Hawaiian Wedding Song - The Polynesians

 

Lehua

Hawaiian Wedding Song

The Polynesians 

Crown Records CST-535

1967

Hawaiian Wedding Song

Island Moon

Lehua

Hawaiian War Chant

Rose Lani

Isle Of Golden Dreams

Orchid Lei

My Yellow Ginger Lei

At The Barefoot Bar

Land Of Flower

Don't Mess With Tess - Teresa Brewer

 

An Occasional Man

Don't Mess With Tess

Teresa Brewer

Vocal with Orchestra Directed by Luther Henderson

Cover Photo: Decca Photo Studio - Hal Buksbaum

Coral Records CRL 57414

1962

From Billboard - April 14, 1962: Tessie takes a turn at some fine old standards here and hands them some mighty feelingful performances; She's neatly backed by some sharp band arrangements, featuring brass, vibes and solid spots of sax work. Tunes include "I Cried For You," "Some Of These Days," "Down With Love," etc. Good wax.

Don't Mess With Tess

You Came A Long Way From St. Louis

Take Love Easy

Kiddio (Daddio)

An Occasional Man

Down With Love

Some Of These Days

I Cried For You

When You Walked Out Someone Walked Right In

Frankie And Johnny Twist

Frankie And Johnny Twist

Ooh, Papa, Do

Alright, Okay, You Win

A Saluted To The Fabulous Dorseys - Buddy Morrow

 

Amapola

A Salute To The Fabulous Dorseys

Featuring Buddy Morrow and His Orchestra

Mercury Records MG 20204

1957

From the back cover: In all of musicdom one predominant trait stands out above all the rest. That is individuality. A band or vocalist develops a style and form there forward, that style is their own. Others may come up to copy it, but they never succeed. The only other time that music done by that particular band can come into prominence is when done in the manner of a salute or a tribute. Mercury takes great pleasure in presenting this Long-Playing album, "A Salute To The Fabulous Dorseys", as done by Buddy Morrow – a man graduated from the ranks of the Dorsey bands, and probably the best authority outside of the Dorseys on what music it was they made famous, and why.

As a youngster, Buddy Morrow dreamed of the day when he would be playing trombone in a leading dance band, and eventually heading up his own unit. Both these dreams came true, including one that came to him at a later date. His other ambition was to play with another trombonist, Tommy Dorsey. Not only did Buddy become one of the Dorsey sidemen, but later he also joined the band of Jimmy Dorsey, and in both, he played an active part in the making of such famous hits as those included on this Long-Playing album. You'll hear such Tommy Dorsey made-famous hits as "Oh Look At Me Now", "There Are Such Thing," "Marcheta," "Once In A While," "This Love Of Mine," "You're A Sweetheart," "I'll Never Smile Again," and "Sunnyside Of The Street". Included you will hear these famous Jimmy Dorsey hits: "Amapola," "The Breeze And I," "Marie Elena," and "Green Eyes." Not only do these hits represent the hit tunes of the Dorsey brothers, but they also represent the top hit tunes of an era when dance bands reigned supreme.

Despite having such a rich musical background stemming from the days prior to World War II, Buddy Morrow still remains America's newest, youngest, and most popular trombonist. His brilliant rise to fame is an inspiration to all aspirants of musical recognition. Buddy started his career at the age of 12 when he received his first trombone as a birthday gift from his parents. His aptitude became apparent almost immediately, and one year later, at the age of 13, he debuted professionally. At 15 he was featured with the Yale Collegians at eh then fabulous salary of $35 per week. His big break came while he was attending classes at the renowned Juilliard School of Music finishing up a scholarship award. It was there that he was heard by Paul Whiteman who immediately asked Buddy to join his band. Following his stay with Whiteman, Buddy also did short stints with such other famous units as Eddie Duchin's orchestra, Artie Shaw, and Vincent Lopez, as well as being highly sought after to play trombone on recording dates and radio programs.

After his discharge from the Navy following World War II, Buddy decided to form his own band and used as his "modus operandi" the following bit of philosophy – "Never try to educate the public from the bandstand, instead play the type of music they want to hear." Evidently Morrow's sage analysis worked, for not only was he chosen the nation's most promising band in a disk jockey poll, but his newly released records were receiving national acclaim. In fact, even before the band was formed, Morrow had a signed contract to play the famous Palladium Ballroom in Hollywood. Such hits as his own as "Night Train," and "Rose, Rose I Love You" soon made him the most sought after dance band in the land. Today, the Buddy Morrow band is no longer a coming thing, or even one of the best bands of the day, for disk jockeys across the country are saying that this will be one of the great bands of all time.

Buddy Morrow has always played clean, listenable, and danceable music, and has always remembered the men he studied under. This album you are about to hear, marks a milestone in not only Buddy Morrow's musical career, but in music itself. Here is a tribute, paid from the depth of his heart, from Buddy Morrow, to two former bosses. Two bosses to whom Buddy feels he owes much of his present day success for the way in which they impressed him with the values and pleasures of music both inwardly and how they affect a nation. Listen now and enjoy the invaluable treasures contained in "A Salute To The Fabulous Dorseys".

Green Eyes

There Are Such Things

Marcheta

This Love Of Mine

Maria Elena

Amapola

On The Sunnyside Of The Street

I'll Never Smile Again

Oh Look At Me Now

Once In A While

You're A Sweetheart

The Breeze And I

Songs 'n Stories About Animals

 

Little Red Riding Hood

The Rocking Horse Players and Orchestra

Children's Favorites with The Peter Pan Players/Orchestra/Chours

Rocking Horse Series 5034

Diplomat Records

Funny Little Bunnies
Three Little Kittens
Pussy Cat
I Love A Little Pussy

Little Red Riding Hood

The Animal Square Dance

Pony Boy

The Farmer In The Dell

Mr. Gallagher's Donkey

Sweetie Bear

Little Red Hen

Old Mother Hubbard

Oh Where Has My Little Dog Gone

Hark, Hark The Dogs Bark

Little Brave Sambo

Old Macdonald Had a Farm

Three Blind Mice

Mary Had a Little Lamb

My Heart Cries For You - Connie Francis

 

Lonely Again

My Heart Cries For You

Connie Francis

Produced by Bob Morgan

Arranged by Herb Bernstein & Joe Sherman

Director of Engineering: Val Valentin

Cover Design: Jack Anesh

Cover Photo: John Engsted

MGM Records ST 91303

1967

Lonely Again

Don't Touch Me

Four Walls

There'll Be No Teardrops Tonight

The Wayward Wind

How's The World Treating You

My Heart Cries For You

I'd Be A Legend In My Time

I Wish I Had A Wooden Heart

Room Full Of Roses

Anytime

Destination Moon - Leith Stevens - Heinz Sandauer

 

Designation Moon

Destination Moon

Leith Stevens

The Omega Orchestra - Heinz Sandauer, Conductor

Cover: Jupiter Missle Roars Skyward (World Wide)

Omega Stereophonic Disk OSL-3

1959

From the back cover: Although many composers maintain that they recognize no difference between absolute music and descriptive or program music, and that a program is merely an incentive to the creation of new musical form, the texture of some programmatic compositions has proved to be so extraordinary rich and full that almost universally it must create a pictorial narrative in the listener's imagination. For most of us, it seem, this is a simpler way to hear music because music takes on meaning for us in terms of everyday emotions and experiences. In fact, some composers, realizing this, have attempted to bring their art closer to listeners by depicting characteristic aspects of Twentieth Century civilization in programmatic  pieces.

Typical of that sort of composition are Honegger's "Pacific 231" which its celebrated musical description of a steam engine, or Copland's "Rodeo," describing a Western cowboy setting. In these works, as in others like them, the gulf between composer and listener is being bridged by a common ground – a musical description of something that is familiar to all of us.

However, when Leith Stevens was called upon back in 1950 to compose a score for George Pal's motion  picture, "Destination Moon," he had a peculiar creative problem on his hands. The picture dealt with man making a rocket to fly him to the moon, and this science-fiction fantasy itself was created to play upon unexperienced emotions by showing images never before seen. At that time, information on space, the moon's surface, rocket launchings and all the other scientific lingo that has become popular knowledge today, was considerably harder to come by. It took Stevens over three months to steep himself in enough scientific lore to prepare himself to write the first notes.

He consulted with many scientists, among them the now famous Dr. Wernher van Braun. In these conferences and by studying countless artists' sketches of the moon's surface, Stevens was able to discover what the space world was like. The result was a startling, particularly dramatic score which became immediately popular. The music evoked new feelings, new mental pictures... it investigated a musical world never before probed or propounded so sharply.

Today, when we are more familiar with space launchings and our newspapers and magazines are filled with Sputniks and Satellites, and a rocket trip to the moon doesn't seem so fantastic, this composition is more meaningful than ever.

As the music describes the film's action, it begins with "Earth," a launching sequence. There is a musical depiction of a count-down, and just as if "Destination Moon" had foreseen the future, something goes wrong with the rocket and it is unable to take off. There is a hurried de-bugging operation and another count-down which is followed by one of the most thrilling sounds in stereo... the sound of a rocket launching. Then up, up, up... into the eerie blackness of space.

"In Outer Space" is especially interesting because of Stevens' musical portrayal of weightlessness. He as created a sound picture of infinity, a sense of no bottom and no gravity... a feeling that if you'd let go of a cup of coffee it would hang there in space. The violins perform a shimmering figure to indicate the silence and the clear, far-away stars, the moon coming nearer. The woodwinds enter too, to tell of the curious mental aberrations that affects human beings in a world of no gravity.

"On The Surface Of The Moon" is even more exciting as the rocket makes a successful landing and our spacemen, with long woodwind passages interrupted by sudden chords, bound across the moon in great long 100-foot strides. In "Escape From The Moon" the spacemen have reduced the weight of the rocket to make their take-off, with everyone in right-angle take-off position, the rocket is fired and they are in space again.

"Finale" is joyous. The crew is aware they can make it back home and then watch the moon fade away as the Earth looms up at them.

As the music was recorded, somewhere an actual trip to the moon is being planned. It may only be a matter of months or a year or so before a rocket, like the one on our cover, courtesy of the Army at Cape Canaveral, Florida, launches itself into the world of space, headed for the moon... just as Leith Stevens has imagined it so beautifully for us in musical terms.

About the composer: Leith Stevens is one of the most versatile and accomplished composer-conductors in the entertainment world. He has composed scores for motion pictures, television and radio, successfully conducted symphony orchestras, composed a highly praised piano concerto, written pop tunes and is currently working on an original television musical.

Born in Mount Moriah, Missouri, in 1909, his music career started with private teachers. At 14 he made his debut as a pianist in Kansas City. Two years later he made his conducting debut and at the same time became coach for Madame Schumann-Heink's first Master Class at Horner Institute. He later continued his musical education at Juilliard where he was awarded a fellowship.

His professional career started in radio and was later signed by the motion picture industry to compose the score for the RKO production of "Syncopation." Since that time, Stevens has racked up over 40 screen credits among them such notable films as "Night Song," "War Of The World," "The Wild One," "Julie," "Garment Jungle," and "The James Dean Story." Stevens was one of the founders and the first president of the Composers and Lyricists Guild Of America. – Cy Schneider 

From Billboard - February 23, 1959: Moon music for space cadets. Current interest in rocketry could help sales. And the far-out musical effects could also catch on with hi-fi aficionados. The score itself is from the pic of the same name, highly original and manages to  convey feelings no human has  yet experienced – weightlessness, being on the moon, etc.

East

In Outer Space

On The Surface Of The Moon

Finale

The Platters

 

Have Mercy

The Platters

Mercury Records MG 20146

1956

From the back cover: Mercury Records is proud to present to music lovers across the nation one of the most talented groups to hit the spotlight in years – The Platters. Here is a group, in strict tradition of show business, which hit the coveted stardom mark overnight. They rose as if from out of nowhere and in the space of a twinkling they became the hottest group of records, a smash nightclub act, and movie personalities. And, while all this is true, it must be pointed out that stardom is really only achieved after greatness is achieved – and this never comes "overnight". It took a record titled "Only You" for the four boys and girl known as the Platters to be recognized as stars of the show business world – and then, only because they were actually great, great from the day they first sang together in a rehearsal.

They young people in and around Los Angeles have known about the Platters for quite some time. These people can recall the group when they were only a quartet trying to make good. It was much after the group had sung together for a long time, that they came to the attention of a songwriter named Buck Ram. Buck took the group under his wing, taught them new material, routines, and staging, and techniques of singing. After the group started to sound the way he wanted them to sound, he added a female voice and finally achieved what he knew would be a saleable group and blend of harmony.

Credit for discoing the group should go to a disk jockey in Los Angeles, Hunter Hancock. He heard the group sing at an amateur night performance. The group began to get known on the west coast and not long after, they received their Mercury recording contract, and are now known clear across the country.

The group consists of Zola Taylor, the only female in the group, Tony Williams as first tenor, David Lynch as second tenor, Paul Robe as baritone and Herbert Reed as Bass. This group has a distinct advantage over most other groups in that much of their material is very visual and highly entertaining from the standpoint of a floor show or stage presentation. Above all, they are great, which is really their biggest advantage.

My Prayer

Why Should I

Remember When

Bewitched Bothered And Bewildered

I Wanna

I'm Sorry

Have Mercy

Someone To Watch Over Me

At Your Beck And Call

On My Word Of Honor

Heaven On Earth

Glory Of Love

Caterina Valente's Greatest Hits

 

The Breeze And I

Caterina Valente's Greatest Hits

Werner Muller and His Orchestra

London LL 3441

1965

Malagueña

Poinciana

More

La Paloma

The Peanut Vendor

What A Difference A Day Made

The Breeze And I

La Golondrina

Amapola

Estrellita

Beasme Mucho

My Shawl

When Dalliance Was In Flower - Volume II - Ed McCurdy

 

A Young Man

When Dalliance Was In Flower 

And Maidens Lost Their Heads

Volume II

Sung by Ed McCurdy

Musical Settings copyright 1957 by Ed McCurdy

Engineer: Leonard Ripley

Production Supervisor: Jack Holzman

Elektra 140

1957

Robert Abramson - Harpsichord

LaNoue Davenport - Recorders

William Faier - Guitar and Banjo

Erik Darling - Solo Banjo (is featured in Tottingham's Frolic, The Jolly Miller, A Lady So Frolic And Gay and The Jolly Pedlar's Pretty Things

From Billboard - November 18, 1957: A further excursion into mores and morals of Elizabethan England via the lusty lyrics of the songs of that era. The arrangements by Ed McCurdy, who also handles vocal chores, have an authentic ring. Dealers who had any success with Vol. I will do repeat business with this item.

Uptails All 

Tottingham Frolic

A Young Man

A Tradesman

A Tenement To Let

The Playhouse Saint

Merchant And The Fidler's Wife

A Virgin Meditation

Would You Have A Young Virgin

The Jolly Miller

Of Chloe And Celia

A Lady So Frolic And Gay

My Thing Is My Own

The Jolly Pedlar's Pretty Thing

Phillis

To Bed To Me

Something Broadway Something Latin - June Christy

 

Shadow Of Your Smile

Something Broadway 

Something Latin

June Christy

With Ernie Freeman's Music

Produced by Bill Miller

Capitol Records T 2410

1965

From Billboard - December 4, 1965: It's been all too long between albums, but Miss Christy makes up for the lull with this exceptional program of the newer crop of Broadway show tunes. She brings her own sparkle and individual style to the material and the result is a refreshing, artful and commercial dimension to the known tunes.

Do I Hear A Waltz?

Words by Stephen Sondheim, Music by Richard Rodgers

Long Ago from "Half A Sixpence"

Words and Music by David Heneker

Come Back To Me from "On A Clear Day You Can See Forever"

Words by Alan Jan Lerner, Music by Burton Lane

Here's That Rainy Day from "Carnival In Flanders"

Words by Jimmy Van Heusen, Music by Johnny Burke

He Touched Me from "Drat! The Cat!"

Words by Ira Levin, Music by Milton Schafer

Love Theme From "The Sandpiper" (The Shadow Of Your Smile)

Words by Paul Francis Webster, Music by Johnny Mandel

Gimme Some from "Golden Boy"

Words by Lee Adams, Music by Charles Strouse

What Did I Have That I Don't Have? from "On A Clear Day You Can See Forever"

Words by Alan Jan Lerner, Music by Burton Lane

Run For Your Live! from "Skyscraper"

Words by Jimmy Van Heusen, Music by Sammy Cahn

Tell Me More

Words and Music by Dok Stanford and Morty Jacobs

Cast You Fate To The Wind

Words by Carel Weber, Music by Vince Guaraldi