cially apparent by the wise placement of have been assembled for this collection, guitar), Alex Hassilev (vocals and gui- the singer on the right, the orchestra on though they do not seem to possess suffi- tar). The Wabash Cannonball; Corn the left and center. cient variety or musical interest to sus- Whiskey; The Lute Player; Sleep Soft; No planning genius was wasted on the tain the two sides. In fact, you will find and eleven others. RCA V ICTOR LSP repertoire, however. The tenuous thread disturbing similarities from track to 2609 $4.98, LPM 2609* $3.98. that holds these twelve numbers to- track, particularly in the introductions gether is the use of the word "baby" to the Peter Gunn Theme and Baby Ele- Interest: Folk pastiche either in the song titles, the lyrics, or, phant Walk, and in the melodies of Performance: Slick in the case of Make It a Slow Goodbye, Recording: Very live the addition of a spoken "coda" con- Stereo Quality: Excellent sisting of a fondly whispered "Bye bye, baby." S. G. Recorded at the hungry ini San Fran- cisco, this is a characteristic Limeliters 0 0 BESSIE GRIFFIN: The Fabu- program. The numbers are balanced be- lous Bessie Griffin and the Gospel tween parodies and arch fantasies on the Pearls. Bessie Griffin and the Gospel one hand and more serious interpreta- Pearls (vocals). Didn't It Rain; Same dons of traditional folk tunes on the Train; By the River; Wade in the Water; other. Of the former, there are Max and eight others. E PIC BN 26025 $4.98, Goolis (the tale of the John Henry of LN 24065* $3.98. street sweepers) and The Lute Player (a sketch of a Frenchman who combined Interest: Driving gospel musk love and business). Among the straight Performance: Fervent performances are By the Risin' of the Recording: Good in-concert Moon and The Jam on Jerry's Rock. Stereo Quality: Well balanced The Limeliters are somewhat ham- pered in doing their nonhumorous num- Recorded during a performance at The bers because is the Bear in Chicago, this is yet another ex- only accomplished folk singer among clamatory program of Negro gospel mu- ii(11.1:1 II IN.1.1l them. The passages of whimsey, while sic, an idiom the major labels have been Tonal beauty for Mancini's melodies moderately amusing on first hearing, pall pushing in recent months. Soloist Bessie quickly. Yet there is a pervasive exuber- Griffin occasionally sounds like Sister Joanna and Days of Wine and Roses. Of ance in the Limeliters' work, and they Rosetta Tharpe in her slicing, almost the more unfamiliar entries, I was im- have an attractive disinclination to take recitative-like phrasing. At other times, pressed most by Don't You Forget It and themselves too seriously. On its own however, she becomes rougher in texture Song about Love (which was apparently terms—entertainment for a broad audi- and more abandoned in spirit. once called Siesta). Dick Hyman's ar- ence—the trio fulfills its function. By the The background voices are able, but rangements are a bit on the solemn side. criteria of meaningful and durable folk they seldom surprise. The program, S. G. music, however, the Limeliters are of moreover, has insufficient variety. Nor only peripheral interest. N. H. do the performers display much dynamic O 0 IVY LEAGUE TRIO: Folk Bal- skill within each song. The rhythm sec- lads from the World of Edgar Allan O 0 DEAN MARTIN: Rides Again. tion is often overpowering, and the engi- Poe. Ivy League Trio (vocals). R EPRISE Dean Martin (vocals); orchestra, Marty neer ought to have made some compen- R 96087 $4.98, R 6087* $3.98. Paich cond. I Can't Help It; My Sugar's sation for the drummer's excessive vigor. Gone; Rockin' Alone; and nine others. Miss Griffin's singing is the album's ma- Interest: Poe-inspired ballads REPRISE R 96085 $4.98, R 6085* $3.98. jor merit, but her solos do not lift the Performance: Monotonous recital above the average of gospel re- Recording: Superior Interest: Back-country tear-jerkers cordings. After listening to this gospel Stereo Quality: Souped up Performance: Relaxed shouting, I found the sensitivity and Recording: Splendid originality of the Staple Singers on Riv- The Gothic tales of Poe have inspired Stereo Quality: Satisfactory erside all the more evident. N. H. such serious musical works as Caplet's Masque of the Red Death, for harp and Hardly a bit saddle-sore from his last 0 BOBBY HACKETT: Plays the orchestra, and Rachmaninoff's sym- outing down the country-music trail, Great Music of Henry Mancini. Bobby phony, The Bells. Now these three pre- Dean Martin here tries another dozen Hackett (cornet); orchestra, Dick Hy- tentious youngsters named Ronn Lang- maudlin tunes in that idiom. Since Mr. man cond. A Profound Gass; Soft ford, Bob Hider, and Morris O'Neill Martin has never been one to take mel-a Touch; Joanna; and nine others. E PIC come along to feed on his reputation ody or a lyric seriously, we should not BN 26061 $4.98, LN 24061* $3.98. with a dozen tasteless and interminable be surprised at his rather bemused han- ballads based vaguely on the tales and dling of a repertoire rich in such situa- Interest: Horn beauties their titles. The Tell-tale Heart now be- tions as these: the fellow whose girl Performance: Appealing gins, "Cheatin' Pete was the meanest prefers candy kisses to real ones, the Recording: Beautiful cuss/That ever rode the West." The character who brings his girl a bouquet Stereo Quality: Well spread Raven is tailored for twisting at the local of roses ("one for every time you broke juke joint. The bells tintinnabulate for a my heart"), or the sight of an old mother It has been a long time since anyone hillbilly barn dance. The next sound you "rockin' alone in an old rockin' chair." compared Bobby Hackett with Bix Beid- hear will be that of Poe turning over in S.C. erbecke, but the veteran cornetist can his grave. P. K. still play a profoundly moving horn of • 0 JERRY ORBACH: Off Broad- undimmed tonal beauty. He is well ® 0 THE LIMELITERS: Our Men way. Jerry Orbach (vocals); orchestra, suited to interpreting the film and tele- in . Lou Gottlieb (vocals Norman Paris cond. There's Smalla Ho- vision themes by Henry Mancini that and bass), Glenn Yarbrough (vocals and (Continued on page 114)

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