Songs of the Night

A-ARCH-Songs of the NightWhen New Dances Needed a New Band

As the invaluable program notes for the Archeophone release, “Songs of the Night,” tell us, the first decade of the last century saw a change in dance music. Gone were the “innocent” dances of the late 19th century and in their place were the animal steps (fox trot, turkey trot, bear), the one- and two-step, and so on, of the new generation of pleasure seekers.

But this meant that new kinds of bands were needed to play these new sounds. Big brass bands and smaller banjo ensembles lacked the intimacy needed for dance floors—and for recordings. So it was the Victor Talking Machine Company that found at the Plaza Hotel Joseph C. Smith and his ensemble as a possible solution. He was. And the history of dance music took a double turn: a new kind of music and a new kind of band to play it.

The important things to note is that people could dance to these new recordings at home or venues other than dance halls. And we know with the advantage of hindsight that the jukebox was not far in the future!

downloadWith their usual diligence, the Archeophone people have gathered 47 of Smith’s recordings onto two CDs. They are taken from discs made from 1916 to 1925 and the sound is extraordinarily good. Among the familiar titles (well, familiar to those who remember or still play the music of those times) are “Poor butterfly,” “Missouri waltz,” “Smiles,” “Love nest” (theme music for the Burns and Allen shows), “Alice blue gown,” “Three o’clock in the morning,” “Sweetheart of Sigma Chi,” and “It ain’t gonna rain no mo!”

Some of the lesser known songs are “Songs of the night,” “Money blues,” “Rose room,” “That naughty waltz,” and “Driftwood.” The Archeophone website has the entire list of this set’s contents. Several have vocalists to add to the interest.

The 32-page booklet, as is usual with Archeophone products, gives copious notes about the times, the band, and each selection, along with plenty of photographs.

For those of us who remember the change in the big bands in the 1940s, it is sad to think how much of the swing of that era was played not to accompany the dancers (who could dance to the frenzied beat of that music?) but to show off before the crowds who went up to the podium merely to listen. I wonder what Smith would have thought.

Oh, yes. This set is a Grabbit for those who like the music and/or are interested in the history of popular music.