Download cruising down the river - The Theatre Organ Home Page

CRUISING DOWN THE RIVER
(LP cover text)
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
(LP cover text)
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
(LP cover text)
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 bestloved songs of America and the world.
Copyright of Philips records.
SKATING TIME
(LP Cover text)
"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
(LP cover text)
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.
Copyright of Philips records.
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.
Copyright of Philips Records Ltd.
ORGAN FAVOURITES
(LP cover text)
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 bestseller 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.
HAWAIIAN MAGIC
(Cover text)
The extraordinary allure that is Hawaii is captivatingly caught in this collection by Ken Griffin.
Ever since explorers first went to those fortunate islands, the happy combination of land, sea
and climate has enchanted inhabitants from less beguiling localities, and the soft, languorous
music—a reflection of the spirit of the islands—has kept that enchantment fresh.
Although Hawaiian music is capable of lively and inventive rhythms, it is the easy, dreamy
ballad that is most often associated with Hawaii, and it is to this music that Ken Griffin turns
here.
All of these songs are familiar which, in fact, is another attraction of the music of Hawaii) with
perhaps the best known being Aloha Oe, the composition of Liliuokalani, the last Queen of the
islands, who died in 1917. From this lovely song have stemmed most of the others, some by
Hawaiians, some by people who have never seen the islands, but all of them seeking to capture
the same distillation of place and mood. In this collection, Ken Griffin keeps to that mood,
playing the charming melodies in his expressive fashion, with Andy Nelson adding to the
atmosphere with his Hawaiian guitar.
Copyright to Philips records Ltd.
KEN GRIFFIN At The Organ
(LP cover text)
The finest and paradoxically, the most popular all organists today is Ken Griffin. Griffin’s
popularity extends back some 30 years, although it was not until after World War Two, that the
performer really came into his own. In the silent film days Griffin, who originally was a violinist,
decided he liked the organ better as an instrument and began to study without benefit of a
teacher. For four years prior to sound films, Griffin played the organ in film theatres in the
Rocky Mountain States.
He then began to branch out into night clubs and theatres, initially in a supporting spot and then
gradually as a soloist During the war be played in military posts where his simple direct style
without fancy ornamentation or excess fringes won instantaneous approval. At this time his
initial records began to be popular favorites in roller skating and ice rinks.
Immediately after the war years, Griffin rocketed into national headlines when two songs, the
Cuckoo. Waltz and You Can’t Be True Dear became national favorites over night and catapulted
the young, but already seasoned artist into the front rank of the nation’s popular organists, a
position which. has increased in eminence and popularity as the years went by. More recently,
Griffin has headed his own color TV, series, known as 67 Melody Lane. Griffin’s feet have been
deeply bedded in show business for over three decades, and his phenomenal success is the result
of understanding of what ~ the public wants and the ability to be able to give the American
people just that.
Copyright of Rondo-Lette Records.
LET'S HAVE A PARTY
(LP Cover text)
Many times it turns out that the best segment of a party is that in which the whole crowd is
gathered around, singing its lungs out in a group of old and beloved songs. There is not always a
piano or guitar or organ on hand, and to remedy that lack, this collection of fine old favourites
played by Ken Griffin has been assembled to help some of the stragglers keep on key and also to
provide a few suggestions. Long one of the world's favourite popular organists, Ken Griffin
keeps the tempos moving forward steadily and provides, for the benefit of those who happen to
be alone at the time, a programme that is just as much fun to listen to as it is to sing with.
It may or may not be indicative that the two newest tunes in the programme date from 1939 and
1940 respectively, and that most of them were composed in pre-Depression days. At any rate,
they are all fine, simple tunes, adorned with easily remembered lyrics, and brim with
straightforward sentiment, even the liveliest of them. It is a cliché in popular music that they
don't write songs like that anymore, and the truth is, they don't. They can't; for while there are
still plenty of memorable tunes and delightful lyrics being composed, it takes a song a long, long
time to acquire the patina that these songs possess. And it is also true that the period during
which these songs were written produced some really dreadful specimens as well; these are the
good ones, the ones that survived because they were eminently worth keeping.
Ken Griffin starts off with one of the newest and jolliest of the lot, the Beer barrel polka of 1939,
adapted by Lew Brown from the spirited composition by Vladimir Timm and Jaromir Vejvoda.
Then, skipping back to 1914, he presents When you wore a tulip, by Jack Mahoney and Percy
Wenrich, one of the biggest hits of all time. Forward in time again, we come to 1940, and You
are my sunshine, written by Jimmie Davis and Charles Mitchell. This song took a little time to
get started, and then it became so successful that it helped propel Mr. Davis into the
Governorship of Louisiana. In the good old summertime was written in 1920 by Ren Shields and
George Evans and was started on its long- time popularity by Blanche Ring, one of yesterday's
favourite entertainers. Even farther back, in 1895, people were singing The band played on, the
immortalization by Charles B. Ward and John F. Palmer of Casey and his strawberry blonde
companion. The first half of the song session ends with If you knew Susie, written in 1925 by
Bud DeSylva (of DeSylva, Brown and Henderson). Although originally introduced by Al Jolson,
the song later became identified with the bounding performances of Eddie Cantor.
One of the great Irish ballads opens the second part of the programme, When Irish eyes are
smiling of 1912, by Ernest Ball and George Graff. It is followed by a two-time success, Irving
Berlin's Always, which was a hit in 1925 and again in 1945, when it was revived in a motion
picture. From 1910 comes the charming Let me call you sweetheart, by Beth Slater Whitson and
Leo Friedman, who also composed another major success, Meet me tonight in dreamland. 1910
also provided Down by the old mill stream, a sine qua non of party singing composed by Tell
Taylor. Another necessity is In a shanty in old shanty town, written in 1932 by Joe Young, John
Siros and Little Jack Little, and the collection concludes with Show me the way to go home,
written by Irving King in 1925.
***
Ken Griffin's experience with delightful music is varied. Originally a violinist, he taught himself
to play the organ within one year. So thorough was his teaching that for four years he played in
the cinemas in the Rocky Mountain area, until sound films disrupted the arrangements. With the
development of the portable organ, he began playing in hotels and lounges in the western United
States with notable success. During the War, he kept in practice by playing on church organs.
after the army working day was over, and upon his began playing in the Atlantic Coast.
Returning to made a record called You can't be true, dear, that of the fastest and widest selling
records of the decade' single disc he became an established star and began the long list of tuneful,
charming records that record collections and juke boxes across the there was an enormous
demand for his music time as a featured artist-and clubs, and his spread his delightful style even
farther.
Copyright to Philips records.
LOST IN A CLOUD (10" LP version)
(LP cover text)
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 programme 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. 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 be 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 a Griffin arrangement, and he is more
interested in making the organ sing 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 is 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 favourites 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 bestloved songs of the world.
Copyright to Philips records.
LOVE LETTERS IN THE SAND
(Cover text)
America’s most popular organist began his career with an entirely different instrument, but
became so fascinated by the work an organist appearing in his home-town theatre that he
switched and taught himself to play the organ so well and so swiftly that within a year he was
appearing professionally. After some time as a theatre organist, he moved into hotels and clubs
for a further career. Interrupted only by his army service. And over there he kept up his work,
practicing after hours on chapel organs.
After the war he returned to his familiar haunts and recorded a song called You can’t be true,
dear, one of the most successful records in history. With this he became an overnight star, and
retained that position throughout his career.
In this collection, Ken Griffin demonstrates the winning qualities of his playing and offers his
fans yet another heart-warming collection of fine songs.
Copyright of Philips records Ltd.
Moonlight and Roses
(LP Cover text)
In this delightful album, Ken Griffin is heard in a dozen of the performances that have proved
most popular with his countless fans. Indeed, the collection is almost a survey of the Griffin
repertoire, for here are old favorites, bouncy novelties, charming waltzes and popular hits, all
played with the unmistakable Griffin touch.
Here, as always, there is that scrupulous presentation of the melody, without any unnecessary
adornment, so that the music is easy and delightful to sing along with. And here too are the
steady tempos that make his playing so adaptable for dancing or listening, and at the same time
keep the program moving firmly forward. In an old favorite such as Moonlight and Roses (which
served Lanny Ross as a theme song for many years) or Moonbeams, the Griffin technique is to
let the music speak for itself, simply and effectively. In The Doll Dance or Josephine there lurks
a hint of the humor that this popular organist often inserted in his playing. And in such waltzes as
Cole Porter's Wunderbar or the lilting Hi-lili, Hi-Lo he splendidly demonstrates the irresistible
attractions of three-quarter time. Indeed, throughout the program, the wide-ranging musical
interests of Ken Griffin are delightfully on display, bringing once again a souvenir of one of
America's most famous popular organists.
Copyright to Philips records.
SENTIMENTAL JOURNEY
(LP cover text)
It’s time to take a sentimental journey and who can’t use one these days? This time your travel
guide is Ken Griffin and a look at the songs in this album will tell you that it is going to be a
beautiful trip. You begin with the beautiful sentiment of I'm Always Chasing Rainbows, a
marvelously dreamy beginning and you wind up with the climax, a rousing Sweet Georgia
Brown. In between you have the beautiful-and-sad weather of September in the Rain and a visit
to the Red River Valley.
That’s Ken Griffin for you, taking you on a trip, an exciting musical trip. Through records he’s been doing
this for millions through the years and here he is again with another winner of an album. You know, he’s
one of the great all time organists in the business—and he certainly needs no words to tell you about that.
He speaks through his music and it’s all right here for you to enjoy. We decided to put some of his finest
moments in one package for your pleasure. And it’s here in your hands. Take Ken Griffin home tonight
and listen, you’ll be so glad you did.
Copyright of Harmony Records.
SKATING TIME
(LP Cover text)
"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.
TO EACH HIS OWN
(Cover text)
Born in Columbia, Missouri, Ken Griffin first studied the violin, and at an early age was playing
in theatre orchestras. When he was seventeen, however, the musical possibilities of the organ
were explained to him, and he at once began to teach himself the complexities of that almost
inexhaustible instrument. So carefully did he study that within a year he was a competent
organist, and he continued his growth as an artist with long experience of playing in motion
picture houses.
When electrical developments made organs portable, he began playing in hotels and clubs
throughout the Midwest, and kept in’ practice during the war by playing on chapel organs spending long hours after the army day playing for his own amusement. After the war he began
making records, and with a single side - You can’t be true, dear - established himself as one of
the enduring stars in the record world.
Copyright to Philips records Ltd.
YOU CANT BE TRUE, DEAR
(LP cover text)
Perhaps no other program could be so illustrative of the qualities that made Ken Griffin famous
as the one outlined above. For a decade, Ken Griffin was the most popular organist in America;
his music sounded from phonographs, through theaters and night-clubs, from the radio and
indeed everywhere there was likely to be anyone who enjoyed the tone of the organ. His records
were steadily among the best-sellers, and his collected programs kept pace with the single
releases.
Collected here are some of Ken’s most representative performances - some best-sellers, some old
favorites and some that Ken recorded simply because he liked them. It is the kind of music he
enjoyed, and the kind his millions of fans requested again and again, melodic, easy-going and
with a firm, steady beat. Fittingly, the first selection, and the one from which the collection takes
its title, is the song which first made Ken nationally famous:
You Can’t Be True, Dear. The present performance is a newer recording than the one that sold
more than a million records, but is in no other respect different. When he sat down at the organ to
record this tune, Ken Griffin was a respected musician, but known only to a few who had heard
him play in theaters or lounges in the states of the Middle West. However, the simple, affecting
sentiment of the song, and Ken’s charming rendition, swept across the country, and soon he was
famous, one of the country’s top recording stars.
Other songs in the collection demonstrate a particular pleasure of the organist’s when melodies
became pop- utalized a vocalist, he often recorded an instrumental version of the tune. Examples
of this are You Belong to Me, one of Jo Stafford’s biggest successes, and My Heart cries for You,
which made a star of Guy Mitchell. Still others show his fondness for the old songs that never
lose their charm: Side by Side, September Song, Oh, How I Miss. You Tonight and The Bells of
St. Mary’s. Altogether, this collection presents an admirable cross section of his contribution to
the musical pleasure of the last decade, charming organ presentations of ballads, sprightly tunes,
novelty songs and lasting favorites.
This understanding of the tastes of his enormous public is noticeable in all of Ken Griffin’s work.
In Anniversary Songs he offered music of great charm, indelibly associated with romantic
anniversaries. "Skating Time" presented familiar melodies that were as welcome in homes as
they were at skating rinks, while" The Organ Plays at Christmas" blended carols and popular
tunes of the season in a charming program. "67 Melody Lane" is a potpourri of the most
requested numbers on his television show, and "Cruising Down the River" depicted rivers and
romance in the inimitable Griffin fashion. And now this assemblage from Ken’s splendid single
records offers still another testimonial to his wide appeal.
Whether playing in his youth in motion picture palaces, or in Army chapels during his military
service, or in the many theaters and clubs that sought him after his success, Ken Griffin supplied
music of charm and simplicity that made him enormously popular; this program is another
reminder of his enduring appeal.
Copyright of Columbia Records.