Howdy Folks! Check out my Atomic Age Vinyl Finds! If there are copyright issues or a problem with any post, just contact me and I will make corrections. I'm here to have fun and hope you will share in my process of discovery!
I had no idea what to expect out of this set, an obvious gimmick album on a label that I had never seen before. On quick glance, the rear cover reveals no information. The copy is humorous fluff intended to prop up the gimmick. All of the song titles have something to do with illness or doctoring. On closer examination I found that the musicians are credited. They include Al Caiola on Guitar, Frank Rehak - Trombone, Boomie Richmond - Flute/Woodwind, Georgie Auld - Tenor Sax, Don Lamond - Drums, Moe Wechsler - Piano/Organ, Sol Schlinger - Baritone Sax.
I recognized a number of names and loved the 60s cover illustration so I bought the album. I wasn't disappointed. This is a great early space age pop record featuring many cool tunes that may help cure what ails you. The record is somewhat obscure, but I noted, today, that a copy hadn't sold on ebay for $1. I paid more than that. It's worth at least that and the cost of shipping. A fun addition to your atomic age collection.
All-Time Piano Hits
Ronnie Aldrich And His Two Pianos
London SP 44081
There are some nice tunes on this album that features a rather drab looking cover. The engineering is amazing. Credit goes to Arthur Bannister.
Tracks consist mostly of 60s light pop and easy listening fare that I find pleasant, but pretty standard for the time. A few tracks rise above that vibe. They include fun covers of Miserlou and Voodoo Moon.
Strings In Hi-Fi
Pierre Challet And His Orchestra
Mercury SR 60066
From the March 23, 1959 issue of Billboard: Title is apt. The sound is, why not say it, sensational. The program is composed of string showpieces ("Flight Of The Bumble Bee, "Holiday for Strings", etc.) in sprightly arrangements. Place the needle anywhere for demonstration to hi-fi fans and, if you have a special browser for audiophfles (that is how they spelled the word), the disk deserves to be included.
Mercury is one of my favorite labels when it comes to quality engineering.
Budget release with no artist credit on the cover. On the label, the recording is credited to the Scott Mills Orchestra.
This obscure album, featuring a stock cover photo, is quite pleasant. A number of tracks are average Latin filler, but an equal number have a small combo flavor to them. The predominate instrument is the flute.
On the back cover is nothing about the music, but instead, a brief history of "The Evolution Of Stereophonic Sound".
A portion of this history includes a purchase, by The Shah of Persia, of the first three-track phonograph. A machine that was manufactured by the Columbia Phonograph Corporation in 1898. This player was advertised as "The Mulitplex Gramaphone Grand" and was the largest talking machine ever constructed.
Jackie Gleason Presents
Lazy Lively Love
Capitol Records SW 1439
After I collect all of Gleason's albums I will count up the number of covers that feature drinking and smoking.
Normally Gleason's stuff is great but this release seems unfocused and thematically weak compared to the other Gleason sets I've got in the collection. The LP is more "light pop" than romantic mood and features "brass" which in this case, I find hard to warm up to.
Blue Hawaiian Waters
Harry Kaapuni And His Royal Polynesians
Coronet Records CX 128 - CXS 128
Hawaiian Wedding Song
Pineapples, White Sails And Cocoanuts
Stars Over Hawaii
Beautiful Girls And Sunshine
The title found on the back cover and label is Hawaiian Moonbeams. I might make the assumption that Coronet changed the name to "Percussion" to capitalize on the early 60s percussion trend. However, this isn't a percussion record.
There isn't a mention on the cover of who the artists are. The album focuses on someone who can rock the steel guitar.
I just found the same album with the "Moonbeams" title...
A Revue Televison Productions Starring John Cassavetes
Strikingly modern background music composed and conducted by Elmer Bernstein
Capitol Records T1287
From the back cover: Johnny Staccato is a private detective. He works at it because it pays well and he likes to spend money. But for sheer pleasure he's a jazz pianist – highly regarded buy other musicians, but not interested in actually working as a musician.
A fantastic jacket story should make for some fantastic music. The music is "private, playing jazz for dames and drinks, detective" cool.
Carlos Salzedo Plays Music For The Harp
Original Compositions And Transcripts With Lucile Lawernce
Mercury Classics MG10144
I love the beautiful cover illustration that graces this vintage Mercury album.
From his wikipedia page:Salzedo remains one of the greatest harpists in history, a virtuoso player unparalleled, a virtuoso pianist and conductor, and a primal teacher. He was a progressive spirit, seeking new resources in the harp, inspiring and creating new works and creating new styles of music. His composing progressed from French Romantic to Impressionist to a new style uniquely his own.
The last track on the B side, Steel, is especially "modern" sounding compared to other tracks.
The Return Of James Bond In "Diamonds Are Forever"
And Other Secret Agent Themes
Roland Shaw And His Orchestra
London Records 2 BSP 24
This album was the last in a series of "spy" albums made by Roland beginning with Themes from the James Bond Thrillers in 1964. That record was released to coincide with the American release of the film Goldfinger. This record led to More Themes from the James Bond Thriller and Themes for Secret Agents.
Side one gets off to a slow start, but the secret agent business soon picks up and by the end of side two I found it hard to choose a sample.
Marty Gold And His Orchestra
RCA Victor LPM-2714
This album was yet another attempt to market RCA's "Dynagroove" technology.
The cover features a nice space age vibe which attracts collectors. But, as with New Thresholds In Sound by Sid Ramin (1963), this album fails to accomplish what I think RCA set out to do and that is to make "Dynagroove" seem new and cool.
For a 1963 release, when so many other labels, both large and small had been releasing exotica, bachelor pad, space age, light pop, percussion and other experimental forms of music, this record comes across as dated sounding. That's not to say that the music isn't pleasant listening... but RCA needed to do something way more dynamic if they intended to impress audiophiles.
Historically, "Dynagroove" was not well received. The engineering on this album is good, but not sparkling good.
The Sounds Of Adventure
Capitol Record Club Exclusive
This is a two record set, book-fold jacket design.
This nice Baxter collection holds together musically. The jacket notes explain that Baxter experimented with rock and roll, but you will not find any of those tunes here. This is a mood set.
Quiet Village Normandy Paris Interlude Lost In Meditation Fascination Dawn On The City A Distant Star Our Kind Of Love Moonlight Stroll Love Is A Fabulous Thing Autumn Leaves Blue Mirage The Enchanted Sea Dancing Diamonds Hong Kong Cable Car Blue Tango The Other Side Of The Moon Tom Dooley Blue Jungle Bustin' The Bongos
Richard Hayman And His Orchestra
Exotic Sounds Of The Americas
Mercury Records SR 60103
I have several Hayman albums, including his exotica LP titled Voodoo! (Mercury). You might also want to sample his album, Only Memories (Mercury) or a later album on The Command label, Cinemagic Sounds.
This album sports a sparkling and vibrant cover! The music, on the other hand is far from "exotic". The tracks are nice, but not up to par with many similar albums on the market at the time. Buy this one for the cover art.
Music For Hi-Fi-Bugs
Conducted And Arranged By Pete Rugolo
Recorded from July 9 through July 11, 1956
EmArcy MG 36082
Chas. T. Gentry
Walter P. Candoli
Ray S. Linn
Vincent de Rosa
From the back cover: In case there may be a few bugs for whom the hi-fi title was an attraction while the Rugolo name remained unfamiliar, let us recapitulate briefly a few facts that are, to most jazz fans, part of Chapter One in any course on modern jazz. Born in San Piero, Sicily in 1915, Pete came to the U.S. at the age of five, when his family settled in Santa Rosa, Cal. The product of a family that included two sisters and one father in music, Pete earned his MA at Mills College, where his teacher was Darius Milhaud. From the late 1930s he was pianist in various dance bands around San Francisco and Oakland; later, around 1940 - 41, he was sideman with Jimmie Grier and Johnny Richards.
It was during his Army service, which lasted from Nov. 1942 until late 1945, that Pete submitted a sample arrangement to Stan Kenton. After holding on to it for several months without looking at it, Stan belatedly observed signs of latent talent in the manuscript, made a transcription of the arrangement, and put Pete on staff as soon as his civilian life was resumed. From then until 1949, when he left Kenton and became free-lance writer (he has been living in Los Angeles since 1950) Pete Rugolo was a guiding force in the shaping of the Kenton band style during its peak era of popularity.
During his recent years as a Hollywood independent, Pete has assumed a variety of responsibilities – everything from vocal backgrounds to jazz sessions to movie soundtrack work has come his way, the film assignments including "Everything I Have Is Yours," "Easy To Love," "Latin Lovers," "Glory Alley" and "The Strip." With this variegated background, Pete was ideally equipped to live up to the instructions, or rather, the lack of them, when Bob Shad told him that on his first Em-Arcy album he could do anything he liked, with complete freedom as to choice of material, personnel and size of orchestra, and style of the interpretations.
Accordingly, the first side starts out with the title number, tailor-made by Pete for the occasion, designed to show all the highs, lows, and middles of the frequency range as well as to exhibit the finesse of the orchestra in both ensemble and solo capacities. Note the use of tympani by Larry Bunker in the introduction, the alto sax work by Ronny Long, the muted trumpet by Pete Condoli, the piano work of Russ Freeman.
One additional note from the back cover: An interesting aspect of the session for hi-fi bugs is the system of recording. Only one microphone was used – a counterrevolutionary procedure in these days of multiple mikes, tape tricks and recording gimmicks.
From Billboard - December 1, 1956: Pete Rugolo can always be counted on for a provocative listening experience – and he has planned an LP here that will be the talk of many strata of Jazzville. He has a big band composed of leading West Coast "modern" jazzmen and he puts them thru a number of highly original, and sometimes pungently dissonant, exercises. There is a variety of instrumentations and voicing that keeps the ear ever alert to the goings-on. Material consists of several originals and off-beat standards. Personnel include Shelley Manne, Maynard Ferguson, Dave Pell, Frank Rosolino, etc. Good listening for it's own sake – but an added kick because of its brilliant sound reproduction.
For Hi-Fi Bugs
Once In A While
Fawncy Meeting You
These Foolish Things
Oscar And Pete's Blues
Dream Of You
Liberty Records LRP 3150
Liberty Records must have released a lackluster record, but I have yet to discover one. Here we have a marvelous percussion album featuring a cover design that gives the impression of a sparkling blend of instruments. Slatkin presents a set of vibrant, jangling, sparkling arrangements, a good dose of space age percussion that I highly recommend.
This is a monaural release. London also released this record with a different cover design.
Rudi Bohn and His Band
Phase 4 In Stereo
London SLE 14 400 Ex
A "percussive" Oompah album?
All the London Phase 4 albums I have in the collection come in nice heavy book-fold jackets that feature glossy covers. This jacket is a gatefold, but printed on thin stock in the European style of the period. The disk features a Telefunken label as shown above.
Trink', Trink', Brüderlein Trink'
Too Fat Polka
O Du Lieber Augustin
Mack The Knife
The Happy Wanderer
Beer Barrel Polka
In München Steht Ein Hofbrauhaus
Auf Wiederseh'n Sweetheart
The Mystic Moods Orchestra
Philips PHS 600-301
This was the 17th "Moods" release. The April 19, 1969 Billboard "spotlighted" the album saying: Their (Moods) revolutionary sound in music will again prove to be another sales giant.
Mystic Moods sets blend natural sound effects, easy listening, 60 pop and quirky arrangements. The albums are like concept projects even though popular tunes are covered. On this album your will find a beautiful cover of The Beatles Norwegian Wood. And there is also a cover of Mac Arthur Park on the B side that is totally outrageous!
Si Zentner And His Orchestra Play Desafinado The Bossa Nova Beat! An S. W. Production Arrangements: Bob Florence Engineer: Dave Hassinger Cover Design: Studio Five Photo: Robert W. Young Liberty LST-7273 1962
From Billboard - November 17, 1962: Bright and tightly swinging performances of a flock of tunes in bossa nova rhythm including the current hit "Desafinado," by the big-sounding Zentner crew. Also included are "Caravan," "Midnight Sun," "Maria" and "Star Eyes." Could move to bossa nova fans.
Desafinado Maria Quizas, Quizás, Quizás (Perhaps, Perhaps, Perhaps) Speak Low Midnight Sun Bernie's Tune Oso Blanco Come Closer To Me Star Eyes Lisbon Antigua Caravan
Sears Golden Strings
Be My Love & Other Love Songs
This is the second Sears produced LP I've found. My first find (Golden Voices In Hollywood) was a bit of a treasure because Sears tried to cover pop songs with studio vocalists. That release was a campy 60s disaster. Sears, however, left the vocals off this release and gifted us with a straight forward and smooth mood set.
Project 3 PF 5062SD
This is an Enoch Light label release. Mottola made a number of albums for Light. The arrangements on this set are just quirky enough to hold the attention. Check out Spinning Wheel! Mottola manages to make something out of this song.
There are some great tunes on this album including a solo cover of a blend of Yesterdays/Yesterday by Harbach/Lennon.