Mirrors - Peggy Lee

 

A Little White Ship 

Mirrors 

Peggy Lee

Words by Jerry Leiber

Music by Mike Staller

Arranged and Conducted by Johnny Mandel

A Leiber-Stoller Production

Art Direction: Roland Young

Design: Junie Osaki

Photography: Hans Albets

Illustration: David McMacken

Recording and Mixing Engineer: Hank Cicalo

Mastering Engineer: Bob Ludwig, Sterling Sound, New York

A&M Studios, Los Angeles, California

A&M Records AMLH-64547

1975

Woodwinds

Georgia Alwan

Norman Benno

Gene Cipriano 

Harry Klee

Ronald Langinger

Abe Most

John Neufeld

Jack Nimitz

Bill Perkins

Jerome Richardson

Tom Scott (Courtesy of Ode Records)

Trumpets 

Joe Burnett

Buddy Childers

Charles Findley

Paul Hubinon

Malcolm McNab

Anthony Terran

Trombones

Charles Loper

Richard Nash 

Kenneth Shroyer

Phillip Tule

Mike Vlatkovich

Chauncy Welsch

Horns

Vincent DeRosa

Alan Robinson

Marilyn Robinson

Tuba

John Johnson

Bill Masonheimer

Keyboards

Clare Fischer

Don Grusin

Artie Kane

Micheal Lang

Mike Melvoin

Varda Ullman

Guitar (Banjo)

Dennis Budimir

John Pisano

Tommy Tedesco

Harp

Corky Hale

Accordion

Stephen Paietta

Drums & Percussion

Larry Bunker

Gene Estes

Victor Feldman

John Guerin

Ken Park

Joseph Porcato

Emil Radocchia

Jack Ranelli

Mark Stevens

Alivn Stoller

Kenneth Warson

Violins

Arnold Belnik

Blanche Belnick

Harry Bluestone

Norman Carr

Marcy Dicterow

Assa Driori

Irving Geller

William Kurasch

Betty Lamagna

Guy Lumia

Erno Nefeld

Wilbert Nuttycombe

John Pintavalle

Tony Posk

Elliot Rosoff

Sheldon Sanov

Paul Shure

Richard Sortomme

Mari Tsumura

Gerald Vinci

Shari Zippert

Violas

Julien Barber

Allan Harshman

Virginia Majewski

David Schwarz

Barbara Thomson

Celli

Anne Goodman

Dennis Karmazyn

Jesse Levy

Edgar Lustgarten

Jackie Lustgarten

Fred Seykora (also Bass)

Bass

Ray Brown

Joe Mondragon

Ready To Begin Again*

Some Cats Know**
I've Got Them Feelin' Too Good Today Blues
A Little White Ship
Tango
Professor Hauptmann's Performing Dogs
Mary Jane
I Remember
Say It
Longings For A Simpler Time

*Arranged & Conducted by Perry Borkin, Jr.

**Recording Engineer: Pete Romano at A&M Studios, Hollywood and Carmine Rubino at the Record Plant, New York - Strings Arranged and Conducted by Meco Monardo

For The Good Times - Chet Atkins

 

Vesiti la giubb

For The Good Times

And Other Country Moods

Chet Atkins

Arranged by Chet Atkins

Recorded in RCA's "Nashville Sound" Studio, Nashville, Tennessee

Recording Engineers: Al Pachucki and Bill Vandevort

Recording Technician: Roy Shockley

Cover Photo by Jimmy Moore, New World Photography

RCA Victor LSP-4464

1971

From Billboard - February 20, 1971: With equal potential for the pop sales chart as well as the country, the guitar king comes up with another superb program. He ads his own distinctive and unique style to such recent hits as "For The Good Times," "Snowbird," and "El Condor Pasa" and "Theme From Love Story." His rendering of "Vesti la guibba" is a gem

Snowbird

Chaplin In New Shoes

Walk Right Back

Tuck Me To Sleep In My Old Kentucky Home

Vesiti la giubba (from "I Pagliacci)

For The Good Times

El Condor Pasa

Just One Time

Together Alone

Theme from "Love Story"

Bix Beiderbeche Memorial Jazz Band

 

Blues For Bix

Bix Beiderbecke Memorial Jazz Band

Photo by Bob Farlee

Audex AX-103

The Bix Beiderbecke Memorial Jazz Band

August 6, 1971

Oakdale Cemetery, Davenport, Iowa - Davenport Blues

Joe Ashworth - C Melody Sax

Billy Barnes - Cornet

Bill Donahoe - Washboard

Jay Duke - Drums

John Gill - Banjo

John Schober - Clarinet

Skip Strong - Trombone

Bill Taggart - Tuba

From the back cover: This recording took place October 19 and 20, 1973, at The Tarn in Bartley, NJ – a 100-year old foundry converted into a gigantic recreation room. It was cold – so was the BBMJB since they hadn't played together since July in Davenport. This was the original 1971 group with a plus of Tex Wyndham on piano for good measure. Joe Ashworth switched to clarinet/soprano sax and John Schaber to C melody/alto sax.

Basically, the Bix Beiderbecke Memorial Jazz Band is a visual band capable of a spiritual drive when the occasion and venue require it. They are high-spirited and empathic at some time – all these virtues dissolve their few technical errors under such conditions. But a cold recording in a cold studio with harder-to-throw cold engineers and liner/notes/writers and critical friends and unsympathetic acoustics ain't easy. (Ever record with six-foot logs cracking and snapping in a giant fireplace?) The end result? The BBMJB on tape, finally. Recorded, edited, mastered by a master. Something for posterity.

The BBMJB has had detractors – "they don't play (sound) like Bix (Bix group)." This is not the intent of the BBMJB. Their intention is playing what they feel in tribute to Bix and his days and fellow Bix-era jazzmen – feeling the guts, spirit, fun, sadness, wildness of an age highlighted buy the short life of a long-legendary figure who epitomized the times and the music - a figure who gave this time of American Music a romantic filter of sterile musical windmills.

Some of Bix's best known tunes are not here. Neither are some of BBMJB's famed lease breaking flagwavers. And here in non-biz-relatged-jazz – but what is  non-biz is jazz and BBMJB is jazz and this session is jazz? As Barnes said sagely, "So why not Creole Love Call? Bubber recorded with Bix? Lagniappe is the absence of any vocals; knowing the words and the music (almost) is not enough to capture the nuances of Bix-era vocalists that would be almost in opposition here to what the BBMJB intends and dose. And anti-climatic.

Blues For Bix required just one take. Some numbers are 3rd and 4th takes. A few more were done on both sessions before a printable edition came out of the playback monitor.

Here, without the redundant explanations of the who/what/where/how comes of lp note sonography are serious, dedicated jazzmen doing what they want to do their way. Let the listener and devotees of Jazz and Bix and BBMJB be the critic/lp liner note writer.

Jazz history has been made by the Bix Beiderbecke Memorial Jazz Band and the dream of non-musician (as he calls himself)/leader Bill Donahoe. The purpose of making this lp is so there will exist a tangible record that on the 40th anniversary of Bix's death there were those who cared. – Bill Bocin - Editor, The Jazzologist

Davenport Blues

Creole Love Call

Royal Garden Blues

Fidgety Feet

Riverboat Shuffle

Louisiana

Blues For Bix

From Monday On

I'll Be A Friend With Pleasure

Bogalusa Strut

Railroad Man - Hank Snow

 

Ghost Train

Hank Snow

Produced by Chet Atkins

Recorded in RCA Victor's "Nashville Sound" Studio, Nashville, Tennessee

Recording Engineer: Tommy Strong

RCA Victor STEREO LSP-2705

1963

Waiting For A Train

Big Wheels

The Last Ride

The Streamline Cannon Ball

Ghost Trains

Pan American

Southbound

Way Out There

Chattanooga Choo Choo

The Wreck Of The Number Nine

Lonesome Whistle

The Crazy Engineer

Mort Wells Plays New Orleans

 

Sweet Lovin' Gal

Mort Wells Plays New Orleans

Producer and Engineer: Don Sears

Cover Design: Dennis Kennedy

Applause Records

STEREO Sears Recording Studios

From the back cover:

Mort Wells (Trumpet)

The sound of Mort Wells has echoed in every major ballroom, club and hall, in the country since the early 30's when he joined "Jim Pound's Seven Ounces". Mort cut his first record with Dan Ingraham's "Detroiters", and in 1933 joined Paul Specht's Band in New York City. During the days of the BIG BANDS Mort's distinctive trumpet was heard for seven years with Orin Tucker and his Famous Colmbia Recording Band, The Lucky Strike Hit Parade, Paramount Pictures, Meredith Wilson's Armed Forces Radio Service, and the U.S. Navy. Mort plays many arrangements given to him by his old friend as radio and TV Musical Director Mort developed his own racing stable, and his horses have raced in the money at numerous tracks around the nation. He has a real winner in this album.

Elder ("Ole") Gunderson (Drums)

"Ole" is one of the few drummers who has that rare gift of knowing what the horn man is going to do... before he does it. Back in 1918 he began with a homemade set of drums, the foot pedal being a barn door hinge, with a baseball on the end for a beater. He toured with the old Harry Tuner Band, and joined the Buddy Fisher band (where a fella' named Skitch Henderson was playin' piano). After service in the Army he joined Mort Wells (in the 40's) and is very much in evidence throughout the album. You'll hear "Ole's" familiar humming and singing in the background.

Bob Morgan (Piano)

In 1936 Bob appeared with the Ted Lewis Amateur Hour, and traveled extensively through the 40's with many name bands, the majority of the time with the Earl English Band. He joined Mort in 1957 and, although the youngest member of the group, has that certain quality that highlights him as one of the finest Dixie pianists of the day.

George Casey (Clarinet)

Back in the vaudeville days a group called "Kiddies Of The World" toured the nation. That was 1930, and "Casey" was at bat with them, although he was already somewhat of a veteran (began his musical career in 1928). He, like the others of the band, has put in his time on the road. He played with the Paul Davis Chicago Band in 1933, also many radio shows, including the "Fiber McGee and Molly Show" with the great Billy Mills Orchestra.

Wendall Hall (Bass)

Another Veteran of vaudeville, Wendal began in 1923 as a banjo player, touring the famous RKO Circuit. In 1927 he was a member with the ZEZ Confrey group, and played with numerous name bands until joining Mort Wells in 1950.

Lauren ("Snuffy") Brown (Trombone)

"Snuffy" began playing a violin but in 1927 he bought his first trombone – for $35.00 – and has become a master of the instrument. He has played with the old Curly South band and various name groups, including Lawrence Welk (40's). His "sound" brings back memories of the late Jack Teagarden, and yet the styling of this fine musician is excitingly original.

Panama

Sweet Lovin' Gal

You Brought A New Kind Of Love To Me

Float Me Down The River

Clarinet Marmalade

Tiger Rag

Closer Walk With Thee

Foolin' Around

Wabash Blues

Dreamin' On The River

Country Music Time - Kitty Wells

 

A Wound Time Can't Erase

Country Music Time

Kitty Wells

With The Jordanaires Courtesy of Columbia

Decca Records DL 4554

1964

From the back cover: If you are sincere in feeling that you must surely be one of Kitty Well's greatest admires, you can count yourself a member of a very exclusive club. Membership is limited to six persons: Carol Sue Strudivant and Ruby Jean Stephenson, both of Nashville, Tenn., John Robert Wright Jr. of Hollywood, Calif., and John R. Wright Sr. and Frank G. Clement, also both of Nashville – and you.

Carol and Ruby are Kitty's married daughters, John the youngest is her television actor-son, and John Sr. is Johnny Wright, Kitty's husband of 27 wonderful years. Frank Clement is not in the family, but rather he is Tennessee's distinguished governor.

That Governor Clement is every bit as much an admirer of Kitty  as you and her immediate family was vividly proven in a statement of the Governor's. "In addition to her artistry," he told an audience of the most successful singers and songwriters, "Kitty has demonstrated that she is an outstanding wife and mother in keeping with the finest traditions of Southern womanhood."

Then, on the strictly professional side of her personality, Kitty won this tribute from Nashville's most respected writer, Charlie Lamb: "The pros always act like pros. When Kitty Wells walks into the studio, she greets everybody cordially, walks over to the microphone and sings; no temperament, no falderol, merely perfection. It is easy to see why she is the Queen Of Country Music." 

Few of Nashville's recording artists are Nashville natives, as Kitty is. Her parents were a railroader and his wife, Mr. and Mrs. Charles Season, who christened their bright-eyed baby Muriel. At 15 she was playing guitar and singing spirituals. Three  years later she met at Mount Juliet, Tennessee's handsome young Johnny Wright, and from that moment her life and her love were dedicated to him. Together they became famed country talents. Kitty as a solo performer and Johnny with his Tennessee Mountain Boys partner, the last Jack Anglin. Along the way Kitty's stage name was borrowed from a song, "I Could Marry Kitty Wells," popularized in the early 1930s by a Grand Ole Opry group, the Picard Family.

I've Thought Of Leaving You

Begging To You

B. J. The D. J.

Old Records

As Usual

Going Through The Motions Of Living

Gonna Find Me A Bluebird

This White Circle

A Wound Time Can't Erase

Password

(I Didn't Have To) Break Up Someone's Home

Before This Day Ends

Overture From Tommy - The Assembled Multitude

 

While My Guitar Gently Weeps

The Assembled Multitude

Overture From "Tommy"

Produced by Bill Buster and Tom Sellers in association with John Madara Enterprises, LTD.

All selections arranged by Tom Sellers with the exception of Twenty Four Hours From Tulsa which was arranged by Richard Rome

Recorded at Sigma Sound Studios, Philadelphia, PA

Recording Engineer: Joe Tarsia

Album Art: Jim Dine

Album Designer: Loring Eutemey

Atlantic Records SD 8262

1979

From Billboard - October 3, 1970: The hit single, "Overture From "Tommy" will give this LP its initial sells push and the drive will continue because of the solid way the Assembled Multitude handles the other cuts. Among the noteworthy items are "Woodstock," "I Want You," "Ohio," MacArthur Park" and "Twenty Four Hours From Tulsa."

Overture From "Tommy" (A Rock Opera)

Woodstock

Where The Woodbine Twineth 

Ohio

Singalong Junk

MacArthur Park

The Princess And The Soldier

Twenty Four Hours From Tulsa

While My Guitar Gently Weeps

Mr. Perppercorn

I Want You (She's So Heavy)

I Can - Ben Sweetland

 

How To Master Habits

I Can

The Key To Life's Golden Secrets

From The Book by Ben Sweetland

Success Motivation Institute, Inc. SMI-1314

1961

From the back cover: Dr. Ben Sweetland is widely known on the West Coast as a consulting psychologist. A wide and varied career, that has included advertising, radio and newspaper work, has brought him into contact with thousands of different individuals. His sincere love of people, his sympathetic attitude toward their problems, and his marvelous insight into their capabilities has uniquely fitted him for his career of helping others.

Dr. Sweetland could be classified as a more or less ordinary American citizen until he was well past middle age. He rocked along in a commonplace routine with not too much incentive, past the "golden days of youth", past "when life begins at forty". His late fifties found him in a modest apartment with no automobile, no savings, just enough money each pay day to meet his financial obligations.

In his early sixties, he and he beloved wife, Edel moved into an estate in Hillsborough, California, a unique community often referred to as "the millionaire's town". His palatial home was designed  by a famous architect and is elegantly furnished. He found himself a world traveler and lecturer, a syndicated columnist (his "The Marriage Clinic" runs in many papers), and a successful author. The secret of his success???... he took his own advice! He states that he has made greater progress in the past ten year of his life than he made in the first fifty! And this narration of I Can tells you how he did it and how You Can To!

Getting Acquainted With Yourself

Your Pledge To Yourself

Your Life's Pattern

The Art Of Relaxation

You Mental Powerhouse

Work Less-Accomplish More

How To Overcome Worry

The Value Of Self-Appreciation

How To Gain Self-Mastery

You Mental Yard-Stick

How To Build A Magnetic Personality

Your Normal Life Span

How To Develop A Powerful Memory

Conversation And Public Speaking

How To Make  Good In The Field Of Salemanship

How To Get A Better Job

How To Build A Business Of Your Own

How To Master Habits

Your Marriage Can Be Happy

Personal Remarks By The Author, Dr. Ben Sweetland

Tanzmusick Nach Mass - Bela Sanders

 

Night Train

Tanzmusik nach Mass

2 Folge

Bela Sanders

Philips STEREO 840 420 PY

Printed in Germany

Tanze mit mir in den Morgen - Tango

Roter Sombrero

Night Train - Blues

Little Dipper

Does Boogie - Boogie-Woogie / Rock

That's The Beat

Love Letters In The Sand - Slowfox

Dark Moon

Ganz allerliebst (Tres Jolie)

Herbstweisen (Pomone)

At The Darktown Strutter's Ball - Dixieland / Charleston

Lamberts Nachtlokal (Lambeth Walk)

Another Step Forward - Joe Morello

 

The Truth

Another Step Forward

Joe Morello

Produced by Dick Schory

Recording & Mixing Engineer: Brian Christian

Technical Director: Ron Steele

Cover Design: Guar A. Barkans

Ovation Records OV/14-02

1969

Drums: Joe Morello

Bass: Jim Atlas

Tenor Sax: Buddy Terry

Piano: George Gaffney, Larry Novak

Guitar: Ron Steele

Valve Trombone: Bob Ojeda

Trumpets: John Howell, Robert Lewis, Gary Slavo

French Horn: Dale Clevenger

Trombones: Bill Porter, Ralph Craig

Violins: David Chausow, Sol Bobrov

Viola: Arthur Ahlman

Cello: Leonard Chausow

The Sound Of Silence

Baroque

The Beginning Of Time

The Truth

I Don't Know

Give Me A Simple Tune

Not So Fast

Timeless

The Fool On The Hill

Church Key

Soft & Wicked - Ronnie Aldrich

 

Last Tango In Paris

Soft & Wicked

Ronnie Aldrich And His Two Pianos

The London Festival Orchestra Chorus 

Producer: Tony D' Amato

Engineer: Arthur Bannister

Photography: Frank Moseati

Art Direction: Vincent J. Biondi

Phase 4 Stereo London SP 44195

Decca Records

1973

Last Tango In Paris

You're So Vain

Aubrey

Tie A Yellow Ribbon Around The Old Oak Tree

Clair

Call Me (Come Back Home)

Good Time Charlie

Oh Babe, What Would You Say

Killing Me Softly With His Song

Last Song

Love Theme (from the Colgems Picture "The Valachi Papers")

It Never Rains In Southern California

In Love - Petula Clark

 

Quelli Che Hanno Un Cuore

Petula Clark 

In Love

Cover Design: Miller, Boded & Rich

Laurie Mastersound ST-90497

1965

From the back cover: "Pet", as Miss Clark likes to be called, was discovered by most Americans in late 1964 via her million selling hit, "Downtown". However, Petula "Pet" Clark has been an international star in movies and on records for more than two decades. She has sold over 22 million records in Europe and has the unique distinction of making the top of the charts in the United States and seven different countries in Europe – all with different tunes. She sings in many languages and had her first hit at the early age of 17. She had a hit record in France, sung in French, before she actually learned to speak it fluently. The great demand on the continent for personal appearances encourage her to master French and other languages.

Her to-date fabulous career actually began when she was signed by the BBC to sing and recite poems for the families of British soldiers at the beginning of World War II. She was only nine years of age and in the next three years made over 500 appearances on the BBC.

Pet Clark was signed to a movie contract when she was but 12 years old and has starred in over two dozen films, many with the leading film stars of today. Quite a few of these films, in fact, have been shown on U.S. television.

The Twist craze in France afforded Miss Clark with the opportunity of again capturing the French population with her hit. Pet Clark has won many awards for her recording feats – actually too numerous to even list here. This lovely blond actress - vocalist - mother - wife and just plain nice people is highly deserving of the accolades heaped upon her for she has been studying, practicing and performing all of her life. As so many times happens in show business, she today is considered an overnight smash in the U.S. This particular overnight has lasted for more than 25 years.

In Love

Les Chants De L'ete

I Will Follow Him

J'ai Tout Oublie

Quelli Che Hanno Un Cuore

Darling Cheri

Plaza De Torros

Casanova Baciami

The Road

Jumble Sale

Gigolo Gigolino

Elle Est Finie

Arabian Delight - Adbu El Hanid

 

Fikry

Arabian Delight

Music From Egypt, Libya, Tunisia, Algeria, Morocco

With Abdu-El-Hanid and His Orchestra

Monitor MFS 434

1965

From the back cover: Abdu-El-Hanid and his orchestra give you an exhilarating performance of 2 authentic native selections, some as old as the Islamic civilization and some of a more contemporary nature.

The ensemble in this recording is typical for Arabic music; Out (Arabic lute), Kanon (Oriental zither), Nay (flute), Violin, Derbeke (Arabic Drum), and Tambourine

Karyat Dance (Instrumental- Country Dance)

Aroos (Wedding Dance)

El Falah (Harvest Song)

Fil Sahra (Instrumental - In The Sahara)

Al Raeya (chant)

Al Sabri (Patience)

Rak El Seyoff (Sword Dance)

Asmar (Dark And Handsome)

Keyf Ansak (I Can't Forget You)

Fikry (My Conscience)

Raks El Banat (Beautiful Maiden)

Maak Maak (Always With You)

Oklahoma And Carousel - Cecil Wheatridge

 

Carousel Waltz

Oklahoma And Carousel

Orchestra Conducted by Cecil Wheatridge

Mercury Wing MGM 12142

From the back cover: Cecil Wheatridge gives you a third-row center set as he batons his French musicians thru a typical Broadway instrumental performance of these two stirring all-time legit musical hits.

Oklahoma Overture Part I:

I Can't Say No

Many A New Day

Out Of My Dreams

Oklahoma Overture Part II:

Kansas City

All 'Er Nothin'

Pore Jud Is Daid

The Surrey With The Fringe On Top

Oh What A Beautiful Morning

People Will Say We're In Love

Oklahoma

June Is Bustin' Out All Over

If I Loved You

You'll Never Walk Alone

Carousel Medley:

What's The Use Of Wonderin'

When I Marry Mr. Snow

This Was A Real Nice Clambake

Carousel Waltz

No Count Sarah - Sarah Vaughan

 

Moonlight In Vermont

No Count Sarah

High Custom Fidelity

Mercury Records MG 20441

1959

Personnel:

Trumpet: Wendell Cutty, Thad Jones, Eugene Young and Joe Newman

Trombone: Henry Coker, Al Grey and Benny Powell

Saxophone: Frank Wess, Frank Foster, Billy Mitchell, Charley Fowlkes and Marshall Royal

Guitar: Freddy Green

Bass: Richard Davis

Drums: Sonny Payne

Piano: Ronnell Bright

From the back cover: The "Kid from Red Bank" is not on this session, thus the title: "No Count Sarah."

But there's the incongruity, for to a square, it might seem "No Count Sarah." But, just listen to the opening 30 seconds on "Smoke Gets In Your Eyes," when "Sass" drifts in after the Marshall Royal opening, wailing like a low-register trombone, and you know it's Vaughan that counts.

Sarah has hit peaks, just like any other great sports, theatrical or cinema personality. She did it on previous Mercury albums (Sarah Vaughan in The Land Of Hi-Fi and Sarah Vaughan After Hours At The London House). These were peak recording sessions by la Vaughan.

But the Divine One tops all singers, male and female, on this session!

Never has she been so uninhibited. Well, maybe once years ago she almost approached this peak. It was about 14 years ago when she was just new, the girl singer with progressive jazz Billy Eckstine crew. The Bird, Did, Wardell Gray, Art Blakey, the late Fats Narvarro and a crew 10 years ahead of itself worked behind her.

But this is the Count-less crew. Another band years ahead. And Sarah's inspired. She does things not yet done vocally. Her range makes Yma Sumac sound like a third-grade soprano. And there's loads of humor and satire. It's the kind of album that reminds you of an old Groucho Marx motion picture. The kind you had to hear three or four times to get all the punch lines!

Smoke Gets In Your Eyes

Doodlin'

Darn That Dream

Just One Of Those Things

Moonlight In Vermont

No 'Count Blues

Cheek To Cheek

Stardust

Missing You

The Australian Jazz Quartet

 

Lullaby Of The Leaves

The Australian Jazz Quartet

Cover Design: Burt Goldblatt

All Starred tunes recorded January, 1956; others recorded February, 1955; all made in New York City

Bethlehem Records BCP 6002

Composite Personnel Of The Australian Jazz Quartet/Quintet 

Quartet:

Dick Healey - Flute, Alto, Clarinet, Bass

Errol Buddle - Tenor, Basoon

Bryce Rohde - Piano

Jack Brokensha - Drums

Quintet:

Same members with Jimmy Gannon - Bass

Assisting Artists for these recordings:

Jimmy Gannon - Bass

Nick Stabulas - Drums

John Fawcett - Bass

A Foggy Day

Broadway

Little Girl Blue

September Song

Loose Walk

The Girl With The Flaxen Hair

You Are Too Beautiful

Music For Walkin'

Lullaby Of The Leaves 

Like Someone In Love

The Things We Did Last Sumer

Fascinating Rhythm

Selections From Showboat

 

Wade In The Water

Selections From Showboat

And Other Standard Hits

Varsity Singers And Orchestra

Cover: Design House

Concertone 20127

1956

Bill

Can't Help Lovin' That Man

Old Man River

Why Do I Love You

Wade In The Water

Git On Board, Little Chillun

Loin du Bal (Gillet)

Fantasy Impromptu (Chopin)

Intermezzo (Cavallo)

Valse Blette (Drigo)

Hungarian Scenes (Hubay)

Serenade (Haydn)

Country Dance (Beethoven)

A Mann Named Lorene - Lorene Mann

 

Stranger At The Funeral

A Mann Named Lorene

Lorene Mann

Recorded in RCA's "Nashville Sound" Studio, Nashville, Tennessee 

Recording Engineers: Bill Bandevort, Tom Pick, Jim Malloy and Chuck Selta

Recording Technicians: Les Ladd and Milton Henderson

Cover Photo: Bill Grine

RCA Victor STEREO LSP-4243

1969

From the back cover: If Lorene Mann had stayed in Huntland, Tennessee, married her childhood sweetheart and given up "those silly notions" of writing songs and wanting to be a recording star, you might not be holding the album in your hand. You might not be hearing the many single recordings of Lorene's songs that country DJs and others play daily. But Lorene had a dream, and I had a front-row seat at its premiere.

I met Lorene when she first came to Nashville, when she was just forming a new circle of friends in the music capitol. What I didn't know then was that Lorene is a regular powerhouse when it comes to music.

She sang for us one night backstage at the Opry House, and we were entranced with the simple sincerity of her songs and her sweet, down-home manner of singing. I'm happy the RCA people recognized her talent, too, for the little song So I Could Be Your Friend, here included, was the song that turned the trick for Lorene's climb to success. Like constructing a building stone-by-stone, song-by-song Lorene built a name for herself. One Of Them and Stranger At The Funeral followed. Later, the duet with Justin Tubb, Hurry, Mr. Peters, led to an album entitled Together And Alone, a collection of duets with Justin and solos by both.

Color Him Father

Daddy Sang Bass

Stand By Your Man

All I Have To Offer You (Is Me)

Stranger At The Funeral

You Used To Call Me Baby

Tell It All

Don't Put Your Hands On Me

So I Could Be Your Friend

One Of Them

Stay Out Of My Dreams

Dear Perry - The Perry Como Show

 

Red Sails In The Sunset

Dear Perry

The Perry Como Show

RCA Records, London

Made In England

RCA RD-27078

1958

Theme (Dream Along With Me)

It Could Happen To You

Love Letters

We Get Letters (medley)

  Almost Like Being In Love

  Little Man You've Had A Busy Day

  Gypsy In My Soul

  Whiffenpoof Song

Between The Devil And The Deep Blue Sea

Red Sails In The Sunset

Birth Of The Blues

When I Fall In Love

Come Rain Or Come Shine

We Get Letter (medley)

  You Made Me Love You

  I May Be Wrong

  Like Someone In Love

  Vaya con Dios

It Had To Be You

Twilight On The Trail

Theme (You Are Never Far Away)

This-A-Way That-A-Way - Ella Jenkins

 

Miss Mary Mack

This-A-Way That-A-Way

Cheerful Songs And Chants with Ella Jenkins

And Children From Tennessee

Guitarist: Guy Guilbert

Fiddler: Earl J. White

Photographer: Bernadelle Richter

Script: Joanne Taylor

Folkways Records FC 7546

1973

This-A-Way That-A-Way

Miss Mary Mack

I Like The Way That They Stack Hay

So You Know Your County?

I Know A Tom

Miss Sue

Please Is A Pleasant Expression

The Jolly Bus

I Love To Ride A Bus

Goin' To Kentucky

Turkey In The Straw

Sing Me A Song Again, Ella