Cruising Down the River

CRUISING DOWN THE RIVER
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In the American story rivers have played a very important part, first or transportation, later for commerce and always as subjects for romance. From slow meandering streams to wild torrents, they are almost all highly pictorial and it is not surprising that they have given birth to a wealth of song. Ken Griffin, the popular American-born organist, has drawn on this repertoire-with one exception-for a group of his especial favourites which he plays in his most agreeable style.
The title-song is British, chosen for its popularity and because it sets the mood so well, recalling the lazy outings on the water that we have all enjoyed. Ken Griffin next plays a piece composed in 1899 by Paul Dresser, On The Banks Of The Wabash. This is a great favourite with small vocal groups, both for its nostalgic appeal and its engaging melody, bidding fair to take a place in American folk music. In contrast, Red River Valley is a genuine folk song, lonesome wistful. We can imagine it originating in the gun-smoke of the pioneer days. The first part of the programme concludes with a recent tune, Down the River Of Golden Dreams, a romantic song of 1930.
The second group opens with Swanee River or Old Folks At Home, Stephen Foster's most famous composition. It was seized on almost at once by minstrel shows, and European commentators have occasionally mistaken it for a folk song, thus paying its composer an unconscious tribute. Lazy River by Hoagy Carmichael, and Moonlight On The Colorado, date from 1931 and 1930 respectively, but like so many songs about rivers they seem far older.
Ken Griffin concludes with Jerome Kern's Ol' Man River, First formed in 1927, this song from "Show Boat" is a classic its kind, as impressive in it sweep as the Mississippi itself.
Copyright to Philips records.

Irish Eyes Are Smiling
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In this collection the talented Ken Griffin presents a survey of Irish melodies fit to warm the heart of everyone with a touch of Irish in him. One of the most popular legends to-day is that fostered by the Irish about themselves as a brawling, lusty race with a penchant for highly sentimental ideas and music, and nowhere is that legend more strongly fostered than in popular Irish melodies. Select any one of these tunes, and the most distantly-removed Irishman can detect the peat bogs, the lakes and hills, the pervading green of Eire, all misted over with an irresistibly lovely haze. The spell of Ireland is something no true romanticist can deny, and its spell is most often passed along in songs such as these.
Some of these songs were written by Irish-Americans: George M. Cohan, Chauncey Olcott, Ernest Ball, whose Gaelic personalities were their stock in trade. Another, the lovely Galway Bay, is in its lyrics a sort of intensely nationalistic cry The traditional Danny Boy is one of the world's enduring melodies, known not only under the present title, but as the Londonderry Air, Would God I Were The Tender Apple Blossom, and. in a Percy Grainger setting, as Irish Tune From County Derry. About still another of these songs, I'll Take You Home Again, Kathleen, hangs the curious and possibly apocryphal story that it was written by a man whose wife, sick and longing for her homeland, wanted to be taken not to Ireland but back from the middle west to the eastern part of the United States. Nevertheless, this song has a strongly Gaelic quality, and rightfully belongs among the collections of lovely Irish songs, at least in spirit. In Ken Griffin's delightful arrangements, the sentimental and spirited in the Irish are contrasted in an entertaining sequence Notable, for example, is his cheerful arrangement Eyes Are Smiling, neatly sidestepping the lugubrious often given an essentially charming song. Kathleen on the other hand, is properly lingering and sentimental, What A Grand Old Name offers the easy swing of a typical M. Cohan song. Where The River Shannon Flows again to the sentimental feelings, in a lyric Griffin setting.
In the second part of his programme Ken Griffin offers Galway Bay, with its deeply meaningful melody looking longingly at the beauties of Ireland. Danny Boy follows, with its traditional love line enhanced by a sympathetic Organ arrangement, while Peggy O'Neil appears in a lilting Irish waltz tempo, as merry and bright as its heroine.
Ken Griffin concludes with one of the most famous of ~ Irish songs, Mother Machree, winding up a brief but memorable sheaf of songs from one of the most melodious of all countries one that is never absent from the hearts of her roaming sons and daughters, who keep the memories alive with songs as these.
Copyright to Philips records.

LOST IN A CLOUD
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When Ken Griffin sits down at the organ, he has considerably more to do than let his fingers wander idly over the keys - he is concerned with putting together a program of light romantic music that will charm and delight his thousands and thousands of admirers. That he has succeeded is attested to by the constant (both continuing and unchanging) sales of his recordings, and by the steady stream of requests for new records by this popular organist. In this, his latest, he has collected a garland of popular ballads of Enduring appeal, and presents them with all the straightforward freshness that is his hallmark.
Beginning with the winsome I'm Lost in the Clouds, he immediately sets the scene for the music that is to follow. In his second number, In the Chapel in the Moonlight, he offers a melody of lasting charm and one that has attained the singular distinction of reaching the hit lists twice in its career, first in the middle thirties when it was new, and again in 1954, when it was revived with great success, including a lilting mambo arrangement! Ken continues with the Richard Rodgers hit from "Me and Juliet" called No Other Love, originally heard as part of the background music for the television series "Victory at Sea," and later fitted with lyrics to become the hit of the summer of 1953. A memorable song taken from the "country" music category by Rosemary Clooney and elevated to lasting popularity is Half as Much, offered by Ken in a lilting organ setting. He next presents Till I Waltz Again with You, another recent popular hit which is further distinguished by dealing with waltzes in a fox-trot tempo! The first half of his program concludes with the ever-popular Sleepy Time Gal in one of the most-requested Griffin arrangements.
For part two of his "music to relax by," Ken Griffin begins with a romantically presented arrangement of another recent hit, Ebb Tide; another song of the same title was successful in the late thirties, but had not the same sentimental approach as this lovely melody. He next presents April in Portugal, an unusually pleasant song that awaited several years before attaining its rightful, place in the hit lists. With Sentimental Journey Ken varies his pace, interpreting one of the popular standard favorites before returning to present-day successes with Oh Baby Mine. He then presents one of the newest songs in his program, I Need You Now, and concludes his delightful survey of popular music with the classic I Don't Know Why.
Music such as that included in this collection, and in arrangements such as these, does much to demonstrate why Ken Griffin is beyond question the most popular organist now performing, and why he is held in such esteem by his fans. His choice of songs, although leaning largely on sentimental ballads, is nevertheless based on the finest of popular melodies, and his interpretations present the music without fuss, in clean, tuneful settings, There is always a steady beat in s Griffin arrangement, and he is more interested in making the organ sin2 than using it as a showcase for mechanical effects. Consequently, his performances have a charm and directness that is unique among organists, and offer a wealth of delightful listening to those to whom the melody s the important thing.
All these traits are readily discernible in the rich list of recordings already issued by Ken Griffin, all of them best-sellers and all of them favorites with millions of people all over the world They offer, too, a variety of moods and locales, and provide a handy collection of many of the best-loved songs of America and the world.
Copyright of Philips records.

SKATING TIME
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"Skating Time" is still another in Ken Griffin's delightful series of favorite American songs, played in his own inimitable fashion. These songs were especially selected by Ken as representative of his most popular work, and constitute a pleasantly sentimental excursion through the by-ways of melody.
Such charming favorites as these are delighted in by listeners everywhere, skaters at roller-rinks and skating rinks have found them particularly attractive for their rhythmic gyrations. From the very beginning of Jealous to the final notes of Twelfth Street Rag, it is a collection of Ken's finest playing, and one admirably suited to skating or just plain listening. As an organist who has played in many famous locations, Ken knows what his public likes, and gives it to them with a sure, unvarying touch. He knows that familiar songs such as these are among America's favorites, and he presents them simply and without distracting frills.
Originally a violinist, Ken was so impressed with the greater range of the organ that he began to teach himself, sneaking time for his lessons whenever he could get near an instrument. So faithfully did he practice and experiment that within a year he was proficient at the key- board, and for four years thereafter supplied music for motion picture palaces in the Rocky Mountain states until the ad- vent of sound movies. Unlike other organists, who were for the most part automatically retired by the talkies, Ken adapted his style to more portable organs than the mighty consoles he was used to, and began playing in hotels and lounges throughout the Midwest, keeping himself both busy and famous with his winning arrangements of popular tunes.
When he was called into service during the war, he kept in practice by rehearsing on chapel organs after his army days were over. Shortly after discharge, he recorded a tune called You Can't Be True, Dear, and found himself famous overnight and from coast-to- coast. The record was one of the biggest sellers of the decade, and firmly established Ken as a star. Since that time, he has turned out many other records that have enjoyed a notably solid and steady sale, and he is a favorite on phonographs, juke boxes and radio broadcasts every- where. Moreover, he was returned to theaters, this time as a stellar performer instead of an anonymous accompanist, and finds himself in constant demand for new and return engagements.
In "Skating Time" the qualities that comprise his style are again evident: the concern for the melody, so that his listeners never have to worry about recognizing the tune, and the light, steady tempo that makes his playing so highly prized by skaters and dancers as well as by listeners. The unmistakable flavor that is his, coupled with songs of such varied content and universal appeal, make this collection one of his most winning and memorable.
Such cheerful melodies as The Lamp- lighter's Serenade and Gimme a Little Kiss are joined with a sentimental favorite such as Marie, and the wonderful jazz classic St. Louis Blues, together with rhythmic novelties, including the Bumpity-Bump and Kringle's Jingle. Although the selection of tunes was made by with the skaters and dancers form his mind, it is also a collection that c enjoyed by everyone at practicall3 time. The simplicity of Ken's playing the unalloyed melody of his arrangements these make splendid listening. Here dozen tunes played by America's favourite organist, each of them a delight in itself and together they become even pleasurable.
Copyright to Philips records.

67 MELODY LANE
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KEN GRIFFIN at the Wurlitzer Organ popular solo instrumentalists have given so much to so many people as Ken Griffin. In the days of his career, he added much to the impact and enjoyment of silent motion pictures as he played on at consoles of cinema organs. Later he spread cheer and melody through countless night-clubs and theatres as a solo performer. During the war he turned his talents to other melodies, playing in military chapels. After the war, in addition to his personal appear- he began making records, which have sold s, becoming popular not only with the individual but also with such specialists as the proprietors skating rinks! And now, with the advent of television he has added another conquest to his list, in the form of his enormously popular colour television series, 67 Melody Lane.
It is from favourites played in this series that Ken has I the music making up this programme. 67 Melody clearly a cheerful address, where pleasant music rolls forth from the Wurlitzer organ under Ken's knowing ministration. Through his long experience in meeting his public and fans at first hand, he knows precisely what music and what kind of playing will please them and this is what' he gives them. His fingers are not wandering idly over the keys, nor is he looking for a mighty chord when he sits at the organ. What he is after, and what he gets in splendid measure, is a succession of charming, and for the most part, familiar melodies, played with an unashamed delight in the tunes them themselves, rather than in trimming and played with a firm, steady rhythm that keeps the tune moving.
Here, in this record edition of 67 'Melody Lane, Ken offers 18 numbers that have proved favourites of his television audiences, many of which he has never before recorded. He includes four of his own compositions, Louisiana Waltz, Oh Ma Kodi Polka, Symphony in 3/4 Time, and Juke Box Polka, all of them marked by an engaging simplicity and tunefulness Among the familiar songs of the past, he offers Stephen Foster's My Old Kentucky Home and the ever popular Humoresque by Dvorak, as, well as the lovely Londonderry Air (or Danny Boy or Would God I Were a Tender Apple Blossom) and Ethelbert Nevin's Naicicous, a long time favourite with parlour pianists and a tune which is perhaps better known than its title He also includes Sunrise Serenade, made famous by Frankie Carle and The Cuckoo Waltz, one of his most-requested favourites an enduring treat.
Along with his semi-classical and light classical favourites, Ken Griffin offers such all-time popular hits as Put Your Arms Around Me, Honey and Margie, and the recent war-time success, Lily Marlene. Other delightful and memorable melodies include By the waters of Minnetonka, the charming Over the Waves waltz, the sprightly Glow-Worm, the great Russian folk-song Dark Eyes, and from Italy Ciribiribin. All of these Ken Griffin plays on the Wurlitzer organ, offering to his fans another heart-warming programme of music in his inimitable style.

THE ENDURING HYMNS (Cover text)

This inspiring collection presents twelve of the world’s most beloved hymns. Six are played by Ken Griffin, the outstandingly popular organist, and six by his nephew, Kirby Griffin, who makes his recording debut. The hymns were chosen from a list compiled by the Christian Herald, which recently surveyed thousands of American church-goers to determine their favourites. First on the list was “The Old Rugged Cross,” followed by “What a Friend We Have in Jesus,” “In the Gar- den,” “How Great Thou Art” and “ Sweet Hour of Prayer,” respectively.

The simple melodies and reverent words of these hymns are widely popular with congregations everywhere, despite the fact that only a few appear presently in revised hymnals; only “What a Friend We Have in Jesus” is generally included in the hymnals of most de- nominations. The warmth and comfort of these hymns have provided inspiration for thousands of churchgoers, who have responded by cherishing them throughout the years. Ken Griffin’s sensitive performances demonstrate the directness and concern for melody that have made him one of America’s most popular organists.

During his military service, Mr. Griffin played in Army chapels where he discovered anew the beauty of the old hymns, and they thereafter formed a prominent part of his wide repertoire.

ORGAN FAVOURITES
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For a decade, Ken Griffin was the most popular organist America; his music sounded from phonographs, through theatres and night-clubs, from the radio and indeed ever where there was likely to be anyone who enjoyed the tone the organ. His records were steadily among the best-seller and his collected programme kept pace with the single releases. Whether playing in his youth in motion picture palaces or in Army chapels during his military service, or in the many theatres and clubs that sought him after his success, Ken Griffin supplied music of charm an simplicity that made him enormously. This understanding of the tastes of his enormous public noticeable in all of Ken Griffin work.
In "Anniversary Songs" 1 offers music of great charm indelibly associated with romantic anniversaries. All are performed with his artful simplicity. It is a most deceptive simplicity but he believed in letting U composers' melodies speak f themselves without all embellishments used by many "show-off' instrumentalists, unnecessary embroidery that tended to obscure the pure melodic lines. And maybe this directness in approach is the secret of Ken Griffin's success No one before or since has approached these popular classics in quite the same way. That is why Ken Griffin still stands alone in his field. Now, with this album, Griffin fans everywhere can enjoy all his greatest romantic recordings in one exciting collection.
Copyright to Philips records.