New Pop Records

In '55 Disney uprose, Addin' Davy Crockett to the country's woes . . .

Thus, one weary record salesman paid tribute to the nation's most relentlessly popular song hit, which was born last winter on TV's Disneyland. The inoffensive, hillbilly-style strains of The Ballad of Davy Crockett ("king of the wild frontier") captured the kids and millions of elders before anybody could say "Alamo." Now there are some two dozen recorded versions of the song on the market (an estimated 4,000,000 disks sold so far), and more than 100 varieties of merchandise, e.g., a quiz game, coonskin caps, dolls and books with the magical Crockett insignia, are selling like buckshot. Nobody is more surprised by the uproar than Composer George Bruns. A husky, Dixieland trombone-playing member of the Disney music staff, 41-year-old Songwriter Bruns thought he was just knocking out another routine song with his collaborator, Tom Blackburn. "The kids did it," he mutters.

Last week four versions of the tune were on the bestseller list, the fastest-moving one by Bill Hayes, who twangs out the homely ballad in a style nobody could call sophisticated. To complete the spin, Columbia released a fat LP taken from the upcoming Disney movie sound track, featuring three episodes in the frontiersman's life and plenty of airings for the hit song.

Other new pop records:

The Breeze and I (Caterina Valente; Decca). The same exciting voice, impeccable timing and Latinesque background that Songstress Valente brought to her Malaguena (TIME, Feb. 7). But missing this time is that final, elegant ounce of poise. Result: Breeze is becoming a stormy hit, where Malaguena was hardly a breeze.

Church Twice on Sunday (Dinah Shore; Victor). "I'd like to mend my ways and go back to the days of my childhood," chirps Dinah in this candy-stick imitation of a revival song. Corny enough to become a bestseller.

Don't Be Angry (CrewCuts; Mercury). A not-very-contrite plea for forgiveness in shuffle rhythm, panted as if at the end of a 100-yard dash.

Hoodle Addle (Ray McKinley Orchestra; Dot). Drummer McKinley served his time in Jimmy Dorsey's Dixie-style swing band, and so the slambang, rock-'n'-roll beat comes naturally to him. In this goofy tune, he manages to make his syncopations sound like pistol shots and still deliver an infectious lilt.

I'm Sincere (Joe Barrett; Decca). This fellow is so sincere that he pleads with his girl not for her love but, by golly, for her sincerity. Even the tempo is sincere, i.e., a slow waltz.

Is This the End of the Line? (Joni James; M-G-M). A tearful query, delivered in what must be Songstress James's new style. It sounds curiously unsteady, as if the poor girl in the song were cracking up under the strain, or suffering from hebephrenia.

Miracle in Strings (Harry Lookofsky and Rhythm; Epic EP). A fiddler of varied experience (NBC Symphony, Paul Whiteman, Isham Jones Orchestras) indulges in multiple recording. He plays three violins and two viola parts in close harmony, manages to sound something like the saxophone section of a swing band.

One God (Mahalia Jackson; Columbia). The exciting voice of the gospel singer, in an inspirational song. Her singing is half sweet and imploring, half belted out with impressive power.

Play Me Hearts and Flowers (Johnny Desmond; Coral). The only possible explanation for this item as a bestseller lies in the slightly revolting appeal of a grown man asking for tears.

Whatever Lola Wants (Sarah Vaughan; Mercury). Longtime top Bop Stylist Vaughan gone pop. The song, from Broadway's latest, Damn Yankees (see THEATER), is a fine, cynical tropical slink, and Sarah's husky tone suits it to the floor.

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