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KL-1085 — DANCE THE STROLL — CLYDE OTIS &

The Jerry Ineber Beat Band

Pa COOBY DO)

A look at history, even through the eyes of a skeleton research staff, seems to indicate an odd and persisting fear of music. Apparently the fear has been handed down through two main channels which might, very roughly, be identified as, first, “The Walls of Jericho Apprehension” and second “‘The Pied Piper of Hamelin Anxiety.”

To this day there are countless bridge lovers haunted by a picture of two drunken oboe players wandering one evening, to the middle of a favorite trestle and, by blowing at just the proper pitch, shaking that span to a tangled mass of cable, concrete, and girders leaving nothing but the lonely little toll houses at either end.

This Jericho school sustains its fear by odd bits of scientific testimony ; soldiers breaking step when marching across a bridge; laboratory tests in which glass is shattered by high frequency sounds, ultra sonic devices in medical applications...

“The Pied Piper” anxiety is, of course, more popular, dealing as it does with children, animals and containing a moral, useful to all honest mer- chants, “‘pay your bills.”’

In the case of rock-and-roll the ‘‘Pied Piper’ fear is much more to the point, “Will the vendors of rock-and-roll lead our children down a path from which they can never return?” That seems to be the question and the fear which stimulates excitable elders into making classical fools of themselves. Some of the statements about banning rock-and-roll have been so identical in content to condemnations of jazz, swing and ragtime pub- lished by Nazi and Communist regimes that they seem to have sprung from ° the mind of the same press agent.

The way it is currently being discussed in many circles you might think rock-and-roll was a dirty word. There have been newspaper accounts of city fathers gathering to ban forever from their ideal communities the dirty, fish beat of rock-and-roll. Pickets have marched solemnly to and fro

KL-1060 — THE BEST CHA CHA CHA OF THE FABULOUS FIFTIES—RALPH FONT ORCH. HIS SMOOTHIES

KXL-5004—-SONGS OF THE FABULOUS THIRTIES— DAVID ROSE & HIS ORCH.

eat hgh Y ks al ; Ait e. ky ie o. od

+ any a tee de ; Slt ah

LONG PLAYING KL-1127 ®

pe AES HIGH FIDELITY

Side 1

LAST CALL (Plaz Johnson)

ERNIE’S JOURNEY (Ernie Freeman) LOVE OF MY LIFE (Ernie Freeman)

MAMA’S BOY (Ernie Freeman) MOONGLOW (Hudson-DeLange-Mills)

GOLDEN ROCK (Ernie Freeman)

Side 2

DEACON’S HOP (mcNelly) THEN COMES MONDAY (Ernie Freeman)

TOMBSTONE BLUES (Ernie Freeman) SHOVE OFF (Pansy Pendergrass)

: THE RUNAWAY (Ernie Freeman) DON’T EVER FORGET ME (Ernie Freeman)

before the gates of theatres and auditoriums warning that all who entered must face eternal damnation. Rock-and-roll has, in fact, increased the blood pressure of those who hate more than it has excited those who enjoy it.

Rock-and-roll is nothing to fear. It may be raucous, but it is not “music to shatter bridges by.” And if the young men and women follow the vendors of rock-and-roll down the road a piece, it doesn’t mean they’re gone |

or lost. They’ve just been sent a little. - Whether or not it is significant, rock-and-roll is important because it

appeals to people. Rock-and-roll (give or take a few years) is the music of

age group 10-18 in the American year 1959. Actually rock-and-roll is

good exciting stuff. There’s considerably more emphasis on the rhythm. There’s more bite to the accents, but it is not, in the sense that jazz mu- sicians use the word, ‘“‘modern.” Rock-and-roll is young music for the young of the Nineteen Fifties.

If the elders do not allow the current generation the freedom to like or dislike the music most popular with their contemporarie§,the day may soon come when the operas of Wagner and the works of classical Russian com- posers are picketed by slogan bearing teen agers who realize all the adult delinquents of our century have been most profoundly moved musically, not by jazz or any of its offshoots, but by mighty heavy shmaltz.

JERRY LIEBER is one of the foremost authorities on the most popular form of jazz today. He has written, with Mike Stoller, such hits as “Hound Dog,” “Black Denim Trousers,’ “Bazoom,”’ and the lyrics to “Bernie’s Tune.’ He started his successful song writing career at the age of 17. Since then he has been a producer of records for nearly all the major record companies. He has a rare aptitude for finding the elements in today’s music which appeal to younger people. Whatever critics of the music may say there is no denying the live sound of the Jerry Lieber Beat Band.

KL-1026—JERRY FIELDING & HIS ORCH. PLAY A DANCE CONCERT

THIS ALBUM IS AVAILABLE ONLY IN MONAURAL HI FIDELITY SOUND

SEND FOR COMPLETE CATALOG

This KAPP LONG PLAYING RECORD incorporates the new V.G.W.C. (Variable Groove Width Control) which provides the exceptional transient response necessary for EXTENDED RANGE

RECORDING. This recording was made using the STANDARD RIAA CHARACTERISTIC, and should be played back at 33% RPM. using a micro groove stylus which is not worn or damaged.

KAPP RECORDS, INC., NEW YORK 22, N. Y.

KL-1058—TWO SIDES OF CLAUDE THORNHILL

— $499UDg joaeg Big peasy udjy