This focused group of twenty British-issued shellac records captures the golden age of film song and dance-band recording, spanning the late 1920s to the early 1940s. Major names including Ambrose, Bing Crosby, Paul Robeson, Gracie Fields, Jack Hylton, and Lew Stone define the selection, with repertoire drawn from landmark films associated with stars such as Fred Astaire. Highlights include Astaire-associated material from Top Hat and Swing Time, alongside the enduring cultural touchstone of Casablanca and its immortal “As Time Goes By”. Together, the records illustrate how cinema music moved seamlessly from screen to gramophone in the pre-war era. The collection is offered in consistently attractive VG+ to EX condition, making it well suited to serious collectors, curated sale, or exhibition use. Turner Layton – As Time Goes By / You Were Never Lovelier – Columbia FB.2901 – UK – 1942. From Casablanca. Few records carry the emotional and cultural weight of this issue. Layton’s intimate piano-and-voice performance preserves the song exactly as audiences remember it – restrained, nostalgic, and timeless. A wartime British pressing of one of cinema’s most enduring melodies and a true centrepiece disc. Bing Crosby – Can I Forget You / The Folks Who Live on the Hill – Brunswick 02484 – UK – 1939. From High, Wide and Handsome. Crosby at his mature pre-war peak, interpreting Kern and Hammerstein with warmth, control, and effortless authority. Both sides are beautifully recorded, making this one of the most desirable vocal Brunswicks of the period. Paul Robeson – Ol’ Man River / I Still Suits Me – HMV B.8497 – UK – 1936. From Show Boat. A commanding British pressing of Robeson’s defining role. “Ol’ Man River” remains one of the most powerful performances ever committed to shellac, giving this disc immense historical and cultural stature. Gracie Fields – Love (Wonderful Love) / Just a Catchy Little Tune – HMV B.8208 – UK – 1934. From Sing As We Go. Two signature numbers capturing Gracie Fields at the height of her popularity. Warm, direct, and irresistibly human, this is a cornerstone HMV Fields issue. Gracie Fields – Danny Boy / Wish Me Luck – Regal Zonophone MR.3118 – UK – 1937. From Shipyard Sally. A powerful pairing balancing sentiment and patriotism, enormously resonant with contemporary audiences and still emotionally effective today. Ambrose and His Orchestra – Top Hat, White Tie and Tails / Isn’t This a Lovely Day? – Decca F.5739 – UK – 1935. From Top Hat. Astaire–Rogers elegance translated into flawless British dance-band form. One of the most important and desirable Ambrose Deccas. Jack Hylton and His Orchestra – Painting the Clouds with Sunshine / Tip-Toe Through the Tulips – HMV B.5722 – UK – 1930. From Gold Diggers of Broadway. A vivid early sound-film crossover capturing the excitement of Warner Bros. musical spectacle at its peak. Lawrence Tibbett – The White Dove / When I’m Looking at You – HMV DA.1102 – UK – 1934. From The Rogue Song. Operatic authority meets Hollywood romance in this prestige HMV issue with strong crossover appeal. Geraldo and His Orchestra – Summertime / You Came Along – Parlophone F.2096 – UK – 1937. From Wake Up and Live. Smooth, urbane, and modern, this coupling showcases Geraldo’s polished transatlantic style at its commercial peak. Jay Wilbur and His Band – A Fine Romance / The Way You Look Tonight – Rex 8901 – UK – 1936. From Swing Time. Two enduring Kern standards presented in clean, danceable arrangements with strong recognition value. Strong mid-tier dance-band and film-song records Ambrose and His Orchestra – How Beautiful You Are / Somewhere in France with You – Decca F.7326 – UK – 1936. From Black Velvet. Elegant, romantic, and expertly paced, showing Ambrose’s orchestra in full command of mood and texture. Ambrose and His Orchestra – Stay As Sweet As You Are / College Rhythm – Decca F.5382 – UK – 1934. From College Rhythm. A contrasting pairing highlighting Ambrose’s versatility across sentiment and rhythmic modernity. Harry Roy and His Orchestra – I Won’t Dance / Lovely to Look At – Parlophone F.204 – UK – 1935. From Roberta. Rhythmically confident performances delivered with Roy’s characteristic drive and clarity. Carl Brisson – Be Careful, Young Lady / A King Can Do No Wrong – Decca F.5494 – UK – 1935. From All the King’s Horses. A strong cinematic pairing showing Brisson in assured, theatrical form. Webster Booth – The Bells of St. Mary’s / Panis Angelicus – HMV B.9472 – UK – 1939. From The Bells of St. Mary’s. Smooth, devotional, and beautifully balanced, with lasting appeal to collectors of lyrical tenor repertoire. Solid supporting dance-band material Abe Lyman and His California Orchestra – There’s Something About an Old-Fashioned Girl / Never Swat a Fly – Brunswick A.8884 – UK – 1929. From Just Imagine. Light, stylish American dance-band material issued for the British market, full of period charm. Sam Lanin and His Orchestra – The Wedding of the Painted Doll / The Dance of the Paper Dolls – Imperial 2079 – UK – c.1929. From The Broadway Melody. Graceful early sound-era selections with elegant orchestration and melodic appeal. Lew Stone and His Band – Undecided / The Moon Remembered, But You Forgot – Decca F.7186 – UK – 1934. From Robbin’ Shavers and Let’s Fall in Love. A musically assured Lew Stone Decca combining rhythmic confidence with lyrical restraint. Lew Stone and His Band – Lonely Feet / Hand in Hand – Decca F.5985 – UK – 1932. From The Three Sisters. An energetic early Decca example showing Stone’s developing style. Bing Crosby with John Scott Trotter and His Orchestra – East Side of Heaven / Sing a Song of Sunbeams – Brunswick 02786 – UK – 1939. From East Side of Heaven. A polished and enjoyable Crosby pairing, attractive though overshadowed by his most iconic Brunswick issues.