Blue Prelude - Clyde McCoy

 

Blue Moon

Blue Prelude

Clyde McCoy

Mercury Records SR 60730

1963

From the back cover: Clyde McCoy, known to millions of Americans in the immortal "Surga Blues," is again featured with a selection of tunes done in his now-classic-style – some old, some new – but all bearing that unmistakable touch that has made him so popular throughout the years.

In the words of Hal Mooney, Mercury's top-flight artist and repertoire director: "From the time Clyde first recorded "Sugar Blues," his name and that of the blues have been synonymous. What we tired to do on this album is perpetrate this – bring to the public the Clyde McCoy style in the setting that has made him so unique and so well known."

Mooney and McCoy worked closely in this album's conception and its final recording, striving for originality with what both described as a "touch of the contemporary." 

For background, McCoy insisted on using the very same group that has been touring the country with him for the past several years. And although the basic sound – as always – is solid Dixieland, Clyde mad subtle changes in the rhythm to achieve a very appealing new popular flavor which sets the group apart from any other.

McCoy, whose "wah-wah" trumpet has made him one of the most imitated instrumentalists of all time, was born in the blue-grass hills of Kentucky some 58 years ago.

He learned to play a horn at the age of 10, and at 14, was playing trumpet and sax in the pits of silent movie theaters.

"I didn't know how to read a note of music, so I started playin Dixieland," says McCoy with a grin.

In 1918, when he was 15 years old, McCoy decided to climb out of the movie pits and form his own band. In 1922, era or the Charleston and Chicago speakeasies, Clyde introduced his "Sugar Blues," launching a career that was to maintain its popularity for the next 40 years.

Overnight he skyrocketed to fame and millions of fans clamored for a sight of the man with the "talking trumpet."

Through the years, McCoy has maintained the same integrity and natural quality in his music that he feels Dixieland demands. He never forces his instrument beyond its natural musical range – nor does the use of a mute change the "sweet" quality of his tone.

His career hast taken him into theaters, nighteries and ballrooms in virtually every city throughout the country. If the "Twenties" and "Dixieland" are anything of a legend, then certainly McCoy is an integral part.

Two further periods in his career bear mention. In 1933, Clyde met a young lady who had just won the title of "Miss Texas,"and was later to become a band vocalist. The two were married and together toured the big-band circuit these some 30 years.

Later, in the 50s Clyde decided to give up music for what was to become a successful career in business. He rose to the position of vice-president of an oil company in Denver. In 1958, however, he dusted off his trumpet and rejoined what he described as the "wonderful, crazy world of show business," because, if for not other reason, "everybody else was still playing after they reached their 50's."

The words of one of his millions of fans are a fitting tribute: "It is possible that a younger generation has the beat and the feel of old, original Dixieland, but for real flavor rather than an artificial taste, you have to listen to Clyde McCoy."

Blue Prelude

Blind Mice Blues

Serenade Heaven

My Blue Heaven

Blue Hawaii

Tin Roof Blues

Am I Blue

Blue Tango

Jazz Me Blues

Blue Moon

Blue Champagne 

Blue Skies

Kiss Tomorrow Goodbye - Jane Morgan

 

The Lovers

Kiss Tomorrow Goodbye

Jane Morgan 

Produced by Manny Kellem

Arrangements by Teach Wiltshire, Ernie Freeman, George Williams, Arnold Goland and Leroy Glover

Epic Records LN 24247

Kiss Tomorrow Goodbye

I Will Wait For You

You Gotta Have A Heart

Little Hands

Everyone Come To My Party

I Want To Be With You

The Lovers

Love Me True

Now And Forever

Walking The Street In The Rain

Cleopatra And All That Jazz - Al Caiola

 

Cleo Baby

Cleopatra And All That Jazz

Al Caiola and His Nile River Boys

Produced by Leroy Holmes

Pillows and Nightgown Courtesy of Stern's Dept. Store

Cleopatra's Wig made especially for United Artists by Lucien

United Artists Records UAS 6299

1963

From the back cover: "Cleopatra", the much-discussed film-bio of the exotic Queen Of The Nile, provides the inspiration for this set of swinging sides from Al Caiola and the Nile River Boys.

And, just as that famous femme swung with some pretty cool sidemen in her day, Al Caiola has surrounded himself with a pretty strong group of his own. The roster of artists performing with Al on this album reads like a Who's Who of the jazz world, with such giants as Dick Hyman (piano and harpsichord), Osie Johnson (drums), Clark Terry (trumpet and fuegelhorn), Tony Studd (bass), Phil Bodner (flute, alto sax and baritone sax) and Benny Gailbrath (rhythm guitar).

Al Caiola's arrangements – ranging from the humorous to the wistful – are consistently brilliant and run the gamut of popular jazz forms, from swing to bossa nova. He has also included an original – "Cleo Baby" – which is heard here for the first time on records.

Why not climb aboard Cleo's barge now and join Al Caiola and the Boys for a swinging cruise down the Nile.

Antony And Cleopatra Theme

Temptation 

Love For Sale

Mad About The Boy

Body And Soul

Cleo Baby

Caesar And Cleopatra Theme

Lover Man

I Can't Give You Anything But Love Baby

Under A Blanket Of Blue

All Of Me

Be Mine Tonight

I Hear Music - Bud Shank

 

Fluted Columns

I Hear Music

Bud Shank

A&R Coordinator: Ed Barsky

Art Direction: Woody Woodward

Cover Photo: William Claxton

Sunset SUS-5132

A Product of Liberty Records

1966

From the back cover: The history of a musician can indeed be a very fascinating one. It's sometimes one of the constant change plus various degrees of success and failure. In essence, it is the history of a man continually searching for effective means of expression, and this he may do by embracing various styles. Sometimes the is good, other times bad.

Bud Shank's history is an interesting one and, most important, he has been consistent. He may vary his style occasionally, but never to the degree that the listener does not immediately recognize him. An alumnus of the Stan Kenton and Charlie Barnet big bands, Bud began enjoying recognition as a soloist during the early 50's while working with the Lighthouse All Stars. It was a short jump from there to a position of major soloist and winner of numerous jazz polls. His excursions into classics and Asian music are well known, and today one need only listen to the radio for a few minutes in order to hear his interpretations of current songs. When he began recording popular tunes many jazz fans began crying "sell out!" Not now, for they have heard what he has done. Bud is a man of integrity, and rather than radically changing to fit the "pop bag," he has taken the best of current tunes (all with outstanding melodies) and merely added the Bud Shank touch. His fans now eagerly wait for more. This is the integrity of Bud Shank, he has not let them down. – Richard Oliver

Bag Of Blues

Don Nothin' Till You Hear From Me

Fluted Columns

All This And Heaven Too

Paradise

Night In Tunisia

You Don't Know What Love Is

Nocturne For Flute

A Sinner Kissed An Angel

I Hear Music

Ramblin' On The Organ - Jimmy Richardson

 

Ballin' The Jack

Ramblin' On The Organ

Jimmy Richardson

At The Console Of The Hammond

Marcile Records - Shelbyville, Tennesse

MLP 160

My Happiness

Baby Won't You Please Come Home

It Had To Be You

I'm Alone Because I Love You

Girl Of My Dreams

Wolverton Mountain

Moon River

Be Honest With Me Dear

There's More Pretty Girls Than One

Ramona

Nobody's Sweetheart Now

I Don't Know Why I Love You Like I Do

Sweet Georgia Brown

Ballin' The Jack

Susan Reed

 

Susan Reed

Susan Reed

Production Supervision: Jax Holzman

Cover Design: Harvey

Cover Photo: Guyon

Elektra EKL-116

1957

From the back cover: Susan Reed, a gentle and sensitive artist, made her first album for Elektra – Susan Reed Sings Old Airs, EKL-126 – October 1954. The response was heartwarming and there followed a string of request for another recording, the present one. More recently, Miss Reed has recorded a children's album, Songs For The Wee Folk, EKL-163.

Accompanying herself on harp or zither, Susan sings many familiar songs in her fine musical way. Of her song, she says: "Now, after touring the country singing a whole evening of these songs, I have come to think of each one as an old friend. Each time I sing about Barbara Allen, for example, I find out something new about her character. Some of the songs I was excited about when I first discovered them have not held up as well as others. Most of them have a deeper meaning for me now after ten years of singing them. Some, like friends, drop out for a while, then turn up again."

The three Louisiana French folk songs come form a people who migrated first from Acadia, Nova Scotia, all the way down to Louisiana – a migration immortalized in the Longfellow poem, Evangeline. Recently, the State of Louisiana celebrated the 200th anniversary of this voyage by these people. For the occasion, ESSO Standard Oil contributed a documentary film, produced in the Bayou by Arnold Eagle, Susan Reed arranged and sang the songs as background music. The film, called The Pirogue-Maker ("pirogue" is the name of their canoe-like boats), was given to the state. It was awarded prizes at the Venice Film Festival and the Edinburgh Festival, and acclaimed with the Flaherty and Scholastic Awards.

From Billboard - May 6, 1957: Susan Reed's voice has a purity and sweetness that have earned her a devoted following. This second albums for Elektra will be snapped up by those who know her work. Others should sample her eloquently simple approach to "Greensleeves," "Molly Malone" or "Venezuela." Dealers with a folk clientele can order without hesitation.

Black Is The Color

The Old Woman

I'm Sad And I'm Lonely

Drill, Ye Tarriers

Greensleeves

Go Away From My Window

A Mighty Ship

Mother, I Would Marry

Barbara Allen

Michie Banjo

Zelime

Gue, Gue

The Soldier And The Lady

Molly Malone

Three White Gulls

Venezuela

If I Had A Ribbon Bow

Miss Bailey

Danny Boy

Lawrence Goes Latin - Steve Lawrence

 

Out Of This World

Lawrence Goes Latin

Steve Lawrence

Orchestra Conducted by Don Costa

United Artists Records UAL 3114

1961

It's Alright With me

Shall We Dance

Just In Time

Bewitched, Bothered And Bewildered 

Small World

Too Close For Comfort

People Will Say We're In Love

Everything's Coming Up Roses

The Sound Of Music

Out Of This World

Tonight

Hello Young Lovers

No More War - Jacqueline Sharpe

 

Lullaby

No More War

Songs Composed and Sung by Jacqueline Sharpe

With Arrangements by Walter Raif

Jacket Design by Stanley Chamberlin

Cover Photo by UPI

Cutty Wren Records a Division of International Arts and Sciences Press, Inc.

CRW-101

1966

From the back cover: I have been writing or singing one thing or another ever since I was a child. In school and then in college (where I learned a lot from John Malcolm Brinnin), I wrote poetry. In graduate school at Radcliffe, I contributed to Poetry and to a literary magazine in Cambridge called Foreground. In the Vassar College Choir, I had loved singing the great liturgical music of our heritage. With friends in Cambridge I sang French, Italian and English madrigals, and the songs of Schubert, Schumann, Debussy, Faure and Poulenc. The music dearest to me was the chamber and piano music of Beethoven. It still is.

I never though about folk music at all, until I fell in with a folk song group in Boston, headed by Bess Hawes, and learned that I had been missing something. We went around with our assorted voices, guitars, banjos, ukuleles and washtub basses, and sang for meetings and dances. Later we wrote topical songs for the Boston mayoralty campaign of a wonderful guy, who finished last in a field of four, though he was by far the best man in the race. It was during that campaign that Bess and I came up with a topical song that years later, by accident, became a hit and a "folk standard" – the M.T.A. or Boston subway song.

In 1950, the folk song magazine Sing Out, which is now one of the outstanding publications in this field in the country, was founded. I contributed a couple of songs to it in the early years: one calypso satire called Peace, It's Wonderful and another called Boom Boom And Bang Bang (otherwise known as Children's Peace Song) which I sang which included Pete Seeger, Leon Bibb, Betty Sanders and Elizabeth Knight, among others. 

During the fifties I was in New York (the city I was born in), studying singing with a superb and beloved teacher, Max Margulis, and developing a repertoire of international folk songs. In 1960, a few months after my marriage to Mike Sharpe, we spent a good part of the summer in the USSR, where I sang in concerts from Sochi on the Black Sea to Leningrad. In 1960-61, I conducted a weekly radio program on WNYC called Journey Into Folk Song.

With the birth of my two children in 1961 and 1962, I lost with developments in folk music, though I was aware that a new surge of creativity had enriched the field of topical song. And one evening in September 1965, as I was singing for some friends in my own house, I felt urgently that I must try again to put together those two forms, music and words, that had always been at the center of my life. At the same time, the war in Vietnam was eating away at my soul, as was my deep hatred of the hypocrisy which characterizes so many aspect of contemporary life.

The songs in this album were all produced between September 1965 and June 1966. Some are optimistic, but most are bitter jokes. The one for which the album is titled – No More War – was inspired by the impassioned speech which Pope Paul VI gave before the United Nations on October 4, 1965. A number of people concerned with the dangers of war joined me in presenting an album containing a recording and manuscript of the song to His Holiness through the Permanent Observer of the Holy See to the United Nations, because of his enthusiasm for the song, The Vatican's Secretary oof State sent me a letter of thanks on behalf of Pope Paul, together with the Pope's commemorative medal of his United Nations visit, which reads, "Alumna Pax Amoris" (Peace is the Foster Child of Love).

There are two other songs which share with No More War an affirmative quality and a vision of a better future: Love Song and I'll Take My Chances. But there are many more in which I wanted and needed to express my bitterness at the cruel and slick exercise of American power, and at our national vice of pretending to be terribly "nice" people while we casually indulge in mass murder. That bitterness underlines Chant For The Murdered, Lullaby, Honor Our Commitment, Cardboard Apples, To The Right – March! and Mind Your Manners, Boys. The last-mentioned was inspired by New York Times report in the spring of 1966 that a Marine commandant in a pacification area near DaNang was perturbed by the behavior of his men toward the local population. He therefore issued "Ten Commandments" to them, which included admonitions to wave at all Vietnamese, to respect the other's hands, not to liberate the goods of the population, etc. I couldn't resist. I had to out those "commandments" into a song – with suitable embellishments, of course.

One song in this collection, the Folksy Rocksy Sick And Easy Blues, has provoked varied reactions. Some people thing it's the best song of the lot. Others don't think it belongs with this group of songs at all. Actually, it is my reaction to the more recent work of Bob Dylan, whose expressive power I acknowledge, but whose negativism I profoundly disagree with. The song is not about war and peace; it is about art and the artist, and I think it belongs here.

I dedicated this album to the cause of peace on earth, good will to all men. It is the most fervent hope of my life. Perhaps it is also yours – Jacqueline Sharpe

Love Song

Honor Our Commitment

Lullaby

When I was A Young Thing

Drum Majorette

No More War

Chant For The Murdered

Mind Your Manners, Boys

Cardboard Apples

To The Right – March!

Folksy Rocksy Sick And Easy Blues

I'll Take My Chances

Touchdowns In Selling - Art Hoist

Touchdowns In Selling

Touchdowns In Selling

Art Hoist tells how to score those important points in your life

PROmotivation, Inc.

903P2111

1971

From the back cover: Meet Art Hoist

Soldier, salesman, executive, civic leader, author, lecturer and "No. 33" in the officiating rants of the National Football League.

During the past two years, Art has addressed more than 300 audiences containing over 100,000 people, often for the second and third time. The enthusiastic reception of these audiences has led to "Touchdowns in Selling" and the preceding record "The Challenge of a Pro".

A member of "Speaker Associates", Art Hoist has received wide acclaim as a humorist, but more important as a man with an inspiring message.

Julie London

 

Charade

Julie London

Arranger: Ernie Freeman

Producer: Snuff Garrett

Engineer: Dave Hassinger

Cover Design and Photography: Studio Five

Liberty Records SML 83841

GEMA SLBY 1125

Made In Germany

1964

Since I Fell For You

Night Life

Charade

You Don't Have To Be A Baby To Cry

Wheel Of Fortune

Wives And Lovers

Fools Rush In

That Sunday (That Summer)

I Wish You Love

There! I've Said It Again

All About Ronnie

I Want To Find Out For Myself

My Needs Are You - Slyvia Mobley

 

I Think Of Love

My Needs Are You

Sylvia Mobley

Produced by Scotty Moore and Al Gore

Studio One - Nashville, Tennessee 

Belle Meade - Nashville, Tennessee

BM SLP 1003

My Needs Are You

I Give In, Till I Give Out

If I Only Knew

I Think Of Love

Searching

Don't Let The Stars (Get In Your Eyes)

Poison Love

Let Me In

Silent Love

Under Your Spell Again