Songs Of Enchantment - St. Joseph's Maori Girls College Choir

 

Pokarekare

Songs Of Enchantment

St. Joseph's Maori Girls College Choir

Cover Photo by K. E. Niven Ltd.

Recording Engineer: Ivan Tidswell

Viking Record Company Ltd. VP52

Made in New Zealand

1961

Pokarekare

Maranga Mai

Tangi Mai

Kumea

E Papa Wairangi

Mia Mai

Taku Patu and Takumeremere

Hoki Hoki

Pa Mai

Karu Karu

E Te Hokowhitu

Tena Koutou

Po Atarau (Now Is The Hour)

Whispering Sands - The René Paulo Group

 

Blue Velvet

Whispering Sands

The René Paulo Group

Production: Richard Vaughn

Cover Photograph: Werner Stoy, Camera Hawaii

Recording and 3 Dimensional Sound Process: Richard Vaughn

HIFI RECORDS, INC. Life Series ALBUM L1019

1964

From the back cover: In 1905 Theodore Roosevelt declared, "This Century will be the Century of the Pacific." And from Oceania – mighty span of the world's largest ocean – have come the legends, the magnificent spectrum of exotic places, people and customs – and antidote to the pressures of this delirious, atomic age. The historic 1935 flight of Pan American's China Clipper" from San Francisco to Manila via Honolulu, Midway, Wake and Guam heralded the dawn of a new age for us all. Today, majestic, screaming jets can whisk you from a city of millions to the whispering black sand of Kalapana on the Orchid Island of Hawaii where the haunting echo of lovers who were part of a royal Polynesian heritage once walked, loved and dreamed.

And we, who are strangers on those Pacific shores, absorb the elixir of Polynesia and strive to retain our impressions of Hawaii Ne through the music of its son, find that need fulfilled creatively in the soaring, delicate and celestial sound of the René Paulo Group.

Not by accident, sheer calculation or even commercialism can you create a sound like René Paulo. It is the combination of a man's inborn talent, destiny and rare breeding of Pacifica – a blending that reaches from the far Western Pacific to the "Mile of Romance" called Waikiki. This is the René Paulo sound – his second album on HIFI Records.

The versatility of René Paulo is not limited to Pacifica – for in this beautiful new recording The Group walks with you in the whispering sands of our exotic Island state, then recalls the strains of Wagon Wheels, includes the international favorite More, and adds new melancholy to Blue Velvet. You will renew memories with standards and add some new musical forties in this album.

Whispering Sands is for those who have been to Hawaii and captured that elusive wisp of Paradise, for those who have seen and heard the René Paulo Group at the Shell Bar of the Hilton Hawaiian Village. It is for those who have yet to see the Hawaii I love and to become friends with a sensitive, creative musician named René Paulo. 

By Happy! – Tony Lease

Tony Lease is the noted radio narrator of poetry, philosophy and travel, whose program "Lease On Life," is beloved by millions in the Southern California area, and which is shortly to be released World Wide. He is the founding director of International Radio Tours, a unique group travel plan designed for radio stations who wish to conduct tours as a public service for their listeners and help create better understanding of the world in which we live.

Whispering Sands

The Wheel Of Fortune

Gravy Waltz

All My Trials

Kaulana O Hilo Hanukah

Lille's Waltz

WagonWheels

More

Quando Calienta El Sol

Blue Velvet

Petticoat Junction

Cool Cat, Hot Vibes - Dennie Poole

 

Look Ma I'm Dancing

Cool Cat, Hot Vibes

The Dennie Pool Jazztette

Vernon Records 501

Dennie Pool - Vibes

Robert Lawrence Luca - Guitar

Pete Roberts - Bass

Laup Trevil - Drums

From the back cover: The Dennie Pool Jazzette, although little known, in the states, comes up with a sound that some of the more famous groups would be proud to call their own. The Jazzette had their beginning in the small cafes of France. From Paris they have traveled all over Europe with many, many engagements in English music halls. Dennie Poole himself comes from London, where he studied xylophone. The group entered the Copenhagen Jazz Festival in Denmark, capturing top quartet category.

Bill Bailey

The Preacher's Right

Swingin' Swanee River

Travelin' Light

Lonely Hour Blues

Look Ma I'm Dancing

Haunting Memories

Cool, But Real

Uptown

Sin & Soul - Oscar Brown Jr.

 

Somebody Buy Me A Drink

Sin & Soul

Oscar Brown Jr.

Columbia Records CS 8377

1961

Piano - Floyde Morris, Alonoz Levister

Trumpet - Billy Butterfield, Joe Wilder

Drums - Osie Johnson, Panama Francis, George Devens, Bobbie Rosengardner

Sax - Phil Bonder, Walt Lewinsky, Joe Solde

Guitar - Don Arnone, Everett Barksdale, A. Coherent

Bass - George Duvivier, Frank Carroll, Joe Benjamin

From the back cover: How does it happen that personalities of such stature come together own praise of a new and heretofore unknown talent? Among them are one of the giants of show business, a prize-winning playwright, a leading critic and musicologist, a celebrated journalist and TV personality, a fine contemporary percussionist, and a great jazz artist and interpreter. Clearly such endorsements cannot be solicited like cigarette testimonials; they can only be a genuine response for an art and artistry in which each finds something personal and permanent.

Oscar Brown, Jr. is an integrated artist in a non-integrated world. He is a whole man in a compartmentalized age. He is singer, actor, poet, composer – yet the sum of these is more than any of its parts:

Each song, as performed in this album, is a total statement of mood and meaning; a terse, emotion-charged vignette; a distilled unit of human experience. Raw or tender, loving, laughing, prideful or tormentingly blue – each is that unique moment wherein artist and audience share a world.

And there are worlds here for each of us.

Chicago-born, married, father of five, Oscar Brown, Jr. emerges in this album from their select inner circle of artists' into the great public eye. The full range of his talents is soon to be demonstrated later in the Broadway production of the musical, "Kicks & Co." of which Mr. Brown is lyricist, composer and author. – Robert Barron Nemiroff

My songs started when I was a kid flipping rides on the wagons that peddled down our alley, hiding and seeking and learning there is more than one world. Most of my worlds are Negro. Being Negro is not always pleasant, but it is vigorous exercise for the soul. It can enrich an artist. The melodies I make up grow out of tunes, rhythms, chants, calls and cries that have always sung to me. My lyrics are verses about feelings I've felt and scenes I've dug. My aim is to deliver messages that swing and entertainment that is meaningful. – Oscar Brown, Jr.

From Billboard - January 9, 1961: Oscar Brown, Jr. is a young man with a lot of natural talent, with ideas and a strong manner of projecting his material. On this album he comes through with exciting performance of modernized Negro-folk material, with most of them penned by himself. The music of three of the tunes was written by Bobby Thompson, Nat Adderly, and Bob Bryant. If the material was a little less hackneyed the album could have been a standout, but even as it is "Work Song" and "Rags And Old Iron" crackle

But I Was Cool

Bid 'Em High

Signifyin' Monkey

Watermelon Man

Somebody Buy Me A Drink

Rags And Old Iron

Dat Dere

Brown Baby

Humdrum Blues

Sleepy

Afro-Blue

Moscow Jazz '65 - Youth Ensemble

 

Jazz '65

Jazz '65

Moscow Youth Jazz Ensembles

Melodiya USSR Records Firm

Stereo C 01159-60

Moscow Youth Jazz Ensembles

V. Kull's Quartet

Vladimir Kull - piano

Alexei Kuznetsov - Guitar

Vladimir Smolianitsky - bass

Alexander Salganik - drums

Evening Song (V. Soloviev-Sedoi)

G. Garanian's Sextet

Georgi Garanian - alto-saxophone

Alexei Zubov - tenor saxophone

Konstantin Bakholdin - trombone

Victor Prudovsky - piano

Adolf Stanovsky - bass

Alexander Goretkin - drums

In The Folk Style (U. Naissoo)

Ballad (G. Garanian)

When There Is A Lack Of Technique (K. Bakholdin)

I. Brill's Trio

Igor Bril - piano

Alexei Isplatovsky - bass

Vladimir Zhuravsky - drums

That's How I Want  You To Be (A. Fliarkovsky)

Horse-riders (V. Zhuravsky)

Awakening (I. Brill)

Yu. Chugunov's Quintet

Yuri Chugunov - tenor saxophone

Vladimir Arefiev - guitar

Sergei Berezin - piano

Byacheslav Rakhmattulin- bass

Gennadi Lebedev - drums

Waltz (Yu. Chugunov)

V. Prudovsky's Trio

Victor Prudovsky - paino

Adolf Satanovsky - bass

Alexander Goretkin - drums

Don't Be Blue (V. Muradeli)

From the back cover: This is a recording of the best performances by Moscow youth jazz ensembles which appeared at the "Jazz '65" Festival held under the auspices of the USSR Composer's Union and Moscow City Komsomol Committee in April 1965, at the "Yunost" Concert Hall. The Festival was a great creative assembly of performers, musicians  and young people of Moscow. The jury headed by composer Vano Muradely, included prominent Soviet composers, music critics, variety orchestra conductors, and representatives of Moscow Komsomol. The entrants demonstrated a great diversity of styles – from the traditional to the most up-to-date jazz. More than half of the pieces performed were original compositions of the participants. Another important showcase for the Festival are many improvisations on themes of popular tunes by Soviet composers. Young participants demonstrated vivid gifts, great enthusiasm and original ideas in arranging and performing jazz. In addition to many professional musicians and students of music who took part in the Festival, a good number of students of technical schools, engineers and scientist also performed.

Vladimir Kull's Creative personality is reflected in the style of performance of his quartet. Kull's play is usually light and melodically lyrical. The guitarist Alexei Kuznetsov is a versatile musician noted for his particularly skillful handling the instrument. He has been working for quite some time in the USSR Radio Variety-Symphony Orchestra. Rhythmically diverse lively accompaniment is proved by Vldimir Smolianitsky (bass) and Alexander Salganik (drums). Like Kull, both of them are engineers by profession and have won popularity at the youth club-cafes "Romantic" and "Blue Bird". This troop is known for its partiality for dance rhythms. The record presents a bossa-nova version of V. Soloviev-Sedoi's "Evening Song" arranged by V. Kull.

Jazz fans have long been devotees of Georgi Garanian's Sextet. In 1957, Garanian, Zubov, Bakholdin and Goretkin (then students of technical colleges and members of the orchestra under composer You. Saulsky) performed to win silver medals at the International Jazz Contest during the Sixth World Youth Festival. Later Garanian, Zubov and Bakholdin became leading musicians in O. Lundstrem's orchestra; they frequently appeared on the air and made recordings. For the "Jazz '65" Festival they got together with Prudovsky's trio. All the members of the sextet are brilliant musicians and their performance is marked by brilliance, diversity of moods and harmony. This equally applies to U. Naissoo's unusual set "In The Folk Style", Garanian's deeply emotional, moody "Ballad" and Bakholdin's full of humor, virtuoso "When There Is A Lack Of Technique". Alto saxophone Garanian is a gifted arranger whose jazz experience proved him authority in this sphere; his virtuoso improvisations are always interesting in form. Alexei Zubov, tenor-saxophone, is known for his energetic, emotional improvisations; with hie fine sense of swing, he is able to play with equal success in small and large groups. Trombonist Konstantin Bakholdin wins over audiences by his temperamental style of performance and creativity.

The young pianist Igor Brill's Trio has been performing for several years. This is a well-knit gourd whose members are talented composers and arrangers of popular voices by Soviet Composers. Recorded are the jazz arrangement of A. Flarkovsky's song "That's How I Want You To Be" performed by I. Brie, quick rhythmic piece "Horse-riders" composed by V. Zhuravsky, and I. Bril's composition "Awakening" reflecting the main tendency of the trio. Igor Boil is a graduate of the Moscow Conservatory Music School. His performance is marked by nobility, lyricism and fullbodied tone. Alexei Isplatovsky (bass) is a student of Moscow conservatoire; resourcefulness  and fine, rich sonority are characteristic features of his solo efforts. Vladimir Zhuravsky is the most experience performer of the three, with many years of concert activity behind him. His energetic, diverse rhythms are an interesting contrast to the lyrical technique of the pianist.

Yuri Chugunov's Quintet is comparatively young even though most of its members have been playing jazz for some time. Their style is marked by soft, calm lyricism and is an example of "cool jazz". Chugunov has been playing the saxophone for over six years; he makes arrangement and original jazz compositions. Recorded is his thoughtful, slightly sorrowful "Waltz". All the other members of the quintet are amateur musicians, Guitarist Vladimir Arefiev and pianist Sergei Berlin are engineers, while Vyacheslav Rakhmattulin (bass) and Gennady Lebedev (drums) are college students. All of them were frequent performers at the "Sail" youth club.

Also included is an arrangement of V. Muradely's popular "Don't Be Blue" set by pianist Victor Prudovsky for his jazz trio. Victor is a young pianist whose energetic style and musicianship make the listener follow intently the development of his effective improvisation. Two other members of the trio are Adolf Satanovsky, an experienced bass player with an excellent feeling for ensemble, and Alexander Goretkin (drums), a temperamental and sensitive musical. The fine cooperation of the three in providing steady beat and vivaciousness contribute greatly to the trio's success.

Tahitian Paradise - Eddie Lund

 

Hypocrite D'Amour

Tahitian Paradise

Mutiny On The Bounty Drummers

Eddie Lund And His Tahitians

Composed and Arranged by Eddie Lund 

Cover Photo and Design: Frank Gauna

Liner Design: Joe Lebow

Recording Engineer: Jim Walters

ABC-Paramount ABC-444

1963

From Billboard - March 23, 1963: Each year many, many Polynesian-flavored albums appear, but here's one that stands out a bit over the rest for its authentic flavor, good vocal performances in the traditional manner, and fine ukulele, guitar and percussion backing. The tunes include a Tahitian-styled rock and roller, a cha-cha, and many with strong folk flavor of the Islands. Set has good sound and a legitimate ring.

Manea (Rarotonga Love Song) - Loma with Eddie Lund & His Tahitians

Directly translated as "You're Lovely," this is a romantic ballad of Rarotonga, one of the Cook Islands

Hypocrite D'Amour (Love's Hypocrite) - Lafine with Eddie Lund & His Tahitians

A typical Tahitian conception of Rock 'n' Roll

Na Te Monan (You Came To Me From The Sea) - Loma with Eddie Lund & His Tahitians

The current No. 1 hit song in Papeete.

E Piko (Sleep, Sleep) - Eddie Lund & His Tahitians

A charming lullaby from the Low Islands, telling the child that all his dreams will come true when he awakens.

Oriori Cha Cha Cha (Come Cha Cha Cha With Me) - Eddie Lund & His Tahitians

This is a typical Tahitian version of the Cha Cha.

Adieu Cherie (Farewell, My Love) - Eddie Lund & His Tahitians

The traditional Bora Bora song of parting

Tiare Taporo (Line Blossoms) - Mutiny On The Bounty Drummers

The Mutiny Drums take the featured role on Tiare Tapora, a typical Tahitian dance.

Ohio E (Lonely Shellfish Of The Shore) - Eddie Lund & His Tahitians

An ukulele solo is the highlight of this beautiful instrumental.

Ueue (Shake It Up) - Mutiny On The Bounty Drummers

The Mutiny Drums render another typical dance of Tahiti.

Oriorio E (Ancient Chant Of Bora Bora) - The Bora Bora Ceremonial Singers

Actually recorded recorded in Bora, Bora, with native singers and drummers.

Taviri (Whirling) - Mutiny On The Bounty Drummers

A Tahitian dance routine by The Mutiny Drums.

Ua Ama Te Mori (Light In The Window For Papa) - Eddie Lund & His Tahitians

Instrumental, featuring the Tahitian mandolin. Ua Ama Te Mori is one of the currently popular songs or Tahiti.

Mati (Strike A Match) - Mutiny On The Bounty Drummers

A Bora Bora dance, depicting the striking of a match.

Kirahu E (The Kirahu Bird) - Eddie Lund & His Tahitians

The instrumental featured in the Lesser release, Noa, Noa, the story of Paul Gauguin.

Penu (Stone Hammer Dance)

The penu is the Tahitian stone vessel used for preparing native foods. This is a Bora Bora dance, describing the pounding of roots for a native feast.

Place Pigalle - Stanley Black

 

The Sea

Place Pigalle

Stanley Black and His Orchestre Montmartre

London Records LL 1742

1957

From the back cover: Stanley Black is a master hand at setting the mood and the place of his music. He is especially well-known for his authoritative playing and recording of Latin American music – equally successful have been the fine swinging albums he has made such as the three albums featuring the music or Richard Rodgers, Irving Berlin and Cole Porter. You can be absolutely certain that Black's tours are the best organized in the world.

His long career as a professional musician is well-known. It all started with piano lesson at the Matthay School of Music in London from which he progressed to musical composition in one easy step. At twenty-three, he broke into the highly competitive world of film-music with a contribution to "Rhythm Racketeers" released in 1936. This association with the world of film music continues right up to the present and even into the future. When the current soundtrack is complete he will have 50 to his credit, including the recent "These Dangerous Years" and "Vicious Circle." On the way, at the time of writing are two more film-scores and a series of films for commercial TV.

Even during the war the musical career continued. Although Stanley was quick to volunteer his services as a soldier, it was considered that the most valuable contribution he could make would be in entertaining the Forces and this he did throughout his spell in the R.A.F. After his release, he free-lanced for a while and then became conductor of the B.B.C. Dance Orchestra, an appointment which lasted until 1952. During this time he appeared in the 1951 Royal Command Performance.

Broadcasting, television, films, records, composing, conducting, playing the piano – all these are at his fingertips and in each he is top of his profession, and always moving with the times. Not only in Britain, but in America as well, he is one of the most popular figures in light music today. – Peter Hammond

From Billboard - December 2, 1957: Another in London's far-ranging armchair tours of famed tourist attractions conducted by Black. This one skillfully captures the mood and sounds of Montmartre with fresh instrumental arrangements of Parisian favorites like "At Last," "C'Est Is Bon," "J'Attendrai," etc. Should do nicely with Francophiles, altho the mood music field is especially heavy with this kind of romantic fare. Sound is big and well-balanced, and the "Apache" cover will look well in displays.

Domino

Why Do You Pass Me By

At Last, At Last

Autumn Leaves

C'est Si Bon

The Sea (La Mer)

Waltz Of Paree

Chez Moi

Boom!

Mademoiselle Paree

When The World Was Young

J'Attendrai (Au Revoir)

Song Stylist Extraordinaire - Valerie Carr

 

Lazy Afternoon

Valerie Carr

Song Stylist Extraordinaire 

Orchestra Conducted by Glenn Osser

Produced by Hugo & Luigi

Cover Photo: Desmond Russell

Roulette R 25046

1958

From the back cover: The lady's name is Valerie Carr, but you needn't worry because after hearing what the lady has to say in terms of words and music, it isn't likely that you will be forgetting her name.

Valerie Carr is one of those once-in-a-lifetime singers, a girl with a natural talent and flair for making you feel as though the song had been written with you in mind. She gives every note its due respect and proper place and every word is treated with utmost care, diction and full meaning. Valerie Carr many be young in years, but in this album she practices an ancient art of hypnotic ways, an art that is seldom managed through the medium of song. There is in the background a lush string accompaniment rendering a smooth and perfectly fitted arrangement, but up front at all times there is always Valerie giving out with trust the right turn of phrase and just the right tremor in her voice. She sobs, purrs, coos, is sometimes mellow, and at other times outstandingly clear. Her rendition of "Over The Rainbow" is overpowering; it completely stuns you. Her approach to some of the other standards in this set is a reversal of this and at times rather an understatement.

To turn the clock back for a moment, it wasn't by any quirk of fate of some unique accident that Valerie Carr quit playing classical piano and began singing. It would make a nice story, but it didn't happen that way. It was all very simple. On day, not too long ago, Valerie decided that she would klide to try her hand at singing. She started right in working local clubs in Boston and, in just this manner, a new career was under way.

Valerie Carr was born in New York twenty-two years ago. She lived a normal school girl's life attending the High School of Performing Arts. After finishing high school, Valerie decided to leave the environs of her home, and make her own way in the world. She had friends in Boston and went there to live. It was while she was in Boston that she made the overnight decision to quit classical piano for a professional singing career. She studied voice with Lee Daniels, who is connected with the Berkeley School of Music and almost simultaneously began taking singing jobs.

Following this, Valerie decided that to further her singing aspirations, she would do better to move back to New York. The move proved to be the most important one in her life. She started making demonstrations records of songs so that the recording directors at the various labels could hear the songs to best advantage. One of the songs, "So Goes My Love," was brought to the attention of Hugo Peretti and Luigi Creatore, A&R Directors for Roulette Records. The A&R team liked the song and the voice, but thought the two didn't go together. They recorded "So Goes My Love" with Frankie Lemon and signed Valerie to an exclusive recording contract. The contract remained on file for months and Valerie was deep waiting. Hugo and Luging were waiting too; they were waiting for the right song. "You're The Greatest," Valerie's first release off Roulette was the song they were waiting for. Her second release for the label was a song entitled "When The Boys Talk About The Girls," which reached all the best seller lists and really entrenched Valerie as an up-and-coming name.

This album should o even further in winning new followers for Valerie Carr. In it she takes a fling at some wonderful, well-loved evergreens such as "My Funny Valentine," "I'm Glad There Is You," the immortal Victor Young classic, "When I Fall In Love" and the Jerome Kern gem, "They Didn't Believe Me."

Valerie Carr, song stylist extraordinaire, has recorded a remarkable warm and pleasing album. It will surely take its place as a favorite in your record collection.

From Billboard - November 3, 1958: The chick who has had a couple of good selling singles displays an emotion-charged voice on these sides – made up of standards as "I'm Glad There Is You," "They Didn't Believe Me," "My Funny Valentin," etc. Background is lush with strings and captures a mood.

I'm Glad There Is You

Make The Man Love Me

Try A Little Tenderness

They Didn't Believe Me

Lazy Afternoon

Over The Rainbow

Time After Time

My Funny Valentine

I Got It Bad And That Ain't Good

When I Fall In Love

In The Wee Small Hours Of The Morning

Jazz Kaleidoscope - Blue Ribbon Jazz Stars

 

All Blues

Jazz Kaleidoscope

The Blue Ribbon Jazz Stars

Blue Ribbon by Premier BRM-7006 Hi-Fi

Line For Lyons

Jumpin' With Symphony Sid

Groovin' High

The Preacher

Christopher Columbus

Whisper Not

C Jam Blues

Scrapple From The Apple

All Blues

Swinging The Blues

Shing Along With Ush - Don Costa

 

Toot Toot Tootsie

Shing Along With Ush

Don Costa and His Freeloaders

Produced by Don Costa

Cover Design by Bacon-Braefren-Lewine

Photo by Marvin Sokolsky

United Artists Records UAL 3074

1960

From the back cover: This record is the result of some people saying "Let's get together and have a party," – a real party. One where everyone could be completely relaxed and everything directed toward having fun. That required a place big enough to hold all the people to  be invited and isolated enough for everyone to make as much noise as wanted without disturbance. The merrymakers chose 150 year old Bruno's Inn in Spark Hill near Nyack, N. Y. They took the place over, literally – moving out all the chairs and the innkeeper, and invited as many people as the barroom could hold.

As with every good party, everyone arrived in the mood for one. Busloads full of people emptied into Bruno's old barroom. All kinds of people showed up. Tired city folks who never get the country air. Country folk who get tired of taking trains to the city for a night out, suburbanites, secretaries, company executives, and several gentlemen farmers.

Tables were piled high with good food – none of that insubstantial hors d'oeuvre stuff. There was spaghetti, miles and miles of it, huge pots of home-made sauce and Italian meat balls, roast beef and big bowls of salad, with stacked loaves of garlic bread. And, of course, the best of barroom beverages in properly huge quantities was available to enhance the taste of the food.

As the evening grew warmer, so did the resellers. There is something about knowing that there is no limit on the noise level that makes everyone try a room out for sound. Barbershop quartets formed in various parts of the room, musical instruments were pulled out by home-practicing musicians made brave by the warm atmosphere, and an energetic few attempted a jig. Those merrymakers who couldn't carry a tune, lifted their voices anyway. As the innkeeper's beverage stock went down, the party spirit went up.

By the high point of the evening, the steppers calmed down, the quarters united and everyone began to sing the same thing at the same time. Nostalgia filled the air, and they sang all the old familiar melodies. the best of them are reproduced here with all the party sounds left in.

As you can surely guessed by now, this is a perfect record to play at your own party. The warmth and fun at Bruno's is alive on the record ready to blend with your own party sounds. The singing is infectiously in tune (as sometimes happens with groups of non-singers). It is the kind of record which encourages singing along with the songs are those which the old remember and the young have learned.

It's not necessary to be in good voice either, indeed, it's better if the voice is slightly beery – otherwise, you might cramp the style of the broom bass sitting in the next seat and ruin the spirit of the party

Goody Goody

Makin' Whoopee

If You Knew Susie

Moonlight And Roses

Toot Toot Tootsie

Heartaches

April Showers 

Little Girl

Dream

It All Depends On You

I'll Be Seeing You

Now Is The Hour