Dudley Caproni At The Dirty Dick's

Mule Skinner

Dudley Caproni At The Dirty Dick's
Music Arranged and Conducted by Cyril Diaz
With the Dudley Caproni Band
Cover by Dave & Mayne Bondu
Tropical Recording Co., LTD
CLP 3277
Manufactured by South-Eastern Records - Hialeah, Florida

From the back cover: Dudley Caproni is one of Nassau's most versatile performers. He sings, dances, plays bongos, congos, piano, bass, emcees occasionally, and is a choreographer. Not only that, Dudley writes songs as a hobby. Two of the songs on this album were written by him: "Bahamian Doll" and "Take Me Down To The Island".

Dudley started on his own at the early age of 13, working as a waiter in the morning and going to school in the evening. He finally quit school to work full-time to help his mother support the family. His singing started in the Church, as the leader of a Spiritual Group of small boys and girls, but the other members of the group complained because Dudley's voice was so much stronger, he could be heard over all of the others. So he became a soloist, and would sit in Rawson Square and sing for an old lady who paid him 2 shillings a day (28¢) to sing for her. Dudley's first big break came because he was more of a singer, than a waiter. While serving, he could be heard singing by the customers, who encouraged him to sing professionally. Roy Hamilton was one of these customers, and when he returned to the Island, he presented Dudley and his rock & roll group, called The Four Chums, to the public. After one year of singing with this group, he went back to solo work. This time he was known as "The Schoolboy Of The Blues", because of his youthful looks.

As the years passed, though he was still young, Dudley Caproni realized that his future could be secured if he sang more Calypso, Goombay and Ballads. All of these things were factors in his being chosen as one of Nassau's most versatile performers.

So, on your next visit to Nassau, go to Dirty Dicks on Bay Street and see the "little fellow" who has worked with so many of America's "Big Names", among whom are Sammy Davis, Jr., The late Nat King Cole, The late Sam Cooke, Paul Anka, Ben E. King, Clount Basie, Perez Prado and Brook Benton. More than one of these stars have told Dudley, "I'll have to look out for you". That is why Dirty Dicks Proudly Presents This Album Of Dudley Caproni. – Dave & Mayne

Hey There
Hatie Cherie
Matilda
Michael (Row The Boat)
Island In The Sun
Jamaica Farewell
Shake Demora
Brentwood Dish
Mule Skinner
Walk Away
Take Me Down To The Islands
Bahamian Doll

Compositions Of Lionel Hampton - Maxwell Davis

Midnight Sun

Compositions Of Lionel Hampton
Music Composed by Lionel Hampton & Others
Conducted by Maxwell Davis
Recorded at Sound Enterprises - Hollywood, California
Photography: Ron Vogel
Cover: Charles Meggs
Crown Records CST 139

Personnel:

Larry Bunker - Vibes
John Anderson - Trumpet
Conrad Gozzo - Trumpet
Al Porchino - Trumpet
Julius Brooks - Trumpet
Ollie Mitchell - Trumpet
Floyd Turnham - Baritone
Bumps Myers - Tenor
Jackie Kelson - Alto
William Woodman - Tenor
William Green - Alto
Plaz Johnson - Tenor
Jewel Grant - Alto
Lester Robertson - Trombone
David Wells - Trombone
Dicl Noel - Trombone
John Ewing - Trombone
Gerald Wiggins - Piano
Willard McDaniel - Piano
Curtis Counce - Bass
Irving Ashby - Guitar
Earl Palmer - Drums
William Erspin - Drums

From the back cover: Hamp started as a drummer playing hokey after beats with Louis Armstrong in 1930. From there is the Les Hite Band... and that happy night when John Hammond made Benny Goodman listen to an unknown Kansas City drummer take a chorus on the vibes. He joined the Goodman band and the rest is history.

In the past "Hamp" has had some great bands, but during the way it became almost impossible for him to keep his big band together at the same high standards... but it never suffered from want of enthusiasm.

Of late Hamp (since his bus accident of 1957) has been working a lot in Europe and especially in the new Republic of Israel in which he is vitally interested.

The tunes here are all the great ones that the public recognizes as being that special property of "Hamp's" but of them all let me just relate one true story told to the writer by Hamp. As he and the Benny Goodman band were flying from San Francisco to New York City World's Fair of 1940... Hamp in looking out the window started humming a little melodic riff. He repeated it with variations and then noticed Benny Goodman, sitting next to him, writing down the notes on some music paper. When asked what the name of the tune was, Hamp simply said... "I don't know, I just made it up I'm so glad to be flying home." Need I add that this was the basis for "Flying Home". – Frank Evans

Flying Home
Air Mail Special
Midnight Sun
Hamp's Boogie
Cool Train

Calypso Dance Party - Candido

Talking Drums

Calypso Dance Party
With Candido, Calypso & Girl
With the Twintones, Claudia Swann and the Guitar of Frantz Casseus
Accompaniment by Johnny Careisi and His Orchestra
Substitute on "Bumba Boat" - Marianne (vocals) and Perry Lopez (guitar)
Produced by Creed Taylor
Cover photo by Roy DeCarava
Cover Design by Fran Scott
Engineering by Irv Greenbaum
ABC Paramount ABC-178
1957

From the back cover: Candido Sings! and perhaps this should have been the title of this album; for this will be a revelation, even to those who have followed closely the career of "the king of the conga drum." Yes, on two of the selections (Talking Drums and Pack Up Your Eye With Sand) the voice you hear is that of Candido himself. The name of the drummer has so long been associated with the finest in Jazz that the fact of his Island background is forgotten. Calypso belongs to Candido and is a part of him, just as much as Cuba is a part of the Caribbean. A Carib drummer must sing!

Candido was born in Havana, Cuba, and as he says: "The sound of drums and the song of birds were the first things I heard..." And except for a brief romance with the bass and guitar, the drums have been his life. He always knew the traditional rhythms of the West Indies, and when he came to the United States to play at the Havana-Madrid, he was hailed as virtuoso by the jazz world. George Shearing, Duke Ellington, Dizzy Gillespie, and the great Charlie Parker... they all welcomed him to the bandstand. He traveled with the greats of jazz from coast to coast and the name Candido became a part of American legend. The artistry of Candido profoundly influenced our music.

The songs of this album were written or adapted by William Attaway, whose name appears on most of the hit Calypsos of the day. The combination of Candido and Attaway is, in our opinion, an event in music of this gendre. We have brought together a top composer and a top artist to produce an album full of exciting-invention. Here is the true scope of West Indian music... ranging from stark dramas to high humor, from simple love to great longing. The standards of Island music will improve as the demand grows, but we do not expect this album to be surpassed.

From Billboard - June 24, 1957: Main distinction here is percussion work by Candido who also sings in "Talking Drums" and "Pack Up Your Eye With Sand." Balance of package emphasizes competence and smoothness rather than animal spirits. Recording is live; cover guaranteed to win attention.

Everybody Loves Saturday Night
The Search
Calypso Tromp
Cordelia Brown
Talking Drums
I Gonna Pack Up Your Eye With Sand
Linstead Market
Buy Sweet Dreams
Murder In The Market
Like My Heart
Bumba Boat

For Latin Lovers

Instruction Rhumba

For Latin Lovers
Cover Photo: Colin and Joy Hillary, Australian and South Pacific Latin Champions, taken by ship's photographer, Bruce Whitcombe Photo Concessionaire
Souvenir Records SLP-305
Produced by Art Records Manufacturing Company - Ft. Lauderdale, Florida

From the back cover: Colin and Joy have been dancing together for ten years and prior to commencing their world travels, were the undefeated Australian and South Pacfic Latin Champions. During their successful years in Sidney they not only appeared in many clubs and devoted many hours in training pupils, but published the nation wide Australian Dancing magazine, constantly traveling the length and breadth of their country. Then, in 1968, the opportunity arose to travel the world with one of the major shipping companies and the attraction for wider horizons and new experiences was so strong that the decision was made to bid farewell to home, friends and rapidly growing business and commerce, literally, to dance their way around the world.

In 1970 they represented Australia at the World Professional Championships in London, and for their efforts in this event, received the award for the most outstanding new couple entering the Latin section.

Earl Fatha Hines

Blues For Garroway

Earl Fatha Hines
And His Orchestra
Bravo! K 134
K. M. Corp. - Freeport, Long Island

Honeysuckle Rose
Dark Eyes
Blues For Garroway
The Sheik Of Araby
No Good Woman Blues
Ain't Misbehavin'
Bow Legged Woman
Black & Blue
I Need A Shoulder To Cry On
My Name Is On The Door Bell

Pal Joey & Anne Get Your Gun - Vivian Blaine

What Is A Man

Vivian Blaine
Star Of Stage And Screen
Singing Selections From
Pal Joey & Annie Get Your Gun

Photo by Garrett & Howard
Mercury Records MG-20321 & SR-60051

The original MG-20321 disc sleeve is plain parchment while the original sleeve included in SR-60051 issue is printed with the Phonograph advertisement.

What Is A Man
I Couldn't Write A Book
Zip
Bewitched
Take Him
That Terrific Rainbow
I've Got The Sun In The Morning
I Got Lost In Her Arms
Anything You Can Do
They Say It's Wonderful
Doin' What Comes Naturally
There's No Business Like Show Business

Hammond Organ Hits - Ashley Tappen

Dolores

Hammond Organ Hits
In The Ken Griffin Style
Ashley Tappen At The Hammond
Somerset SF-33500
Manufactured by Alshire International

Dolores
Charming
Vilia
Chartreuse
Chopin's Nocturne
Skater's Waltz
Santa Lucia
Over The Waves
In The Evening By The Moonlight
I'll Take You Home Again Kathleen

Eugenie Baird Sings - Duke's Boys Play

Something To Live For

Eugenie Baird Sings
Duke's Boys Play Ellington
Design Records DLP 93
A Division Of Pickwick Sales
1957

The second cover example (above) is the same DLP 93 jacket cover with a "Design Compatible Fidelity" sticker fixed over the "Design" logo.  The disc label and back cover was also changed to reflect the "Design Compatible Fidelity" brand. The catalog number is DCF-1021.

Personnel:

Mercer Ellington - Arranger & Conductor
Ben Webster - Tenor Sax
Tyree Glenn - Trombone & Vibes
James Taft Jordan - Trumpet
Wendell Marshall - Bass
Joe Marshall, Jr. - Drums
C. (Skeeter) Best - Guitar
David Rivera - Tenox Sax
Clarence W. Ross - Trombone

From the back cover: A year before the Pilgrims landed at Plymouth Rock, the family of one of the music world's greatest musicians arrived. Yes, in 1619 the family of Edward Kennedy Ellington arrived at Jamestown, which makes him one of America's "first citizens." Yes, a "first citizen" as a man and as a musician. When Buddy Bolden was renamed King Bolden that was the start of bestowing royal titles on the royalty of jazz. Edward Kennedy Ellington became Duke Ellington in 1916 when he quit jerking sodas at the Poodle Dog Soda Parlor in Washington, D. C. on April 29th, 1899. Went to various schools in the Nation's Capitol and then won an art scholarship at Pratt Institute in Brooklyn, N. Y. But the art Ellington wanted was on a music score and not on a drawing board.

His music is legion. He has composed over 1000 tunes and his records have sold over 25,000,000 copies. The late King George VI was an avid Ellington collector. You can't go to a dance anywhere in the world where the music of our western culture is played without hearing some Ellington classics before the evening is over. "Solitude," "In A Sentimental Mood," "I Let A Song Go Out Of Your Heart" and many other are songs we want to hear, time and time again.

I keep thinking of the Duke's classic remark... "The whole things boils down to performance. I like good performances because good performances have to be done in good taste..."

With the above note, we come to Eugenie Baird. Slim, curvaceous and charming, the titian-haired darling Miss Eugenie Baird is one of the truly versatile young singers in show business today. Here is a triple-threat professional who can hold an audience entranced in a theatre, supper-club, radio appearance or on your television set.

Eugenie was born in Pittsburgh, Pa., and followed a show business career without even realizing it. After all, her parents had an extensive theatrical background, so things just came natural. From soloist at her local high school to a brief and very fruitful appearance on local radio Eugenie was in... then followed bands, night clubs around her home area.

Along came Tony Pastor and his Band... Miss Baird left town as his featured vocalist. Then she left the Pastor band to sing on the Bing Crosby Show... then with the Paul Whitman Show... from there to Robert Q. Lewis Show and finally her own network program "Sing It Again."

Her appearances as guest on television have been many and varied... from the Ed Sullivan Show, all around the clock to the Lucky Strike Show.

Many of you have seen her in person at such places as the Paramount Theatre in New York City, The Embassy Club in Washington, D. C., the Hotel Statler in Pittsburgh and The Copa and Glen Rendezvous in New York.

Eugenie's most cherished engagements was the Gershwin Memorial Concert at the Hollywood Bowl.

Many of you turn your radio and television sets on each day and unwittingly hear Eugenie's voice... for she has made hundreds of singing commercials.

The most important thing that is to be said at this point is that Eugenie Baird imparts a certain wonderful feeling to the words and music when she likes what she's doing. Eugenie picked the songs in this album so you're in for a real treat. – Abbot Lutz

From Billboard - April 13, 1959: (stereo release SS 32): Veteran band canary Eugenie Baird provides some pretty piping on a group of nostalgic items penned (or associated with) by Duke Ellington. Backing spotlights Tyree Gleen and other standout musicians with Mercer Ellington as conductor-arranger. Solid item for low-priced field.

I'm Beginning To See The Light
In A Sentimental Mood
Something To Live For
Mood Indigo
Everything But You
I Let A Song Go Out Of Your Heart
Lush Life
Solitude
Pass By Me
Well Well

La Triunfadora - Victoria Quinde

Asi, Ais

La Triunfadora
Victoria Quinde
Arr. y Dir.: Abilio Bermudez
Portada: Foto Guillermo Barona
J.D. Feraud Guzman L.P. - 50362
Manufacturado por Fediscos
Distribuye Almacenes de Musica
1986

Comprendeme - Bolero
Destino - Vals
No Te Pido Que Vuelvas - Pasillo
Asi, Asi - Bolero
Anoche - Vals
Desprecio - Pasillo
Ya No Quiero Sufrir - Pasillo
No Me Mientas - Vals
Migajaz - Bolero
He Pensado - Pasillo
Mi Triste Historia - Vals
Consejo A Las Mujeres - Bolero

A Child's Very Favorite Song Book

Little Goldie Goldfish

A Child's Very Favorite Song Book

Twinkle Records TW-22
A Division Of Premier Albums, Inc.

Land Of Lemonade And Lollipops
Little Goldie Goldfish
Old Mac Donald Had A Farm

Little Tin Soldier
Tubby The Tuba
Billy Boy
Little Red Schoolhouse
Little White Duck
Pee Wee The Kiwi Bird
Little Poly Parakeet
Chocolate Train
Big Rock Candy Mountain

Bedtime Stories - Twinkle Records

Snow White

Bedtime Stories
Twinkle Records TW-36
A Division Of Premier Albums, Inc.

Snow White
Goldilocks
Little Red Hen
Treasure Island
Little Red Riding Hood
Dinky The Duck

A Study In Brown - Francis Bay

Stompin' At The Savoy

A Study In Brown (Sentimental Swinger)

Featuring tunes of Les Brown, Irving Berlin, Rodgers & Hart and others

Francis Bay and His Orchestra

Engineering and Artistic Direction: Peter Plum, Elite Musical Productions

Produced by Dave Hubert

Cover Photography: Ray Avery

Product Design: Leon McFadden

The member of the Bay Bay Band on the cover is Jef Verhaege, Saxophone (apparently there must be another cover version of this release)

Sutton SSU 206 & Omega Records OSL-25

From the back cover: The Bay Big Band salutes to the great American and English bands at the Brussels World's Fair astounded and impressed all who heard their regular performance at the fair. Francis Bay, the leader and an extremely versatile musician and arranger, organized the Bay Big Band in 1954 to became the first regular Radio Dance band after the end of World War II. The Bay Big Band recently won the highly coveted "Golden Gondola" trophy in a battle of the bands at Venice, Italy. The precision section work and fluid jazz improvisation of the soloists are a product of years of rehearsal and development shared by the same gourd of musicians without the constant changes in sidemen that have plagued our American bands in recent years. The music rapport between sections of the band and between soloists is amazing. Francis Bay plays trombone, clarinet, alto saxophone and flute with equal ability and his regular programs on the Brussels N.I.R. Radio conceived by program manager Bob Boon can be head week on the powerful nation throughout England, France, Belgium and surrounding countries – Dave Hubert

Sentimental Journey
Baby Don't Cha Go 'Way Mad
Stompin' At The Savoy
Twilight Time
Lover's Leap
Going Home
Evening Star
When Johnny Comes Marching Home Again
Oh Brave Old Army Team
Clair De Lun

Tokyo Rhapsody - Vicente Gomez

Blue Kimono

Tokyo Rhapsody
Vicente Gomez
Guitar Solos with Accompaniment
Directed by Charles Bud Dant
Decca DL 74948
Decca Records, A Division of MCA, Inc., New York, N.Y.
1968

From the back cover: The setting is Japan. The music is Japanese. The instrument is pure Spanish – the classical guitar of Spain! This unorthodox combination of music from the Orient performed on an instrument traditionally associated with the Latin countries might well have failed in the hands of a lesser artist than Vicente Gomez. In his case, however, it reveals itself to be an exciting and unusual experience.

Throughout the years, the great skill and sensitivity of this dedicated artist have resulted in many outstanding contributions to the world of recorded music, and Tokyo Rhapsody, which features his magnificent guitar-playing in adaptations of popular Japanese melodies, must be regarded as yet another important musical milestone in his career. As an inspired performer and arranger, he remains topflight in his category.

Senor Gomez explains that what he has done is really not so difficult and really need not be considered as so unusual, for the guitar is by nature a most suitable choice for adaptation. A polyphonic instrument, it can produce many varying sounds and subtle effects when handled with skill. And the great skill of Vicente Gomez in handling the guitar is, of course, a long-established fact. The enormous popularity of the guitar in Japan, through, is a more recent phenomenon. The very warm reception accorded Vicente Gomez everywhere in Japan is evidence of the universal appeal of good music, which transcends the barriers of differing customs and wide geographical distance, where East happily meets West in our rapidly shrinking world

The collection of songs in this album reflect the very essence of the Orient. Here is music of great clarity, grace and charm, music that falls as gently on the ears as cherry blossoms softly scattered about in a quiet Japanese garden. Typically Oriental in purity of form and subtlety of expression, each delicate melody stands in pristine beauty like a dainty statuette carved in jade, perfect in every detail. Yet beneath it there flows a current that is warm and vibrant and unmistakably Spanish. It would be hard to find a more unpredictable yet completely successful combination.

To enjoy this music to the fullest, all you need do is free yourself of the notion that Oriental music is something austere and intractable or that the Spanish classical guitar is suited solely to the familiar musical patterns we associate with it. Freed of these restrictions, you'll discover a new musical world – fresh, inventive and infinitely satisfying. So we ask only that your kindly observe an old Japanese custom: remove your shoes at the door and follow us joyfully and expectantly into a delightful and fragrant room filled with the exquisite pleasures of pure musical enjoyment! – Judith Tase

The Nearness Of Your Shadow
Tokyo Rhapsody
So Young, So Alone
Blue Kimono
Green Horizon
Home Is Where The Heart Is
My Sake, My Tears
Tokyo Girl
Life Is A Blue-Green Lake
the Dear Days Of Youth
Sweet Memories
Walk Over The Bridge

Hot Coles - Shelly Manne

 Night And Day

Shelly Manne

Hot Coles
Produced by Bob Thiele
Engineer: Eddie Brackett
Photographer: David B. Hecht
Art Directors: Acy Lehman, Dick Smith
Shelly Manne plays Pearl Drums
Drums Courtesy Frank Ippolito - Professional Percussion Center, N.Y.C.
Flying Dutchman BDL1-1145
A Product of Flying Dutchman Productions, LTD.
A Division of RCA Corporation.
Printed in U.S.A.
1975

From the inside sleeve: This is a set to savor for the brilliance and warmth of its performances – collective as well as individual. It is also most revealing of the essence of jazz. And third, "Hot Coles" illuminates the burgeoning jazz scene on the west coast – from the long-prestigious Shelly Manne to Oscar Brashear, a trumpet player who is sure to figure prominently in all kinds of polls in the years ahead.

After I heard the test pressing, I was so taken with the freshness and inventiveness with which these vintage Cole Porter standards had been revitalized that the first question I asked Shelly Manne was who had done the arrangements.

"No one," Shelly answered. "That is, no arranger as such. Everybody on the date contributed as we went along. And that's precisely what I had planned. I wanted to avoid everything's being perfectly arranged from the start. If you have scores which are the precisely set, you're going to lose spontaneity. What I prefer, and what we did here, is to start with just lead sheets. And then, as we work things out in the studio, we begin altering the changes, the time signatures, the tempos. And what you get, for one example, are tempos at which some of these songs have never been played before.

With many musicians, this kind of on-the-spot creation can be risky. You have to be vastly experienced in improvisation to make it all sound flowingly cohesive as well as spontaneous. "But the men on this date," Shelly points out, "are jazzmen, and the greatest asset a jazzman has is that when the red light comes on, when the pressure is on, he always comes through with something the fits right."

A case in point is Oscar Brashear who is the most assertively lyrical "new star" trumpeter I've heard in a long time. I first learned about him from Oliver Nelson, and then from other Los Angeles musicians. "That's how his reputation began," Shelly recalled. "Musicians started talking about Oscar, and now word is spreading all over. One thing Oscar has going for him is that he plays with such fire. He's a true "hot" player. Even when he's playing something pretty and soft, it comes out with a "hot" sound."

Oscar Brashear is also a very quick study. "I've seen him try something for the first time," Shelly notes, "and he plays it. No hesitation, no clams. Also, his lines and ideas are continually original, and they fall into totally logical designs – always with that fat, warm sound."

Complementing Brashear is Tom Scott on soprano saxophone, alto flute and regular flute. I've been impressed with Scott's work on a number of other occasions, but his playing on this session seems to me among his most consistently expressive and original on record so far. "Well," Shelly said in response to my observation, "Tom was exceptionally relaxed on the date because everyone else was too. What always strikes me about him, just as it did when he first came up at 18, is how mature he is for a young musician. But then in one aspect of that maturity, Tom is indicative of a lot of young musicians. These days they're into writing and composition as well as into playing their instrument, and they're also involved is so much music, a broad spectrum form rock to jazz. Therefore they acquire a greater amount of knowledge faster and they mature a lot earlier than used to be the case with older musicians to whom this range of experience was not available."

Other musicians on the date whose work exemplifies that maturity are pianist Mike Wofford and bassist Chuch Domanico. Wofford, who was in Shelly Manne's band for some seven years, "never failed to astound me," Manne emphasizes. A favorite among musicians on the coast, Wofford, as you can hear, is persistently original and plays with strong, deep expressivity.

Chuck Domanico is pretty much the bass player these days in the Los Angeles area. One of his rather singular attributes, as is evident in this session, is his ability to switch from acoustic to Fender bass without distorting the sound and feeling he gets from the instrument.

Another find on this album is guitarist Tom Tedesco. I asked Shelly why, on this basis of his playing here, Tedesco is not more widely known as a jazz guitarist. "For a long time," Shelly explained, "Tom had done mostly studio work and wasn't considered a 'jazz' player around her. But I had heard him jamming between takes in the studios, and I knew what he could do. Well, I finally talked him into making this date, and I'm delighted." In this first pure jazz date Tedesco has done, what comes through with particular impact is his marvelous sound and his acute sensitivity to his surroundings. "No matter what the musical context," Shelly says, "he fits in perfectly." Tedesco, by the way, plays a spectrum guitar, including classical and 12-string.

Another musician who invariably fits seamlessly into all kinds of musical surroundings is Vic Feldman, pianist and percussionist on this date. "Vic has such fantastic time conception," Shelly notes, "along with the extraordinary and imaginatively with Feldman are, on various tracks, Brazilian percussionists Mailto Correa and Moacir Santos.

This set is a remarkable illustration of first-class collective improvisation – all the way through. It sounds, I told Shelly Manne, as though he and the other musicians had been working as a unit for years.

"Actually, we all felt that was as we were making the album," Shelly said. "It comes from what I mentioned before – the capacity of jazz musicians to function at their best under pressure, to be able to build and keep building on what's happening all around them. That's what this album is all about." – Nat Hentoff

From This Night On
Easy To Love
Get Out Of Town
Begin The Beguine
Night And Day
All Of You
Love For Sale
In The Still Of The Night

Top Hits Of Today

Looking Back

Top Hits Of Today
With The Parade Orchestra and Chorus
Parade Record Co., New Jersey
SP 1

Catch A Falling Star
Believe What You Say
For Your Love
Looking Back
Little Blue Man
All I Have To Dream
Return To Me
Chanson D'Amour
Who's Sorry Now?
Witch Doctor

Cha Cha Cha - Versiones Originales

Los Bomberos

15 Exitos Con Los Grande Del
Cha Cha Cha
Versiones Originales
RCA Victor
Camden CAMS-1245
1985

Calcualdora - Orquesta Aragon
Ki Ki Ri Ki - Orquesta de Enrique Jorrin
La Basura - Orquesta America de Ninon Mondejar
Los Cadetes - Los Carinosos
Cachita - Orquesta Aragon
Los Bomberos - Orquesta America de Ninon Mondejar
La Sitiera - Los Carinosos
La Blusa Azul - Orquesta de Enrique Jorrin
Poco Pelo - Orquesta America de Ninon Mondejar
Cuidado Con La Mano - Orquesta de Enrique Jorrin
El Bodeguero - Orquesta Aragon
Senor Juez - Los Carinosos
Pimpollo - Orquesta America de Ninon Mondejar
Los Tamalitos De Olga - Orquesta Aragon
Los Marcianos - Orquesta de Enrique Jorrin

Cantares de mi llano - Rogman Meza

Esteros De Camaguan

Cantares de mi llano
Rogman Meza
Conj. de Eladio Romero
Corpodisco C. A.
LPC-8167

Traigo Polvo Del Camino
Mi Gavan
Esteros De Camaguan
Cuando Sali De Zaraza
Puerto Miranda
Carmen Elena
El Cimarron
Pobre Gavan Perdido
El Seis De Lionicio Acosta
Mujer Zarasena

15 Anos Exitos - Eduardo Nunez

Sigamonos Amando

15 Anos Exitos
Eduardo Nunez
Vol. II
Discos Y Cintas Denver DCD-5004
1986

La Cumbia Bonita
No Te Pedire Volver
Nena
Vuelve Mi Amor
Sigamonos Amando
La Cumbia Del Oeste
Los 2 Hermandos
Creo Estar Sonando
El Chocho
Chulita
La Tabasquita
El Coeneo
Chulita Consentida