Show Boat - Chandos Records

8.1207895 8.1207896

“Brunswick PresentsThe Musical Romance”Show Boat (1932)

1. Overture 4:21Victor Young & The Brunswick Concert Orchestra & ChorusBrunswick 20114, BX 12230-ARecorded 20 August 1932

2. Ol’ Man River 3:59Paul RobesonBrunswick 20114, BX 12096-ARecorded 21 July 1932

3. Bill 3:56(P. G.Wodehouse–Oscar Hammerstein II–Jerome Kern)Helen Morgan with Louis Alter, pianoBrunswick 20115, BX 12161-ARecorded 9 August 1932

4. Can’t Help Lovin’ Dat Man 3:40Helen Morgan with Louis Alter, pianoBrunswick 20115, BX 12162-ARecorded 9 August 1932

5. You Are Love 4:37James MeltonBrunswick 20116, BX 12094-ARecorded 20 July 1932

6. Make-Believe 4:09James MeltonBrunswick 20116, BX 12160-ARecorded 9 August 1932

7. Why Do I Love You? 3:43Countess Olga Albani & Frank MunnBrunswick 20117, BX 12159-ARecorded 9 August 1932

8. Finale 4:09Victor Young & The Brunswick Concert Orchestra with Vocal ChorusBrunswick 20117, BX 12231-ARecorded 26 August 1932

All recorded in New York with Victor Young & The Brunswick Concert OrchestraIssued as Brunswick Album 38

Show BoatStudio Recording after 1936 film

9. Ah Still Suits Me 2:51Paul Robeson & Elisabeth Welch with orchestra conducted by Clifford GreenwoodHMV B 8497, 0EA 2936Recorded 18 May 1936, London

Show Boat1946 Broadway Revival

10. Overture 4:22(Jerome Kern, arr. Robert Russell Bennett)Orchestra

11. Cotton Blossom 3:21Show Boat Chorus & Orchestra

12. Only Make Believe 3:57Charles Fredericks & Jan Clayton

13. Ol’ Man River 4:17Kenneth Spencer & Chorus

Also available in the Naxos Broadway Musicals series ...

8.120786 8.120787 8.120788

These titles are not available in the U.S.A.

Over 70 Channels of Classical Music • Jazz, Folk/World, NostalgiaAccessible Anywhere, Anytime • Near-CD Quality

NAXOS RADIOwww.naxosradio.com

14. Can’t Help Lovin’ Dat Man 3:59Carol Bruce, Helen Dowdy, Kenneth Spencer & Chorus

15. Life Upon The Wicked Stage 3:51Colette Lyons & Chorus

16. You Are Love 4:26Charles Fredericks & Jan Clayton

17. Why Do I Love You 3:14Jan Clayton, Charles Fredericks & Chorus

18. Bill 4:16(P. G.Wodehouse–Oscar Hammerstein II–Jerome Kern)Carol Bruce

19. Nobody Else But Me 4:05Jan Clayton & Chorus

Tracks 10–19 recorded in New York on 11 & 14 February 1946 with Show Boat Orchestra conducted by Edwin MacArthur.Columbia 71757/61-D in Album MM 611,mx XCO35831/40

All items Jerome Kern–Oscar Hammerstein II except where notedTransfers & Production: David Lennick • Digital Restoration: Graham Newton

120789bk Show Boat 15/4/05 11:10 PM Page 2

8.1207892 8.1207893 8.1207894

Show Boat shares something with the Mississ-ippi River so central to its story: it never flowsthe same way twice.

Perhaps more than any other work inmodern theatre, Show Boat has varied with eachnew incarnation, due to changes in political ordramatic fashion. Lyrics have been rewritten,songs dumped or added, scenes juggled andcharacters reconceived.

This recording reflects three of the variousversions of the score which have come down tous over the years since Show Boat opened onBroadway on 27 December 1927.

Actually, the musical began its journey toNew York three and a half years earlier, with anappropriately theatrical setting.

Author Edna Ferber was on the road with aplay of hers which was then called Old ManMinick. After a spectacularly unsuccessfullypremière in New London, Connecticut, producerWinthrop Ames tried to cheer up Ferber and thecompany with a whimsical notion.

‘Next time,’ he said,‘I won’t go out of townwith a show. I’ll just let it play on a show boat.’

‘What’s a show boat?’ asked Ferber andhistory was made.

Ames went on to explain to her that sinceshortly after the Civil War, large especially

equipped riverboats had been sailing up anddown the Mississippi river, presenting comedies,melodramas and variety shows to the people inthe riverside towns.

Ferber instantly saw this as a setting for oneof those sweeping historical romances that hadmade her famous and in 1926 Show Boat waspublished to great critical acclaim as well ashuge popular sales.

One of the people to read it with particularinterest was Jerome Kern. The successfulcomposer of such Broadway hits as “Sally”and“Sunny”was always on the lookout for his nextproject. Before he had finished more than a fewchapters, he called up Oscar Hammerstein II, oneof his favourite collaborators, and told him hehad found their next vehicle.

Hammerstein shared Kern’s enthusiasm forthe work and almost at once the pair of themwere outlining scenes and conceiving songs fortheir proposed show.

The only problem was that they didn’t havethe rights to Ferber’s novel.

Kern waited until the opening of his nextshow, Criss-Cross, on 12 October 1926. Heforced his way across the lobby at intermissionto confront the larger-than-life critic AlexanderWoolcott, a good friend of Ferber’s. He begged

Woolcott to arrange a meeting, going on and onabout how he had to get the rights to ShowBoat. The waspish Woolcott let his friendexhaust himself before finally turning and intro-ducing him to his companion of the evening,Edna Ferber.

Fortunately, Ferber and Kern got along, as didHammerstein when he was added to theequation. The trio then aimed their sights onFlorenz Ziegfeld, the most flamboyant produceron the theatrical scene.

He, too, loved the idea and wanted it to openhis new Ziegfeld Theatre in February of 1927.Hammerstein and Kern were capable of rapidwork, but they sensed this project could besomething out of the ordinary and theyencouraged Ziegfeld to fast-track something else,which he did, backing a now-forgotten rompcalled Rio Rita.

This gave the authors time to dig deep intotheir material and they produced one of themost mature and heartfelt works in all of musicaltheatre. During a period when triviality trumpedsubstance every time, Show Boat was a riskyproposition.

Not only was it a weighty, unwieldy story,covering several generations and many locations,but the themes built into it were bound to becontroversial. One of the major plot twistshinged on the issue of interracial marriage at atime when the Ku Klux Klan was still a powerfulpolitical force and lynch mobs were notuncommon in the Deep South.

But the authors stuck to their guns and

when Ziegfeld started to get cold feet, they calledhis bluff, with Oscar’s uncle Arthur offering topick up the production.

It finally opened in Washington, D.C. on15 November 1927. Hammerstein was later tosay that the show ‘was born big and wants tostay that way’, but at first, it was just a little toohuge for words. The opening performance rannearly five hours, with the dense plot slugging itout against Ziegfeld’s penchant for overwhelmingproduction values.

The authors began cutting throughsubsequent tryout stints in Pittsburgh andPhiladelphia, reducing it to a manageable threehours by the time it opened in New York on27 December. The audiences and critics alikecheered it as ‘the best musical show everwritten’ and it ran an impressive (for that period)572 performances.

Since then it has been revived on Broadwayfive times and been turned into a film on threeoccasions. (The first, in 1929, was a largely silentversion, with a ‘prologue’ added at the lastminute, featuring fifteen minutes of songs fromthe musical.)

But every version has been different inseveral interesting ways. The first line of theopening chorus was originally ‘Niggers all workon the Mississippi’. As the years went by, theoffending word changed to ‘coloured folks’, then‘everyone’ and in one production during theheight of America’s racial unrest in the 1960s, theline was cut totally, leaving nobody to work onthe river.

The other major problem has to do with theending. Kim, the daughter of long-sufferingheroine Magnolia Hawks, becomes a performerof a new generation on the show boat.

The original actress to play the role, NormaTerris, was a skilled impersonator, and so shewas allowed to do her ‘party pieces’ at that pointin the show. By 1946, Kern and Hammersteinrealized they needed something different, sothey came up with Nobody Else But Me,which proved be to the last song Kern everwrote. And in the last 1994 Broadway revival,Kim became a Charleston dynamo, leading thecast in a showstopping production number, setto Why Do I love You?.

The first eight selections here come from a1932 studio recording on the Brunswick label.It features Helen Morgan, the original Julie fromboth the 1927 première and the 1932 revivalwith her signature performances of Bill andCan’t Help Lovin’ Dat Man, as well as PaulRobeson, who didn’t appear in the show until1932, but quickly made Ol’ Man River his ownforever.

Also included on this recording are popularvocalists of the period such as Countess OlgaAlbani, James Melton and Frank Munn. Theorchestra is conducted by Victor Young, whowent on to enjoy a distinguished career as a filmcomposer.

When Show Boat was turned into a fully

musical film in 1936, Kern and Hammersteinwanted to add an additional song for PaulRobeson, so they created Ah Still Suits Me forhis character of Joe. In the film, it was sung byRobeson and Hattie McDaniel, who playedQueenie. It appears here in a 1936 studiorecording made with Elisabeth Welch, a stageand cabaret star who left Broadway in the early1930s to settle in England.

The remaining selections are all from the1946 Broadway revival which opened 5 January1946 and ran for 418 performances. Jan Clayton(as Magnolia) got top billing. She had first app-eared in Carousel and then went on to a filmcareer, although she’s best remembered today asthe original mother on the Lassie TV series.

Carol Bruce, who sings Julie, enjoyed aBroadway career for the next two decades, withshows like Do I Hear a Waltz? and Henry, SweetHenry to her credit, but for the remaining leads– Charles Fredericks, Kenneth Spencer andCollette Lyons – this production of Show Boatwould be the high point of their careers, withno subsequent New York stage appearances andonly a handful of minor film roles.

But whatever form they take, the music andlyrics of Show Boat continue to impress us,nearly eighty years after their creation.

Like “Ol’Man River”, it just keeps rollin’along.

Richard Ouzounian

Show Boat 1932 Studio Album and 1946 Broadway Revival

Music by Jerome Kern • Lyrics by Oscar Hammerstein II

Cover image: The Mississippi in the Time of Peace, pub. by Currier and Ives, New York, 1865 (litho), Palmer, FrancesFlora Bond (Fanny) (c.1812-76) (after) / Museum of the City of New York, USA / www.bridgeman.co.uk

120789bk Show Boat 15/4/05 11:10 PM Page 1

8.1207892 8.1207893 8.1207894

Show Boat shares something with the Mississ-ippi River so central to its story: it never flowsthe same way twice.

Perhaps more than any other work inmodern theatre, Show Boat has varied with eachnew incarnation, due to changes in political ordramatic fashion. Lyrics have been rewritten,songs dumped or added, scenes juggled andcharacters reconceived.

This recording reflects three of the variousversions of the score which have come down tous over the years since Show Boat opened onBroadway on 27 December 1927.

Actually, the musical began its journey toNew York three and a half years earlier, with anappropriately theatrical setting.

Author Edna Ferber was on the road with aplay of hers which was then called Old ManMinick. After a spectacularly unsuccessfullypremière in New London, Connecticut, producerWinthrop Ames tried to cheer up Ferber and thecompany with a whimsical notion.

‘Next time,’ he said,‘I won’t go out of townwith a show. I’ll just let it play on a show boat.’

‘What’s a show boat?’ asked Ferber andhistory was made.

Ames went on to explain to her that sinceshortly after the Civil War, large especially

equipped riverboats had been sailing up anddown the Mississippi river, presenting comedies,melodramas and variety shows to the people inthe riverside towns.

Ferber instantly saw this as a setting for oneof those sweeping historical romances that hadmade her famous and in 1926 Show Boat waspublished to great critical acclaim as well ashuge popular sales.

One of the people to read it with particularinterest was Jerome Kern. The successfulcomposer of such Broadway hits as “Sally”and“Sunny”was always on the lookout for his nextproject. Before he had finished more than a fewchapters, he called up Oscar Hammerstein II, oneof his favourite collaborators, and told him hehad found their next vehicle.

Hammerstein shared Kern’s enthusiasm forthe work and almost at once the pair of themwere outlining scenes and conceiving songs fortheir proposed show.

The only problem was that they didn’t havethe rights to Ferber’s novel.

Kern waited until the opening of his nextshow, Criss-Cross, on 12 October 1926. Heforced his way across the lobby at intermissionto confront the larger-than-life critic AlexanderWoolcott, a good friend of Ferber’s. He begged

Woolcott to arrange a meeting, going on and onabout how he had to get the rights to ShowBoat. The waspish Woolcott let his friendexhaust himself before finally turning and intro-ducing him to his companion of the evening,Edna Ferber.

Fortunately, Ferber and Kern got along, as didHammerstein when he was added to theequation. The trio then aimed their sights onFlorenz Ziegfeld, the most flamboyant produceron the theatrical scene.

He, too, loved the idea and wanted it to openhis new Ziegfeld Theatre in February of 1927.Hammerstein and Kern were capable of rapidwork, but they sensed this project could besomething out of the ordinary and theyencouraged Ziegfeld to fast-track something else,which he did, backing a now-forgotten rompcalled Rio Rita.

This gave the authors time to dig deep intotheir material and they produced one of themost mature and heartfelt works in all of musicaltheatre. During a period when triviality trumpedsubstance every time, Show Boat was a riskyproposition.

Not only was it a weighty, unwieldy story,covering several generations and many locations,but the themes built into it were bound to becontroversial. One of the major plot twistshinged on the issue of interracial marriage at atime when the Ku Klux Klan was still a powerfulpolitical force and lynch mobs were notuncommon in the Deep South.

But the authors stuck to their guns and

when Ziegfeld started to get cold feet, they calledhis bluff, with Oscar’s uncle Arthur offering topick up the production.

It finally opened in Washington, D.C. on15 November 1927. Hammerstein was later tosay that the show ‘was born big and wants tostay that way’, but at first, it was just a little toohuge for words. The opening performance rannearly five hours, with the dense plot slugging itout against Ziegfeld’s penchant for overwhelmingproduction values.

The authors began cutting throughsubsequent tryout stints in Pittsburgh andPhiladelphia, reducing it to a manageable threehours by the time it opened in New York on27 December. The audiences and critics alikecheered it as ‘the best musical show everwritten’ and it ran an impressive (for that period)572 performances.

Since then it has been revived on Broadwayfive times and been turned into a film on threeoccasions. (The first, in 1929, was a largely silentversion, with a ‘prologue’ added at the lastminute, featuring fifteen minutes of songs fromthe musical.)

But every version has been different inseveral interesting ways. The first line of theopening chorus was originally ‘Niggers all workon the Mississippi’. As the years went by, theoffending word changed to ‘coloured folks’, then‘everyone’ and in one production during theheight of America’s racial unrest in the 1960s, theline was cut totally, leaving nobody to work onthe river.

The other major problem has to do with theending. Kim, the daughter of long-sufferingheroine Magnolia Hawks, becomes a performerof a new generation on the show boat.

The original actress to play the role, NormaTerris, was a skilled impersonator, and so shewas allowed to do her ‘party pieces’ at that pointin the show. By 1946, Kern and Hammersteinrealized they needed something different, sothey came up with Nobody Else But Me,which proved be to the last song Kern everwrote. And in the last 1994 Broadway revival,Kim became a Charleston dynamo, leading thecast in a showstopping production number, setto Why Do I love You?.

The first eight selections here come from a1932 studio recording on the Brunswick label.It features Helen Morgan, the original Julie fromboth the 1927 première and the 1932 revivalwith her signature performances of Bill andCan’t Help Lovin’ Dat Man, as well as PaulRobeson, who didn’t appear in the show until1932, but quickly made Ol’ Man River his ownforever.

Also included on this recording are popularvocalists of the period such as Countess OlgaAlbani, James Melton and Frank Munn. Theorchestra is conducted by Victor Young, whowent on to enjoy a distinguished career as a filmcomposer.

When Show Boat was turned into a fully

musical film in 1936, Kern and Hammersteinwanted to add an additional song for PaulRobeson, so they created Ah Still Suits Me forhis character of Joe. In the film, it was sung byRobeson and Hattie McDaniel, who playedQueenie. It appears here in a 1936 studiorecording made with Elisabeth Welch, a stageand cabaret star who left Broadway in the early1930s to settle in England.

The remaining selections are all from the1946 Broadway revival which opened 5 January1946 and ran for 418 performances. Jan Clayton(as Magnolia) got top billing. She had first app-eared in Carousel and then went on to a filmcareer, although she’s best remembered today asthe original mother on the Lassie TV series.

Carol Bruce, who sings Julie, enjoyed aBroadway career for the next two decades, withshows like Do I Hear a Waltz? and Henry, SweetHenry to her credit, but for the remaining leads– Charles Fredericks, Kenneth Spencer andCollette Lyons – this production of Show Boatwould be the high point of their careers, withno subsequent New York stage appearances andonly a handful of minor film roles.

But whatever form they take, the music andlyrics of Show Boat continue to impress us,nearly eighty years after their creation.

Like “Ol’Man River”, it just keeps rollin’along.

Richard Ouzounian

Show Boat 1932 Studio Album and 1946 Broadway Revival

Music by Jerome Kern • Lyrics by Oscar Hammerstein II

Cover image: The Mississippi in the Time of Peace, pub. by Currier and Ives, New York, 1865 (litho), Palmer, FrancesFlora Bond (Fanny) (c.1812-76) (after) / Museum of the City of New York, USA / www.bridgeman.co.uk

120789bk Show Boat 15/4/05 11:10 PM Page 1

8.1207892 8.1207893 8.1207894

Show Boat shares something with the Mississ-ippi River so central to its story: it never flowsthe same way twice.

Perhaps more than any other work inmodern theatre, Show Boat has varied with eachnew incarnation, due to changes in political ordramatic fashion. Lyrics have been rewritten,songs dumped or added, scenes juggled andcharacters reconceived.

This recording reflects three of the variousversions of the score which have come down tous over the years since Show Boat opened onBroadway on 27 December 1927.

Actually, the musical began its journey toNew York three and a half years earlier, with anappropriately theatrical setting.

Author Edna Ferber was on the road with aplay of hers which was then called Old ManMinick. After a spectacularly unsuccessfullypremière in New London, Connecticut, producerWinthrop Ames tried to cheer up Ferber and thecompany with a whimsical notion.

‘Next time,’ he said,‘I won’t go out of townwith a show. I’ll just let it play on a show boat.’

‘What’s a show boat?’ asked Ferber andhistory was made.

Ames went on to explain to her that sinceshortly after the Civil War, large especially

equipped riverboats had been sailing up anddown the Mississippi river, presenting comedies,melodramas and variety shows to the people inthe riverside towns.

Ferber instantly saw this as a setting for oneof those sweeping historical romances that hadmade her famous and in 1926 Show Boat waspublished to great critical acclaim as well ashuge popular sales.

One of the people to read it with particularinterest was Jerome Kern. The successfulcomposer of such Broadway hits as “Sally”and“Sunny”was always on the lookout for his nextproject. Before he had finished more than a fewchapters, he called up Oscar Hammerstein II, oneof his favourite collaborators, and told him hehad found their next vehicle.

Hammerstein shared Kern’s enthusiasm forthe work and almost at once the pair of themwere outlining scenes and conceiving songs fortheir proposed show.

The only problem was that they didn’t havethe rights to Ferber’s novel.

Kern waited until the opening of his nextshow, Criss-Cross, on 12 October 1926. Heforced his way across the lobby at intermissionto confront the larger-than-life critic AlexanderWoolcott, a good friend of Ferber’s. He begged

Woolcott to arrange a meeting, going on and onabout how he had to get the rights to ShowBoat. The waspish Woolcott let his friendexhaust himself before finally turning and intro-ducing him to his companion of the evening,Edna Ferber.

Fortunately, Ferber and Kern got along, as didHammerstein when he was added to theequation. The trio then aimed their sights onFlorenz Ziegfeld, the most flamboyant produceron the theatrical scene.

He, too, loved the idea and wanted it to openhis new Ziegfeld Theatre in February of 1927.Hammerstein and Kern were capable of rapidwork, but they sensed this project could besomething out of the ordinary and theyencouraged Ziegfeld to fast-track something else,which he did, backing a now-forgotten rompcalled Rio Rita.

This gave the authors time to dig deep intotheir material and they produced one of themost mature and heartfelt works in all of musicaltheatre. During a period when triviality trumpedsubstance every time, Show Boat was a riskyproposition.

Not only was it a weighty, unwieldy story,covering several generations and many locations,but the themes built into it were bound to becontroversial. One of the major plot twistshinged on the issue of interracial marriage at atime when the Ku Klux Klan was still a powerfulpolitical force and lynch mobs were notuncommon in the Deep South.

But the authors stuck to their guns and

when Ziegfeld started to get cold feet, they calledhis bluff, with Oscar’s uncle Arthur offering topick up the production.

It finally opened in Washington, D.C. on15 November 1927. Hammerstein was later tosay that the show ‘was born big and wants tostay that way’, but at first, it was just a little toohuge for words. The opening performance rannearly five hours, with the dense plot slugging itout against Ziegfeld’s penchant for overwhelmingproduction values.

The authors began cutting throughsubsequent tryout stints in Pittsburgh andPhiladelphia, reducing it to a manageable threehours by the time it opened in New York on27 December. The audiences and critics alikecheered it as ‘the best musical show everwritten’ and it ran an impressive (for that period)572 performances.

Since then it has been revived on Broadwayfive times and been turned into a film on threeoccasions. (The first, in 1929, was a largely silentversion, with a ‘prologue’ added at the lastminute, featuring fifteen minutes of songs fromthe musical.)

But every version has been different inseveral interesting ways. The first line of theopening chorus was originally ‘Niggers all workon the Mississippi’. As the years went by, theoffending word changed to ‘coloured folks’, then‘everyone’ and in one production during theheight of America’s racial unrest in the 1960s, theline was cut totally, leaving nobody to work onthe river.

The other major problem has to do with theending. Kim, the daughter of long-sufferingheroine Magnolia Hawks, becomes a performerof a new generation on the show boat.

The original actress to play the role, NormaTerris, was a skilled impersonator, and so shewas allowed to do her ‘party pieces’ at that pointin the show. By 1946, Kern and Hammersteinrealized they needed something different, sothey came up with Nobody Else But Me,which proved be to the last song Kern everwrote. And in the last 1994 Broadway revival,Kim became a Charleston dynamo, leading thecast in a showstopping production number, setto Why Do I love You?.

The first eight selections here come from a1932 studio recording on the Brunswick label.It features Helen Morgan, the original Julie fromboth the 1927 première and the 1932 revivalwith her signature performances of Bill andCan’t Help Lovin’ Dat Man, as well as PaulRobeson, who didn’t appear in the show until1932, but quickly made Ol’ Man River his ownforever.

Also included on this recording are popularvocalists of the period such as Countess OlgaAlbani, James Melton and Frank Munn. Theorchestra is conducted by Victor Young, whowent on to enjoy a distinguished career as a filmcomposer.

When Show Boat was turned into a fully

musical film in 1936, Kern and Hammersteinwanted to add an additional song for PaulRobeson, so they created Ah Still Suits Me forhis character of Joe. In the film, it was sung byRobeson and Hattie McDaniel, who playedQueenie. It appears here in a 1936 studiorecording made with Elisabeth Welch, a stageand cabaret star who left Broadway in the early1930s to settle in England.

The remaining selections are all from the1946 Broadway revival which opened 5 January1946 and ran for 418 performances. Jan Clayton(as Magnolia) got top billing. She had first app-eared in Carousel and then went on to a filmcareer, although she’s best remembered today asthe original mother on the Lassie TV series.

Carol Bruce, who sings Julie, enjoyed aBroadway career for the next two decades, withshows like Do I Hear a Waltz? and Henry, SweetHenry to her credit, but for the remaining leads– Charles Fredericks, Kenneth Spencer andCollette Lyons – this production of Show Boatwould be the high point of their careers, withno subsequent New York stage appearances andonly a handful of minor film roles.

But whatever form they take, the music andlyrics of Show Boat continue to impress us,nearly eighty years after their creation.

Like “Ol’Man River”, it just keeps rollin’along.

Richard Ouzounian

Show Boat 1932 Studio Album and 1946 Broadway Revival

Music by Jerome Kern • Lyrics by Oscar Hammerstein II

Cover image: The Mississippi in the Time of Peace, pub. by Currier and Ives, New York, 1865 (litho), Palmer, FrancesFlora Bond (Fanny) (c.1812-76) (after) / Museum of the City of New York, USA / www.bridgeman.co.uk

120789bk Show Boat 15/4/05 11:10 PM Page 1

8.1207895 8.1207896

“Brunswick PresentsThe Musical Romance”Show Boat (1932)

1. Overture 4:21Victor Young & The Brunswick Concert Orchestra & ChorusBrunswick 20114, BX 12230-ARecorded 20 August 1932

2. Ol’ Man River 3:59Paul RobesonBrunswick 20114, BX 12096-ARecorded 21 July 1932

3. Bill 3:56(P. G.Wodehouse–Oscar Hammerstein II–Jerome Kern)Helen Morgan with Louis Alter, pianoBrunswick 20115, BX 12161-ARecorded 9 August 1932

4. Can’t Help Lovin’ Dat Man 3:40Helen Morgan with Louis Alter, pianoBrunswick 20115, BX 12162-ARecorded 9 August 1932

5. You Are Love 4:37James MeltonBrunswick 20116, BX 12094-ARecorded 20 July 1932

6. Make-Believe 4:09James MeltonBrunswick 20116, BX 12160-ARecorded 9 August 1932

7. Why Do I Love You? 3:43Countess Olga Albani & Frank MunnBrunswick 20117, BX 12159-ARecorded 9 August 1932

8. Finale 4:09Victor Young & The Brunswick Concert Orchestra with Vocal ChorusBrunswick 20117, BX 12231-ARecorded 26 August 1932

All recorded in New York with Victor Young & The Brunswick Concert OrchestraIssued as Brunswick Album 38

Show BoatStudio Recording after 1936 film

9. Ah Still Suits Me 2:51Paul Robeson & Elisabeth Welch with orchestra conducted by Clifford GreenwoodHMV B 8497, 0EA 2936Recorded 18 May 1936, London

Show Boat1946 Broadway Revival

10. Overture 4:22(Jerome Kern, arr. Robert Russell Bennett)Orchestra

11. Cotton Blossom 3:21Show Boat Chorus & Orchestra

12. Only Make Believe 3:57Charles Fredericks & Jan Clayton

13. Ol’ Man River 4:17Kenneth Spencer & Chorus

Also available in the Naxos Broadway Musicals series ...

8.120786 8.120787 8.120788

These titles are not available in the U.S.A.

Over 70 Channels of Classical Music • Jazz, Folk/World, NostalgiaAccessible Anywhere, Anytime • Near-CD Quality

NAXOS RADIOwww.naxosradio.com

14. Can’t Help Lovin’ Dat Man 3:59Carol Bruce, Helen Dowdy, Kenneth Spencer & Chorus

15. Life Upon The Wicked Stage 3:51Colette Lyons & Chorus

16. You Are Love 4:26Charles Fredericks & Jan Clayton

17. Why Do I Love You 3:14Jan Clayton, Charles Fredericks & Chorus

18. Bill 4:16(P. G.Wodehouse–Oscar Hammerstein II–Jerome Kern)Carol Bruce

19. Nobody Else But Me 4:05Jan Clayton & Chorus

Tracks 10–19 recorded in New York on 11 & 14 February 1946 with Show Boat Orchestra conducted by Edwin MacArthur.Columbia 71757/61-D in Album MM 611,mx XCO35831/40

All items Jerome Kern–Oscar Hammerstein II except where notedTransfers & Production: David Lennick • Digital Restoration: Graham Newton

120789bk Show Boat 15/4/05 11:10 PM Page 2

8.1207895 8.1207896

“Brunswick PresentsThe Musical Romance”Show Boat (1932)

1. Overture 4:21Victor Young & The Brunswick Concert Orchestra & ChorusBrunswick 20114, BX 12230-ARecorded 20 August 1932

2. Ol’ Man River 3:59Paul RobesonBrunswick 20114, BX 12096-ARecorded 21 July 1932

3. Bill 3:56(P. G.Wodehouse–Oscar Hammerstein II–Jerome Kern)Helen Morgan with Louis Alter, pianoBrunswick 20115, BX 12161-ARecorded 9 August 1932

4. Can’t Help Lovin’ Dat Man 3:40Helen Morgan with Louis Alter, pianoBrunswick 20115, BX 12162-ARecorded 9 August 1932

5. You Are Love 4:37James MeltonBrunswick 20116, BX 12094-ARecorded 20 July 1932

6. Make-Believe 4:09James MeltonBrunswick 20116, BX 12160-ARecorded 9 August 1932

7. Why Do I Love You? 3:43Countess Olga Albani & Frank MunnBrunswick 20117, BX 12159-ARecorded 9 August 1932

8. Finale 4:09Victor Young & The Brunswick Concert Orchestra with Vocal ChorusBrunswick 20117, BX 12231-ARecorded 26 August 1932

All recorded in New York with Victor Young & The Brunswick Concert OrchestraIssued as Brunswick Album 38

Show BoatStudio Recording after 1936 film

9. Ah Still Suits Me 2:51Paul Robeson & Elisabeth Welch with orchestra conducted by Clifford GreenwoodHMV B 8497, 0EA 2936Recorded 18 May 1936, London

Show Boat1946 Broadway Revival

10. Overture 4:22(Jerome Kern, arr. Robert Russell Bennett)Orchestra

11. Cotton Blossom 3:21Show Boat Chorus & Orchestra

12. Only Make Believe 3:57Charles Fredericks & Jan Clayton

13. Ol’ Man River 4:17Kenneth Spencer & Chorus

Also available in the Naxos Broadway Musicals series ...

8.120786 8.120787 8.120788

These titles are not available in the U.S.A.

Over 70 Channels of Classical Music • Jazz, Folk/World, NostalgiaAccessible Anywhere, Anytime • Near-CD Quality

NAXOS RADIOwww.naxosradio.com

14. Can’t Help Lovin’ Dat Man 3:59Carol Bruce, Helen Dowdy, Kenneth Spencer & Chorus

15. Life Upon The Wicked Stage 3:51Colette Lyons & Chorus

16. You Are Love 4:26Charles Fredericks & Jan Clayton

17. Why Do I Love You 3:14Jan Clayton, Charles Fredericks & Chorus

18. Bill 4:16(P. G.Wodehouse–Oscar Hammerstein II–Jerome Kern)Carol Bruce

19. Nobody Else But Me 4:05Jan Clayton & Chorus

Tracks 10–19 recorded in New York on 11 & 14 February 1946 with Show Boat Orchestra conducted by Edwin MacArthur.Columbia 71757/61-D in Album MM 611,mx XCO35831/40

All items Jerome Kern–Oscar Hammerstein II except where notedTransfers & Production: David Lennick • Digital Restoration: Graham Newton

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Transfers and Production: David LennickDigital Restoration: Graham Newton

NOTES AND FULL RECORDING DETAILS INCLUDEDwww.naxos.com Made in Canadah & g 2005 Naxos Rights International Ltd. Design: Ron Hoares

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1. Overture 4:212. Ol’ Man River JOE 3:593. Bill JULIE 3:564. Can’t Help Lovin’ Dat Man JULIE 3:405. You Are Love GAYLORD 4:376. Make-Believe GAYLORD 4:097. Why Do I Love You? MAGNOLIA & GAYLORD 3:438. Finale 4:09

10. Overture 4:2211. Cotton Blossom CHORUS 3:2112. Only Make Believe GAYLORD & MAGNOLIA 3:5713. Ol’ Man River JOE 4:1714. Can’t Help Lovin’ Dat Man JULIE, QUEENIE &

JOE 3:5915. Life Upon The Wicked Stage ELLIE 3:5116. You Are Love GAYLORD & MAGNOLIA 4:2617. Why Do I Love You MAGNOLIA & GAYLORD 3:1418. Bill JULIE 4:1619. Nobody Else But Me KIM 4:05

Total Time: 76:04

SHOW BOAT Music by Jerome KernLyrics by Oscar Hammerstein II

STUDIO ALBUM 1932CONDUCTOR VICTOR YOUNG

James Melton GAYLORD RAVENAL (TRACKS 5& 6)Frank Munn GAYLORD RAVENAL (TRACK 7)Countess Olga Albani MAGNOLIA HAWKS

Paul Robeson JOE

Helen Morgan JULIE LAVERNE

STUDIO RECORDING 1936CONDUCTOR CLIFFORD GREENWOOD

Paul Robeson JOE

Elisabeth Welch QUEENIE

9. Ah Still Suits Me JOE & QUEENIE 2:51

BROADWAY REVIVAL 1946CONDUCTOR EDWIN MACARTHUR

Charles Fredericks GAYLORD RAVENAL

Jan Clayton MAGNOLIA HAWKS & KIM

Kenneth Spencer JOE

Carol Bruce JULIE LAVERNE

Helen Dowdy QUEENIE

Colette Lyons ELLIE