Don Youngblood - For The Good Times

For The Good Times

Don Youngblood
For The Good Times

Recorded at Jewel Recording Studios, Cincinnati, Ohio

Engineer: Jr. Bennett

Disc Mastering Engineer: Rusty York

Producer: Clarence Riffe

Cover Photo: Thousand Words Photography

Jacket manufactured in Canada
Jewel, Cincinnati, Ohio JRC 90018

Saxophone - Tim McCord

Rhythm Guitar - Reggie Wallace

Guitar - Eddie Drake

Steel - Kenny Holycross

Fiddle - Jr. Bennett

From the back cover: Don Youngblood has been recording with Jewel Records for over two dozen years. With four albums and many singles, he keeps getting better all the time. This new album "For The Good Times" is his best yet. While Don was recording this album, WCPO-TV, Cincinnati, came into our studio and videotaped Don in action with his unique style. As this album is being released, millions of people will have seen Don Youngblood on TV performing his own original song "Rockabilly Cat." Contained on this album are several of Don's original compositions and some of the old all time favorites as well. Sit back, turn up the volume and enjoy. – Rusty York, Owner: Jewel Records.

Great cover photo shot at The Briarwood Lounge in Mt. Healthy, (Cincinnati) Ohio probably shot in the '80s.

For The Good Times

Kansas City

I'm So Afraid

Turn The Lights Down Low

There Stands The Glass

Rockabilly Cat

Dreams Don't Matter Anymore

Match Box

Something Stupid

The Ole' Fiddle Man

Korla Pandit - The Universal Language Of Music - Volume 3

I picked up another copy of Korla Pandit - The Universal Language Of Music - Volume 3. With this copy came with an autographed 8 x 10 glossy press photo of Pandit!

Many collectors of exotica refer to Pandit as The Godfather of Exotica. Universal Language Of Music was released in 1969. By 1971 Pandit had recorded at least another 4 LPs under his belt.

Morton Gould - Coffee Time

Laura

Coffee Time

Morton Gould

Cover: China, Silver and Lamp-Courtesy Georg Jensen Inc.

Folding Table and Chairs - Courtesy Samsonitet
RCA Victor LPM-1656
1958

From the back cover: The affinity between this charming, companionable music and well-prepared, comfortably served coffee will be recognized with pleasure by all who know how well music and coffee can be matched up. For some listeners, the album might be named "Music That Coffee Goes With." For others, "Orchestral Concomitants for the Ab- sorption of Coffee." However casually or profoundly you may characterize the relation between notation and pota- tion, you may agree that there is involved what Mr. Gould suggests is a special mood; and Mr. Gould speaks as an authoritative and experienced connoisseur and brewer of coffee, as well as one of the ablest and most imaginative makers of music. This special mood is the coffee – house mood – even if the coffee is being served at home to a group consisting only of yourself. There is nothing prescribed about time, place or the details of the beverage. The music is richly melodious, delightfully flavored, "going with" (or "concomitant to") your coffee and your thoughts, or both.

The scholarly observer may inquire if there was per- haps some equivalent of this music in the early London coffee-houses. Did Oliver Goldsmith or David Garrick or Samuel Johnson leave his table long enough to put a tuppence in the musick box? This is speculation for other surroundings and possibly another album. What you hear herewith is decidedly, but not arrogantly, music of our own time: music that is handsome in itself, and which is handsomely done by by (both by's seem in order!) Mr. Gould and his orchestra.

There are many tempi and many emphases. The Mexican Hat Dance is brilliant local color, and there are virtuoso handlers of coffee cups who can stomp out the rhythm without spilling any coffee. This, however, is not an exercise recommended to the unpracticed. Serenade in the Night is eloquently expressive. "A sort of espresso in the music as well as in the coffee," is Mr. Gould's comment.

Something enigmatic is indicated in the veiled miste- rioso overtones of Laura, and this attractively trance-like adventure is followed by the sunlit dance of the Hora Staccato. There is something both spicy and sparkling here... and Mr. Gould hopes that you will confirm this finding, but also notes that it is not necessary for anyone to attempt a definite correlation between musical and coffee descriptive adjectives throughout this album. The Man I Love is reflective of how much has been said-and sometimes left unsaid when there was coffee as the confidant of a heartfelt avowal. And Serenata concludes one side of our music in a twilight glamour... for serenades are originally for the evening, and we might imagine in our context that we look in at a window where candle light is echoed in a silver urn.

Our second side begins with the Jamaican Rumba, which is regional music that, like a great deal of good regional music, is universal. Obviously, the Jamaican milieu is nicely appropriate for presentations that have to do with coffee.

The two servings that follow are music for strings, and no one will pretend that this ensemble is a small, intimate group that might circulate among the patrons of a café, presenting informal serenades. Solitude and Bésame Mucho are played in rich settings by what sounds like squadrons of fiddles in their various dimensions. In Solitude, there is a rhapsodic atmosphere; in Bésame Mucho, a romantic essence.

Tropical, composed by Morton Gould, is classified, technically, as a "novelty standard," and the warm but comfortable climate is established in a lightly tropical dance tempo. This tempo is not specified by Mr. Gould, and it may be considered as a kind of private formula or kground for the coffee drinking, with sounds of tropical birds, whose vocal impulses are partly electronic.

Orchids in the Moonlight is shimmering and aromatic... a tango for those who rise from the tables to dance, and, equally, for those who remain for coffee and conversation.

Manhattan Serenade is urban and urbane. It is the song of many, the song of a few, the song of one... depending on where you look in the big city... depending, it may be, on who you are. There is coffee on many tables this evening....

The orchestra combines symphonic and popular ele ments, as the music demands. It is versatile, velvet and volatile, as the scores may wish it to be. It "goes with" the music-as the music "goes with" your coffee. And Morton Gould welcomes you at his table. À votre santé! – ROBERT A. SIMON by Radio Corporation of America, 1958

Mexican Hat Dance

Serenade In The Night

Laura

Hora Staccato

The Man I Love

Serenata

Jamaican Rhumba

Solitude

Besame Mucho

Tropical

Orchids In The Moonlight

Manhattan Serenade

Gold Award Hits '67' - The Academy Awards Orchestra

For Cher

Gold Awards Hits '67'
The Academy Award Orchestra

Recording Director: D. L. Miller

Typography: Chic Lagenella
Somerset SF-27800

An Alshire Production

1967

Born Free

Greensleeves

Spanish Guitar

Guantanamera

Music To Watch Girls By

Somethin' Stupid

For Cher

Lenore

Tijuana Skies

Themes From The Movies - Marty Gold Orchestra

The Deep

Themes From The Movies (full album)

Themes From The Movies
Peter Pan Records 8201
Marty Gold Orchestra

Imagine finding this garish looking Peter Pan album and noting the song covers are attributed to The Marty Gold Orchestra.

Gold is known for a number of "space age" pop albums, including Skin Tight which is very good and somewhat collectible.

The Theme from The Deep is a stand out. The (Star Wars) Princess and Orca Theme are somewhat exotica and a lot of fun. Other tracks aren't stellar pieces, but most have that 70s cheese factor going for them that make up for any possible let down.

Themes From Hit TV Shows

Charlie's Angels

Themes From Hit TV Shows - Vol. 2
The Pop Singers And Orchestra
Peter Pan Records 8197
1977

Great 70s flavor (cheese flavored) to these Peter Pan covers of hit 70s TV shows by the mysterious Pop Singers and Orchestra. The Police Woman cover is also excellent. Angie Dickinson as Police Woman. I almost forgot about that show!

Oriental Delight - Hank Mardigian Sextet

Seeds Of Joy

Oriental Delight
Hank Mardigian Sextet Featuring George Mgrdichian on the Oud

Cover Photo: Lester Krauss
Forum SF 9010

Both the Forum and the Roulette release feature the same cover image.

From the back cover: Hank Mardigian's Sextet has, since early childhood, lived and played oriental music. In the eight, short years that the six gifted musicians have been playing together, the band has become one of America's most popular and well-known American bands of today.

Hank Mardigian, in his playing of the mandolin and the alto saxophone, has captured the style and authenticity of the ancient music of Asia Minor. The popularity of the band is due to his leadership, arrangements and inspiration.

The oud, a large hand-carved pot-bellied long-necked mandolin-type string instrument, is the most important in oriental music. George Mgrdichian, without question, is considered one of then best oud players in America and is a perfectionist. He plays very freely, with genuine feeling, and his interpretations of the oud have won wide recognition for him. He is such an artist that when he plays, the music "lives," and makes you wonder when the oud will start "talking."

Roupen Gureghian, the youngest member of the band, plays the clarinet with feeling, and not from notes. The music moves him so, that the result is a distinctive style of playing.

The rhythm section, which is most important to an oriental band, has Berge Jehanian playing the castanets for added flavor. The section is paced by Roger Mgrdichian, who plays the treble dumber, an hour-glass-shaped drum which is open on one end, with a unique style. George Terkanian plays the bass dumbeg, which stands thirty inches high and he excels as "the whistler" in "Come My Sweet One."

Billboard Magazine review original 1958 review (Roulette SR-25032): Most of the Armenian music in this off-beat platter will sound to the average ear like the musical background for a "kootch" act, with its wailing melodic line, drum and tambourine accents, and Middle Eastern flavor. However George Mardichian lends striking color with his skillful handling of an odd instrument called an "oud", sounding like a cross between a guitar and a zither.

Oriental Delight (Jazayair)
Dance Of The Viel (Chefte Telli)

Village Dance

Dreams Of Home (Groong)

The Halleh

Caucasian Dance

Sweet Spring (Anoush Karoun)

Kismet

Mood Orientale

Zebeck

Seeds Of Joy (Ikerim Attarim)

Come My Sweet One

Julie Is Her Name - Julie London

I'm Glad There Is You (mono)

I'm Glad There Is You (stereo)

Julie Is Her Name
Julie London
With Barney Kessel, Guitar & Ray Leatherwood, Bass

Barney Kessel appears through the courtesy of Contemporary Records
Producer: Bobby Group
Engineer: John Neal (mono) & John Kraus (stereo)
Cover Photography: Phil Howard
Liberty LRP 3006 & LST 7027
1955

The top image is the cover from the 1955 Liberty mono release with a second mono cover variation below. The album was also released in stereo (1960).

From the back cover: In this, her first album, Julie's molten mezzo is handsomely set off by Barney Kessel's guitar and Ray Leatherwood's bass - a blending of three skills that adds up to an intimate, sleek, and sultry production. 

A performer who radiates charm and friendliness, Julie is a beautiful, piquant yet unassuming young woman who has flaxen hair, and eyes that are blue. These qualities are vocally evident in her furry singing style. Her choice of numbers is exactly right - ranging from I Love You to Cry Me A River, the latter being a lush, lachrymose item written especially for Julie by her childhood friend, Arthur Hamilton. Cry Me A River, when heard by fellow members off the radio and music fraternity, created an instantaneous and enthusiastic reaction. As a result of this uniform response, Liberty released "Cry" as a single record, catapulting Julie to fame overnight.

You've seen Julie in some fine motion pictures. Some of the more recent ones include "The Great Man," "Voice In The Mirror," "Saddle The Wind," "A Question Of Adultery," "Wonderful Country," "The Third Voice" and "Night Of The Quarter Moon."  – Bill Balance

Cry Me A River
I Should Care
I'm In The Mood For Love
I'm Glad There Is You
Can't Help Lovin' That Man
I Love You
Say It Isn't So
It Never Entered My Mind
Easy Street
'S Wonderful
No Moon At All
Laura
Gone With The Wind

Something Strange

Cuban Love Song

Something Strange
Michael Strange
RKO Unique ULP 125
1957

Strange and Startling? Not in my opinion. The album is a pleasant and unique folk album that features nice vocal treatments. The question is, who at RKO decided to go with such a strange album cover?

From the back cover: The startling and different (to say the least!) cover of this album may quite possibly cause you to quickly catch your breath...and no doubt, do a double-take...but then, when you hear the music that is packaged beneath the "glamorous" photo of our slightly undernourished friend, you'll probaly catch your breath again, for here, you will meet the exciting MICHAEL STRANGE, balladier without peer, and often referred to as the wandering minstrel of the cocktail set. For some twenty years, "Mike" has captivated the gold coast night club audiences in Miami Beach where he makes his home.

Now in the third year of his engagement, the Irish folk singer is currently appearing at the smart Black Magic Room where he performs nightly to capacity crowds. With a total of eleven languages at his command (he sings in four, speaks in seven others), Mike has compiled a fantastic repertoire over the years of more than 5,000 songs, some of which date back three centuries and can be traced to practically every corner of the globe. With several network television appearances in addition to weekly guest spots in Miami, the guitar-strumming troubador quickly built a huge and loyal following and "the Strange touch" continues to draw packed houses nightly in the fabulous beach resort. With their first visit to The Black Magic Room, RKO-Unique's talent scouts quickly decided that this unusual entertainer was a talent that should be enjoyed by people everywhere through a showcase of his own. Thus, "SOMETHING STRANGE"...a recorded showcase of folk song fascination.

Sit back, relax, listen and enjoy the songs of the handsome balladier in this unique collection.