Webb Pierce Sings This Thing

 

Does My Memory Ever Cross Your Mind

Webb Pierce Sings This Thing

Decca Records DL 75132

1969

From the back cover: See that swimming pool on the cover of this album? It belongs to the man you see standing beside it, Webb Pierce, and his attractive wife Audrey. It's guitar-shaped and is one of the more talked about swimming pools in Music City, U.S.A. People constantly ask "Who designed it?" And Webb smiles and tell them, "Grady Martin was the architect."

That, of course, is a Webb put-on since Grady Martin in one of the better guitar pickers in the land and a fellow artist of Pierce's on Decca Records. That thing about the pool's "designer" is the only thing about this LP that is facetious, because when it comes to making music Webb Pierce is serious – strictly a no-levity man. The LP is titled "This Thing," and it is the latest or more than 25 he has done for Decca. He has also cut gosh-knows-how-many singles – many of them award-winners – and at least 27 of them achieved No. 1 rating on the charts. You just don't fool around and rack up this kind of success. You gotta be serious about what you're doing.

This Thing, which is included in the package, is about love – as are a majority of the songs. Some are about unrequited love. Most of them brand new... like I Get So Mad At Me, There's No Need To Try, Does My Memory Ever Cross Your Mind, I Caused You To Give Your Love Away, I Go On Loving You, No Tears Tonight, You're The Reason, Lo-Lenna, and I Had Last Night To Live Over, his most recent single click. Webb's been with Decca for seventeen years, which qualifies him for "elder statesman" status with the label.

When he isn't making records or personal appearances, he's involved in the operation of three Georgia radio stations (WJAT, Swainsboro; WBRO, Waynesboro; and WSNT, Sanderville), which he owns and which are managed by Johnny Bales, formerly of the Bales Brothers Grand Ole Opry act. Holdings also include two publish companies, Tuesday Music (BMI) and Shady Lane Music (SESAC). The album's title song is Shady Lane's first.

He also has time for hobbies: golf and bowling. Oh yes, there's another performer by the name of Pierce on the singing scene in Nashville. But that doesn't bother him. Fact is, he's rather proud of this Pierce. She is Debbie Pierce, his teen-age daughter. You just might be listening to her albums ere long. She's about ready to sing with Decca. Debbie sings just fine – and she's much prettier than her daddy. – Red O'Donnell, Nashville Banner

This Thing

Does Your Memory Ever Cross Your Mind

No Tears Tonight 

If I Had Last Night To Live Over

I Get So Mad At Me

I Go On Loving You

You're The Reason

Scattered Roses

Lo-Lenna

I Caused You To Give Your Love Away

There's No Need To Try

Kings & Queens - Various

 

Kings & Queens

Kings & Queens

Coronet Records CX-260

Premier Albums Inc.

Ray's Blues - Ray Charles

Funny - Maxine Brown

On The Bandstand - Jimmy Soul & The Belmonts

Last Love - Lena Horne

In My Heart - Little Richard

Late In The Evening Blues - Ray Charles

Mr. Pride - Chuck Jackson

Loves That Way - Brooke Benton

All In My Mind - Maxine Brown

Walk With Me - Little Richard

Bijou - Woody Herman

 

Panacea

Bijou 

Woody Herman and His Orchestra

Photo: Jon Abbot

Harmony HL 7013

A Product of Columbia Records

1957

Bijou

Apple Honey

Happiness Is A Thing Called Joe - Vocals by Frances Wayne

Your Father's Moustache - Chorus, Members of The Orchestra

Northwest Passage

Goosey Gander

Wild Root

Blowin' Up A Storm

Panacea - Vocals by Woody Herman

Woodchopper's Ball

Here Is New York - Jack Lemmon

 

Here Is New York

E. B. White's 

Here Is New York

Jack Lemmon

Produced by Bob Bach

Cover Design: Ken Deardoff

Riverside Records are Produced bt Bill Grauer Productions, Inc.

Riverside Records RLP 849

From the back cover: In Here Is New York you roam through the concrete jungle that is the city – from the plushest offices high above the streets to the crummiest slums only a few blocks away; from the most elegant hostelries to the depths of the Bowery; from Harlem to Greenwich Village to Chinatown and the neon wilderness of Broadway. Here is the greatest town in the world – the gaudiest, most beautiful, most crowded, most private, most satisfying, most heartbreaking city in all history.

There is only one writer alive today who could so succinctly convey the texture of Manhattan – its sound and smells, its restless energy, its teeming population, its intimacy, its privacy, its inconveniences, its heady delights, its aching loneliness. That man is E. B. White. Anyone who has read his pieces in The New Yorker over the years will understand why he is so uniquely capable of capturing the magic of this city.

Mr. White, who considers a hotel room the ideal place for writing (he wrote "Here Is New York" in one), divides his time between New York City and a farm in Maine. After an assortment of journalistic and advertising jobs, he went to work on The New Yorker magazine shortly after it was founded. There his verses, his satirical sketches, his essays, his captions, and his taglines for news breaks soon became the delight of readers of that weekly.

He is married to Katherine S. White, with whom he co-edited "A Sub-Treasury Of American Humor". White is the author of "Quo Vadimus," "One Man's Meat," "Stuart Little" and other notable works of fiction and non-fiction.

He wrote "Here Is New York" in 1948. It first appeared in print the following year as the nucleus of a special issue of Holiday magazine, and was soon after published in book form by Harper & Bros. (Most of the descriptive material about Mr. White and his text in these notes is derived from the jacket of that book.) In his forward to the book, the author noted that the city constantly changes, that "to bring New York down to date, a man would have to be published with the speed of light." But he noted also that "The essential fever of New York has not changed in any particular." He expressed the feeling "that it is the reader's, not the author's, duty to bring New York down to date; and I trust it will prove less a duty than a pleasure."

A dozen years separate the publication of the book and this issuance of a recorded version. However, surprisingly little alteration was called for – to remedy obviously outdated specifics. For, of course, "The essential fever" is still unchanged. And since this work has always been concerned with the essence of New York more than its facts and vital statistic – and since, furthermore, even the facts do not alter that much – Here Is New York remains a brilliantly true picture. As for any needed touch of up-dating, the author's original comment still holds: that is the listener's duty or, preferably, pleasure.

Jack Lemmon's success in bringing to life E. B. White's unique evocation of New York must, of course, be at least partly credited to his undoubted ability as an actor. But it must also be attributed to some degree to the strange magic of New York – to the affection the city call forth and the spell it holds over so many who come into contact with it. Lemmon is by no means a full-scale New Yorker.

Born in Boston and currently a toiler in the vineyards of Hollywood and thereabouts, Lemmon did however, spend several formative years in New York. After college (Harvard) and World War II (he was communications officer on an aircraft carrier), he came to The City to pursue an acting career. Radio soap operas first provided his bread and butter; then came more than 500 TV shows. He made his Broadway debut in a 1953 revival of "Room Service" and this rather quickly led to a film contract. In 1955, he won and Academy Award for his supporting performance as Ensign Pulver in "Mister Roberts," which sparked a rise to stardom that has seen the fortunate Mr. Lemmon co-starred with such as Judy Holliday, Marilyn Monroe, Kim Novak, Doris Day, Shirley MacLaine and Rita Hayworth. His notable performances in "Some Like It Hot" and "The Apartment" (much of the latter film, incidentally, was shot in New York) have led producer-director Billy Wilder to refer to him as "the outstanding young comedy talent of this day".

A Sacred Collection - Molly O'Day

 

If You See My Saviour

A Sacred Collection

Molly O'Day

With Lynn Davis and The Cumberland Mountain Folks

Old Homestead Records OHCS - 101

1975

From the back cover: More than a decade ago two of country music's most respected veterans A. & R. men were quoted as saying that the greatest woman country music singer was Molly O'Day. Unfortunately for the younger fans of traditionally oriented country music, this remarkable lady has not performed publicly for nearly twenty-five years except in connection with her husband's and her own evangelistic work. The purpose of this album is to present a sampling of original music  and songs of Molly O'Day to those of us not fortunate enough to own these scarce collectors items.

Molly O'Day was born Lois LaVerne Williamson in 1923 at McVeigh, Kentucky. At an early age she began to take an interest in music together with her older brothers Joe (Duke) and Cecil (Skeets). This threesome of LaVerne, guitar; Skeets, fiddle; and Duke, banjo were soon entertaining for local dances or for any neighbors they could persuade to listen. LaVerne also began to sing in the manner of the popular girl vocalists of the middle and late thirties with her favorites being Lulubelle Wiseman, Patsy Montana, Texas Ruby Owens and Lily Mae Ledford of the Coon Creek Girls. She especially admired Lulubelle as a singer-entertainer and Lilly Mae's old-time banjo playing. In her early years as a singer she tended to imitate these pioneer vocalists but as time went by, she developed her own style which was more influenced by her own mountain background.

In 1939, LaVerne Williamson began her radio career as "Mountain Fern" and then as "Dixie Lee" at WCHS, Charleston, W. Va. The next year she and Skeets played with a group which included such other country music greats as Johnnie Bailes and Jimmie Dickens. In the fall of 1940 she and Skeets joined the band of Lynn Davis and his Forty-Niners where she worked as a girl vocalist. The following April she became Mrs. Davis.

Davis was an eight year veteran of country music on radio stations in West Virginia, North Carolina and Oklahoma. In his early years he had done semi-western material not unlike that of the Sons Of The Pioneers. From the advent of Dixie Lee's joining the group, however, the Forty-Niners began to adapt more to the style of their talented girl vocalist. In the fall of 1942 she adopted the stage name of Molly O'Day and continued to use it for the remainder of her professional career.

The forties were busy years for the Davises. From Bluefield they played on a succession of stations including WJLS, Beckly, WAPI, Birmingham (1942), WHAS, Louisville (1943-1944) (and the Renfro Valley Barn Dances on CBS), KRLD, Dalla (1945), WNOX (1945) and WROL (1949), Knoxville and WBIG, Greensboro (1949). During this time they worked with or had as part of their group such important country music personalities as the Bailes Brothers, Hank Williams, the Lilly Brothers, Mac Wiseman, Carl Smith, Bill Callahan, and Lonnie Glosson. Between 1945 and 1951, they put over a hundred songs on transcription and thirty-six on record.

Fall of 1949 found them in Versailles, Kentucky, however, country music was becoming more of a laborious chore than the fun it had been in an earlier era. In 1950 both she and Lynn joined the church and began to devote their time to the service of God. A serious illness in 1952 and 1953 removed her even father from commercial country and gospel music, but sustained by her faith she eventually recovered and Lynn returned to his evangelistic duties with Molly assisting. For the last several years they have resided in the Huntington, West Virginia area and continued to do church work as time and health permit.

The major characteristic of Molly O'Day's vocal work has been the intense feeling and sincerity which she puts into a song. Perhaps this feeling of depth and emotion accounts for the fact that her best remembered numbers have either been sacred songs or "tear jerkers." Musical associates from radio days such as Carl Story, Bill Callahan and Joe Clark have all described to this writer the feeling she put into a song. She was also acclaimed for the spirited banjo playing heard on several of her records. She and Lynn were also known for their duet singing, particularly their inverted harmonies. Lynn Davis played lead guitar on all of Molly O'Day's original recordings. Skeet Williamson played fiddle on Molly's 1946 and 1949 sessions and is recalled by Everett Lilly as being one of the best fiddlers of his time. George (Speedy) Krise played Dobro on the 1946 and 1947 sessions and should be remembered as the man who apparently introduced that instrument to bluegrass in 1950 while recording with Carl Butler.

The songs on this album have been chosen to portray a variety of her work on country sacred songs. Several feature Molly's banjo playing and three are from rare transcriptions never before available on record. And the song "Mothers Gone But Not Forgotten" there is an early example of two fiddles being used on Mountain Music. Hopefully, this album will reacquaint Molly's old fans with her great music and win new admirers for "The Girl With A Million Friends." – Ivan M. Tribe, University of Toledo

The Tramp On The Street

Matthew Twenty Four

I Heard My Mother Weeping

At The First Fall Of Snow

Mothers Gone But Not Forgotten

Coming Down From God

Teardrops Falling In The Snow

If You See My Savior

When My Time Comes To Go

Don't Sell Daddy Anymore Whiskey

Higher In My Prayers

Traveling The Highway Home

When We See Our Redeemer's Face

Something Got Hold Of Me

Waiting For The Boys

A Hero's Death

Sho-Budding Again - Shot Jackson & Buddy Emmons

 

Footprints In The Snow

Sho-Budding Again

Shot & Buddy

Shot Jackson featured on Sho-Bro

Buddy Emmons on Sho-Bud Steel

Picks The Famous Sho-Bud Guitars

The Two Aces Back Together

Vassar Clements on Fiddle

Produced by John Capps

K-Ark Records K-6028

1971

Banks Of The Old Pontchartrain

Mansion On The Hill

No One Will Ever Know

Red Wing

Linda Lou

Maiden's Prayer

Footprints On The Snow

Crazy Arms

Together Again

I'm So Lonesome

Blue Eyes Crying In The Rain

Hold It

Recorded Study Course On Skiptracing

 

Recorded Study Course On Skip Tracing (Disc 1)

Recored Study Course On Skip Tracing (Disc 2)

Recorded Study Course On Skiptracing

American Collectors Association, Inc., Minneapolis, Minnesota

KB 4431

1964

Importance Of Skiptracing

Classification Of Skips

Skiptracing Tools

Sources Of Information

Methods Of Approach

Qualification Of A Skiptracer

Skiptracing By Mail

Skiptracing By Personal Calls

Skiptracing By Personal Calls (continued)

Personal Information On Skips

Skiptracing By Telephone

Sample Skiptracing Calls

Summary

Push Push - Herbie Mann

Push Push

Push Push

Herbie Mann

Produced by Arif Mardin

Photography: Joel Brodsky

Album Design: Paula Bisacca

Production Assistant: Neal Rosengarden

Recording Engineer: Jimmy Douglas

Re-Mix Engineer: Arif Mardin

Recorded at Atlantic Recording Studios, New York, N.Y.

Embryo Records SD 532

1971

Personnel on Push Push, What's Going On & Never Can Say Goodbye:

Herbie Mann - Flute and Alto Flute

Duane Allman and Cornell Dupree - Guitars

Gene Bianca - Harp (except on Push Push)

Richard Tee - Piano, Electric Piano and Organ

Chuck Rainey - Bass

Bernard Purdie - Drums

Ralph McDonald - Percussion

Personnel on Spirit In The Dark & What'd I Say:

Herbie Mann - Flute

Duane Allman & David Spinoza - Guitars

Richard Tee - Electric Piano

Jerry Jemmott - Bass

Bernard Purdue - Drums

Ralph McDonals - Percussion

Personnel on If and Man's Hope:

Herbie Mann - Flute and Alto Flute

Duane Allman & David Spinoza - Guitars

Richard Tee - Piano and Electric Piano

Donald "Duck" Dunn - Bass

Al Jackson, Jr. - Drums

Ralph McDonald - Percussion

All guitar solos are by Duane Allman, except on Man's Hope which is by David Spinoza

Push Push

What's Going On

Spirit In The Dark

Man's Hope

If

Never Can Say Goodbye

What'd I Say

The Victors - Sol Kaplan

The Victors

Original Soundtrack Recording

Carl Foreman's The Victors

From The Man Who Fired "The Guns Of Navarone"

Composed and Conducted by Sol Kaplan

Soundtrack Edited and Produced for records by Jack Lewis

Colpix Records CP 516

1963

From the back cover: The Victors, Carl Foreman's first film since his spell-binding "The Guns Of Navarone." is a motion picture classic. One of the most provocative, stunning and controversial war stories ever filmed. The Victors is a story not of violence and heroism (although it contains some of the most exciting combat footage ever filmed) but rather a film primarily concerned with the moral destruction created within men by the pressures of war and loss of ideals. In modern war there are no real victors.

Mr. Foreman has already displayed his remarkable ability to create knife-edge suspense and in the process to leave an unforgettable impression with his audience. "The Guns Of Navarone" is his most recent example. But prior to that, as a writer, Carl Foreman's credits are staggering. Mr. Foreman wrote "Champion," "Home Of The Brave," "The Men," Cyrano de Bergerac," "High Noon" and "The Bridge On The River Kwai." Each was a timeless motion picture based on the universal conflicts within men. It is part of the unique quality of Carl Foreman's films that they retain their power. Although none of them, "High Noon" and "The Bridge Over The River Kwai," have contained outstanding musical themes. The Victors possesses a score with the same kind of power and beauty. The album is a superb memento of this brilliant film and a welcome addition to any record collection.

The composer of The Victors, Sol Kaplan, is one of the few men able to master the technique of writing dramatic music without losing melodic values. Kaplan has scored such films as "Tales Of Manhattan," "Titanic," "Niagara," Cinerama's "The Seven Wonders Of The World" and a host of others. His score for the Broadway play, "Tonight In Samarkand' won him the Show Business Award. As an enlisted man in the Signal Corps, Kapland scored innumerable films dealing with all phases of the Armed Forces' operations – from training films to the final battles. 

The score of The Victors is Kaplan's crowning achievement. Flown from New York To London to view the first rough footage to come out of the filming, Kaplan was literally jolted by the impact of this great motion picture. 

"Even in this particularly unedited state, Carl Foreman's The Victors has tremendous impact. It is unique, daring in its honesty, sad, funny, meaningful and tragic. In a bare, cold projection room, I fell in love with a motion picture." That was Kaplan's reaction to The Victors.

The following months were spent by Kaplan searching through forgotten sheet music in dusty record shops attempting to capture the spirit of World War II. From the bittersweet agony of that ear, Sol Kaplan was inspired to create this beautiful score. He met the greatest challenge of his career with a soundtrack that moves from Salerno to Berlin with The Victors.

The spirited march which bears the film's title is certain to be hummed by all as they leave the theatre. The haunting love theme, "My Special Dream," has the sound of a standard.' "Have Yourself A Merry Little Christmas," specially recorded for The Victors by Frank Sinatra, is hear under circumstances at once so poignant and so shocking that its imprint will never leave the mind of the film viewer. In the album, the Sinatra recording becomes an outstanding bonus. 

We can best describe The Victors – both the motion picture and its music – as a magnificent experience in entertainment. – Quentin Reynolds

The Overture

Main Title

The Olive Grove

The Wolf Pack

Singnora Maria

Off Limits

Have Yourself A Merry Little Christmas (sung by Frank Sinatra)

My Special Dream

Jean Pierre

The French Woman

No Other Man

Magda's Theme

Sweet Talk And Death Fight

March Of The Victors – End Title

Do The Twist - Connie Francis

 

Johnny Darlin'

Connie Francis

Do The Twist

Arranged by Stan Applebaum

MGM Records E4022

1962

Mr. Twister

Teach Me How To Twist

Johnny Darlin'

Telephone Lover

Mommy Your Daughter's Fallin' In Love

Drop It Joe

Kiss 'N' Twist (Tarantella)

I Won't Be Home To You

My Real Happiness

Ain't That Better Baby

Hey Ring-A-Ding

Does Ol' Broadway Ever Sleep