from Flickers to Wide Screen Orchestra directed by

Jack Shaindlin Robert Franklin

Production

If Annoyed When Here

Please Tell the Management

<K SIDE ONE

I-. FIRST FILM MUSIC (Medley)

2. THE CHASE Jack Shaindlin

3. SLAPSTIX Jack Shaindlin

4. NEWSREEL In Medley: Jack Shaindlin

Fanfare And March

Mississippi Flood

Bathing Beauties

Kentucky Derby

5. CHARMAINE Erno Rapee-Lew Pollack

(From 20th Century-Fox Picture

“What Price Glory”)

Organ Solo By Raymond Bohr

6. IF I HAD A TALKING PICTURE OF YOU B. G. DeSylva-Lew Brown-Ray Henderson

(From Fox Picture “Sunny Side Up”)

7. BEYOND THE BLUE HORIZON R. A. Whiting-W. Franke Harling-Leo Robin

(From Paramount Picture “Monte Carlo”)

8. CAR I OCA Gus Kahn-Edward Eliscu-Vincent Youmans

(From R.K.O. Picture "Flying Down To Rio”)

SIDE TWO

1. KING KONG SUITE Max Steiner

(From The Film “King Kong”)

2. THE INFORMER Max Steiner

(From R.K.O. Picture “The Informer”)

3. SPELLBOUND Miklos Rozsa

(From David 0. Selznick Film "Spellbound”)

4. MEDLEY: Intermezzo h. Provost (From David 0. Selznick Film “Intermezzo”)

The Third Man Theme Anton Karas

(From David 0. Selznick Film

“The Third Man”)

Warsaw Concerto Richard Addinseii

(From Republic Release "Suicide Squadron”)

5, THEME FROM “THE MAN WITH THE GOLDEN ARM”

Elmer Bernstein-Sylvia Fine

(An Otto Preminger Film)

years of

Movie Music from Flickers to Wide Screen

Orchestra directed by

Jack Shaindlin Jack Shaindlin one of the country’s top musi¬ cal directors actually did play the piano in a Chicago silent movie house at the age of fifteen. He is the only musical director work¬ ing in all wide-screen mediums — Cinerama, Todd A-O and Cinemiracle. He also con¬ ducted Carnegie “Pop” concerts and lectured on film music at various colleges.

Despite more than thirty years of silent films,, there was never such a thing as a really silent movie. This is not so much a paradox as a con¬ sequence of the fact that pictures made their public bow in the music halls and variety theaters shortly before the turn of the century. The nov¬ elty of the day, they came on “next to closing” -traditionally the star spot on the bill. And from the pit, the same orchestra that had played for the singers, dancers, and acrobats provided a musical accompaniment to the 50-second glimpses of trains, breaking waves, and street parades that made up the first film programs. Music-was there when the movies were born and, as this record amply suggests, has remained close to the medium ever since. The invention of the sound track, some thirty years later, merely transformed a companionate marriage into holy wedlock.

Inevitably, the novelty value of the new movies quickly wore off. By 1900, they had slipped from star billing to “chaser”—the closing act that signified the program was ended and it was time to go home. With increasing frequency, the orchestra disappeared at this point and the solo pianist took over, playing appropriate salon music as accompaniment to the assorted views of exotic scenery, local fires, and pretty dancers that had become the new staple of cinematic fare. The entire film show lasted all of ten minutes—apparently all that was needed to chase an audience effectively. Band one of the first side, with its quotations from Poet and Peasant, Mel¬ ody in F, For Elise, The Erl King, and The Flower Song, affords a fair sampling of the musical olla-podridas assembled for such pres¬ entations.

After 1903, the movies began to find a home of their own — humble, cramped, and dirty to be sure, but nevertheless no longer a sub-let from the more prosperous and respectable vaudeville. Nickelodeons spread like crab-grass through the poorer working-class districts of every city and

town. Generally, they were nothing more than converted stores, the projector in a box at the ; rear, a white sheet at the opposite end, and chairs or benches rented from the local caterer or undertaker in between. But way down front, angled to face the screen, stood an object that was to become as firmly identified with the era as the nickel stein of beer-the battered, upright, nickelodeon piano, with- its yellowed keys and tin-pan tones.

The nickelodeon piano was less a touch of elegance than an out-and-out necessity. The floors of these grimy arcades were either of wood or concrete, uncarpeted, while the seats were highly mobile. With shows running continuously, and a complete changeover of audience every thirty or forty minutes, the racket from the woodwork alone was not inconsiderable. But there was also the stir and rustle of human beings bent on a good time, the crunch of peanuts and candy wrappers, the whispered (or not so whis¬ pered) conversations, and the persistent clatter of the projection machine. Over all of these, the piano threw a thin veneer of mellifluous sound. It provided the continuity of emotion that en¬ abled the patrons of this primitive art to lose themselves, however briefly, in the melodramat- ics up on the screen.

The movies themselves also changed during the nickelodeon period. For one thing, they grew longer—to ten or twelve minutes for a dramatic subject. But more important, apart from the ever-popular travelogues, they were now telling stories. After the tremendous success of The Great Train Robbery in 1903, the Western was firmly entrenched (most of them shot in the wild, wild West of New Jersey’s Palisades). Trick films, often culminating in comic chases, were extremely popular. There were highly condensed, one-reel versions of the classics—Hamlet, Silas Marner, Oliver Twist, even grand operas (with the “professor” at the piano obliging with his version of the more familiar arias). But most of

all, there were the little dramas that poured from the studios of the day—Edison, Biograph Selig Kalem, Vitagraph, Thanhouser. Intensely’moral’ they pointed out the evils of drink, the virtues of poverty, the iniquities of politicians and pluto¬ crats. Honest poverty, they argued, was no dis¬ grace a message that had particular relevance for the poor but honest habitues of the nickelo¬ deons. (The poor but dishonest, apologists for the nickelodeons were quick to state, frequented the saloons.)

After 1912, however, the movies, the theaters, and their audiences too began to change again Influenced by the longer films imported from abroad, the American producers hesitantly ad¬ vanced from one to two reels, then to three five even seven. Finally, in 1915, D. W. Griffith released his Birth of a Nation in twelve reels_ over three hours long—and proved conclusively that audiences could sit through any length of film, provided the picture was good enough. Simultaneously, the theaters were increasing in size and opulence, moving out of their old neigh¬ borhoods in a determined wooing of the middle classes. The opening of the Strand (now the Warner) on Broadway in April, 1914, symbol¬ ized the end of the nickelodeon era. Its well- cushioned seats, carpeted aisles, crystal chande¬ liers, and hand-painted paintings (all for 25 cents admission) established a standard of elegance that soon was being emulated throughout the entire country.

As an added refinement, the Strand crowded its pit with more than thirty musicians (described as a “symphony orchestra”) to accompany both its stage show and the evening presentations of the feature. Other houses immediately followed suit, although not necessarily on the same scale. Band three of side one recreates a more typical pit orchestra sound—an orchestra of six to eight men, heavy on the brass, the lead violin usually handled by the conductor—playing for a com¬ pletely typical newsreel. Following the opening

fanfare is a march suitable either for national figures or football games, a more ominous theme that served equally well for shots of a million- dollar fire or the aftermath of a flood on the Mississippi, jazzy strains for the inevitable beauty contest, and notes heralding the equally inevitable horse race.

With smaller houses springing up in the resi¬ dential neighborhoods, however, even a six-piece orchestra represented an extravagance that few could afford—while a reversion to the solo piano represented a penury that few would admit. The compromise was that musical mastodon most closely identified with the final decade of silent films, the “mighty Wurlitzer.” This versa¬ tile, multi-throated organ with its gleaming banks of stops could simulate not only a full orchestra but virtually every type of sound heard by man —whistles, bells, horns, the patter of rain, the roar of thunder, the drone of an airplane, the chatter of machine-gun fire. On occasion, for really “big” pictures like Ben Hur, The Big Parade, or Wings, these were supplemented by a percussionist armed with a full battery of sound effects equipment.

Although most organists and house conductors improvised or compiled their scores out of clas¬ sics, semi-classics, mood pieces, and the popular songs of the day, by the Twenties the major studios were making it a point to send along with the prints of their pictures especially prepared “cue sheets”—a few bars of melody specifically cued to the sub-titles as the film progressed, upon which the musicians could enlarge ad lib. And for the more important releases, as early as The Birth of a Nation, complete scores were prepared in a wide variety of instrumentations, ranging from a small symphony orchestra right down to the lowly piano. In this way, many of the silent pictures acquired theme songs that achieved a tremendous popularity without the assistance of radio or television “hit parade” plugging—among them the wistful Charmaine,

the love theme from What Price Glory, heard here (Band four) with all the breathy swells and refined diminuendos of the theater organ of the mid-Twenties.

What more could the sound track add to all this, at least so far as music was concerned? The answer is that for a number of years, the sound track actually detracted. Early sound recording was so primitive that even a full symphony orchestra seemed thin and scratchy as it came through the loudspeakers. When Warner Broth¬ ers introduced the Vitaphone in August, 1926, with a series of short subjects in sound and a symphonic accompaniment to the feature, John Barrymore in Don Juan, they fully expected an immediate revolution. But audiences were un¬ impressed. At the theater down the street, they could see live acts and a live orchestra—and for the same amount of money. Nevertheless, Warners continued to score their features, and Movietone soon followed suit. Theater owners began to wire their houses for sound, although they were swayed more by economic rather than by aesthetic considerations. Quite simply, “canned music” was cheaper.

It was another full year, however, before the first “talkie” made its appearance, and assured a future for the new medium. Contrary to the popular impression, A1 Jolson’s The Jazz Singer, released in November of 1927, was not an all- talking picture; only four times did Jolson actu¬ ally talk or sing in the film. But these were enough. Audiences jammed the theaters where The Jazz Singer was showing—and each of the subsequent “part-talkers” rushed into release to capitalize on its success until bona fide “100% all-talking” pictures could be prepared. (The first of these, Warners’ Light of New York, was not ready until July, 1928.) Although few of the studio heads were prepared to admit it—and even fewer critics — the death knell had already sounded for the silent era.

Obviously, the new medium was superbly adapted to the presentation of musical films, and

the marquees of movie houses everywhere were soon promising the mathematical absurdity of “100% all-talking, 100% all-singing, 100% all¬ dancing” features. Popular in this category were the Janet Gaynor-Charles Farrell co-starrers, as recalled here in If I Had a Talking Picture of You, from Sunny Side Up. The redoubtable Ernst Lubitsch, wearying of musicals in which the songs came as interruptions to the story, attempted to weave his musical numbers more firmly into the tapestry of the plot. One of his early successes was Monte Carlo, a modernized version of the Monsieur Beaucaire story with Jeanette MacDonald and Jack Buchanan. As the train bearing Miss MacDonald gets under way, the orchestra picks up the rhythm of the loco¬ motive and spins it into the song, Beyond the Blue Horizon. All that is lacking from the re¬ cording here is the sound of the beauteous Miss MacDonald singing obligato to the peasant choruses in the field as the train flashes by. Completing the medley of early musical hits is Carioca, the dance high-light of Flying Down to Rio, which simultaneously launched the team of Astaire and Rogers and set the pattern for musical films ever since.

“Film music is like a small lamp placed be¬ neath the screen to warm it,” Aaron Copland once said. In the years immediately following the introduction of “talkies,” its special potency was forgotten while directors concentrated on the dialogue. First and foremost of the studio staff composers to restore it to its rightful place as an adjunct to the unfolding drama was the prolific Max Steiner, represented here (Side two, bands one and two) by his pioneering scores for King Kong and The Informer. The latter, with its simple yet memorable leitmotifs, remained for years a model of functional film music. It did far more than simply underline the action. When, for example, Gypo Nolan (Victor Mc- Laglen) sees a travel poster offering a trip to America for £20, the music recalls his friend Frankie, with a £20 price on his head. The score has done the work of a visual flashback.

In the years since The Informer, movie music has become considerably more sophisticated and complex, more adept at conveying nuances of emotion, at setting the mood for a scene, or at creating a bridge from one sequence to the next. It is difficult and demanding work, requiring disciplines and techniques found in no other form of musical composition—the synchroniza¬ tion of beat to the rhythm of the action, orches¬ trations that will not interfere with dialogue, a split-second sense of timing to bring the music in and out at the precise moment selected by the director. Furthermore, the music must be sufficiently melodic as to be exploitable. Miklos Rozsa, whose theme music for Spellbound is heard on Band three, is only one of dozens of composers now recognized as “old pros” by the studios, a list that includes such familiar names as Hugo Friedhofer, Johnny Green, Bernard Herrmann, Bronislau Kaper, Alfred Newman, David Raksin, Max Steiner, Dimitri Tiomkin, Franz Waxman, and many more.

Already, however, a new generation of film composers has begun to emerge, men more thor¬ oughly identified with the jazz idioms and the most modern of modern music—Elmer Bernstein, Ernest Gold, Henry Mancini, Alex North, Andre Previn, Leonard Rosenman . . . Bernstein’s score for Man with the Golden Arm, reproduced here in its original instrumentation, is typical of the advanced musical ideas now finding their way onto the sound track. Its pulsating, atonal wails are a far cry from the sedate salon pieces that once accompanied motion pictures.

Has movie music at last become an art in its own right? Elmer Bernstein thinks so. “In motion pictures,” he said recently, “music is an art where words and action leave off. Whether the music can stand up by itself is up to the com¬ poser.”

The music on this record stands up.

—Arthur Knight

The

Library Of

Recorded (lassies

RliDVARD KIPLING

JUNGLE BOOKS

BASIL RATH BONE

MAURICE EVANS SELECTIONS FROM

JAMES MASON OLIVER TWIST

SHAKESPEARE DL 9110

DL 9107

BASIL RATHBONE SELECTIONS FROM RUDYARD KIPLING’S JUNGLE BOOKS OL 9109

THE VOICE OF F. D. R. THE PRESIDENTIAL YEARS (1932-1945) DL 9628

CHARLES LAUGHTON/MOBY DICK and

THOMAS MITCHELL/TREASURE ISLAND DL 9071

ROBERT FROST READS THE POEMS OF ROBERT FROST DL 9033

°imtfa

JsMl (

THE BEST OF AL JOLSON DXA-169

THE JOLSON STORY YOU MADE ME LOVE YOU DL 9034

AL JOLSON

JOLIE DL 9099

AL JOLSON With OSCAR LEVANT DL 9095

THE WORLD'S GREATEST ENTERTAINER DL 9074

AL JOLSON OVERSEAS DL 9070

THE IMMORTAL AL JOLSON DL 9063

THE JOLSON STORY AMONG MY SOUVENIRS DL 9050

THE JOLSON STORY MEMORIES DL 9038

THE JOLSON STORY YOU AIN'T HEARD

NOTHIN' YET DL 9037

THE JOLSON STORY RAINBOW 'ROUND MY

SHOULDER DL 9036

THE JOLSON STORY ROCK-A-BYE YOUR

BABY DL 9035

invitation PETER DUCHIN,

I Wish You Love

CARMEN CAVALLARO

PIANO

GEORGE FEYER GOLDEN WALTZES

EVERYBODY KNOWS DL 74455

DL 4455

PETER DUCHIN INVITATION DL 74471 . DL 4471

CARMEN CAVALLARO I WISH YOU LOVE DL 74566 • DL 4566

CARMEN CAVALLARO DL 74489 SONGS EVERYBODY KNOWS DL 4489

CARMEN CAVALLARO CHERRY BLOSSOM TIME

PETER DUCHIN HIS PIANO AND ORCHESTRA DL 74373

AT THE ST. REGIS DL4373

EDDY DUCHIN REMEMBERED BY CARMEN CAVALLARO

FOLK THE KINGSTON TRIO NICK - BOB - JOHN DL 74613 • DL 4613

THE BEST OF BURL IVES DXB-167

THE GREENWOODS DL 74496 FOLK INSTRUMENTALS DL 4496

TOMPALL AND THE GLASER BROTHERS DL 74041

THIS LAND DL 4041

RICHARD DYER-BENNETT DL 79102 TWENTIETH CENTURY

MINSTREL DL 9102

BURL IVES WOMEN DL 8246

BURL IVES sings . . . IN THE QUIET OF THE NIGHT

BURL IVES CORONATION CONCERT

TEXAS BOYS’ CHOIR FOLK SONGS and

WESTERN BALLADS

THE TARRIERS GATHER 'ROUND

THE WEAVERS WEAVERS' GOLD

DL 8247

DL 8080

DL 74379 DL 4379

DL 74538 DL 4538

DL 74277 DL 4277

COUNTRY AND WESTERN

LORETTA LYNN SONGS FROM MY HEART

VARIOUS ARTISTS 1964 COUNTRY AND WESTERN

AWARD WINNERS

THE WILBURN BROTHERS COUNTRY GOLD

ERNEST TUBB THANKS A LOT

THE RED FOLEY SHOW

JIMMIE DAVIS SINGS

DL 74620 DL 4620

DL 74622 DL 4622

DL 74615 DL 4615

DL 74514 DL 4514

DL 74341 DL 4341

DL 74495 DL 4495

KITTY WELLS BURNING MEMORIES DL 74612 • DL 4612

WEBB PIERCE MEMORY #1 DL 74604 • DL 4604

INSTRUMENTALISTS I mm-|-|-■-“~

Peg 0’My Heart TRADE Wiping

ROBERT MAXWELL HIS HARP AND ORCHESTRA EARL

GRANT '

ROBERT MAXWELL EARL GRANT PEG O’ MY HEART DL 74563 • DL 4563

TRADE WINDS DL 74623 • DL 4623

HENRY JEROME VOCAL VELVET

LES BROWN’S IN TOWN!

HENRY JEROME STRINGS IN DIXIELAND

SAM (THE MAN) TAYLOR SOMEWHERE IN THE NIGHT

JESSE CRAWFORD A LOVELY WAY TO SPEND AN EVENING

DL 74440 DL 4440

DL 74607 DL 4607

DL 74307 DL 4307

DL 74573 DL 4573

'DL 74477 DL 4477

LENNY DEE MOST REQUESTED!

EARL GRANT JUST ONE MORE TIME

ETHEL SMITH AT THE END OF A PERFECT DAY

THE ROMANTIC GUITAR OF VICENTE GOMEZ

BOBBY GORDON YOUNG MAN’S FANCY

DL 74572 DL 4572

DL 74576 DL 4576

DL 74467 DL 4467

DL 74558 DL 4558

DL 74507 DL 4507

a new world Hof soumLon

Dl CCA* Printed in U.S.A. NUMBERS PRECEDED BY 7 INDICATE ALBUM AVAILABLE IN STEREO

am

THE BEST OF ELLA ELLA FITZGERALD DXB-156

THE BEST OF JUDY GARLAND DXSB-7172 • DXB-172

THE BEST OF PEGGY LEE

THE BILLIE HOLIDAY STORY

THE BEST OF DANNY KAYE

LOUIS ARMSTRONG SATCHMO

THE ERNEST TUBB STORY

ISEGOVIA PI. ATF.RO AND 1 «.«»... ...

... |

DXB-164

DXB-161

DXSB-7175 • DXB-175

DXM-155

DXSB-7159 • DXB-159

BING-A MUSICAL AUTOBIOGRAPHY OF BING CROSBY

THE PATSY CLINE STORY

THE KITTY WELLS STORY

THE BEST OF COUNT BASIE

THE BEST OF JESSE CRAWFORD

THE RED FOLEY STORY

THE BEST OF BARBERSHOP

£!§Ssd THE PLAY OF

BRENDA LEE CWaTOP TEEN HITS

NEW YORK PRO MUSICA THE PLAY OF HEROD DXSA-7187 • DXA-187

ANDRES SEGOVIA PONCE: SONATA ROMANTICA CASTELNUOVO-TEDESCO: SECOND SERIES FROM “PLATERO AND I” DL 710093 • DL 10093

MUSICA AETERNA DXSA-7178 HANDEL: ISRAEL IN EGYPT DXA-178

NEW YORK PRO MUSICA DL 79421 IT WAS A LOVER AND HIS LASS DL 9421

NEW YORK PRO MUSICA DL 79402 THE PLAY OF DANIEL DL 9402

MUSICA AETERNA DL 79422 SCHUBERT: MASS NO. 6 IN E FLAT MAJOR DL 9422

RUGGIERO RICCI DL 79423 VIVALDI: THE FOUR SEASONS DL 9423

LEOPOLD STOKOWSKI DL 710077 DAWSON: NEGRO FOLK SYMPHONY DL 10077

ERICA MORINI DL 710102 AN ITALIAN BAROQUE VIOLIN RECITAL DL 10102

THE “WHOOPEE” JOHN ORCHESTRA

OLD TIME DANCE PARTY DL 74534 DL 4534

WAYNE KING DANCE TIME

DL 74551 DL 4551

SAMMY KAYE COME DANCE WITH ME

DL 74357 DL 4357

BERT KAEMPFERT THAT LATIN FEELING

DL 74490 DL 4490

WARREN COVINGTON IT TAKES TWO TO

CHA CHA, TANGO, etc. DL 78980 DL 8980

JAN GARBER THEY’RE PLAYING

OUR SONG DL 74543 DL 4543

WAYNE KING’S GOLDEN FAVORITES DL 74309

DL 4309

BERT KAEMPFERT THAT HAPPY FEELING

DL 74305 DL 4305

GUY LOMBARDO GOLDEN FOLK SONGS

FOR DANCING DL 74430 DL 4430

WARREN COVINGTON IT TAKES TWO TO FOX

TROT, WALTZ, etc. DL 78996 DL 8996

GUY LOMBARDO THE SWEETEST MUSIC

THIS SIDE OF HEAVEN DL 74328 DL 4328

GRADY MARTIN DL 74476 SONGS EVERYBODY KNOWS DL 4476

JAN GARBER DANCING UNDER

THE STARS DL 74443 DL 4443

SAMMY come KAYE DANCE

ID HIS ORCHESTRA 2 WITH ME NO.i

HOLD, DOLLY! ; PEOflf

AMD I LOVE HER THEME FMM "SOU>0( DOY" ON IDE STREET WHERE YOU LIVE

EVERYBODY IMS SOMEBODY THE GIRL FROM IPAHEMA

THE HOUSE OF THE RISING SUN

SAMMY KAYE COME DANCE WITH ME, NO. 2 DL 74590 • DL 4590

THE HONOLULU SYMPHONY MUSIC FROM THE MAJESTIC ISLANDS DL 79104 • DL 9104

THE BEST OF ALFRED APAKA DXSB-7163 • DXB-163

RICK NELSON SPOTLIGHT ON RICK DL 74608 • DL 4608

PATSY CLINE THAT’S HOW A HEARTACHE

BEGINS

ARTHUR PRYSOCK STRICTLY SENTIMENTAL

BRENDA LEE LET ME SING

RICK NELSON THE VERY THOUGHT OF YOU

THE SURFARIS HIT CITY '65

THE SURFARIS FUN CITY, U.S.A.

BRENDA LEE BY REQUEST

SAMMY DAVIS, JR. TRY A LITTLE TENDERNESS

BURL IVES SINGS

DL 74586

DL 4586

DL 74581 DL 4581

DL 74439 DL 4439

DL 74559 DL 4559

DL 74614 DL 4614

DL 74560 DL 4560

DL 74509 DL 4509

DL 74582 DL 4582

DL 74578 DL 4578

WiNNiE tfiePOOH CHR!ST5PMER ROBiNH

RUGGIERO RICCI PAGANINI: CONCERTO NO. 2

SAINT-SAENS: CONCERTO NO. 1

ANDRES SEGOVIA PONCE: CONCIERTO DEL SUR •

RODRIGO: FANTASIA PARA UN GENTILHOMBRE

ANDRES SEGOVIA SEGOVIA AND THE GUITAR

ANDRES SEGOVIA CASTELNUOVO-TEDESCO: FIVE PIECES FROM “PLATERO AND I”,

and others.

DON COSSACK CHORUS ON THE RIVER DON

HERMIONE GINGOLD/RUSSELL OBERLIN FACADE

CHILDREN'S STORIES ana SoNGS NAWBATEB 5K3 SDNG By FJ3JCNK LUTHER.

FRANK LUTHER WINNIE THE POOH AND CHRISTOPHER ROBIN DL 4203

FRANK LUTHER MOTHER GOOSE SONGS DL 8357

DANNY KAYE FOR CHILDREN DL 8726

PAUL WINCHELL and JERRY PINOCCHIO

MAHONEY DL 8463

BURL IVES THE BEST OF BURL'S FOR

AND GIRLS BOYS DL 74390

DL 4390

I Blue p- Midnight

„ BERT KAEMPFERT

. ROSES &SL FOR A •rr blue

\vy. LADY

THE ADVENTURES OF THE LONE RANGER DL 8578

DANNY KAYE HANS CHRISTIAN ANDERSEN And TUBBY THE TUBA DL 78479 • DL 8479

JANE CONE ADVENTURES IN RESTING-Volume I

ROSEMARIE JUN and ROBERT SPIRO CHILDREN SING AROUND THE YEAR

RINGLING BROTHERS AND BARNUM AND BAILEY CIRCUS BAND

CIRCUS TIME

JANE CONE ADVENTURES IN RESTING-Volume II

DL 74204 DL 4204

DL 74406 DL 4406

DL 8451

DL 74272 DL 4272

PULL STEREO Cl ... MUSIC FROM

DECCfl THE SOUND TRACK

TJie Original Cast Album RODGERS AND HAMMERSTEiN'S

THE KING

BERT KAEMPFERT BLUE MIDNIGHT DL 74569 « DL 4569

AROUND

thu^VORIDot

80 DAYS

MUSIC BY

VICTOR YOUNG

THE EDDY DUCHIN STORY- Sound Track

FLOWER DRUM SONG- Sound Track

OKLAHOMA—Original Cast

GUYS AND DOLLS- Original Cast

CAROUSEL—Original Cast

DL 79017 DL 9017

DL 79023 DL 9023

DL 79020 DL 9020

THE BENNY GOODMAN STORY DL 78252

VICTOR YOUNG AROUND THE WORLD IN EIGHTY DAYS-Sound Track DL 79046 > DL 9046

'Recorded By Deutsche Grammophon/Polydor’s Series

a new world ■ of sound...on

DECCA*

ORIGINAL CAST THE KING AND 1

Volume 1—Sound Track DL 8252

DL 79008 • DL 9008 PICNIC-Sound Track DL 78320 DL 8320

DL 79024 Original Cast DL 9024

GEORGE BASSMAN GERSHWIN • FROM DL 74468

BROADWAY TO HOLLYWOOD DL 4468

THE GLENN MILLER STORY DL 78226 Sound Track DL 8226

NUMBERS PRECEDED BY 7 INDICATE ALBUM AVAILABLE IN STEREO

/r a5°years movie musit

* FRO jaSEcLTO W’DE***<\ ANDhkSJ,ND L,n AND H,s orchestra

W 9079

# Side 1

“®S^pi»sr W Monte carlo" S^cariqo? * Ffom F'lm > V caisS^- ^

Kf movie MUSIC

JACK cu a WlD£ SCReE ANDHKn^,NDL,N AND H,$ orchestra 170 01 9079

MG 77734

Side 2

v ‘-SsSffiss-