Lausmann's Lousy Loggers Band

 

Lausmann's Lousy Loggers Band

Llausmann's Lousy Loggers Band

Presented by Pacific Logging Congress, Seattle, Washington / 1972

Recorded in Wally Heider Studio, San Francisco 

Recording Engineer: Ken Hopkins

Mixdown: Ken Hopkins and Clifton Crothers

STEREO LLL 4818

From the inside cover: Who are the Lousy Loggers? Lowell Jones of Klamath Falls, and a native Oregonian, is piano player and chief arranger. Lowell, who took piano lessons by mail while working in a logging camp in Northern California, eventually took a good band into the Rio Del Mar Country Club on Monterey Bay at the time he was attending San Jose State College. After the war Lowell, who had become a successful logging contractor in Klamath Falls, had all but abandoned music until that day Vince Bousquet and he responded to Tony's call for Logger musicians.

On trumpet and trombone is Gene Pickett, another native Oregonian. He played in small dance bands in numerous places in S. W. Oregon. In 1945, Gene set music aside in order to give full attention to his developing logging business which carried him to Northern California and success, through such ventures as Wolff Creek Logging Company, Cal-Pacific Redwood Company, Reliance Hardware. Gene has now partially retired and divides his time between some logging enterprises, his real estate developments, and his horns.

The band has a three man saxophone section. Clifton Crothers, sax and clarinet, is a native of Campbell, California, Clif majored in music. He played in several bands, including Lowell Jones' band. Clif laid aside his horns for twenty-three years and went into engineering work with Chevron Chemical (Standard Oil of California) where he is presently employed. A man of unusual musical talent, Clif is the acknowledged "music direc- tor" of the group. Also on sax and clarinet is Bill Preuss of Walnut Creek, California, who played professionally for periods in the 20's and 30's to help support himself. including attendance at Forestry School, University of Montana. Bill put in twenty-three years with Fibreboard Corporation. He has now retired and devotes his time to many activities, including much music. Rounding out the reed section on sax and clarinet is Vince Bousquet of Longview, Washington, a native of North Dakota. During high school and college he played with bands in North Dakota during summers in theatres, dance halls, and yes, even churches! Vince sold his horns and did not blow again until 1957. Vince has twenty-nine years in with Weyerhaeuser Company, currently assigned as Timberlands Manager, Southern Washington.

On drums is Jack Bennett of Grants Pass. Jack, co-owner of Bennett Logging Company and Bennett Equipment Corp., had his own band in Southern Oregon in the 30's. Jack started on trombone, later changing to drums. His father, now over 90 years of age, still plays trombone!

On bass is Dave Totton of Klamath Falls, who spent twenty-three years in the logging equipment business, and is currently with Carter Printing. Dave started on the violin then to banjo and sousaphone before settling on string bass. He played in various small bands in Southern Oregon, including a six-piece outfit of his own. Dave laid aside his bass in 1951, not to resume it again until 1959, when he joined the Lousy Loggers.

On vibes (and sometimes drums) is Rex Stevens of Eugene, Oregon, now president of Western Equipment Company. Rex, a native Oregonian, has lived in logging camps, worked in hi-lead logging through high school and college. Rex claims his first dance job at five years of age on drums while his father played sax! He played with bands in high school and college, and in the military in World War II. Rex, a fine drummer, took up vibes after joining the Lousy Loggers.

On occasion, the band is joined by Howard Smith of Gilroy, California. Howard, a long time friend of Lowell and Clif, is a fine classical and jazz pianist. He played with a number of big bands at Camp Roberts during World War II. Howard has a real estate agency in Gilroy.

It all started in 1958 when Anton (Tony) Lausmann, Dean Emeritus of West Coast Lumberman, sent out a call to all musicians in the industry to help form a band. Lowell and Vince traveled to Medford that summer in response to Tony's call and the band was launched. That fall we met in Portland at the Pacific Logging Congress and joined Gene Pickett (who had a rented trumpet), Jim Bigelow on drums, Stu Norton on sax. The next summer we played at the Oregon Centennial Celebra- tion in Portland. Personnel in these formative years included, at various times, Jerry Lausmann on bass, Clyde Lees and Pickett on trumpets, Vince Bousquet and Stu Norton on saxophones, Ed Pease on clarinet, Phil English and Gene Duysen on violins, Lowell Jones on piano, Rex Stevens and Bigelow on drums, and of course, Tony on cigar and concertina! Bill Preuss and Dave Totton joined the group in 1959.

The name! – Lausmann's Lousy Loggers! It developed that first time together at the old Multnomah Ho- tel in Portland. Others have tried to change it, but to no avail. The fellows like it – it helps keep them from taking themselves too seriously, and in its own unique way is a protection to busy men in pursuit of a hobby – you don't always have to be good with a name like that!

The fellows are deeply grateful to Tony Lausmann for getting them to pick up their music again, and for the priceless fellowship it has brought us – not only with each other but with all our friends in the industry who have encouraged us, listened to us, and danced to our music. Lausmann's Lousy Loggers do not pretend to be anything more than they are – businessmen, husbands, and fathers enjoying music together and with their friends. They play the music of the big band era – which they grew up with and love, and will play as long as anyone will listen. This band cannot be hired, but it has played the finest ballrooms from San Francisco, Fresno, Sacramento, Reno, north to Anchorage, Alaska. Between logging conventions the group has played weddings, house warmings, and summer barbecues. They have played at cocktail parties, retirement dinners, on steamships and truck mounted facsimiles of San Francisco Cable Cars. They have even played for style shows! We are all very pleased at the interest in the band, and next to playing as well as they can, the main concern of the group is that listeners recognize them as peers, who are daily engaged in business activities directly or closely related to the forest products industry, and the manufacturers who support that industry.

The group strives for excellence, and reaches for a level of competence that talent, time, and distance will allow. We are all grateful to our many friends up and down the coast who have supported us. We love to play for you.

Does Your Heart Beat For Me / I'm Writing You This Little Melody / Day Dreams Come True At Night

September In The Rain / Mr. Lucky

Hello Dolly!

Jealousy / The Moon Was Yellow

My Baby Just Cares For Me / More And More / I Cried For You

Too Marvelous For Words / If I Didn't Care / When Day Is Done

You've Changed / Walking My Baby Back Home

For Once In My Life / I'll Never Smile Again / Yellow Days

Everywhere You Go / Who Wouldn't Care / When Buddha Shines

You Do Something To Me / Margie / My Blue Heaven

Music Maestro Please / Paradise / The Hour Of Parting 

Time On My Hands / Sleepy Time / I'll See You In My Dream

Standing Ovation At Newport - Herbie Mann

 

Stolen Moments

Herbie Mann

Standing Ovation At Newport

Cover Photo: Charles Stewart

Cover Design: Haig Adishian

Atlantic Records 1445 STEREO

1966

The personnel on Patato, Stolen Moments & Mushi Mushi is: Herbie Mann, flutes; Dave Pike, vibes; John Hitchcock & Mark Weinstein, trombones; Chick Corea, piano; Earl May, bass; Bruno Carr, drums; Carlos "Patato" Valdes, conga drums.

The same personnel is heard on Comin' Home Baby, except that Ben Tucker, bass, replaces Earl May. Patato, Stolen Moments & Comin' Home Baby were recorded at the Newport Jazz Festival in Newport, R. I. on July 3, 1965. The recording engineers for these tunes were Buddy Graham & Frank Laico.

Mushi Mushi was recorded at the Village Gate in New York on May 24, 1965. The recording engineers for this tune were Tom Dowd, Phil Iehle & Joe Atkinson.

From the back cover: That was one great standing ovation they gave Herbie Mann at Newport! And it was well deserved, too, for the emotional jazz that Herbie and his new octet propelled moved just about everyone in the capacity crowd of 15,000 jazz fans – from the least initiated, who'd come primarily to feel the music, to the more sophisticated, who'd heard and felt much of it before, but who were still eager to listen to something fresh and vital and, of course, musically worthwhile.

When it was over, on that July 3rd Saturday night, they got up and cheered and yelled for more, and Herbie had to return for an encore of Comin' Home Baby ("we'd never done one on this tune before," Herbie explained later), and even after that, m.c. Mort Fega had to use some potent persuasion before the next act could come on. For sheer audience response, Herbie shared the four-day festival honors with the Sinatra-Basie segment, and when you consider that Frank hadn't made an in-person appearance in the East for close to 15 years and that he responded with a whale of a performance, you can get a pretty fair idea of Herbie's impact.

How come Herbie broke it up so big? Well, for one thing the group was really "on" that evening – one of those jazz phenomena that defies analysis. But it was cooking all right. And the sound of the group – now much guttsier than before because of the two trombones – was better adapted to reaching a large audience than Herbie's lighter, though still swinging units ever had been. Not that the others hadn't been effective, too. But this one, as you can hear on these tracks, gave Herbie much more support, and, of course, the low tonal register of the trombones helped to make his flute sound just that much more brilliant.

In addition, Herbie's new group savors less of a Latin flavor. Instead, it favors more of what he describes as "the boom-chitty approach. That's basically what the drummer's doing-he's giving out with a rhythm and blues feeling, so that what we're doing now is more like Watermelon Man and Side- winder and the things Ray Charles does."

Herbie's current group is also blessed with a very potent rhythm section. Chick Corea, Mann's original pianist, is "back on loan from Blue Mitchell," as Herbie puts it, and he, plus bassist Earl May, drummer Bruno Carr and conga drummer Carlos Valdes, jell wonderfully well. Valdes is also known as "Patato," and it's for him that vibist Dave Pike, long a Mann mainstay, composed the first of the four tunes on this record. "It has the feeling of Patato," says Herbie. "He's a wild personality and a funny cat. He's exciting and he's pixie-ish at the same time."

Oliver Nelson's Stolen Moments features much of Corea's fleet, swinging piano. Interestingly, Mann's group, which is constantly searching for new approaches to tunes it has been playing for a while, had been doing this tune as a bolero for sev- eral weeks before the festival. But for an audience composed primarily of jazz enthusiasts, Herbie decided for this occasion to perform the tune once again with its original, more pronounced jazz feeling.

Mushi Mushi is a Mann original. What does mushi mushi mean? "It's just the way the Japanese say 'hello' on the phone. I heard it when we were there and it sounded like a good title for a tune." Actually the theme is the blues, as are three of the four selections on this record. This one, by the way, was NOT recorded at Newport. It was cut a few weeks before the festival at the Village Gate, but it is included here because Herbie's set at Newport wasn't long enough to make up a complete long-playing disc. The personnel is exactly the same, which means that in addition to Herbie, Pike and the rhythm section it includes trombonists John Hitchcock and Mark Weinstein. This is the order, by the way, in which the two solo on this and most of the sides – first Hitchcock, with the light, biting tone; then Weinstein, with the roaring, rocking attack.

Of all the tunes, as you will hear from both the performances and the crowd reactions, Comin' Home Baby came off the most exciting. For the occasion, Herbie called upon its composer, bassist Ben Tucker, who'd played earlier that evening as part of Billy Taylor's Trio, to join in, and the section in which Herbie and Ben duet turned out to be something else again. There's one section especially that captivated everyone – the one when Herbie seems to be humming and blowing at the same time. Actually, as he explained later, he was merely blowing – or overblowing, to be exact-and it was the excess of air pouring into his instrument that gave it that gutty, growling sound.

The crowd response was stupendous. First they cheered and whistled, and then they rose up and screamed for more. Herbie had already left the stage, with no idea of returning, when producer George Wein grabbed him and yelled, "Get up there again! Give 'em two minutes more of the same thing! Hit 'em again!" Which is precisely what Herbie did, with the crowd getting into the act this time via some spontaneous hand clapping – and on the 2nd and 4th beats at that! Because of the spatial – difference occasioned by the size of the festival park, some of the hand clapping sounds arrived back at the stage a portion of a beat behind that which Tucker was setting. "I had to do everything I could," Herbie noted later, "to listen to Ben and not let the audience throw me. It was a weird feeling all right."

Weird, maybe it was. But to those of us who were there listening it was tremendously exciting too – an exceptional performance-one that most definitely earned Herbie Mann his Standing Ovation at Newport. – George T. Simon - Author of "The Feeling Of Jazz"

Patato by Dave Pike
Stolen Moments by Oliver Nelson
Mushi Mushi by Herbie Mann
Comin' Home Baby by Ben Tucker & Bob Dorough

(Encore Of) Golden Hits Of The Groups - The Platters

 

The Three Bells

(Encore Of) Golden Hits Of The Groups

The Platters

Mercury Records SR 60893

1964

From the back cover: What is there to say about a group that has been an integralpart of the American musical scene for nearly two decades. The Platters have been that and a great deal more.

They're three young men and a girl who were discovered by California composer-arranger Buck Ram. They've sung together, worked together and literally lived music together ever since.

The Platters are not merely performers (though they are that in excellent fashion), they are chroniclers of virtually every type of music that has developed through the years.

Many a group is capable of doing an act. Many an artist can sing. The Platters, however, bring to music an interpretation – a definite feel, if you will-that only the few "greats" are able to achieve. Perhaps it's fitting therefore that the Platters chose for this, their "umpteenth" album for Mercury (memory fails when the figure passes the dozen mark), a group of songs that charac- terizes some of the great historic musical groups of our time.

Not only does the music represent a broad spectrum of sound- from gospel and spiritual to folk, from honky-tonk to the current surfing melodies – but it also brings to the old time arrangements a touch of something completely new and refreshing.

There's the "Hut-Sut Song," first done by the Merrymacs in 1941, and "Java Jive," done by the Inkspots in 1940, now presented with a wild surfing sound.

The gospel sound is represented by a host of selections, namely "Crying In The Chapel," first done by the Orioles in 1954; "Sincerely," by the McGuire Sisters in the same year; "Row The Boat," done by the Highwaymen as "Michael, Row The Boat Ashore" in 1961; and "False Hearted Lover," done by the Weavers as "On Top of Old Smokey" back in 1957.

"P.S., I Love You" first done by the Hilltoppers in 1953, is done here with the traditional pop-teenage sound that marks the Platters so well. "Three Coins In The Fountain," done by the Four Aces in 1954, is done here with a teen-Calypso beat.

The wonderful "Three Bells" by the Browns in 1955, has a new folk-gospel sound here. And "Mississippi Mud," first done in 1927 by the Whiteman Rhythm Boys (including Bing Crosby) is presented in a happy honky-tonk, razz-ma-tazz arrangement.

"Day-O," first done by Harry Belafonte and the Tarriers in 1958, and "Way Down Yonder In New Orleans" by the Boswell Sisters in 1922 round out the group.

There's so much more to say about this album. Like telling about the arranging of the great veteran Fred Norman, or that of the brilliant, though comparatively young, John Neal. Like telling of the artist and repertoire work of the fabulous Buck Ram. But perhaps the best thing is simply to quote the comment of Jean Bennett, agent and close associate of the Platters since they started out together: "The listener of this album is in for many wonderful and enjoyable surprises. If you aren't a fan of the Platters now, listen to a few selections and see if you don't change your mind." – Nick Biro

Sincerely

P.S. I Love You

The Hut Sut Song

Day-O

Mississippi Mud

False Hearted Lover

Row The Boat Ashore

Crying In The Chapel

Java Jive

Three Coins In The Fountain

'Way Down Yonder In New Orleans

The Three Bells

Cu-Bop - Art Blakey

 

Sakeena

Cu-Bop

Art Blakey's Jazz Messengers

With Sabu and a Bongo

Produced by Lee Kraft

Original Painting and Cover Design: Tom Hannan

Jubilee Records 1049

1957

From the back cover: Art Blakey's bristling Jazz Messengers consists of Johnny Griffin, tenor; Bill Hardman, trumpet; Sam Dockery, piano; "Spanky" DeBrest, bass. The addition, conga drummer "Sabu" Martinez, like Blakey, has the molten soul of a dedicated percussionist. Like Blakey, he is wholly intense; and when he begins to play, he projects a fire that at times threatens to consume his instrument and himself.

Like Blakey, Sabu too is a jazz drummer.

He is very insistent on this point. "You can't play Latin conga to jazz," he declares. "At least, you shouldn't. I play the conga drum as a jazz instrument, not as a Latin addition. Using the conga drum this way is still relatively new, and very few conga drummers can express themselves as jazz musicians yet."

Sabu was asked the primary differences between the way he plays jazz conga drum and the way he might play Latin conga drum. "I often leave more spaces in jazz, and I put more pressure on two and four. Actually, I feel jazz in two while in Latin music I have to feel the beat on all four beats pretty evenly. Another thing I do in jazz conga is to stretch my notes. I can deepen and stretch the beat by placing my hand heavier on the skin."

Sabu is proud of a recent Art Blakey award of merit and valor. "Art said that I'm the only conga drummer who doesn't interfere with his drumming and who doesn't get in the way of the musicians when they're taking solos."

This fervent conga drummer emphasizes another important aspect of his philosophy of jazz conga blowing. "You can express yourself on the conga drum in jazz as you would on a horn. I feel it as part of the group, like any other instrument, not as just a time-keeper."

Howard McGhee, the renowned trumpet player who was listening to this conversation, included his view: "The conga drum can be like any other instrument, like another saxophone or trumpet. It adds more color, in a way, than any other horn so that it not only boosts the rhythm but colors the whole band."

Sabu is capable of becoming Toynbeeish about his beloved conga drum. "The conga drum," he assures those who will listen "is perhaps the first instrument in the world. Before the conga drum was a drum, it was a log, and logs were used to send messages." The subject has many ramifications through the eons, and we shall pursue it for the moment no farther.

Sabu does not read music. "I feel the beat. I have been in jazz since 1947 and consider myself a jazz musician so I have no problem in feeling the rhythm and knowing what to do to express what I feel and to blend with the group.

The first major influence on Sabu was the inflammatory Chano Pozo, the Cuban bongo and conga drummer who toured with the Dizzy Gillespie big band in 1948 and electrified musicians and audiences until he was cut down by a bullet that same year in a night club brawl. "Chano, whom I knew very well." Sabu remembers "was happy he was part of jazz and happy that he was the one to introduce into jazz the real jazz possibilities of his instruments."

Three days after Chano died, Sabu took his place with Dizzy. He has also worked with Charlie Parker, Mary Lou Williams, Blakey, Lionel Hampton, J. J. Johnson, Buddy De Franco, Benny Goodman, Thelonious Monk, Randy Weston, and other jazzmen. He would like to make his future in jazz, and has a quintet of trumpet, piano, bass, drums and conga drum. "I want to let people see and hear more of the conga drum as a jazz instrument."

Sabu believes that this is the first jazz date on which two conga drums have been played simultaneously. "Before, they have used one; I wanted to get a taste of how two would sound. I tuned one to A and the other an octave higher. After being slapped a while, they might have come down a little in pitch but still an octave apart. Art tuned to the piano, and I tuned to Art. I'd rather tune to a skin or to a bass because it sounds more like a drum to me.."

I have devoted this much space to Sabu because, first of all, it is his presence that differentiates this album from previous conclaves of Art Blakey and his Messengers. Secondly, Art's own background is already well and widely known, and has been detailed in a considerable number of liner notes. Very briefly, Abdullah Ibn Buhaina (his Moslem name) was born in Pittsburgh October 11, 1919. He has worked with Fletcher Henderson, Mary Lou Williams, Billy Eckstine (the honorable Eckstine 1944-47 modern jazz band), Lucky Millinder, Buddy DeFranco, and has headed many units of his own. He has been a leader consistently in recent years, and this is his second Jazz Messengers unit of the '50s. (He had a big band titled the Messengers that he assembled intermittently from 1948-50.)

In a Down Beat interview with this questioner in early 1956, Art explained why he was drawn to "The Messengers" as the name for a jazz band: "When I was a kid, I went to church mainly to relieve myself of problems and hardships. We did it by singing and clapping our hands. We called this way of relieving trouble having the spirit hit you. I get that same feeling, even more powerfully, when I'm playing jazz. In jazz, you get the message when you hear the music. And when we're on the stand, and we see that there are people in the audience who aren't patting their feet and who aren't nodding their heads to our music, we know we're doing something wrong. Because when we do get our message across, those heads and feet do move."

Art's current sideman represent a young blazing generation of jazzmen who grew up accepting the Bird-Dizzy-Monk-Bud revision of the jazz language as the natural way of speaking jazz. For many of them, it was the first jazz they heard and it made the most penetrating impact. Part of this younger genera- tion continues to play directly within the Bird-Dizzy mainstream while at the same time trying to deepen, extend and continually re-energize the language.

Johnny Griffin, a roaring tenor from Chicago who has strikingly impressed New York musicians in recent months, goes back farther in his acknowledged influences than a number of his contemporaries. According to Joe Segal, Metro- nome's Chicago voice, Griffin has listed Don Byas, Coleman Hawkins, Charlie Parker, Bud Powell, Lester Young, Fats Navarro, Dizzy Gillespie, Dexter Gor- don and Thelonious Monk as the musicians he prefers and presumably has influenced by. Like Sonny Rollins, the dean of a section of young tenors, Griffin. plays hard and hot and he possesses a conception that swings with compelling strength and rhythmic invention. Near 30, he is a valuable voice.

Hardman, a crackling, spearing trumpeter, was born in Cleveland April 6, 1932. According to Ira Gitler, his influences were Benny Bailey (who was with Lionel Hampton in the mid-'40s), Miles Davis and Clifford Brown. Hardman worked with Tiny Bradshaw from 1953-55, and became a member of Charlie Mingus' uncompromising Jazz Workshop in 1956. It was while with Mingus on a lashing, rainy night at Newport, that Hardman's conviction and emotional drive first impressed a large number of the oriented. He has become increas- ingly recognized through his work with Blakey in the past year. "Spanky" DeBrest has worked in and around Philadelphia; and Sam Dockery is an alumnus of a Buddy Rich group, among other units.

The opening Shorty by Johnny Griffin is a virile head-shaker that sets and maintains a rolling, heated groove. Charlie Shavers' Dawn on the Desert begins with Johnny (not Griffin) stepping out of store-windows all over the oases but after that background camel-ride is happily over, the track settles down into a firmly pulsating, blues-shaded series of intent messages from the soloists. There is a conversation between Sabu and Blakey following Griffin that to his rhythm-struck listener, is an invigorating involving experience.

Dizzy Gillespie's Woodyn' You has become as familiar to the young modern jazzman as Royal Garden Blues was to some of their predecessors, and it is played with the swift assertiveness of familiarity. The final Sakeena is named after a very new Art Blakey daughter, and seems to this listener to be an invocation to the new soul to bestir herself, to become and express herself, and to live fully. At any rate, it affects the musicians that way. The climax is again attained during a colloquy between Art and Sabu that comes to sound like a village of voices, instead of just two.

This session not only swings; it multi-swings.

– Nat Hentoff - co-editor Hear Me Talkin' to Ya and Jazz Makers (Rinehart).

Woodyn' You

Sakeena

Shorty

Dawn On The Harvest

Carry On - Patrick Moody Williams

 

Carry On

Carry On

Patrick Moody Williams

Arranged and Conducted by Pat Williams

Producers: Phil Ramone and Pete Spargo

Cover Photographer: Rudy Legname

Cover Designed by Paul Posnick

Pat Williams photographs: Beverly Kalehoff

Engineers: Larry Levin and Dave Greene

A&R Records STEREO ARL/7100/003

Country Road (James Taylor)

Jennifer from "Sidelong Glances of a Pigeon Kicker" (Pat Williams

Long Black Veil (M. Wilkin)

Silent Spring (Pat Williams)

Carry On (Stephen Stills

Love Theme from "Macho Callahan" (Pat Williams)

Junk (Paul McCartney)

Adagio (from Toccata, Adagio & Fugue in C Major)

Soraya, My Love - Soraya Melik

 

Bu Dunyanin Bos

Soraya, My Love

Songs From The Middle East

Soraya Melik, Vocals

Vocals in Turkish

Monitor Records MFS 726 STEREO

1971

From the back cover: On almost any evening an aficionado of the art of belly dancing could find Soraya expound- ing the art either at the Britania on New York's Eighth Avenue, at the Darvish in Greenwich Village's Eighth Street or some other night spot. She has been acclaimed by the experts as one of the foremost exponents of belly dancing and she now has devoted her talents to another aspect of her talents – singing.

With the same feeling and rhythm which she gives to her dancing Soraya imbues these songs with her intensity, her passion and her ability to communicate. The material which she has chosen to record stems from three main sources: Turkish, Greek, Arabic. But all of the songs are sung in Turkish, her native language, and represent her favorite repertory.

The words and music offered here for the listeners' enjoyment are those heard and danced to at the life-is-good family celebrations and parties of the Greek and Turkish people as well as those heard on occasions that bring a tear or wrench the heart.

Side One

1. BU DUNYANIN BOS 3:45
It's an Empty World
It's an empty world . . . without love. It seems as though everybody else has the same problem. Don't break my heart or God will punish you. But if you come back to me, I will forgive you...

2. KEDERLI GUNLER 4:30
Sad Days
When I was sad you were so good to me and we were getting along so well... what happened that you changed so. If you really want to separate we will but I think that you should think it over for we were really meant for each other.

3. MERHABA 3:15
Hello There
I may be very young but I've been through a lot so don't be afraid to love me. But on second thought in spite of what I have told you about my experience I have only looked with my eyes and I hope that you can still find it in your heart to love me.

4. BAGDAT YOLU 3:25
The Road to Baghdad
You looked at me and branded my heart with that look. I could be your slave; you have captured my heart. You are like an eagle and I am your canary. You put your claws into my heart. Let's go to Baghdad together and whatever sins you have, please God, put them on me.

5. SUS, SUS, SUS 3:26
Hush, Honey, Hush
Tonight I am happy because I have found what I am looking for: I could be your slave right away. But, hush, honey, hush, don't let your wife hear about our love affair.

Side Two

1. KARA KAS 3:50
Black Brows
You may have beautiful black brows and emerald eyes but those good looks will not last forever. Look at your father and you will see what you will look like soon. Then you will be sorry that you did not accept me now while I love you. I will love you forever... not only while you are young and good looking.

2. YALANCININ BIRINE 3:10
I Fell in Love
I fell in love with a handsome liar. This wasn't the first time; blond or dark, green eyes or blue, they are all liars and now I fell in love with another one. God, what have I done to de- serve this!

3. AZIZE 3:45
Aziza, My Love
Aziza, I beg you, please don't leave me, I am so happy with you. I really don't know if you are going to be true to me but I am so happy with you so please don't leave me.

4. AGORA MEYHANESI 4:35
The Agora Tavern
The tavern named "Agora" has seen the most fantastic and craziest love affairs begin. Tonight I remember my love affair; everytime the raindrops fall on the window I remember you and I remember how thirsty I was for you.

5. INLEYEN NAGMELER 3:15
Sad Music Fills My Heart
The saddest music fills my heart and I recall many songs, fly- ing birds, beautiful spring and a lot of laughing lovers.

A Million Dollars Worth Of Twang - Duane Eddy

 

Theme For Moon Children

$1,000,000 Worth Of Twang

Duane Eddy

Produced by Lester Sill and Lee Hazlewood

Sound Engineers: Eddie Brackett and Jack Miller

Jamie Records JLP 70-3014

1960

Rebel 'Rouser

Cannonball

The Quiet Three

Bonnie Came Back

Because They're Young

Theme For Moon Children 

Moovin' 'N Groovin'

The Lonely One

Forty Miles Of Bad Road

Some Kinda Earthquake

First Love, First Tears

Kommotion

Twangin' The Golden Hits - Duane Eddy

 

Rumble

Twangin' The Golden Hits

Duane Eddy

Produced by Al Schmitt and Duane Eddy

Musical Director: Al Casey

Recorded in RCA Victor's Music Center of the World, Hollywood, California

Recording Engineer: Jim Malloy

Cover and Liner photos by Ken Whitmore

RCA Victor LSP-2993 STEREO

From the back cover: The sound of music for the past decade has been a very special sound- a driving, percussive beat to match and inspire the dancing younger generation, plus a clear-voiced guitar that could take off and carry a melody wherever it had to go.

No one more than Duane Eddy has captured the sound of the decade and put it on record. Starting back in '58 with Rebel Rouser, Duane and his so-called twangy guitar have been setting the pace for break- ing and building the new "standards" of popular music.

All the songs in this album have been big instrumental hits, million- seller hits. Some of them were the private discoveries of sharp-eared teen-agers who picked them out of disc jockey play lists, voted with their dimes at the corner juke box, requested the tunes at clubs and dances and, most of all, bought the records. This is how it happened with Raunchy, Last Date, Tequila, Honky Tonk and Rumble.

But good songs come from all sources, and if they can take the treatment they've got a chance to make it big. Stranger on the Shore, Shangri-La and Swingin' Shepherd Blues were far from rock-and-roll when they first became hits, but Duane Eddy has now turned them into solid discotheque dance music. The same can be said for The River Kwai March, More (Theme from "Mondo Cane") and the Theme from "A Summer Place," all three of them movie tunes that served one pur- pose magnificently and have now been transformed into the guitar- percussion idiom of today.

With Duane Eddy out front with his powerful guitar, a rock-solid rhythm section driving home the beat, and an unusual virtuoso performance by Jim Horn on tenor sax, alto sax, flute, clarinet and piccolo, this album becomes an extraordinary example of modern music that demands dancing and listening. It is Duane Eddy at his twangin' best. – Hal Levy

Rebel Rouser

Raunchy

Shangri-La

Last Date

Honky Tonk

Theme from "A Summer Place"

Tequila

Stranger On The Shore

More (theme from "Mondo Cane")

The River Kwai March

Swingin' Shepherd Blues

Rumble