Search Manic Mark's Blog

Sunday, December 20, 2020

More Than A Little - Peggy Little

 

I Wish I Didn't Have To Miss You

More Than A Little
Peggy Little
Produced by Henry Hurt
String Arrangement by Buddy Spicher
Structural Arrangement by David Briggs
Cover Photo: Dan Quest
Liner Photo: Ner Beck
Art Directions: Ruby Mazur
Dot Records DOSS 25982

I Knew You'd Be Leaving
Statue Of A Fool
Walk A Mile In My Shoes
Love's Biggest Fool
A Woman's Hand
I Wish I Didn't Have To Miss You
Mama, I Won't Be Wearing A Ring
Born To Lose
Gentle Man
He Goes Walking Though My Mind
Put Your Lovin' Where Your Mouth Is

Stay There 'Til I Get There - Lynn Anderson

 

Words

Stay There 'Til I Get There
Lynn Anderson
Engineering: Charlie Bragg
Cover Photo: Don Hunstein / Columbia Records Photo Studio
Columbia Records CS 1025
1970

From the back cover:

Lynn Anderson: Born in North Dakota, raised in Sacramento, California. Age, 23. Height, 5' 4". Hair, Blonde. Eyes, Blue. Disposition, Delightful. Marital Statue, Very much so (to songwriter/producer Glenn Sutton).

Made her singing debut at the age of six at the San Jose Civic Auditorium. "I held onto a stuffed dog," Lynn recalls, "like I was gonna kill it and sang 'Hot Diggity Dog'... a true classic."

Lynn made her professional debut at the 1966 DJ Convention in Nashville and shortly thereafter chalked up enough hit records and awards to satisfy at least ten performers. They include, in chronological order: Most Promising Female Vocalist – from virtually every record/music publication, three consecutive Grammy Nomination, and the Top-5 Vocalist in the Country Music Association for the past three years.

Stay There 'Til I Get There
Words
Country Girl
When You Hurt Me More Than I Love You
Don't Leave The Leaving Up To Me
Good
True Love's A Blessing
I'd Run A Mile To You

She Loves Me - Jack Jones

 

Close Your Eyes

She Loves Me
Jack Jones 
With Jack Elliott and His Orchestra
Kapp Records, Inc. KS-3337
1963

She Loves Me
Real Live Girl
Our Language Of Love
Close Your Eyes
When I'm Not Near The Girl I Love
I Believe In You
The Lamp Is Low
On The Other Side Of The Tracks
Wouldn't It Be Loverly
My Mood Is You
Hit The Road To Dreamland
I Get Alone Without You Very Well

Saturday, December 19, 2020

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

Friday, December 18, 2020

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

Thursday, December 17, 2020

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)