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A series of great  PERSONALITY Records from Movies, Vaudeville, Minstrel and Humor  on 78 rpm Victrola Records



Click this link for more great Personality and Humor Records in my other listings!

 

Above, 4-disc set (12", 78 rpm), circa 1939

Below, three 10"
Rare 12" Victor Special Pressing Fiskana record.

The Fiskana label is the only third party custom record made by Victor.

 of Piano and Talking by Dwight Fiske - his often outrageous, absurd and piquante stories earn him the reputation of Party Records

However, the father of the Party Record, Dwight Fiske (1892-1959), was anything but lowbrow; he was a ferociously talented pianist and aspiring modernist composer who had set himself along the same course taken by Cole Porter and Aaron Copland. Yet Fiske abandoned this course once he began to entertain expatriate Americans with smutty tales of amoral royals and high class citizens in the saloons and nightclubs of between-the-wars Paris. The Party Record industry happened because Dwight Fiske had the nerve to go forward in recording his naughty routines despite the threat of censorship. Nevertheless, in just two decades he was a relic, his contribution forgotten in the rush towards a revolution in American comedy.

Ida the Wayward Sturgeon/ Clarissa The Flea


Clarissa the flea 

Ida, the wayward sturgeon 

Dwight Fiske (author) 


Dwight Fiske (speaker) 
Allen Ray (session supervisor) 
Dwight Fiske (instrumentalist : piano) 
Description: Comic monologue, with piano


Title Note: Victor ledgers: "From Mr. Fiske's book."

Fiske is described in Victor ledgers as "pianologist."

10/26/1933 New York, New York. Studio 2 1 Master Fiskana [Victor] 36100 12-in. Victor blue history card: "All destroyed 3/5/[19]43."

 Orig Issue Fiskana REcord made by Victor 12" 78 rpm record (NOT THE GALA RECORD DUB) 

Condition: EXCELLENT PRISTINE, tiny blister causes rare ticks, plays very quiet  faintest hiss

A SUPERB COPY

To New Yorkers who frequent expensive speakeasies, Dwight Fiske has long been a familiar personality. Lean, hatchet-faced, with hands like carefully manicured claws and a bald-spot on his narrow skull, they have seen him hunched scornfully in front of a grand piano, intoning his unique compositions with an air at once chipper, elegant and insulting. Last winter Dwight Fiske progressed from speakeasies to Manhattan's most elegant café, the Mayfair Yacht Club. Last week two things made it appear that his celebrity— like that of Helen Morgan and Jimmy Durante who preceded him from the orchidaceous gloom of cabarets into the glare of Broadway and the cinema— would presently outgrow Manhattan. It was rumored that he was soon to leave the Mayfair Yacht Club for Hollywood where his wit, properly censored, would provide an element thus far missing (see p. 30) in musical productions. Last week also, to the amazement of his admirers who had never for a moment supposed that any of his recitations might be printable, Dwight Fiske published his first book, Without Music.*

In Dwight Fiske's book, all the characters—except a preposterous old woman from Boston (where Without Music should be banned) who goes to Egypt and allows herself to be waylaid by an ostrich—lead decadent sex lives. Characteristically deplorable is the case of Clarissa the Flea who traveled from Vera Cruz to New York on an old tramp. Spanish and nervous, she had no difficulty in working her way into the heart of New York society. Clarissa's mother joined Sir Hubert Wilkins' expedition to the North Pole, conducted an equivocal expedition into the interior. As for Clarissa, she joined the flea circus, made a trip to Washington on Premier Laval, died, in a blaze of typically Fiskean capital letters, when "She tried to come between two HAPPY LOVERS."

Punctuation and typography (the counterpart of his musical counterpoint and bizarre arpeggios) are as important and far more intelligible in the verse forms of Dwight Fiske than in those of E. E. Cummings. The Fiske version of the tragedy of Antony and Cleopatra starts as follows:

The Egyptians called Cleopatra the
Symbol of Love,
But the Romans called her just a
PUSHOVER!

Composed almost entirely of double entendres, the sadly cruel little narratives in Without Music all convey an attitude of fatigued scorn, like that of the Parisians in "Mr. Jones's Night Off" who "didn't even bother to look up when he ranted at them."

" 'Il est fou,' they whispered,
and ordered more and more champagne."

Mr. Jones ended up by having an escapade with Mistinguette, then went home to the flat where his wife, Mabel, and their five children were waiting. "But Mabel only opened one of her Sioux City eyes and said:

'Go to Hell, Father of Two.' "

Very few of Fiske's pale paraphrases of barroom jokes, his irrelevant elaborations of smoking-room mythology, are as frankly dramatic as "Mr. Jones's Night Off." Most famed is the ballad of "Ida, The Wayward Sturgeon"—a wretchedly voluptuous fish who said to herself: "There must be more to this sex-life than just swimming over each other's eggs." She put a badge on her right shoulder saying "I will share," paid a visit to Fanny Bored, the world's oldest mermaid, finally had an uncomfortable liaison on a barnacle bed, with an octopus.

Not all the readers of Without Music should be expected to echo the comment of Robert Benchley in his introduction: ". . . It makes me feel better about having laughed so loud at Dwight Fiske in night clubs. I always have had a suspicion that I was drunk. Now I know that I was merely appreciative. . . ."

For New Yorkers with catholic tastes in music who call at the Mayfair Yacht Club after the opera, Dwight Fiske has a peculiarly disdainful opus called "The Pleasure-Dome of Kubla Kahn," in which Manhattan's most aristocratic esthetes are languidly identified with fish and weeds.

Like most expert humorists, Dwight Fiske started out in earnest to achieve the ends which he now so skilfully contemns. After a polite upbringing in Boston, he started out at Harvard in 1912, left to study music at the Paris Conservatoire. After composing a symphony of which he says "It was terrible. . . . Have you got an aspirin?" he met Marie Dressler at a party, regaled her with his musical arrangement of President & Mrs. Harding receiving the children for the annual eggroll on the White House lawn at Easter. Marie Dressier put him on a benefit performance bill. Presently he was appearing at the Bat Club in London where Tallulah Bankhead and the Prince of Wales were equally enthusiastic.



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