This collection traces the moment when cinema became the primary source of popular song, and British record companies moved swiftly to bring Hollywood and British screen music into the home. Spanning the crucial years 1929–1938, these 78 rpm records document how film musicals, romantic dramas, and revue pictures shaped the sound of British popular music during the early sound era. The selection brings together major screen titles – including Swing Time, Gold Diggers of Broadway, Sing as We Go, Flying Down to Rio, King of Jazz, and Me and My Girl – interpreted by leading British dance bands and orchestras such as Roy Fox, Jack Hylton, Ambrose, Lew Stone, and by iconic film personalities like Gracie Fields. Also included are American imports on British pressings, reflecting the international reach of Hollywood musicals and the demand for screen songs far beyond the cinema. The records are in VG+ to EX condition. Roy Fox and His Orchestra – The Way You Look Tonight / A Fine Romance – HMV B.D.5125 – UK – 1936. From Swing Time. One of the definitive British dance-band interpretations of Hollywood’s most enduring romantic film score. Fox’s refined orchestration and tasteful vocal refrain translate Jerome Kern’s melodies into an idiom perfectly suited to British ballrooms. A cornerstone mid-1930s HMV issue and one of the most recognisable film-song couplings of the era. Jack Hylton and His Orchestra – Tip-Toe Through the Tulips / Painting the Clouds with Sunshine – HMV B.5722 – UK – 1930. From Gold Diggers of Broadway. A landmark early talkie-era release capturing the first great wave of film-musical enthusiasm. Hylton’s orchestra balances novelty and polish, preserving the excitement of Broadway-style spectacle while maintaining tight dance-band discipline. An essential early-1930s HMV pressing. Jack Hylton and His Orchestra – Today, I Feel So Happy / Live, Laugh and Love – Decca F.2751 – UK – 1933. From Sunshine Susie / Congress Dances. A bright, optimistic pairing that reflects both British and Continental film influence. Decca’s modern sound and Hylton’s confident rhythmic drive make this a prime example of early-1930s British dance orchestras adapting cinematic material for popular consumption. Gracie Fields – Sing as We Go / In My Little Bottom Drawer – HMV B.8209 – UK – 1934. From Sing as We Go. An iconic British film-and-record crossover capturing Fields at the height of her popularity. Both sides combine warmth, humour, and direct emotional appeal, supported by sympathetic orchestral backing. A key HMV issue linking cinema, popular song, and personality-driven recording. Lew Stone and His Band – Pick Yourself Up / Unbelievable – Decca F.6133 – UK – 1936. From Swing Time. One of the strongest British swing-era adaptations of American film material. Stone’s crisp ensemble work and rhythmic assurance reflect the growing influence of American swing on British bands. A confident and modern Decca pressing from the mid-1930s. Ambrose and His Orchestra – Without a Word of Warning / From the Top of Your Head – Decca F.5751 – UK – 1935. From Two for Tonight. A stylish Embassy Club-era release from Ambrose, marked by smooth reeds, elegant brass, and relaxed swing. Hollywood melodies are treated with sophistication rather than excess, reinforcing Ambrose’s reputation as Britain’s most urbane bandleader. Roy Fox and His Orchestra – I Feel Like a Feather in the Breeze / Life Begins When You’re in Love – HMV B.D.5042 – UK – 1936. From Charm School / The Music Goes ’Round. A polished mid-1930s Fox coupling featuring light, airy Fox-Trots and neatly integrated vocals. Typical of Fox’s later HMV output – elegant, efficient, and aimed squarely at the mainstream dance audience. Tommy Dorsey and His Orchestra – On the Sunny Side of the Street / There’s No You – HMV B.D.5909 – UK – 1938. A strong British pressing of two contrasting American swing standards. Bright optimism on one side and lyrical restraint on the other showcase Dorsey’s tonal control and ensemble balance. A solid late-1930s HMV swing-era release. Artie Shaw and His Orchestra – The Donkey Serenade / Carioca – HMV B.8893 – UK – 1937. From The Firefly / Flying Down to Rio. An attractive pairing of operetta-derived and Latin-influenced film music. Shaw’s orchestra favours elegance and clarity over raw swing power, making this an appealing example of American sophistication tailored for the British market. Gandino and His Orchestra – Selections from King of Jazz (Part 1 & 2) – Imperial 2341 – UK – 1930. From King of Jazz. A large-scale revue selection reflecting early sound cinema’s ambition. Symphonic jazz textures dominate, blending spectacle with discipline. An interesting Imperial issue illustrating how “jazz” was marketed as prestige entertainment at the dawn of the talkies. Roy Fox and His Band – You Ought to See Sally on Sunday / The Winds in the West – Decca F.3727 – UK – 1931. From Aunt Sally. An elegant early Decca release from Fox’s Kit-Cat Restaurant period. Understated arrangements and refined pacing typify Fox’s approach during Decca’s formative years as a serious British label. Albert Taylor and His Orchestra – Let’s Call It a Day / Shadow Waltz – Panachord 25550 – UK – 1933. From Strike Me Pink / Gold Diggers of 1933. A handsome Panachord coupling combining lighthearted charm with Hollywood spectacle. Shadow Waltz in particular brings cinematic sweep to the British dance-band idiom. A strong example of Decca’s budget-label output. Michael Flome and His Orchestra – Lambeth Walk (Quick-Step) / My Gipsy Dream Girl – Decca F.6601 – UK – 1938. From Me and My Girl / Command Performance. A lively late-decade Decca issue bridging British musical comedy and contemporary dance-band style. Lambeth Walk provides theatrical energy, while the reverse offers romantic contrast. The Queen’s Hall Light Orchestra, conducted by Sidney Torch – Coronation Scot / The Horse Guards–Whitehall – Columbia D.B.2406 – UK – 1937. From the Paul Temple radio programme / Your Way Wood. A vivid example of interwar British light music associated with radio drama and ceremonial themes. Tightly conducted and evocative, but outside the core dance-band canon. Adrian Schubert’s Salon Orchestra – You’re Always in My Arms / Sunny Side Up – Imperial 2210 – UK – c.1929. From Rio Rita / Sunny Side Up. A refined salon-style treatment of early film songs, emphasising melody and blend over rhythm. Representative of Imperial’s domestic, middle-class market in the late 1920s. The Clevelander(s) – Sunny Side Up – Imperial 2210 – UK – c.1929. From Sunny Side Up. A lighter, more dance-oriented Fox-Trot reading of the same film hit. Functional and efficient rather than distinctive, but useful for illustrating multiple approaches to the same repertoire. Willie Robyn – Love (Your Spell Is Everywhere) – Imperial 2217 – UK – c.1929. From The Trespasser. A gentle tenor solo reflecting early electric recording aesthetics and the lingering influence of silent-to-sound film transition. Of specialist interest rather than broad impact. The Radio Imps – Sergeant Flagg and Sergeant Quirt (I’ll Tell the Cock-eyed World) – Imperial 2217 – UK – c.1929. A comic vocal duet rooted in revue and stage humour. Historically interesting, but peripheral to dance-band and film-music collecting priorities.