LUELLA PAIKIN The famous soprano makes magnificent first Records for " Vocation " PINK LABEL SECTION LUELLA PAIKIN (Soprano)

La Capinera (In Italian) Julius Benedict Lo ! here the gentle Lark (In English) A-0236 12" 516 Shakespeare-Bishop With Piano acts. by Ivor Newton and Flute obbligatos , by Charles Stainer

MISS LUELLA PAIKIN, who has made these two beautiful records is one of many notable operatic artists of British birth who are even better known abroad than at home.

In Miss Paikin's case this came about through the discernment of that experienced judge and famous conductor, Leopoldo Mugnone, who having heard her at Covent Garden was so favourably impressed that he invited her immediately to go to Italy. Here she was engaged at once to sing Gilda in " " and the title part in "Lucia" at the famous San Carlo Opera House, , and in the result her success was so great that she was immediately re-engaged for a series of thirty-two performances and subsequently sang at all the other leading Italian opera houses, being every- where received with the utmost enthusiasm. Among many notable admirers of this young English artist mention may be made particularly of Mussolini, who congratulated her personally again and again. Another was D'Annunzio, who wished her to appear in an opera based on one of his plays, while more striking still was the testimony of Tetrazzini, who invited her to stay and study with her in Italy so that she might give her the benefit of her own unrivalled experience. A Lancashire girl by birth, whose musical talents attracted attention from the first, it was as a pianist that Miss Paikin began her musical studies at the , Manchester, although she had her voice trained simultaneously by Mme. Marie Brema. Then one day she was heard by Sir , who expressed the opinion that she should certainly adopt it vocal career, for preference on the stage, and this settled the matter. Nor has she ever had the smallest occasion to regret that she took Sir Thomas's advice. fine It may be of interest to add that these two records are actually the first which Miss Paikin has ever made, though they will assuredly not be the last, since she will be making many others in due course for the exclusive enjoyment of 'Vocalion' patrons. Her pure sweet tones are wonderfully adapted to recording purposes. Operatic, Ballads. etc.

ETHEL HOOK ROY HENDERSON ETHEL HOOK (Contralto) Abide with Me Liddlel The Lost Chord Sullivan f K-0"831"416 With Orchestral Accompaniments . I T may be of interest to state perhaps that these particular titles, together with several others which will follow in subsequent issues, have been specially asked f or and record- ed for Australia where this artist is a great favourite. To which however it scarcely needs adding that they will assuredly fend no less ready appreciation in this country where Miss Ethel Hook in virtue of the lovely quality and peculiarly appealing timbre of her voice. which she uses so artistically, numbers her admirers also by the hundred thousand. ROY HENDERSON (Baritone) Adamastor, Roi des Meyerbeer vagues profondes . . "L'Africana" (Adamastor. King of the Ocean) In French K-OS185 12" 4/6 Woo thou thy "Ivanhoe" Sullivan snowflake . In English. With the Aeolian Orchestra T HAT the career, in the familiar French saying, is open to the talents has been strikingly exemplified once more by the case of the brilliant young baritone. Mr. Roy Hender- son Since his appearance a few months ago at a Philharmonic Concert when he made such a pro iigious hit in Delius 's "Mass of Life" he has had an enormous number of engagements all over the country and has taken his place definitely among the most remarkable and promising young singers of the day. In London his most stailsing success since that event has been in the R.A.M. production, at die New Scala Theatre, of Verdi 's "" in which he took the part of Ford. His two latest records listed here are operatic and show him again at his best as an interpreter of dramatic music. HORACE STEVENS (Bass-Baritone) A Voice by the Cedar Tree A. Somervell Cycle Songs-Tennyson's "Maud" From of K95186 12'4!6 (a) 0 that 'twere possible (b) 0 let the Solid Ground (c) Go not happy Day. A Somervell From Cycle of Songs-Tennyson s "Maud" Piano Accompaniments by Stanley Chapple I T was in a happy hour that Dr. Arthur Somervell was drawn to Tennyson's "Maud" as material for musical treatment and the song-cycle which resulted has long since taken established place among its class. Four of the most delightful songs from series an by Mr. a each one of which is beautiful have been chosen in the present instance Stevens, and so finely and sympathetically has he interpreted them that one may be permitted to hope that he will give us some more from the some work on a future occasion. Ballads E Instrumental

BLUE LABEL SECTION

ALBERT SAMMONS MALCOLM McEACHERN (Bass) The Fishermen of Montague 'Phillips (From "The Rebel Maid'") j X-9610 10" 31- Liza Lehmann Myself when young (From "In a Persian Garden"1 With Piano Accompaniments by Stanley Chapple f( jýM /jYSELF when young," from Liza Lehmann's "In a Persian Garden"-another British song-cycle which has enjoyed unlimited popularity-is one of those things which Mr. Malcolm McEachern of course had to Aive us sooner or later. For where is the basso worthy of the name who does not include this immensely Popular number in his repertoire ? But though many feel themselves "called" to display their powers in this engaging ditty it is few only who can be ranked in this case among the "chosen"-and fewer still even of these who can call on such glorious vocal resources-in the matter alike of volume and of quality-as Mr. McEachern is lucky enough to command. And in "The Fishermen of England," one of the happiest numbers from Montagna Phillip's charming light opera " The Rebel Maid," those same resources are no less eH'ec- tively exploited in mu-ic equally grateful. Incidentally it may be noted that Mr. McEachern is making no fewer than three separate appearances at the "Proms" this season -a sufficien"ly convincing indication this of the popularity enjoyed by this rarely-endowed artist with the concert-going public. ALBERT SAMMONS (Violin) From the Canebrake, Op. 5, No. 1 Samuel Gardnerl . . X-9611 10" 31- Slavische Tanzweisen, No. 1 Door . . aik-KreislerJ Piano Accompaniments by Ethel Hobday TWO delightfully-contrasted numbers make up here a very attractive double-sided record. Every one knows and loves Dvorak s Slavonic Dance (No. 1) with its lovely lilting melody and rich warm colouring and many thousands must have heard it played in his own irresistible style by our premier native violinist. For those who have not yet had this pleasure here is the opportunity to repair the omission since it is as near as needs be to hearing Mr. Sammons himself to listen to this perfect record; while the others may find no less delight in renewing a pleasure already enjoyed in the past and in noting incidentally as they do this how marvellously near in this ease is the reproduction to the real thing. From the Canebrake," by Samuel Gardner, if of a humbler order from the standpoint less, of the higher criticism than Dvorak's work, has charm and fascination none the to which Mr. Sammons does full ju'site as a matter ofcourse-" with him" (as the lawyers say) in both examples Miss Ethel Hobday is a most sympathetic helpmate at the piano. YORK BOWEN has The master pianist who, with the Aeolian Orchestra, given us wonderful records of Beethoven's glorious Concerto No. 4, Op. 58, recorded in its entirety. PINK LABEL SECTION

YORK BOWEN (Pianoforte) With the Aeolian Orchestra conducted by Stanley Chapple

Concerto No. 4. G Op. 58 (Complete) Beethoven) in major, A-0237 12" 5/6 1st Movement. Allegro Moderato, Parts I & III

Ditto, Parts III & IV (Cadenza by York Bowen) } A-0238 12" 516 . Ditto, 2nd Movement. Andante con moto A-0239 12" 5/6 3rd Movement. Rondo-Vivace, Part I II & III Ditto. 3rd Movement. Rondo-Vivace, Parts A-0240 12' 516 (Cadenza by York Bowen) THIS is a magnificent record-or set of records-of one of the grandest and most famous creations in the whole range of classical music. last Beethoven wrote in all five pianoforte concertos, of which the two are between by common consent incomparably the greatest. To make choice as these two is however much more difficult. Both are so fine that it is hard to say which is the greater. The concerto in G appears to have been composed in 1805 and was first played in public by Beethoven himself on December 22nd, 1808 at a Pastoral truly remarkable concert which included also the C minor and heard for symphonies and the Choral Fantasia-all being likewise the first time I As regards the concerto it was not very warmly appreciated and indeed for many years afterwards it remained comparatively unknown. Then Mendelssohn, who helped to win recognition for so many neglected masterpieces, and who had a particular admiration for this work, took to playing it frequently and nowadays the only wonder is that there should ever have been any sort of difficulty in appreciating a work so packed with beauties. Especially noteworthy is the lovely and highly original slow movement, with its strange alternations of roughness and tenderness, of which Schumann poetically said that it seemed to suggest Orpheus taming the brute creation. Mr. To the brilliant character of the record, in the making of which Stanley York Bowen as soloist and the Aeolian Orchestra under Mr. Chapple have co-operated to such splendid purpose, it is hardly necessary to refer in detail, but attention may be directed to the happy character of Mr. Bowen's two cadenzas which are of his own composing.

is No. Far th.:..i..r...aN..a thnao nae miniature acorea the fourth Piano Concerto 43 of who (price in the Philhirmonia series. pnblishedby Hawkes & Son. Denman St., London, W.1 41-) HOWARD BLISS ('Cello) Larghetto Handel, arr. Willeke K-05187 12" 416 Arioso. . Oach 'Cello Solos. Piano Accompaniments by M. 0. Marshall

IT was a happy idea on the part of Mr. Howard Bliss to couple these two lovely slow movements which, while illustrating most instructively the individual characteristics had in of Bach and Handel. show at the same time how much they common. Truly Handelian in its breadth and dignity and manifest beauty is the lovely Larghetto a.d not less typical of Bachin its suggestion of serenity and rapture and deep innerfeeling is the exquisite Arioso by which the latter is here represented. In a word each is typical of its creator but beauty is the common denominator of both. And Mr. Bliss as a true servant of his art shows himself an equally sympathetic interpreter of each.

ALFRED CAMMEYER (Vi6ranteZither Banjo) A Winter's Tale A. Cammeyer X-9569 10" 31- Valse Penchant . . A. Cammeyer Assisted by Bernard Sheaff .

T is just as well that we should be reminded from time to time not only what fine work can be accomplished by the humbler members of the instrumental family but also how highly they are esteemed by countless music lovers. Certainly if all musicians could rely on securing even a fraction of the appreciation which Mr. Cammeyer never fails to elicit on the part of the average listener by his wonderful banjo solos all would be well content. In these two effective numbers from his own clever pen he is heard once again, with Mr. Bernard Sheaff as partner, at the top of his form.

THE BAND OF H.M. LIFE GUARDS Under the direction of Lieut. H. Eldridge Hungarian Rhapsody, No. 1 Liszt } Parts I & II K-05188 12" 4/6

W HO does not know and love the famous Hungarian Rhapsodies of Liszt which, though he himself rated them so much lower than some of his more "serious" compositions. the world at large has agreed none the less in liking so much better than anything else which he wrote 7 Brilliant, fantastic, wayward, rich in melody and gorgeous in colour, they are indeed masterpieces of their kind which have never been surpassed and which have been rightly ranked accordingly among the finest things which their creator ever did. No wonder that they are so perennially popular. Of the particular example here presented Guards Band have Lieut. Eldridge and the Life made a magnificent record, abundantly justifying once again the universal verdict which has placed them at the head of all comers in their own particular class. Light Orchestral

BLUE LABEL SECTION

Brilliant Piano Duets by the Famous Jazz Pianists

ARTHUR YOUNG and CARROLL GIBBONS

Shanghai Shuffle Rodemicb-Conley ) Charleston Johnson-Mack X-9614 10" 31- (Fox-trots)

T HOSE who found such delight in the records issued last month of these clever young ragtime duettists will doubtless be glad to have from the same source a couple more possessed of the same sparkling qualities which won such favour for the earlier issues. Anyone-or, to be quite accurate, any two!-can play duets-from the young ladies who rejoice the hearts of their adoring parents at school prize-pivings upwards. But to play piano duets after the manner of Messrs. Gibbons and Young is something very different. One has heard of two hearts that best as one, but here you have the much more uncommon achievement of four hands that playas two. Of the two numbers presented this time both are representative of the very latest examples of American jazz music-"Charleston" in particular exploiting a new rhythm over which they are going crazy in the States at present and which bids fair to become no less a rage over here in due course-if only because it gives dancers opportunities for new "steps."

FERRERA 8 FRANCHINI (Hawaiian Guitars) Wonder I love Yates-Bray ' why you X-9615 10" 3 Silver Sands of Waikiki Smolev-Russo }

IF Messrs. Gibbons and Young perform marvels on the pianoforte, Ferrera and Franchini are no less remarkable for the things which they do together on their Hawaiian Guitars MozartandlBeethoven but -instruments which may have been unknown to which would certainly have astounded and (we make bold to add) delighted even those fastidious masters could they have heard them. Mozart in particular, who wrote things for every conceiv- his day, able music-producing contrivance of including even a musical clock, would certainly have been quick to turn to account (one may be sure) their unusual possibilities in the matter of tone-quality and colour-even if the music which resulted would not have been quite the same as that in which Messrs. Ferrera and Franchini delight their hearers. BLUE LABEL SECTION

MOSCHETTO AND HIS ORCHESTRA AT THE SAVOY HOTEL, LONDON

MOSCHETTO AND HIS ORCHESTRA At the Savoy Hotel, London Yamschik Leonardi-Morelli

Chanson Hindoue R1msk_v-KorsahovI " 7"14 1" 'jJ- From "Sadko" . Canta it Billi ) grillo . X-9613 10" 3/- Le Tango du Reve Malderen I . . I T is indeed one of those economic paradoxes which abound in these queer times that performers and performances "thrown in" so to speak, with one's lunch or one's dinner, should sometimes be so vastly better than those which one is asked to pay good money for in the concert room. But the explanation is of course simple enough. For while any- one can give a concert who can find the money for a hall his credentials must be very different who hopes to play at one of the great hotels and restaurants. Take as an illustration these performances of Signor Moschetto and his Orchestra who are now entrancing audiences nightly at the Savoy Hotel. We have no hesitation in claiming that they constitute absolutely the finest reoordings which have ever been produced in music of this class, as regards alike the brilliance of Moschetto's solo playing and the finish of the performances as a who! e. And it is in this belief that we have arranged with Signor Moschetto to continue supplying us with other exclusive records of the same kind for the benefit of the 'Vocalion' pubic. Where all are so good it is hard to particularise but attention may be called perhaps to the truly exquisite performance, the last word in delicacy and refinement of Rimsky- Korsakoff's ever-popular "Chanson Hindoue." It may be of interest to add perhaps that before his services were secured for the Savoy Signor Moschetto enjoyed great popularity as a well-known concert player in his native Italy-he hails from -and in the South of France. Dance Music

BLUE LABEL SECTION Brilliant Dance numbers snappily recorded by famous Bands ./- 10" DOUBLE-SIDED AMONG a fine selection of dance issues, "put over" as usual with irresistible vim and verve by some of the most famous Dance Orchestras-both British and American-ofthe day, "Hey, hey! Hee, hee!" is one with the previously-mentioned " Charleston " rhythm whose Delysia's popularity is assured, while "Poor little rich girl" is one of most taking numbers from "On with the Dance" at the London Pavilion, which is likewise finding universal favour. These have both been recorded in brilliant style by the Geoffrey Goodhart Orchestra, "Where is that Girl?" is another captivating Goodhart item, while "Don't bring Lulu," "Just a Little Drink." and "Happy Melody" may be mentioned likewise as pre-destined "winners." GEOFFREY GOODHART & HIS ORCHESTRA At the Piccadilly Hotel, London Where is that Girl who was stolen from me?Melcliffe-Vincent- X-9616 Fox-trot Herbert Ah-Ha ! Fox-trot Monaco GEOFFREY GOODHART & HIS ORCHESTRA At the Piccadilly Hotel, London Hey Hey! Hee Hee! Fox Booker-Matson-Mills and trot X-%17 (I'm Charleston Crazy) Poor Little Rich Girl Fox-trot Noel Coward (from " On with the Dance ") BEN BERNIE & HIS HOTEL ROOSEVELT ORCHESTRA l I had someone else before I had you Harris-Darcy-Stanley X-9603 Yearning Fox-trots Davis-Burke )F BEN SELVIN & HIS ORCHESTRA Don't bring Lulu Fox-trot Rose-Brown-Henderson THE TUXEDO ORCHESTRA X-9604 Just a little Drink Fox-trot (with vocal refrain). Gay BEN BERNIE & HIS HOTEL ROOSEVELT ORCHESTRA Happy Melody. Fox-trot Caesar-Anderson-Charig-Bernie THE MIAMI MARIMBA BAND X-9605 Midnight Waltz. Waltz Kahn-Donaldson BEN BERNIE & HIS HOTEL ROOSEVELT ORCHESTRA Cheatin' on Me Fox-trot Yellen-Pollack X-9618 Pango Pango Maid Fox-trot. Bibo-Phillips . THE AMBASSADORS Twilight, the Stars and You Brown X-9619 Oh, . . Brown Veral Fox-trots with vocal refrains . Alphabetical List of Titles

Reprint of Titles published in June, July and August, 1925

Title Artist No. Price X-9586 10" 3'- Ain't my baby grand. Fox-trot The Tuxedo Orch. and Please be good to my old girl. Fox-trot Air de Ralph "La Jolie Fille de Perth" R. Henderson, Baritone X-9580 10" 3- (in French) and Don Juan's Serenade Alabamy Bound. Fox-trot and Ben Selvin and his Orch. X-9577 10" 3'- 06! Mabel. Fox-trot X-9592 31- Alabamy Bound and C. Gibbons & A. Young 10" Lucky Kentucky Fox-trot Piano Duets X-9582 10' 3ý- Allegro Spiritoso (Senallie arr. Salmon) & H. Bliss, 'Cello Siciliano (Locatelli de Swert) arr. K-05174 12' 46 Barcarolle (Tchaikovsky) and L. Tertis, Viola Trio No. Vii., Op. 16 A. Sammons, Violin; L. Testis, 3rd movt. Allegretto (Mozart) Viola; E. Hobday, Piano Berceuse (Jarnefelt) and The Aeolian Orchestra X-9571 10" 3- Puck's Minuet (Howells) Boheme, La-Selection. Parts I & ll. Band of H M. K-05182 12" 4/6 (Puccini) Life Guards Quartet X-9600 10" 3/- Can you bring back the heart I gave Ferrera & Franehini you Hawaiian Love Nest Hawaiian Guitars and 76, 2 York Bowen, Pianoforte X-9598 10" 5!- Capriccio in minor r, Bl and WOp. to Polden, Op. 76 (York Bowen) Capnocio Italien, Op. 45(Tchaikovsky) Band of H.M. Life Guards K-05175 12" 4ý6 Parts 1. & 11. Ca rice Accidental and A. Cammeyer, Banjo K-05170 12" 46 The Gypsy Queen Assisted by B. Sheaf . Selection Band of H.M. Life Guards K-05178 12" 4(6 Parts I. & 11. China Girl Fox-trot A. Wylie's Golden Pheasant Orch. X-9588 10" 37- and No Wonder Fox-trot Ben Selvin & his Orch. Costanza, Costanza 11 Seraglio' In Italian F. Titterton, Tenor K-05172 12" 41 and Where er you walk Semele" Darby and Joan and Ethel Hook, Contralto X-9570 10" 3- Ships of my Dreams Death's Serenade. "The Death Cycle" V. Rosing, Tenor A-0235 12" 5'6 and Trepak. The Death Cycle" (in Russian) Don Juan's Serenade and R. Henderson, Baritone X-9580 10" 3'- Air de Ralph. "La Jobe Fille de Perth" (In French) En Sourdine and Valdenie and his Orch. X-9583 10' 3/- Idylle Passionnelle Far-off Tide, A and P. St. Clair, Contralto X-9581 10' 5- Shepherd's Cradle Song Florida Fox-trot and The Tuxedo Orch. X-9587 10" 3 - That s my Girl Fox-trot The Ambassadors From in Fairyland and M. McEachern, Bass K-05171 12" 46 The Mighty Deep Golden Sonata, The, Op. 16, No. 51 A. Fachiri & J. d'Aranyi K-05177 12" 46 Parts I. & 11. (Purcell, arr. Mofat) Violins Gipsies (Graham Peel) Constance Willis. Contralto X-9596 10" 3/- The Monkey's Carol (Stanford) and 44 "queen, The and A. Cammeyer. Banjo K-05170 12" Caprice Accidental Assisted by B. Sheaf Hawaiian Love Nest Ferrera & Franchini Quartet X-9600 10" 31- and Can you bring back the heart I gave you? Hawaiian Guitars Hiawatha's Vision. "Hiawatha" and H. Stevens, Bass-Baritone K-05176 12' 4,1 The Pipes of Pan NNNdlu Fox-trot G. Goodhart & his Orch. X-%06 10" 3/- and Rose of Japan Fox-trot Alphabetical List of Titles

Reprint of Titles published in June July and August, 1925, cont. Title Artist No. Price I can't realise (you love me) Fox-trot G. Goodhart & his Orch. X-9607 I0" 31- and Ukulele Lady Fox-trot Idle Passionnelle and Valdenie and his Orch. X-9583 10" 31- n Sourdine I'll seeouWhat in my dreams. Fox-trot G. Goodhart and his Orcb X-9574 10" 31- and a Life, Fox-trot I look Into your Garden and Winifred Dalle. Soprano X-9573 10" 31- The Reason Why Jenny's Mantle from "Songs of the Four Frank Titterton, Tenor X-9595 10" 31- Nations" (art. Somervell) and Turn ye to me (Traditional) Keep smiling at Trouble. Fox-trot and Bernie & his Roosevelt Orch. X-9578 le" 3/- Sun-kilt Cottage in California. Fox-trot The Ambassadors Leander. from "Katja Fox-trot and The London Band X-9567 10" 3/- Totem Tom-Tom. from "Rose-Marie" Fox-trot Lovely Lady. Waltz and Miami Marimba Band X-9576 10" 31- Me Neenyah. Fox-trot The Ambassadors Lucky Kentucky C. Gibbons & A. Young X-9592 10" 3/- Alabamy Bound Fox-trot Piano Duets and X-9585 Maybeý )ou will. Fox-trot G. Goodhart & his Orch. IC" 31- and When the moon shines in coral gables. Fox-trot Me Neenyah. Fox-trot and The Ambassadors X-9576 10' 31- Lovely Lady. Wa Miami Marimba Band tz K-05171 12' Mighty Deep, The aid M. McEachern. Bass 4/1 From Oberon in Fairyland Monkey's Carol, The (Stanford) and Constance Willis. Contralto X-9596 10" 3/- Gipsies (Graham Peel) No No, Nanette. Selection The Revue Orchestra X-9572 10" 31- 15artsI. & 11. No Wonder Fox-trot Ben Selvin & his Orch. X-9588 10" 3/- Pheasant Orch. and China Girl Fox-trot A. Wylie'sGolden Oh Katherina ! Fox-trot and Bernie & his Roosevelt Orch. X-9602 10" 31- We'rn back Fox-trot Austin Wylie's Golden together again Pheasant Orch. Ohl Mabel. Fox-trot and Ben Selvin and his Orch. X-9577 10" 31- Alabamy Bound. Fox-trot On hearing the first Cuckoo in Spring Modem Chamber Orch. K-05181 12' 4/1 (Delius) and A Sons before Sunrise (Delius) Othello Suite. Selection Regent Symphony Orch. K-05179 12" 411 Parts I. & 11. Pibroch, The "Songs of a Roving Celt" Watcyn Watcyns. Baritone X-9597 10" 31- (Stanford) West Country Lad "Tom Jon""and (German) Pipes of Pan. The and H. Stevens, Bass-Baritone K-05176 12" 4,'1 Hiawathas Vision. "Hiawatha" Please be good to my old girl. Fox-trot The Tuxedo Orch. X-9586 10" 3/- and Ain't my baby grand. Fox-trot Pogner's Address. Act ]., Scene 3 "Die M. Murray-Davey, Bass A-0234 12' 6/1 Meistersinger" In German and Qui sdegno non a accende (Within these sacred bowers) "11 Flauto Magico." In Italian Puck's Minuet (Howells) and The Aeolian Orchestra X-9571 10" 3,- Berceuse (Jarnefelt) Qui sdegno non s'scoende (Within these M. Murray-Davey. Bass A-0234 12' 511 sacred bowers) "]I Flauto Magico.' In Italian and Posner's Address. Act I., Scene 3 "Die Meistersinger" In German Alphabetical List of Titles

Reprint of Titles published in June and July, 1925, cont. Title Artist No. Price Reason Why, The and Winifred Dal16. Soprano X-9573 10" 31- I look into your Garden Remembrance The Op. 10 (Terschak) John Amadio, Flute X-9599 10" 31- Ungarische Fantasie (Buchner) and X-9606 10" 31- Rose of Japan Fox-trot and G. Goodhart & his Orch. Honolulu Fox-trot K-05173 12' 418 Sarabande. From B minor Suite (Bach) A. Fachiri, Violin and Spanish Dance (Granados-Kreisler) Seventeen Waltz Miami Marimba Band X-9601 10" 31- Golden Wait 'till the morning after Austin Wylie's Fox-trot (with Vocal Refrain) Pheasant Orch. Shepherd's Cradle Song and P. St. Clair, Contralto X-9581 10" 3/- A Far-off Tide Ships of my dreams and Ethel Hook, Contralto X-9570 10" 3!- Darby and Joan Siciliano (Locatelli arr. deSwert) and H. Bliss, 'Cello X-9582 10' 31- Allegro Spiritoso (Senallie arr. Salmon) Song before Sunrise, A (Delius) Modern Chamber Orch. K-05181 17' 416 and On hearing the first Cuckoo in Spring (Delius) Spanish Dance (Granados-Kreislex) and A. Fachiri, Violin K-05173 12' * 416 Sarabande. From B minor Suite (Bach) Sun-kist Cottage in California. Fox-trot The Ambassadors X-9578 10" 31- and Keep smiling at Trouble. Fox-trot Bernie & his Roosevelt Orch. Swanee Butterfly and Ben Selvin and his Orch. X-9594 I0" 31- While Hawaiian stars are gleaming Miama Marimba Band Fox-trots Tell me More. "Tell me More" Fox-trot G. Goodhart & his Orth. X-9584 10" 31- and Why do I love you? "Tell me more" Fox-trot That's my Girl Fox-trot The Ambassadors X-9587 10' 31- and Florida. Fox-trot The Tuxedo Orch. Totem Tom-Tom. "Rose-Marie" Fox-trot The London Band X-9567 10" 31- and Leander. from "Katia" Fox-trot Trepak "The Death Cycle" and V. Roving, Tenor A-0235 12' 516 Death's Serenade.' he Death Cycle- (In Russian) Trio No. VII., Op. 16(Mozart) A. Sammons, Violin; L Tertis K-05174 12" 416 3rd movt. Allegretto Viola; E. Hobday, Piano and Barcarolle (Tchaikovsky) L. Tertia. Viola Turn ye to fitte (Traditional) and Frank Titterton. Tenor X-9595 10" 3/- Jenny's Mantle from "Songs of the Four Nations" (arr. Somervell) Ukulele Lady Fox-trot G. Goodhart & his Orch. X-9607 10" 31- and I can't realise (you love me) Fox-trot UpgriseheFhe Fantasie (Buchner) and John Amadio, Flute X-9599 10" 31- Remembrance, Op. 10 (Tersehak) wait 'till the morning after (Fox-trot Austin Wylie's Golden X-9601 10" 31- with Vocal Refrain) and Pheasant Orch. Seventeen Waltz Miami Marimba Band Way to Polden, The Op. 76 (York Bowen) York Bowen. Pianoforte X-9598 10" st- and Capriccio in B minor. Op. 76, No. 2 (Brahms) We'retask together again Fox-trot Austin Wylie', Golden X-9602 10" 5/- Pheasant Orch. and Oh Katharina I Fox-trot Bernie & his Roosevelt Orch. West Country Lad "Tom Jones" (German) Watcyn Watcyns, Baritone X-9597 10" 3/- and The Pibroch "Songs of a Roving Celt" (Stanford) Alphabetical List of Titles

Reprint of Titles published in June, July and August, 1925. Title. Artist. No. Prit What a Life. Fox-trot and Cu Goodhart and his Orch. X-9574 10' 31- I'll see you in my dreams. Fox-trot The X-9593 When I think of you Fox-trot and Ambassadors 10" 31- Will you remember me ? Fox-trot When the moon shines in coral gables G. Goodhart & his Orch. X-9585 10" 31- Fox-trot and Maybe you will. Fox-trot Where'er you Walk "Semele" and F. Titterton, Tenor K-05172 12' 419 Costanza, Costanza. "11 Seraglio In Italian While Hawaiian stars are gleaming Miama Marimba Band X-9594 10" 31- and Swanee Butterfly Fox-trots Ben Selvin and his Orch. Who takes care of the caretaker's G. Goodhart and his Orch. X-9575 IC" 51- daughterP Fox-trot and You re so near and yet solar. Fox-trot Why do I love youls "Tell me more' Fox-trot C. Goodhart & his Orch. X-9584 101, 31- and Tell me More. "Tell me-More" Fox-trot Will You remember me P Fox-trot The Ambassadors X-9593 10" 3i- and When I think of you Fox-trot You're so near and yet so tar. Fox-trot G, Goodhart and his Orch. X-9575 IC" gl- and Who takes care of the caretaker's daughter? Fox-trot