaye & Johnny Silver Recorded 8 March 1951, Hollywood English Columbia DB 3133, mx CA 22266-1A the 78 RPM issue of Guys and Dolls, on a near- 8. If I Were a Bell 2:53 Recorded June 1952, London mint Canadian pressing, proved to be the best 19. Sue Me 2:54 sounding source for this transfer. Ray Bolger’s Isabel Bigley Morey Amsterdam with Al Goodman & His 25. Make a Miracle 3:03 Lynn & Frank Loesser with piano songs from Where’s Charley? were issued as a 9. My Time of Day 1:55 Orchestra premium pressing on non-breakable ‘Deccalite’. Robert Alda RCA Victor 45-0091, mx E0-VB-5751 Mercury 5307, mx 2762-2 Recorded c.April 1949 The remaining selections were issued as 10. I’ve Never Been in Love Before 2:37 Recorded 18 October 1950, New York conventional 78s, but quiet vinyl pressings were Robert Alda & Isabel Bigley Bonus Track often made exclusively for radio stations. The 11. Take Back Your Mink 2:52 Where’s Charley? 26. Baby It’s Cold Outside 2:22 tracks by Dinah Shore, Johnny Mercer and Jo Vivian Blaine & The Hot Box Girls Various Recordings Featured in the film Neptune’s Daughter Stafford & Gordon MacRae were transferred from these ‘disc jockey’ issues, recently found in 20. Once In Love with Amy 4:19 Lynn & Frank Loesser with piano 12. More I Cannot Wish You 2:29 a private collection. Pat Rooney,Sr. Ray Bolger, with Orchestra & Chorus Mercury 5307, mx 2761-2 conducted by Sy Oliver Recorded c.April 1949 David Lennick 13. Luck Be a Lady 3:00 Decca 40065, mx W 74761 Robert Alda & The Guys Recorded 15 February 1949 Also Available: SOUTH PACIFIC Original 1949 Broadway cast and bonus recordings (8.120785)

5 8.120786 6 8.120786 120786bk Guys&Dolls 4/11/04 4:42 PM Page 2

Guys And Dolls 14. Sue Me 2:25 21. Make a Miracle 3:29 All Music & Lyrics by Frank Loesser Original Broadway Cast Vivian Blaine & Sam Levene Ray Bolger & Allyn McLerie, with orchestra Transfers & Production: David Lennick 15. Sit Down,You’re Rocking the Boat conducted by Sy Oliver Digital Restoration: Graham Newton 1. Runyonland Music; Fugue for Decca 40065, mx W 74760 2:11 Original 78s from the collections of David Tinhorns 2:05 Recorded 15 February 1949 Stubby Kaye, Johnny Silver & Douglas Deane Stubby Kaye & Chorus Lennick and the Belfer Audio Laboratory and 22. The New Ashmolean (Marching Archive, Syracuse University 2. Follow the Fold 1:15 16. Marry the Man Today 2:53 Society And Students Conservatory Cover: 1929 poster of New York Broadway (Mary Isabel Bigley & The Mission Group Vivian Blaine & Isabel Bigley Band) 2:31 Evans Picture Library); ‘dollies’ by Ron Hoares 3. The Oldest Established 2:35 17. Guys and Dolls: Reprise 0:38 Johnny Mercer with Paul Weston’s Orchestra Guys And Dolls Chorus Sam Levene, Stubby Kaye, Johnny Silver & Capitol 15385, mx 3881-3D-4 Producer’s Note Chorus Orchestra conducted by Irving Actman Recorded April 1949, Hollywood By the time Guys And Dolls came to Broadway, 4. I’ll Know 3:29 Decca 27379/85, mx W 80219/32 23. My Darling, My Darling 2:30 Issued as 78 album Decca DA 825 and ‘LP’ the long-playing record (‘LP’) had been Robert Alda & Isabel Bigley Jo Stafford & Gordon MacRae & The established as the favoured format for Original DL 8036 Starlighters, with orchestra 5. A Bushel and a Peck 1:32 Cast Albums,with the 45 RPM version running a Recorded 3 December 1950, New York Capitol 15270, mx 3462-4D-4 Vivian Blaine & The Hot Box Girls distant second and 78s barely noticed. But they Alternative Versions Recorded 23 September 1948, Hollywood still existed, and so most Broadway shows 6. Adelaide’s Lament 3:18 24. Once in Love with Amy 3:04 continued to be issued at all 3 speeds through Vivian Blaine 18. The Three-Cornered Tune 2:49 Dinah Shore with Henri René’s Orchestra Norman Wisdom with Norrie Paramor’s 1953. Luckily so, because many early micro- 7. Guys and Dolls 2:50 RCA Victor 20-4107, mx E1-VB-592-2 Orchestra & Chorus groove recordings were uneven in quality,while Stubby Kaye & Johnny Silver Recorded 8 March 1951, Hollywood English Columbia DB 3133, mx CA 22266-1A the 78 RPM issue of Guys and Dolls, on a near- 8. If I Were a Bell 2:53 Recorded June 1952, London mint Canadian pressing, proved to be the best 19. Sue Me 2:54 sounding source for this transfer. Ray Bolger’s Isabel Bigley Morey Amsterdam with Al Goodman & His 25. Make a Miracle 3:03 Lynn & Frank Loesser with piano songs from Where’s Charley? were issued as a 9. My Time of Day 1:55 Orchestra premium pressing on non-breakable ‘Deccalite’. Robert Alda RCA Victor 45-0091, mx E0-VB-5751 Mercury 5307, mx 2762-2 Recorded c.April 1949 The remaining selections were issued as 10. I’ve Never Been in Love Before 2:37 Recorded 18 October 1950, New York conventional 78s, but quiet vinyl pressings were Robert Alda & Isabel Bigley Bonus Track often made exclusively for radio stations. The 11. Take Back Your Mink 2:52 Where’s Charley? 26. Baby It’s Cold Outside 2:22 tracks by Dinah Shore, Johnny Mercer and Jo Vivian Blaine & The Hot Box Girls Various Recordings Featured in the film Neptune’s Daughter Stafford & Gordon MacRae were transferred from these ‘disc jockey’ issues, recently found in 20. Once In Love with Amy 4:19 Lynn & Frank Loesser with piano 12. More I Cannot Wish You 2:29 a private collection. Pat Rooney,Sr. Ray Bolger, with Orchestra & Chorus Mercury 5307, mx 2761-2 conducted by Sy Oliver Recorded c.April 1949 David Lennick 13. Luck Be a Lady 3:00 Decca 40065, mx W 74761 Robert Alda & The Guys Recorded 15 February 1949 Also Available: SOUTH PACIFIC Original 1949 Broadway cast and bonus recordings (8.120785)

5 8.120786 6 8.120786 GUYS AND DOLLS 8.120786 18. The Three-Cornered Tune Tune TheThree-Cornered 18. A Tom Pedi Pat Rooney Vivian Blaine O GUYS 9 SueMe 19. GuysAndDolls:Reprise 17. MarryTheManToday 16. SitDown,You’re RockingTheBoat 15. SueMe 14. LuckBeALady 13. ICannotWish You More 12. Take Back Your Mink 11. I’veNeverBeenInLoveBefore 10. h www. NOTES ANDFULLRECORDING DETAILS INCLUDED Graham Newton Restoration: Digital DavidLennick Transfers and Production: .MyTime OfDay 9. IfIWere ABell 8. GuysandDolls 7. Adelaide’sLament 6. ABushelAndPeck 5. I’llKnow 4. FollowTheFold 2. RunyonlandMusic;FugueForTinhorns 1. .TheOldestEstablished 3. LTERNATIVE RIGINAL & R g USTY 04NxsRgt nentoa t.Dsg:RonHoares Design: Ltd. 2004 NaxosRightsInternational naxos.com C HARLIE C Morey Amsterdam Morey A H DELAIDE AST ARRY S A KY V RVIDE M ERSIONS 2:05 & S R T ISS & HE ECORDING & N S N S A A ISTER ISTER KY S S ICELY H BERNATHY DELAIDE KY ISTER A ATHAN ORSE & T DOLLS DELAIDE S S 1:55 : A & B ARAH ARAH A S HE A DELAIDE ARAH N DELAIDE • DELAIDE ATHAN • G G ENNY 2:25 A Johnny Silver • UYS Y AND UYS RVIDE 2:54 Dinah Shore 1950, 3:29 Sam Levene 2:53 3:18 & T .S Pully S. B. & T ,N & T 2:50 3:00 & S HE S ICELY 2:29 HE KY HE M D ISTER CONDUCTOR OLLS ISSION H & S Made inCanada Total Time:69:34 ,B H N OT OT ENNY ICELY S ISTER C ARAH B B G HORUS OX B 2:49 OX N ROUP N IG & C & C Music & Lyrics byFrankLoesser Music &Lyrics ICELY S G ATHAN G ARAH B J 2:53 IRLS ULE IRLS ENNY HORUS HORUS ,B 0:38 1:15 I ENNY • 1:32 2:37 RVING 2:52 D S Stubby Kaye ETROIT OUTHSTREET 2:35 2:11 & A • 8.120786 CTMAN Isabel Bigley NEPTUNE’SDAUGHTER OnceInLoveWith Amy 20. WHERE’SCHARLEY? Bonus SongsbyFrankLoesser 6 BabyIt’sColdOutside 26. MakeAMiracle 25. OnceInLoveWith Amy 24. MyDarling,Darling 23. TheNewAshmolean(Marching 22. MakeAMiracle 21. V ARIOUS • Johnny Mercer Ray Bolger&AllynMcLerie Jo Stafford & Gordon MacRae &Gordon Jo Stafford tory Band) Society AndStudentsConserva- Lynn &FrankLoesser Lynn Norman Wisdom Norman Ray Bolger Lynn &FrankLoesser Lynn Douglas Deane : N ICELY Robert Alda R -N ECORDINGS ICELY S 2:31 ISTER J OHNSTON 3:29 3:03 S ARAH R S KY USTY 1948-1952 M B 2:22 ROWN ASTERSON C 2:30 3:04 4:19 HARLIE

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GUYS AND DOLLS AND GUYS 8.120786