A1 	Room 43 	
A2 	Fall Out 	
A3 	Kukie Bird 	
A4 	Darl Eyes 	
A5 	Peter Gunn 	
A6 	Wrong Number 	
B1 	707 	
B2 	Swanee River 	
B3 	Fly Now, Play Later 	
B4 	Bunny Hop Rock 	
B5 	Rock-Umba 	
B6 	Walkin' To Mother's

Anthony’s orchestras were fashioned, as we said, mainly for dancing, much like those of Les Brown, Harry James, the Dorsey brothers or the Elgarts, most of whom normally earmarked more space for improvisation than Anthony, whose James–like trumpet is often the only solo voice heard. The reason for Anthony’s popularity is clear; in an era in which dancing was popular, his orchestra gave dancers a sumptuous backdrop for their pursuit with no unpleasant interludes. What Anthony didn’t have, at least when these recordings were made, was a knockout singer like Sinatra, Helen Forrest, Jo Stafford, Ray Eberle or others of their stature. Hank Grad, Chuck Fonda, Dee Keating and Billy Johnson simply can’t compete in that arena. Aside from that these air–checks are fine, with generally good sound and balance, and Anthony enthusiasts should find them pleasing. Many of Anthony’s more recent recordings have been reissued as Compact Discs on his own Aero Space label, and are also worth checking out. ---Jack Bowers, allaboutjazz.com

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1 	Baby But You Did 	2:47
2 	Roll 'Em Around 	2:50
3 	South Dakota 	2:45
4 	This May Be The Time 	2:39
5 	Every Dog Has His Day 	2:31
6 	A Lavender Mood 	2:43
7 	Mr. Moon 	2:54
8 	Indubitably 	3:34
9 	You're The One For Me 	2:30
10 	Why Should I Worry 	2:37
11 	Why Don't You Want To Come Home 	2:30
12 	You Gotta Get Lucky Sometime 	2:00
13 	The Swinger 	4:05
14 	Swing Machine 	2:25
15 	Big Band Blast 	2:25
16 	Swing Along 	2:45
17 	Movin' 	2:35
18 	Boogie On Down 	2:05
19 	Heat Ray 	2:05
20 	Swingin' Affair 	2:40
21 	Fanfare Boogie 	2:20
22 	Swing Thing 	2:00

Arranged By – Don Simpson, George Williams 
Band – Ray Anthony And His Orchestra
Bass – Don Simpson
Drums – Alvin Stoller
Guitar – Bobby Gibbons
Leader, Trumpet, Producer – Ray Anthony
Piano – John Banister
Saxophone – Med Flory, Plas Johnson, Robert Hardaway, Ronnie Lang, Skeets Herfurt
Trombone – Frank Lane, Lew McCreary, Tommy Pederson
Trumpet – Conrad Gozzo, Gene Deurmeier, Jack Laubach, Pete Candoli

Ray Anthony played two years with Glenn Miller and ten with Jimmy Dorsey before forming his own band. Anthony led a group in the Pacific during World War II, then had a highly popular dance band. He probably has as much fame, if not more, as the writer of the theme for Dragnet, the novelty tune "The Bunny Hop," and the hit single "Dancing in the Dark." He also had plenty of film and TV work in the '50s, including an appearance in the film Daddy Long Legs. ---Ron Wynn, allmusic.com

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A1 	The Man With The Horn 	
A2 	For Dancers Only 	
A3 	Tenderly 	
A4 	Mr. Anthony's Boogie 	
B1 	Harlem Nocturne 	
B2 	I Wonder What's Become Of Sally? 	
B3 	Mr. Anthony's Blues 	
B4 	Stardust

Ray Anthony And His Orchestra
Ray Anthony - trumpet

Raymond Antonini, 20 January 1922, Bentleyville, Pennsylvania, USA. After playing in local bands in Cleveland, Anthony spent brief spells in the trumpet sections of the Al Donahue, Glenn Miller and Jimmy Dorsey orchestras. Following a four-year period in the US Navy, where he led a services orchestra, Anthony formed his own band in 1946 and signed with Capitol Records. The band became one of the top attractions of the 50s, touring colleges and universities, producing hit singles such as ‘At Last’, ‘Harbour Lights’, the television themes from Dragnet and Peter Gunn, plus novelty dance numbers such as ‘The Bunny Hop’ and ‘I Can’t Tell A Waltz From A Tango’. From the start, the band had always had a Millerish reed sound, so when the Miller ‘revival’ happened they participated more successfully than most. Anthony appeared with his band in two movies, Fred Astaire’s Daddy Long Legs and This Could Be The Night. He appeared on his own in the Jayne Mansfield/Tom Ewell rock ‘n’ roll spoof The Girl Can’t Help It, and in an eerie piece of Hollywood casting, featured as the saxophone-playing Jimmy Dorsey in the Red Nichols biopic The Five Pennies. In the 60s, with a limited market for 16-piece bands, Anthony formed the Bookend Review, with a female vocal duo and a small band, playing clubs and lounges throughout the USA. In 1976, after eight years with Ranwood Records, he began releasing material on his own Aero Space label. He revived the Ray Anthony Orchestra during the 80s, and remains active in preserving big-band music for schools and radio stations. ---oldies.com

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