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ALTHOUGH it's a re-issue -£V . . . , j

-the original appeared some three years ago-it was pleasant to renew acquaint- ance with the LP "I Remem-

ber Glenn Miller," by R a y Anthony and his Band (H.476). This disc is not meant to be a carbon copy of the inimitable Miller record- ings, but it is Ray's sentimental tribute to the man who gave him his big start in the music world when the young trump- eter was only 18 years old, way back in 1941.

His years with Miller edu- cated him in the right way to play pops for dancing, and this disc should be perfect for dance parties. The arrange- ments are new, but yet not too far removed from the way Miller played them.

The eight famous tunes on

this 10-inch disc are "Moon light Serenade" (Glenn's signature tune, of course), "I Know Why," "Tuxedo Junc- tion," "Ida," "In the Mood," "Elmer's Tune," "Chattanooga Choo Choo," and "Serenade In Blue." As Ray says in the notes, "I'm glad I can show my personal admiration and respect for a really fine teacher and leader," and I think you'll agree that his feel- ing shows in every note he plays.

^DVANCE publicity and

photographs didn't do much to prejudice me in Tommy Steele's favor, and I felt sure that I would dislike the soundtrack record from his film "The Tommy Steele Story" (LFA:Í288). His voice

is much more mature than I expected, and there's no deny

mg that his personality bounces right out of your


Fourteen rocking, big-beat numbers in a run were a bit exhausting, but as I replayed them in small doses I found I was enjoying myself a lot. Tommy had a hand in writ- ing all the songs except one ("Butterfingers"), and the rest he wrote in collaboration with Lionel Bart and Michael Pratt. Among them are "Water,

Water," "Cannibal Pot,' j "Doomsday Rock," "Take Me

Back, Baby," and "You Gotta i Go." This disc and the film,

which is now being screened, j should do a lot to build up Tommy's popularity

young Australians, and ensure him a big following if his pro- jected tour of Australia

eventuates. _^n


. .nCfl