CD-SDL 350

The Wibbly Wobbly WalkNovelty numbers from the

original phonograph cylinders and 78s

2 7

The Wibbly Wobbly WalkNovelty numbers from the

original phonograph cylinders and 78sCylinders and 78 rpm records from The Roy Mickleburgh Collection,

John R.T. Davies and Tony SherriffTranscriptions by John R.T. Davies (except tracks 2 and 7)

Produced by Gef LucenaPhoto and illustration from The Mickleburgh Collection

Notes by Brian RustDesign: Genny Lucena

Printed and made in EC

ISRC: GB-AJX-85-350-01 to 18

©1985, Saydisc Records, EnglandFor an illustrated catalogue of all our releases contact:

SAYDISC RECORDS, THE BARTON, INGLESTONE COMMON,BADMINTON, S. GLOS GL9 1BX, ENGLAND

Fax: 01454 299858 Email: saydisc@aol.comwebsite: www.saydisc.com

Some of our SAYDISC unusual, traditional & exotic albums and Amon Ra authentic performances onoriginal instruments. Visit www.saydisc.com or write for more details and suppliers:CD-SDL 325 Like Waves Against The Sand - trad music from China - pipa, erhu, yanqin, percussionCD-SDL 327 Enchanted Carols - musical boxes, handbells, handbell choir, street pianos, brass bandCD-SDL 333 Ringing Clear - Handbell tune and change ringing in various stylesCD-SDL 343 On Kielder Side - Northumbrian Pipe music from Kathryn TickellCD-SDL 353 Fleur Du Jura - Parisian style cafe music from Danielle Pauly - French accordion QueenCD-SDL 358 Keep The Home Fires Burning - music of the 1st World War from the original recordings CD-SDL 360 Under The Greenwood Tree - Carols and dances from Thomas Hardy manuscripts, etcCD-SDL 367 Kurokami- Traditional music of Japan -koto/shakuhachi/shamisenCD-SDL 373 Music From The Time Of The Spanish Armada -The York Waits renaissance town bandCD-SDL 374 The Music Of The Hurdy Gurdy - Nigel Eaton & friends—bourreés to VivaldiCD-SDL 376 Disappearing World - Unique recordings of music from 17 endangered cultures CD-SDL 378 Church Bells Of England - 16 famous peals, Cotswolds, Bristol incl. St. Pauls, Westminster CD-SDL 383 Sing Lustily & With Good Courage - Favourite 18th c. hymns - Maddy Prior/ Carnival BandCD-SDL 387 Traditional Arabic Music - Hassan Erraji with Arabesque - ud, nay, saz, darbouka, bandir, etcCD-SDL 388 Music Of the Andes - Caliche - pan-pipes, charango, quena, bombo drum, etcCD-SDL 391 Traditional Songs of Scotland - Ray Fisher with bagpipe, violin, accordion etcCD-SDL 393 English Country Dances - The Broadside Band - favourite Playford dancesCD-SDL 396 Vocal Traditions of Bulgaria - exciting music from the Archives of Radio SofiaCD-SDL 400 English National Songs - Lucie Skeaping & John Potter with The Broadside BandCD-SDL 402 Traditional Songs of England - Jo Freya with fiddles, concertina, hurdy-gurdy, viols, etcCD-SDL 403 Spirit of Polynesia - The David Fanshawe trilogy of traditional Pacific music, volume 1CD-SDL 405 Sea Songs & Shanties - from the last days of sail -Bob Roberts, Cadgwith Fishermen, etcCD-SDL 406 Traditional Songs of Wales - Siwsann George with Welsh triple harp, crwth, hurdy-gurdy, etcCD-SDL 408 The Victorian Musical Box - numerous rare disc and cylinder musical boxesCD-SDL 409 Songs and Dances From Shakespeare - The Broadside Band and singersCD-SDL 413 Cockney Kings of Music Hall - the original recordingsCD-SDL 417 A Celtic Christmas - from Wales, Scotland, Ireland, Isle of Man, Cornwall and BritannyCD-SDL 419 Old English Nursery Rhymes - Vivien Ellis / Tim Laycock and The Broadside BandCD-SDL 422 Compline & Other Chant: Latin & English, nuns of Stanbrook/monks of Prinknash AbbeysCD-SDL 427 Folk Music of Tibet - field recordings of songs and instrumental musicCD-SDL 429 Carillon Bells of Britain - Kilmarnock, Aberdeen, Perth, Bournville, LoughboroughCD-SDL 430 The Celtic Harp - The Celtic heritage of harp music from Wales, Ireland and ScotlandCD-SAR 10 Clarinet Collection - Alan Hacker (historic clarinets) with keyboard, etcCD-SAR 18 Guitar Collection - Nigel North (historic guitars) with Maggie Cole (keyboards)CD-SAR 53 Music For Mandolin - Alison Stevens - mandolin duets, mandolin & fortepianoCD-SAR 62 A Golden Treasury of Elizabethan MusicCD-SAR 63 A Golden Treasury of Medieval MusicCD-SAR 69 A Golden Treasury of Ancient Instruments

36

he interpolates quite a lengthy slice of it.COLUMBIA NOVELTY ORCHESTRA: TheLittle Wooden Whistle Wouldn’t Whistle.Here is another studio band, probablyincluding Jules Levy, Jr., a brilliant cornetistlike his father, but who died in his thirties notlong after, and certainly featuring Billy Jonesas vocalist; he was one of The HappinessBoys, the most popular act on pioneerAmerican radio. Recorded on March 8, 1924,this is a curious mixture of the romantic withthe almost surrealistic.SAVOY HAVANA BAND: Why Did I KissThat Girl? and Felix Kept On Walking. Twosmash hits of the first half of 1924, recordedby the Havana Band after Bert Ralton hadtaken the original band to Australia. RamonNewton, its violinist-director, is also thesinger. One song portrays the dreadfulness ofbeing in love for the first time, the second is alasting memento of Pat Sullivan’s cartooncharacter who made us laugh long beforeMickey Mouse or Tom and Jerry.GEORGE FORMBY: I Parted My Hair InThe Middle. Son of the great star of pre-1914music-hall, this is one of the youngerFormby’s first recordings ( it was made inMay, 1926, and is really not much more thanan affectionate impression of his father, whorecorded the song twelve years earlier.) Itforetells the emergence of the good-naturedgormlessness that brought George Formby, Jr.stardom in the thirties and forties.KIT-KAT BAND directed by AL STARITA.

There’s A Rickety Rackety Shack. Al Staritawas an American-trained, Italian-bornnaturalised Briton who worked in Londonduring the latter half of the 1920s, makingcountless records. Jack Hylton was the powerbehind the Kit-Kat Band that played at thatnight-spot in the Haymarket; it was a smallgroup that could and often did play interestingcommercial jazz. The singer is Eddie Collis;the song contains some pretty awful lines. Iwon’t spoil it for you by quoting them.INTERNATIONALNOVELTY QUARTET: Down South. Thiswas a British recording unit that specialized incheerful light pieces, of which this is a goodexample. (We may wonder why the name‘Quartet’ is applied here; at least six musicianswere employed). The tune dates back to 1900,but this recording was made on December 9,1929.INTERNATIONALNOVELTY ORCHESTRA: Parade Of TheWooden Soldiers. As a rule, the IntemationalNovelty Orchestra was an American recordingorchestra, and is so here, making the famousnumber by Leon Jessel from the Chauve-Souris revue on January 25, 1928. One of themost popular numbers of the so-called JazzAge, there is not a suggestion of jazz in it butit is a tuneful piece that accompanied a balletsequence at the end of which the parade of thewooden soldiers toppled over sideways inperfect unison—and stopped the show.

Brian Rust

From Phonograph Cylinders1 The Wibbly Wobbly Walk Jack Charman—1912 [4’10”]2 Oh By Jingo, Oh By Gee Premier Quartet—1920 [3’40”]3 I Miss My Swiss Tennessee Happy Boys—1925 [4’02”]4 Everything’s At Home Except Your Wife [3’10”]

Walter Van Brunt—19125 The Spaniard That Blighted My Life Billy Merson—1920’s [3’59”]6 Tickle Me, Timothy Billy Williams—1907 [2’24”]7 The Little Ford Rambled Right Along Billy Murray—1915 [3’26”]8 Wallaperoo Arthur Osmond—1911 [4’13”]

From 78 rpm Records9 Love Me Broadway Dance Orchestra—1923 [3’11”]10 Come Back To Georgia Art Hickman & His Orchestra [2’56”]

(Regal Novelty Orchestra)—191911 All By Yourself In The Moonlight Lcslie Sarony—1928 [4’11”]12 The Little Wooden Whistle Wouldn’t Whistle [2’57”]

Columbia Novelty Orchestra—192413 Why Did I Kiss That Girl? Savoy Havana Band—1924 [3’20”]14 Felix Keeps On Walking Savoy Havana Band—1924 [3’13”]15 I Parted My Hair In The Middle George Formby—1926 [3’14”]16 There’s A Rickety Rackety Shack Kit-Kat Band—1920’s [3’04”]17 Down South International Novelty Quartet—1929 [2’53”]18 Parade Of The Wooden Soldiers [2’33”]

International Novelty Orchestra—1928

Total duration: 60’36”

4 5

From the dawn of the twentieth centuryuntil half-way through it—at least—there havefrom time to time been offered to the public anumber of nonsense songs, or at any ratecomedy numbers stemming from the real old-time music-hall ditties. Some were by Britishcomposers, some American. This albumshows us by the best possible method—yes, inthe best possible taste—just what sort of thingtickled the public fancy down the years beforewe became sophisticated and brittle in ourhumour, before the ‘sick’ joke became part ofwhat we may perhaps laughingly (of course)call our culture (and some of that humour is inthe worst possible taste). As these songs andtunes are all quite different, I think it is best ifwe look at them separately, as snapshots in anold photograph album.

JACK CHARMAN: The Wibbly WobblyWalk. This is self-explanatory; Jack Charman,a prolific recording artist in the years beforeWorld War 1, does his best to emulate BillyWilliams, forced laugh and all. I doubt if thegait described in the song ever ‘caught on’ as afashion, but after all, it is a mild send-up of thecurious ‘new’ dances that were then (late1912) being received with great enthusiasmfrom across the Atlantic.PREMIER QUARTET: Oh By Jingo, Oh ByGee. This was a very popular Americanrecording unit sixty-five or seventy years ago;the song is one of three by Albert von Tilzerthat had as their setting an island in the tropics

(the others were Chili Bean and Oh Gee, SayGee, You Ought To See My Gee-Gee FromThe Fiji Isle). This one was recorded onMarch 16, 1920, and includes a lengthy bit ofspoken patter between choruses.TENNESSEE HAPPY BOYS: I Miss MySwiss. The Tennessee Happy Boys were arecording dance band directed by banjoistHarry Reser, and featuring the snarlingtrumpet of Earl Oliver. They recorded thisnumber on July 7, 1925, and it became a hugeinternational success, despite the rather awfulpun on Swiss watches in the chorus.WALTER VAN BRUNT: Everything’s AtHome Except Your Wife. This was the hitsong from the American production of themusical Oh! Oh!! Delphine!!! which opened atthe Knickerbocker Theatre in New York onSeptember 30, 1912. It is a situation comedy initself, and Walter van Brunt’s diction iscommendably clear.BILLY MERSON: The Spaniard ThatBlighted My Life. This world famous bit ofnonsense was composed by the music-hallartist who became a musical comedy andrevue star in the 1920s, and who sings it onthis track. It is interesting to note that in thecourse of the patter in the middle, he gives usa clue to the date! (I have often wondered whythe villain of the piece, if he were a Spaniard,should have an obviously Italian name!).BILLY WILLIAMS: Tickle Me,Timothy.Billy Williams, the ‘Man in the Velvet Suit’,was an Australian who came to London in

1906, and during the next eight years recordedmore frequently for more labels than anyothers in his profession; he died at thetragically early age of thirty-eight in March.1915. His persistent (and rather forced) laughis not to everyone’s liking, but there can be nofaulting him on his clear diction and the sheerjoie-de-vivre with which he puts his songsover (even if, like this one, there are hints ofimpropriety). Perhaps in 1907, in an age ofinnocence—wasn’t it?—these passedunnoticed. Maybe.BILLY MURRAY: The Little Ford RambledRight Along. No sooner had Henry Fordlaunched his first cars on a receptive market ata price it could afford—if you’ll pardon thepun—than there were a number of songs aboutthem (Get Out and Get Under is the best-known, although it doesn’t specify a Fordmachine). This one, by Billy Murray, whoserecording career spanned the years 1903 to1942, is a typical piece of American humour ofthe time (1915).ARTHUR OSMOND: Wallaperoo. ArthurOsmond, also known as Arthur Gilbert, wasnot only a remarkable recording comedianwith a ringing but pleasant singing voice, a fat,jolly face and a fat jolly style, but he was alsoa brilliant recording engineer, who knew justabout everything there was to know aboutproducing a satisfactory record under theconditions of his time, the era of horn-recording. This is from a cylinder issued inFebruary, 1911, and presages the coming of

songs such as Oh By Jingo and the like.BROADWAY DANCE ORCHESTRA:I Love Me. One of the many studio dancebands that were assembled for recording,drawing on top musicians who could readanything at sight, the Broadway DanceOrchestra made dozens of Edison records inthe 1920s (this one was made on July 27,1923). The narcissistic vocalist is not known;the song was a great success on the strength ofits sheer absurdity.ART HICKMAN AND HIS ORCHESTRA:Come Back To Georgia. Art Hickman wasthe first American bandleader to play dancemusic from scores that used saxophones as asection of his band. (One of these was BertRalton, who later crossed the Atlantic anddirected the original Savoy Havana Band inLondon for two years). This lively one-stepwas issued in England under the nebulouspseudonym ‘Regal Novelty Orchestra’ threeyears after it was made in New York onSeptember 25, 1919. The feature is not aIyric—there is none—but an exuberantclarinet.LESLIE SARONY: All By Yourself In TheMoonlight. Leslie Sarony, who died in 1985aged 87, was another prolific recording artist(and songwriter, actor, radio and televisionpersonality). This song was the biggest hit ofthe 1928-1929 winter season, and far frombeing nonsense, it actually puts acrossarguments based on undeniable logic. We donot often hear Leslie Sarony in patter, but here

4 5

From the dawn of the twentieth centuryuntil half-way through it—at least—there havefrom time to time been offered to the public anumber of nonsense songs, or at any ratecomedy numbers stemming from the real old-time music-hall ditties. Some were by Britishcomposers, some American. This albumshows us by the best possible method—yes, inthe best possible taste—just what sort of thingtickled the public fancy down the years beforewe became sophisticated and brittle in ourhumour, before the ‘sick’ joke became part ofwhat we may perhaps laughingly (of course)call our culture (and some of that humour is inthe worst possible taste). As these songs andtunes are all quite different, I think it is best ifwe look at them separately, as snapshots in anold photograph album.

JACK CHARMAN: The Wibbly WobblyWalk. This is self-explanatory; Jack Charman,a prolific recording artist in the years beforeWorld War 1, does his best to emulate BillyWilliams, forced laugh and all. I doubt if thegait described in the song ever ‘caught on’ as afashion, but after all, it is a mild send-up of thecurious ‘new’ dances that were then (late1912) being received with great enthusiasmfrom across the Atlantic.PREMIER QUARTET: Oh By Jingo, Oh ByGee. This was a very popular Americanrecording unit sixty-five or seventy years ago;the song is one of three by Albert von Tilzerthat had as their setting an island in the tropics

(the others were Chili Bean and Oh Gee, SayGee, You Ought To See My Gee-Gee FromThe Fiji Isle). This one was recorded onMarch 16, 1920, and includes a lengthy bit ofspoken patter between choruses.TENNESSEE HAPPY BOYS: I Miss MySwiss. The Tennessee Happy Boys were arecording dance band directed by banjoistHarry Reser, and featuring the snarlingtrumpet of Earl Oliver. They recorded thisnumber on July 7, 1925, and it became a hugeinternational success, despite the rather awfulpun on Swiss watches in the chorus.WALTER VAN BRUNT: Everything’s AtHome Except Your Wife. This was the hitsong from the American production of themusical Oh! Oh!! Delphine!!! which opened atthe Knickerbocker Theatre in New York onSeptember 30, 1912. It is a situation comedy initself, and Walter van Brunt’s diction iscommendably clear.BILLY MERSON: The Spaniard ThatBlighted My Life. This world famous bit ofnonsense was composed by the music-hallartist who became a musical comedy andrevue star in the 1920s, and who sings it onthis track. It is interesting to note that in thecourse of the patter in the middle, he gives usa clue to the date! (I have often wondered whythe villain of the piece, if he were a Spaniard,should have an obviously Italian name!).BILLY WILLIAMS: Tickle Me,Timothy.Billy Williams, the ‘Man in the Velvet Suit’,was an Australian who came to London in

1906, and during the next eight years recordedmore frequently for more labels than anyothers in his profession; he died at thetragically early age of thirty-eight in March.1915. His persistent (and rather forced) laughis not to everyone’s liking, but there can be nofaulting him on his clear diction and the sheerjoie-de-vivre with which he puts his songsover (even if, like this one, there are hints ofimpropriety). Perhaps in 1907, in an age ofinnocence—wasn’t it?—these passedunnoticed. Maybe.BILLY MURRAY: The Little Ford RambledRight Along. No sooner had Henry Fordlaunched his first cars on a receptive market ata price it could afford—if you’ll pardon thepun—than there were a number of songs aboutthem (Get Out and Get Under is the best-known, although it doesn’t specify a Fordmachine). This one, by Billy Murray, whoserecording career spanned the years 1903 to1942, is a typical piece of American humour ofthe time (1915).ARTHUR OSMOND: Wallaperoo. ArthurOsmond, also known as Arthur Gilbert, wasnot only a remarkable recording comedianwith a ringing but pleasant singing voice, a fat,jolly face and a fat jolly style, but he was alsoa brilliant recording engineer, who knew justabout everything there was to know aboutproducing a satisfactory record under theconditions of his time, the era of horn-recording. This is from a cylinder issued inFebruary, 1911, and presages the coming of

songs such as Oh By Jingo and the like.BROADWAY DANCE ORCHESTRA:I Love Me. One of the many studio dancebands that were assembled for recording,drawing on top musicians who could readanything at sight, the Broadway DanceOrchestra made dozens of Edison records inthe 1920s (this one was made on July 27,1923). The narcissistic vocalist is not known;the song was a great success on the strength ofits sheer absurdity.ART HICKMAN AND HIS ORCHESTRA:Come Back To Georgia. Art Hickman wasthe first American bandleader to play dancemusic from scores that used saxophones as asection of his band. (One of these was BertRalton, who later crossed the Atlantic anddirected the original Savoy Havana Band inLondon for two years). This lively one-stepwas issued in England under the nebulouspseudonym ‘Regal Novelty Orchestra’ threeyears after it was made in New York onSeptember 25, 1919. The feature is not aIyric—there is none—but an exuberantclarinet.LESLIE SARONY: All By Yourself In TheMoonlight. Leslie Sarony, who died in 1985aged 87, was another prolific recording artist(and songwriter, actor, radio and televisionpersonality). This song was the biggest hit ofthe 1928-1929 winter season, and far frombeing nonsense, it actually puts acrossarguments based on undeniable logic. We donot often hear Leslie Sarony in patter, but here

36

he interpolates quite a lengthy slice of it.COLUMBIA NOVELTY ORCHESTRA: TheLittle Wooden Whistle Wouldn’t Whistle.Here is another studio band, probablyincluding Jules Levy, Jr., a brilliant cornetistlike his father, but who died in his thirties notlong after, and certainly featuring Billy Jonesas vocalist; he was one of The HappinessBoys, the most popular act on pioneerAmerican radio. Recorded on March 8, 1924,this is a curious mixture of the romantic withthe almost surrealistic.SAVOY HAVANA BAND: Why Did I KissThat Girl? and Felix Kept On Walking. Twosmash hits of the first half of 1924, recordedby the Havana Band after Bert Ralton hadtaken the original band to Australia. RamonNewton, its violinist-director, is also thesinger. One song portrays the dreadfulness ofbeing in love for the first time, the second is alasting memento of Pat Sullivan’s cartooncharacter who made us laugh long beforeMickey Mouse or Tom and Jerry.GEORGE FORMBY: I Parted My Hair InThe Middle. Son of the great star of pre-1914music-hall, this is one of the youngerFormby’s first recordings ( it was made inMay, 1926, and is really not much more thanan affectionate impression of his father, whorecorded the song twelve years earlier.) Itforetells the emergence of the good-naturedgormlessness that brought George Formby, Jr.stardom in the thirties and forties.KIT-KAT BAND directed by AL STARITA.

There’s A Rickety Rackety Shack. Al Staritawas an American-trained, Italian-bornnaturalised Briton who worked in Londonduring the latter half of the 1920s, makingcountless records. Jack Hylton was the powerbehind the Kit-Kat Band that played at thatnight-spot in the Haymarket; it was a smallgroup that could and often did play interestingcommercial jazz. The singer is Eddie Collis;the song contains some pretty awful lines. Iwon’t spoil it for you by quoting them.INTERNATIONALNOVELTY QUARTET: Down South. Thiswas a British recording unit that specialized incheerful light pieces, of which this is a goodexample. (We may wonder why the name‘Quartet’ is applied here; at least six musicianswere employed). The tune dates back to 1900,but this recording was made on December 9,1929.INTERNATIONALNOVELTY ORCHESTRA: Parade Of TheWooden Soldiers. As a rule, the IntemationalNovelty Orchestra was an American recordingorchestra, and is so here, making the famousnumber by Leon Jessel from the Chauve-Souris revue on January 25, 1928. One of themost popular numbers of the so-called JazzAge, there is not a suggestion of jazz in it butit is a tuneful piece that accompanied a balletsequence at the end of which the parade of thewooden soldiers toppled over sideways inperfect unison—and stopped the show.

Brian Rust

From Phonograph Cylinders1 The Wibbly Wobbly Walk Jack Charman—1912 [4’10”]2 Oh By Jingo, Oh By Gee Premier Quartet—1920 [3’40”]3 I Miss My Swiss Tennessee Happy Boys—1925 [4’02”]4 Everything’s At Home Except Your Wife [3’10”]

Walter Van Brunt—19125 The Spaniard That Blighted My Life Billy Merson—1920’s [3’59”]6 Tickle Me, Timothy Billy Williams—1907 [2’24”]7 The Little Ford Rambled Right Along Billy Murray—1915 [3’26”]8 Wallaperoo Arthur Osmond—1911 [4’13”]

From 78 rpm Records9 Love Me Broadway Dance Orchestra—1923 [3’11”]10 Come Back To Georgia Art Hickman & His Orchestra [2’56”]

(Regal Novelty Orchestra)—191911 All By Yourself In The Moonlight Lcslie Sarony—1928 [4’11”]12 The Little Wooden Whistle Wouldn’t Whistle [2’57”]

Columbia Novelty Orchestra—192413 Why Did I Kiss That Girl? Savoy Havana Band—1924 [3’20”]14 Felix Keeps On Walking Savoy Havana Band—1924 [3’13”]15 I Parted My Hair In The Middle George Formby—1926 [3’14”]16 There’s A Rickety Rackety Shack Kit-Kat Band—1920’s [3’04”]17 Down South International Novelty Quartet—1929 [2’53”]18 Parade Of The Wooden Soldiers [2’33”]

International Novelty Orchestra—1928

Total duration: 60’36”

2 7

The Wibbly Wobbly WalkNovelty numbers from the

original phonograph cylinders and 78sCylinders and 78 rpm records from The Roy Mickleburgh Collection,

John R.T. Davies and Tony SherriffTranscriptions by John R.T. Davies (except tracks 2 and 7)

Produced by Gef LucenaPhoto and illustration from The Mickleburgh Collection

Notes by Brian RustDesign: Genny Lucena

Printed and made in EC

ISRC: GB-AJX-85-350-01 to 18

©1985, Saydisc Records, EnglandFor an illustrated catalogue of all our releases contact:

SAYDISC RECORDS, THE BARTON, INGLESTONE COMMON,BADMINTON, S. GLOS GL9 1BX, ENGLAND

Fax: 01454 299858 Email: saydisc@aol.comwebsite: www.saydisc.com

Some of our SAYDISC unusual, traditional & exotic albums and Amon Ra authentic performances onoriginal instruments. Visit www.saydisc.com or write for more details and suppliers:CD-SDL 325 Like Waves Against The Sand - trad music from China - pipa, erhu, yanqin, percussionCD-SDL 327 Enchanted Carols - musical boxes, handbells, handbell choir, street pianos, brass bandCD-SDL 333 Ringing Clear - Handbell tune and change ringing in various stylesCD-SDL 343 On Kielder Side - Northumbrian Pipe music from Kathryn TickellCD-SDL 353 Fleur Du Jura - Parisian style cafe music from Danielle Pauly - French accordion QueenCD-SDL 358 Keep The Home Fires Burning - music of the 1st World War from the original recordings CD-SDL 360 Under The Greenwood Tree - Carols and dances from Thomas Hardy manuscripts, etcCD-SDL 367 Kurokami- Traditional music of Japan -koto/shakuhachi/shamisenCD-SDL 373 Music From The Time Of The Spanish Armada -The York Waits renaissance town bandCD-SDL 374 The Music Of The Hurdy Gurdy - Nigel Eaton & friends—bourreés to VivaldiCD-SDL 376 Disappearing World - Unique recordings of music from 17 endangered cultures CD-SDL 378 Church Bells Of England - 16 famous peals, Cotswolds, Bristol incl. St. Pauls, Westminster CD-SDL 383 Sing Lustily & With Good Courage - Favourite 18th c. hymns - Maddy Prior/ Carnival BandCD-SDL 387 Traditional Arabic Music - Hassan Erraji with Arabesque - ud, nay, saz, darbouka, bandir, etcCD-SDL 388 Music Of the Andes - Caliche - pan-pipes, charango, quena, bombo drum, etcCD-SDL 391 Traditional Songs of Scotland - Ray Fisher with bagpipe, violin, accordion etcCD-SDL 393 English Country Dances - The Broadside Band - favourite Playford dancesCD-SDL 396 Vocal Traditions of Bulgaria - exciting music from the Archives of Radio SofiaCD-SDL 400 English National Songs - Lucie Skeaping & John Potter with The Broadside BandCD-SDL 402 Traditional Songs of England - Jo Freya with fiddles, concertina, hurdy-gurdy, viols, etcCD-SDL 403 Spirit of Polynesia - The David Fanshawe trilogy of traditional Pacific music, volume 1CD-SDL 405 Sea Songs & Shanties - from the last days of sail -Bob Roberts, Cadgwith Fishermen, etcCD-SDL 406 Traditional Songs of Wales - Siwsann George with Welsh triple harp, crwth, hurdy-gurdy, etcCD-SDL 408 The Victorian Musical Box - numerous rare disc and cylinder musical boxesCD-SDL 409 Songs and Dances From Shakespeare - The Broadside Band and singersCD-SDL 413 Cockney Kings of Music Hall - the original recordingsCD-SDL 417 A Celtic Christmas - from Wales, Scotland, Ireland, Isle of Man, Cornwall and BritannyCD-SDL 419 Old English Nursery Rhymes - Vivien Ellis / Tim Laycock and The Broadside BandCD-SDL 422 Compline & Other Chant: Latin & English, nuns of Stanbrook/monks of Prinknash AbbeysCD-SDL 427 Folk Music of Tibet - field recordings of songs and instrumental musicCD-SDL 429 Carillon Bells of Britain - Kilmarnock, Aberdeen, Perth, Bournville, LoughboroughCD-SDL 430 The Celtic Harp - The Celtic heritage of harp music from Wales, Ireland and ScotlandCD-SAR 10 Clarinet Collection - Alan Hacker (historic clarinets) with keyboard, etcCD-SAR 18 Guitar Collection - Nigel North (historic guitars) with Maggie Cole (keyboards)CD-SAR 53 Music For Mandolin - Alison Stevens - mandolin duets, mandolin & fortepianoCD-SAR 62 A Golden Treasury of Elizabethan MusicCD-SAR 63 A Golden Treasury of Medieval MusicCD-SAR 69 A Golden Treasury of Ancient Instruments

CD-SDL 350

The Wibbly Wobbly WalkNovelty numbers from the

original phonograph cylinders and 78s

© 1985, SAYDISC RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S.GLOS. GL9 1BX, ENGLAND.

Fax: +(0)1454 299 858 E-Mail: Saydisc@aol.com Website: www.saydisc.comMade in EC

CD-SDL350

CD

-SD

L350

From Phonograph Cylinders1 The Wibbly Wobbly Walk

Jack Charman—1912 [4’10”]2 Oh By Jingo, Oh By Gee

Premier Quartet—1920 [3’40”]3 I Miss My Swiss

Tennessee Happy Boys—1925 [4’02”]4 Everything’s At Home Except Your

Wife Walter Van Brunt—1912 [3’10”]5 The Spaniard That Blighted My

Life Billy Merson—1920’s [3’59”]6 Tickle Me, Timothy

Billy Williams—1907 [2’24”]7 The Little Ford Rambled Right

Along Billy Murray—1915 [3’26”]8 Wallaperoo Arthur Osmond—1911 [4’13”]

From 78 rpm Records9 Love Me

Broadway Dance Orchestra—1923 [3’11”]10 Come Back To Georgia

Art Hickman & His Orchestra—1919 [2’56”]11 All By Yourself In The Moonlight

Lcslie Sarony—1928 [4’11”]12 The Little Wooden Whistle Wouldn’t

WhistleColumbia Novelty Orchestra—1924 [2’57”]

13 Why Did I Kiss That Girl? Savoy Havana Band—1924 [3’20”]

14 Felix Keeps On Walking Savoy Havana Band—1924 [3’13”]

15 I Parted My Hair In The Middle George Formby—1926 [3’14”]

16 There’s A Rickety Rackety Shack Kit-Kat Band—1920’s [3’04”]

17 Down SouthInternational Novelty Quartet—1929 [2’53”]

18 Parade Of The Wooden Soldiers [2’33”]International Novelty Orchestra—1928

Total duration: 60’36”

The WibblyThe W

ibbly Wobbly W

alk—N

ovelty Num

bers

CD

-SD

L350

The Wibbly W

obbly Walk—

Novelty N

umbers

Wobbly WalkNovelty numbers from the original phonograph cylinders and 78s