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!
Run Baby Run
Hickory Record, Inc.
From the back cover: Until their return to Music City (Nashville) and the relatively relaxed atmosphere of the recording studio, the Newbeats have been working at a hectic, breakneck pace. In fact, it's been much that way, ever since Dean and Mark Mathis and Larry Henley first joined forces on the stage of the Peppermint Lounge in Shreveport, Louisiana, one evening in 1963. It was there that Larry, a visiting Texan, gave into an impulse and jumped to the stage to join brothers Dean and Mark in their act.
Ordinarily, a fellow might have been quietly asked to leave under such circumstance, but somehow, the chemistry was right that night, a new sound emerged which flipped the boys themselves as well as everyone else in the club, and a new group was born.
Larry had previously recorded several sides by himself for Hickory Records and when the lads cut themselves a few sample tapes, they took them to Hickory president, Wesley Rose, who signed them at once and concocted the name, The Newbeats. Their first record, "Bread and Butter," quickly became their first hit and they've been moving fast ever since.
Last year, the group was one of the first to appear on the Shindig show. They have also been seen frequently on many of the modern sound TV programs like Dick Clark's Bandstand show; "Where The Actions Is;" and "Shivaree." At one point, they hit the road for an extended tour with the Shindig troupe and they have appeared on the Danny Kaye Show as well.
Late in 1964, the Newbeats accepted an invitation to represent the United States on Holland's Grand Gala du Disque, a four-and-a-half hour television production, originated in Amsterdam. They are also in line for movie work, with a number of scripts now being screened. – Ten Grevatt
Run, Baby, Run
Oh, Pretty Woman
Hang On Sloppy
It's Really Goodbye
Oh, Girls, Girls
I Can't Get No Satisfaction
This Old Heart
Come See About Me
Mean Woolly Willie
Lookin' For Love
Esther & Abi Ofarim
Philips PHS 600-269
From Billboard - April 20, 1968: Esther and Abi Ofarim are winning over the singles market with "Cinderella Reckefella," which is a strong point in the favor for similar results in the album field. The single click is the album's big lure but there are such dandy items as "Free Just Like The Wind" and perennials such as "Lonesome Road" and "Hora."
The Lonesome Road
In The Morning Of My Life
Your Heart Is Free Just Like The Wind
He Don't Know Me
True Love Can Never Die
The Daylight Is Dawning
Guitar And The Wind
Mood Jazz In Hi-Fi
Guitar Solos with Flute and Instrumental Accompaniment
Cover Photo: Ray Pinney
Decca Records Series J9200
From the back cover: When I (Burt Korall) question him (Galbraith) about his root source of a whole generation of guitarists, Charlie Christian, Barry put more light on the subject.
"Every guitarist since the early forties has been influenced by what Charlie did. He made the guitar an adult... It seems to me that practitioners of the jazz guitar were building to his arrival.
"Lonnie Johnson, Eddie Lang, and George Van Eps (George influenced me early in my career, and continues to impress with his block chordal style) made important contributions to the guitar's growth as a jazz instrument. But, for all the depth and meaning of their contributions, Charlie was the one who turned on the "juice", so to speak, and gave the guitar a modern identity.
"Lester Young left his mark on Christian. However, I don't think Charlie was ever conscious of it. Like Lester, he inclined to lone lines, a variety of well-placed accents, and an exploratory quality that is so typical of 'the great ones'.
"If you hear Christian in my playing, it's no accident. Techniques he fathered have become a part of me, for I have admired his work since first exposed to it, and frequently go back to his records for the enjoyment they give me.
"I would feel a sense of fulfillment when and if my way of saying things took on the artless, spontaneous feeling that was Charlie's calling card."
Galbraith, as a person, is unintrusive yet decisive; unassuming yet authoritative; and like many jazz musicians, his instrument has proven more than an adjunct to his personality, but THE friendly medium through which the flow of his thoughts find most compatible expression.
As some of his colleagues have noted, Galbraith has a 'natural' flare that lends the impression of the 'easy and everyday' to the musically valuable or difficult. Whether playing at a social gathering, on a job or recording date, he is 'inside his horn", fully concentrated, oblivious to extraneous bother.
Self taught, Barry has proceeded through the hallowed hals of the school of experience, remembering and assembling, pointing up, underlining the important along the way.
"I spent a lot of time with the big bands (Norvo, McIntyre, Thornhill) in the 'forties and learned a lot about 'time'. My jazz blowing over the last couple of years, however, did the most to finalize, enlarge my perspective concerning the pulse, and playing, in general.
"Association with the Claude Thornhill band in the early and mid 'forties was an education. The band was a feast of sound and nuance, and playing with the band night after night stimulated my sense of musical color.
"Arranger Gil Evans, the man who brought the modern conception to the band, blending the identifying sound and feeling of Thornhill with modern ideas, was a big help to me. He was and is so knowing; perhaps the most adult person I have ever known."
A decade has gone by since Barry's last stint with Thornhill. Like many of the big band musicians, he has gone on to do studio work (radio-TV) and a plethora of recordings of various types. In addition, he has kept abreast of developments in jazz, constantly listening, thinking, and as a result, growing.
This album is shaped to delineate a variety of moods in addition to the softer, romantic feeling that has, by constant association, assumed priority in definition of the word, mood.
Galbraith is found in three basic instrumental frames.
On January 16, 1958, Barry surrounded himself with four trombones – Urbie Green, Chauncey Welsch, Frank Rehak and Dick Hixson (bass trombone); flutist Bobby Jaspar; Milt Hinton, bass; Osie Johnson, drums and Ed Costa, piano. The arrangement for the date were written by Billy Byers, prolific in many recording areas, but especially deft in scoring for trombones. – Burt Korall
From Billboard - April 21, 1958: A nicely varied set spotlighting the artist in several approaches – all of them effective. When Galbraith has the melody or is improvising, he shows a fresh, inventive style. In backing other instruments, harmonically or percussively, he also shines. His admirers will find this one of his best efforts. His style can be traced to Charlie Christian and George Van Eps. Small combo and larger group selections are done with equal good taste.
Bull Market - Billy Byers
Portrait Of Jennie - Gordon Burdge - J. Russel Robinson
Judy's Jaunt - Al Cohn
Nina Never Knew - Milton - Drake - Louis Alter
Walking (Down) - Carpenter
A Gal In Calico - Robin - Schwartz
I Like To Recognize The Time - Richard Rodgers - Harold Arlen
Love I For The Very Young - David Raskin
Holiday - Al Cohn
Ya Gotta Have Rhythm - Osie Johnson
What An I Here For - Duke Ellington
Three Loves Have I
Cha-Cha-Cha – Mambo – Guaguanco
Tito Rodriguez and His Orchestra
RCA Victor LPM-1389
From the back cover: It all began, like so many worthwhile things begin, with a dream. The dream was that of someday leading one of the finest of all Latin-American dance orchestras and it belonged to a gifted young Puerto Rican lad and native of San Juan – Tito Rodriguez.
Today the dream has become a reality. But, like all dreams that eventually come true, it took hard work and determination plus talent. Tito also had something else in his favor – an inherent love, understanding and appreciation for the music of Latin America.
Tito's early, most formative years were centered around his aptitude for music. He found it comparatively simple to master the technique of any musical instrument he wanted to play; he learned to play most of them. And he learned something else – he had a voice. It was the kind of voice people like to listen to, it created excitement, and it brought him fame.
As vocalist with the Xavier Cugat and Enric Madriguera orchestras, it wasn't long before Tito Rodriquez was being heralded as the Number One Latin-Ameican Singing Personality. This would have been success enough for most people, but for the irrepressible Tito it was only the beginning. He still had his dream, and now he was in a better position than ever before to make it come true.
So it was, with a thoroughly tested musical apprenticeship, that Tito Rodriguez launched his own ten-piece band nine years ago. For aggregations have ever had a more meteoric rise to fame. The band has been acclaimed throughout the world, and the only thing that worries the lad from Puerto Rico these days is where to put the hundreds of citations he has been awarded.
Of the many honors to come his way, Tito is particularly happy about the 1952 Music Of New York City and the coveted honor from the famous Spanish newspaper, La Presnsa. For two consecutive years, La Prensa has voted Tito's orchestra the outstanding orchestra of Latin-American rhythms. – bob Prestegaard
The Sweetness Of You
Asi... Asi (Juans, Juana)
My Tobi's Blues
A Llegado El Guaguanco
This Is Mambo (Esto, Es Mambo)
Violets And Violins (Mon coeur est un violon)
Cha-Cha-Cha Para Ti
The Smart Set
A New Experience In Vocal Styles
Warner Bros. Records, Inc.
The First Name In Sound
From the back cover: There are two Smart Sets involved here – the album itself and the singing group. And while the album is, indeed, a smart set of songs, it's the group which demands primary consideration.
Groups are made, not born. And this group was made by Jimmy Joyce, who auditioned Hollywood's finest voices before settling on the particular combination which is heard, here and now, singing its musical introduction to the record world.
Joyce directs the group, and this means considerably more than standing up front and beating time. Long before the group became a fact Joyce was hearing songs in his head. Not hallucinations exactly, rather musical plans. And now those plans are recorded reality.
There are many singers in the world, though few who inject the necessary vibrance in their performance that spell the difference between the acceptable and the superior. The Smart Set give their material that strong and satisfying rhythmic feel, that almost indefinable zest that is the difference.
Harmonically the group has a truly modern sound. Not the sound-for-sound's sake kind of dissonance used by some ultra-progressive to progress themselves out of contact with an audience, but a happy sound that can be understood and enjoyed by people of any age.
Beyond this, there is that thing called interpretation, that special way of combining voice and song which, in the case of The Smart Set, winds up being a distinctive and delightful experience.
For this initial album The Smart Set has chosen a dozen songs in the great tradition of popular music. They are standards, evergreens, the ones that live forever. And here, in their brand spanking new arrangements, with musical backing by Ralph Carmichael's orchestra plus The Guitars, Inc., they take on a new luster, a new life.
Bye Bye Blackbird
Cheek To Cheek
You'd Be So Nice To Come Home To
I Only Have Eyes For You
How About You
Ol' Man River
Just Squeeze Me
Why Do I Love You
Just You, Just Me
Bye, Bye Blues
Music For Flute And Guitar
An 18th-Century Serenade
Jean-Pierre Rampal - Flute
Rene´ Bartoll - Guitar
Odyssey STEREO 32 16 0218
A Product of CBS, Inc.
From the back cover: Jean-Baptiste Locillet (1680-1730 was born in Ghent and spent five years, from 1705 to 1710, in London, where he played the flute and oboe in the orchestra of the Queen's Theatre. His style is less typical of French music than of Italian, and it contains elements of what has been called "Handelian solidity."
Robert de Visee (1650-1725) was a French guitarist, singer and composer who served many years as chamber musician to King Louis XIV, at whose court he succeeded in making the guitar more popular than the lute. Like Quantz, he was an author, publishing two instruction books on the art of the guitar.
Mauro Giuliani (1781-1821) has been called "the most renowned of Italian guitarists and one of the most brilliant virtuosos the world has known. He spent the years 1807-1821 in Vienna, during which time his musicianship was much admired by Ludwig van Beethoven; and his style reflects a strong Viennese influence.
From Billboard - April 20, 1968: Charm and the highest skill mark the performance of both distinguished artists in this usual paring. Represented here are 18th-century composers Mauro Giuliana, Robert De Visee and Jean-Baptiste Loeillet.
Jean-Baptiste Loeillet: Sonata in A Minor For Flute and Guitar
Op. 1, No. 1
Robert De Visee: Suite in D Minor for Guitar
Menuets I and II
Mauro Giuliani: Grand Sonata in A Major for Flute and Guitar
Andante molto sostenuto (4:37)
Scherzo; Trio (3:34)
Allegretto espressivo (4:57)
And Other Fabulous Instrumentals by Bert Kaempfert
Instrumental Fox Trots Featuring Fred Moch, Trumpet
Produced by Milt Gabler
Cover Photo: Dennis Bacon, PAF International
Decca DL 4569
Red Roses For A Blue Lady
Almost There (from The Ross Hunter Production "I'd Rather Be Rich")
Love Comes But Once
Treat For Trumpet
Goodnight Sweet Dreams
Arranged and Conducted by Johnny Douglas
Produced by Ethel Gabriel
Recorded in England
RCA Camden CAS-2373
To You, Sweetheart, Aloha
My Isle Of Golden Dreams
Beyond The Reef
How Is the Hour
Medley: Aloha My Tani / Aloha Oe (Farewell to Thee)
My Little Grass Shack In Kealakekua Hawaii
Hits On Hits
Produced by Karl Engemann
Capitol Records ST 2834
From the back cover: Dave Cavanaugh is that rare commodity; a justly-famous man of music. As arranger-producer-composer-conductor-musician, he commands a complete knowledge of popular music and records. In the field of arranging he has backed many top stars and is perhaps best-known for his outstanding work with the late Nat King Cole. Today, at Capitol Records, he is Executive-Producer, Artists and Repertoire Department, for such best-selling recording artists as Miss Peggy Lee, Nancy Wilson, Matt Monro, Ernie Ford, Sandler & Young, George Shearing and Howard Roberts. In "Hits On Hits," his consummate musicianship speaks for itself.
The World We Knew
For Your Love
Don't Sleep In The Subway
There Goes My Everything
Can't Take My Eyes Off You
After You've Gone
Pops From Toyland
FDR King Size - New High Fidelity
Waldorf Music Hall, Inc. MHK 33-1208
Me And My Teddy Bear - Waldorf Punch & Judy Orchestra with Dottie Evans Heigh Ho - Enoch Light and his Orchestra Jack And The Beanstalk - Waldorf Punch & Judy Orchestra Snow White - Enoch Light Orchestra and Chorus Parade Of The Wooden Soldiers - Waldorf Punch & Judy Orchestra The Gingerbread Man - Waldorf Punch & Judy Orchestra The Doggie In The Window - Waldorf Punch & Judy Orchestra with Dottie Evans Chuggy Cho Cho - Waldorf Punch & Judy Orchestra Whistle While You Work - Enoch Light Orchestra Cinderella - Waldorf Punch & Judy Orchestra Hansel And Gretel Waldorf Punch & Judy Orchestra Pinocchio Waldorf Punch & Judy Orchestra
Beware The Soldier
Orchestral Ensemble Conducted by Greg Smith
Cover by Judith Lerner
Recorded By David Hancock, April 1972
Composers Recordings, Inc.
CRI SD 341
Rosalind Rees - Sprano
Douglas Perry - Tenor
Charles Greenwell - Bass
Chuck Garretson - Soprano
Texas Boys Choir - George Bragg, Conductor
Columbia University Men's Glee Club
This appears to be a proof copy of Beware The Soldier. The second "g" in Gregg Smith's first name, on the front and back jacket, have been covered over with white-out. The back jacket notes feature typewritten corrections pasted over the printed copy. To make this jacket more of a mystery, I found this copy in the original shrink wrap.
From the back cover: Beware The Soldier was written by George Bragg and the Texas Boy's Choir. It was first performed by the Choir in Fort Worth, May of 1969. It was during this period that campus rioting was at an apex and emotions over the Vietnam War were running at their highest. Although the work could be labeled as "anti-war," the composition is intended more as a reflection of two aspects of mankind – childhood and innocences (as exemplified by those wonderful music-making boys) and "manhood" and the warrior complex (the male chorus). There is a third important element which focuses the above toward the futility of war – that of the elegies (sung by a solo voice).
I do not wish to espouse politics either in writing or in some war musically (and it is extremely questionable whether music can be really political) except to mention that one of the (many) horrific aspects of man's war-history is the use of many devices to justify war-making, even, astonishingly, religion. The most devastating commentary on this malaise in the War Prayer of Mark Twain. – a most horrifying satire. Twain himself decided against publishing his poem while he lived – "I have told the whole truth in that, and only dead men can tell the truth in this world." But men in all ages have cried out against the folly or war and this work (I am happy to note) draws its poetry from many sources in many periods ranging from Roman times (Tibullus) through St. Francis to 19th century authors Twain. Tolstoy and Hardy. The question of war, of armies, of military thinking, is not one of just our time but has concerned men in the same way through all ages. – Greg Smith
The Swingle Singers
Swinging The Hits Of Handel, Vivaldi, J. S. Bach, K. Ph E. Back, W. F. Bach
Philips Records PHS 600-126
From the back cover: Meet The Creative Swingle Singers
Ward Swingle (tenor) – The 37-year old, Alabama-born director received his Master's Degree from the Music Conservatory of Cincinnati, Ohio, and studied piano in the master class of Walter Gleseking in France from 1951 to 1953 as an exchange student. He has been accompanist to singer Zizi Jeanmaire, the leading pianist at the Ballet Orchestra de Roland Petit and, from 1963, a member of the famous vocal group, "Les Double Six." He organized The Swingle Singers and adapted and arranged all of their material.
Jeanette Baucomont (soprano) – Miss Baucomont studied at the National Conservatory of Montpellier and won several prizes for piano, harmony, and voice. She sings grand opera, operetta, choir music, and is featured with the Society of Antique (Baroque) Music.
Christiane Legrand (soprano) – The daughter of orchestra leader Raymond Legrand and sister of arranger/conductor Michel Legrand, Christianne is an accomplished teacher of voice and piano, and is heard in Largo on this album.
Anne German (contralto) – Originally a classical violinist, Miss Meunier is constantly appearing or recording with the leading orchestra in Paris.
Claude Germain (tenor) – As a pianist, Mr. Germain won the Paris de Piano at the Music School of Paris. He began singing as a pop crooner, then sang with leading vocal groups in Paris.
Jean-Claude Briodin (bass-baritone) – While still a child, Mr. Briodin won the grand prize at the Conservatory of Paris as a saxophonist. He switched to singing and for the past ten years has been a very busy group singer.
Jean Cussac (bass-baritone) – Cum laude graduate of the Paris Conservatory, Mr. Cussac has sung classical music from grand opera to Bach cantatas and oratorios.
From Billboard - May 2, 1964: This is a continuation of what the Swingle Singers started when they worked over "Bach's Greatest Hits" a few months ago and it will prove just as successful. They're in the Baroque period now and the composers come through just as if they had written their stuff for today's market.
Badinerie (From the Suite in B Minor)
Air (From the Harpsichord Suite in E Major)
Gigue (From the Cello Suite in C Major)
Largo (From the Harpsichord Concerto in F Minor)
Prelude No. 19 (From the Well Tempered Clavier 1st Book)
Preambule (From the Partita No. 5 in G Major)
Fugue (From the Estro Harmonico Op. 3, No. 11)
Allegro (From the Concerto Grosso, Op. 6, No. 4)
Prelude No. 7 (From the Well Tempered Clavier, 2nd Book)
Der Fruehling (Spring)
Prelude No. 24 (From the Well Tempered Clavier, 2nd Book)
The Caravelli Orchestra
Featuring The Hit "Wigwam"
Producer: Philippe Boutet
Peters PLD 1000
From the back cover: The Caravelli Orchestra was actually born in New York City. There Caravelli met Ray Ventura who gave him the means to start the dream of his life: a string orchestra which would play the most beautiful melodies in the world on most sophisticated arrangements.
International fame was fast to come to the Caravelli Orchestra in Europe, throughout South American, in Israel and in the Far East. Caravelli is one of the few non-Japanese musicians who were invited to conduct the grand orchestra of the NHK Television System in Tokyo.
I'm Not In Love
Love To Love You Baby
Love Me, Please Love Me
Aranjuez, Mon Amour
Don't Go Breaking My Heart
I Love To Love
I'm On Fire
Produced by Mitch Farber
Recorded at CI Recording Studio, NYC - May 16, 1979
Mixed at RPM Sound Studio - NYC
Engineer: Chuck Irwin
Mastering Engineer: Joe Brescio at The Master Cutting Room - NYC
Muse Records MR 5224
Morgana King: Vocals
Ben Aronov: Piano
Jack Wilkins: Guitar
Eddie Caccavale: Drums
Art Koenig: Bass
Ray Mantilla: Percussion
From Billboard - December 13, 1980: Overlook the amateurish annotation and enjoy the simple singing of a veteran, accompanied here by an adequate five-man combo. King offers eight cuts, one a pleasant medley, three of them two-song medleys. She is sensitive and emotional, a true pro of the old school.
Feel Like Flying
The One I Love Belongs To Somebody Else / You're Driving Me Crazy
What Is This Thing Called Love
You Can't Hide Love
The Long And Winding Road / Golden Slumbers
You Stepped Out Of A Dream
When I Fall In Love / Teach Me Tonight