Music: New Pop Records, Nov. 21, 1955

He (Al Hibbler; Decca). Like Trees, this song may be credited with spawning a whole series of one-word song titles, e.g., Pleasure, Guilty, Never. It also caters to the pseudo-religious trend that is currently bidding for the juke-box nickel—reduced, of course, to the juke-box level of understanding. Sample: "He alone knows where to find the rainbow's end/He alone can see what lies beyond the bend . . ."

Mack the Knife (Louis Armstrong combo; Columbia). An uptempo, updated version of Kurt Weill's wonderful old ragtime hit from The Threepenny Opera (1928). Satchmo plays a lilting chorus and growls some free variations on the fine Marc Blitzstein lyrics (1954). Then he hears a shouted "Take it, Satch," and the Armstrong trumpet takes it high.

Old Masters (Bing Crosby; Decca, 3 LPs). The sequel to Crooner Crosby's last Decca album, consisting of original recordings made between 1934 and 1949. The title is a bit pretentious for even such a yellowed parchment as Crosby, but it does contain some rare items, e.g., Dear Old Girl, Someday, Sweetheart, It's the Dreamer in Me.

Only You (The Platters; Mercury). The rock-'n'-roll set is gobbling this one up fast. Its gimmick: a regular snapping sound on the offbeat, like a whipcrack. The lead singer, presumably frightened by that whip, shrieks in a quivering, gasping falsetto. A nerve-racking specimen of the continuing rock-'n'-roll dementia.

Ooh, Bang (Doris Day; Columbia). Clean-cut Doris seems to have gotten in over her head here. Why do some girls like some men? Answers Doris: "Some are charmin', and some have looks./Some have money and some read books/but my guy, he's got so much Ooh Bang, Jiggly jang . . . [clang, clang]."

The Rose Tattoo (Perry Como; Victor). A brief, misty legend in slow waltz tempo, from the forthcoming movie version of the Tennessee Williams play. It seems that some fellow got tattooed as a gesture of his undying love, and then he died, and the poor girl will "wait her whole life through" for him to return.

So Many Beautiful Men (PatriciaScot; Wing). A strange lament about an embarrassment of riches, sung in a silky but energetic tone over a bouncing beat.

Time (Rusty Draper; Mercury). A cheerful complaint indeed, considering the scope of the problem, sung over a chuckling, shuffle beat. Chorus: "Time, you're a villain,/Time you're a thief,/ Time you stole my youth from me/and now you bring me grief."