Design Records
Pickwick International 1962
Great early 60s space age cover. Budget label but featuring some great songs on this set including Ronnie Dove's I'll Be Around.
Monday, June 21, 2010
Hullabaloo Au-Go-Go!!!
Design Records
Pickwick International 1962
Great early 60s space age cover. Budget label but featuring some great songs on this set including Ronnie Dove's I'll Be Around.
Jackie Gleason - Lonesome Echo
Speak Low (monaural)
Speak Low (Duophonic)
Lonesome Echo
Orchestra Conducted by Jackie Gleason
Oboe d' Amor Solos by Romeo Penque
Capitol Records W627 (12 inch - 33 RPM)1955
Jackie Gleason Presents
Lonesome Echo
Orchestra Conducted by Jackie Gleason
Oboe d' Amor Solos by Romeo Penque
Part I of a two part albumCapitol Records H 1-627 (10 Inch - 33 RPM)
Jackie Gleason Presents
Lonesome Echo
Orchestra Conducted by Jackie Gleason
Oboe d' Amor Solos by Romeo Penque
Capitol Records DW627 (Duophonic Stereo)
From the back cover: The nostalgic, lonely quality of this album's music is derived from a novel instrumental concept. For here Jackie Gleason has assembled an exotic string combination: mandolins, 'cellos, and dorms (richer, deeper mandolins), augmented by guitars and marimba. The featured solo instrument throughout is the rare oboe d'amour, whose melancholy tone is hauntingly displayed in each of these favorite selections.
There Must Be A Way
I Don't Know Why (I Just Do)
Deep Purple
Mad About The Boy
Come Rain Or Come Shine
The Thrill Is Gone
I Wished On The Moon
How Deep Is The Ocean
Remember
Speak Low
I Still Get A Thrill
Darling, Je Vous Aime Beaucoup
I'm Always Chasing Rainbows
A Garden In The Rain
Dancing On The Ceiling
From the back cover: The nostalgic, lonely quality of this album's music is derived from a novel instrumental concept. For here Jackie Gleason has assembled an exotic string combination: mandolins, 'cellos, and dorms (richer, deeper mandolins), augmented by guitars and marimba. The featured solo instrument throughout is the rare oboe d'amour, whose melancholy tone is hauntingly displayed in each of these favorite selections.
There Must Be A Way
I Don't Know Why (I Just Do)
Deep Purple
Mad About The Boy
Come Rain Or Come Shine
The Thrill Is Gone
I Wished On The Moon
How Deep Is The Ocean
Remember
Speak Low
I Still Get A Thrill
Darling, Je Vous Aime Beaucoup
I'm Always Chasing Rainbows
A Garden In The Rain
Dancing On The Ceiling
One Step Beyond
Harry Lubin
Decca DL 78970
One Step Beyond ran for three seasons on ABC from 1959 to 1961. 97 episodes were produced.
Musically, "Fear" the title track and theme song is "one step beyond" featuring Theremin and space age vocals. "Weird", the lead track on the B side is also a nice piece of "exotica" music with space age vocals.
Apparently, there is better "creepy" music to be found in the series. But other than the afore mentioned tracks the rest of the LP slides into somewhat more standard arrangements. There are a few more lush and wonderful tracks, mainly on the B side, but... not "One Step Beyond". None-the-less, the entire album is interesting and Fear and Weird make the LP great fun.
The graphic or illustration is printed on foil with a little embossing. An expensive jacket to produce and a nice addition to your space age record collection.
Voodoo Suite - Perez Prado & Shorty Rogers
Voodoo Suite
Voodoo Suite
Plus Six All-Time GreatsPerez Prado
Featuring Shorty Rogers
RCA Victor LPM-1101
1955
RCA Victor LPM-1101
1955
From the back cover: It is generally agreed that necessity is the mother of invention, but at least on the basis of the music contained in this album it seems very probable that the word "necessity" should be deleted, and "inspiration" substituted in its place. For the Voodoo Suite, herein recorded, is easily one of the outstanding contemporary examples of spontaneous genius, the end-product of a few hours of idea-development-fruition which might be said to have almost miraculously resulted in the exciting music so immediately evident in this recording. It is a well-known fact that creative work undertaken on the spur of the moment often emerges not only with greater freshness, but with distinctly more flavor and import than something which may have been worked on over a period of weeks or months.
In April, 1954, while on one of his periodic recording trips to Hollywood, Herman Diaz, Jr., of RCA Victor's Artists and Repertoire staff, found himself rather routinely surveying prospective material with Perez Prado. During the conversation at which, by one of those odd quirks of fate, RCA Victor's jazz director, Jack Lewis, was also present and without attaching too much importance to it at the moment, Messrs. Diaz and Lewis suggested that, at least at some time in the future, Prado prepare an orchestral work that would depict the marriage of primitive rhythms to American jazz a sort of tone poem in which the African, the mambo and the basic aspects of jazz would be united in such a way as to show their true relationship. As soon as the idea was formulated, Prado expressed a wild and uncontained enthusiasm so, amidst really frantic preparations, while Diaz and Lewis corralled the necessary musicians, Prado re- tired to write and arrange the music. Shorty Rogers was called in as a consultant, and twenty-four hours later, on April 8, everyone was back in the studio-Prado had his manu- script, Diaz and Lewis had twenty-two musiians, and the recording commenced as though it had been planned for months.
The Voodoo Suite is the result of that now- historic session. Prado's score, which called for four saxes, six trumpets, three trombones, French horn, bass and seven drummers, re- quired a greater personnel than that included in his own band, with the result that several of the West Coast's leading jazz musicians were hastily recruited, including practically every available drummer in the area.
The Suite opens with soft, mysterious beat- ings on the tom-tom, depicting an African dawn-the throbbing becomes increasingly more frantic until it is joined by a series of softly chanting voices. The drums become more fiercely predominant, introducing a heated vocal exchange. The music recedes and starts to build slowly again, with brass and percussion still predominant, spelling out the early African setting. A fast jazz figure enters, fea- turing a walking bass, after which the entire band pours in, preluding an extended sax solo. The part ends with a jazz figure punched out by screeching trumpet notes.
The following section is introduced by a frantic rhythm in which seemingly all the percussion participates; another sax solo is introduced, floating high above the background; the band drives into a mambo beat and the sax returns, binding the basic rhythms of jazz and mambo into an obvious totality..
The last movement also commences with per- cussion, leading to a wild jazz interchange between reeds and brass. An almost jungle-like atmosphere is introduced by a grow! trumpet, setting forth the absolute dependence of jazz on its African patterns. Changes of rhythm occur at frequent intervals, finally leading to the mysterious African chanting and to the opening phrases of the first section. The Suite ends on a short flash of the drum, again under- lying the reliance of the whole on its percussionistic, rhythmic base.
The Six All-Time Greats which are featured on Side Two of this album constitute Prado's tribute to some of the outstanding bandleaders of our time. In four of these, played in mambo / La Culeta style by Prado-Jumping at the Woodside (Count Basie), I Can't Get Started (Bunny Berigan), St. James Infirmary (Cab Calloway) and Music Makers (Harry James) – Prado has added strings to his band, producing a new, more colorful, and immensely heightened tonal effect. In the remaining two –Stomping at the Savoy (Benny Goodman) and In the Mood (Glenn Miller) we hear the band in its usual mambo style, but usual only in that it is what we have come to expect of the highly contagious music of this modern master. – BILL ZEITUNG
In April, 1954, while on one of his periodic recording trips to Hollywood, Herman Diaz, Jr., of RCA Victor's Artists and Repertoire staff, found himself rather routinely surveying prospective material with Perez Prado. During the conversation at which, by one of those odd quirks of fate, RCA Victor's jazz director, Jack Lewis, was also present and without attaching too much importance to it at the moment, Messrs. Diaz and Lewis suggested that, at least at some time in the future, Prado prepare an orchestral work that would depict the marriage of primitive rhythms to American jazz a sort of tone poem in which the African, the mambo and the basic aspects of jazz would be united in such a way as to show their true relationship. As soon as the idea was formulated, Prado expressed a wild and uncontained enthusiasm so, amidst really frantic preparations, while Diaz and Lewis corralled the necessary musicians, Prado re- tired to write and arrange the music. Shorty Rogers was called in as a consultant, and twenty-four hours later, on April 8, everyone was back in the studio-Prado had his manu- script, Diaz and Lewis had twenty-two musiians, and the recording commenced as though it had been planned for months.
The Voodoo Suite is the result of that now- historic session. Prado's score, which called for four saxes, six trumpets, three trombones, French horn, bass and seven drummers, re- quired a greater personnel than that included in his own band, with the result that several of the West Coast's leading jazz musicians were hastily recruited, including practically every available drummer in the area.
The Suite opens with soft, mysterious beat- ings on the tom-tom, depicting an African dawn-the throbbing becomes increasingly more frantic until it is joined by a series of softly chanting voices. The drums become more fiercely predominant, introducing a heated vocal exchange. The music recedes and starts to build slowly again, with brass and percussion still predominant, spelling out the early African setting. A fast jazz figure enters, fea- turing a walking bass, after which the entire band pours in, preluding an extended sax solo. The part ends with a jazz figure punched out by screeching trumpet notes.
The following section is introduced by a frantic rhythm in which seemingly all the percussion participates; another sax solo is introduced, floating high above the background; the band drives into a mambo beat and the sax returns, binding the basic rhythms of jazz and mambo into an obvious totality..
The last movement also commences with per- cussion, leading to a wild jazz interchange between reeds and brass. An almost jungle-like atmosphere is introduced by a grow! trumpet, setting forth the absolute dependence of jazz on its African patterns. Changes of rhythm occur at frequent intervals, finally leading to the mysterious African chanting and to the opening phrases of the first section. The Suite ends on a short flash of the drum, again under- lying the reliance of the whole on its percussionistic, rhythmic base.
The Six All-Time Greats which are featured on Side Two of this album constitute Prado's tribute to some of the outstanding bandleaders of our time. In four of these, played in mambo / La Culeta style by Prado-Jumping at the Woodside (Count Basie), I Can't Get Started (Bunny Berigan), St. James Infirmary (Cab Calloway) and Music Makers (Harry James) – Prado has added strings to his band, producing a new, more colorful, and immensely heightened tonal effect. In the remaining two –Stomping at the Savoy (Benny Goodman) and In the Mood (Glenn Miller) we hear the band in its usual mambo style, but usual only in that it is what we have come to expect of the highly contagious music of this modern master. – BILL ZEITUNG
Voodoo Suite
Perez Prado and His Orchestra featuring Shorty Rogers
Six All-Time Greats
Perez Prado and His Orchestra
St. James Infirmary
In The Mood
I Can't Get Started
Jumping At The Woodside
Stompin' At The Savoy
Music Makers
Friday, May 28, 2010
Autumn '73
Autumn '73 - Sides 1 & 2
Autumn '73 - Sides 3 & 4
20 Hit Songs
Autumn '73
Recorded By The Sound Effects
Cover: Sandra Rienzie
QMO 118
Great budget record marketed to unwary buyers as "hit songs".
Bad, Bad Leroy Brown
Shambala
Yesterday Once More
Get Down
Saturday Night's Alright For Fighting
Brother Louis
Has Anyone Seen My Sweet Gypsy Rose
My Maria
Will It Go Round In Circles
Delta Dawn
The Morning After
Daniel
Reeling In The Years
Natural High
Are You Man Enough
Here I Am (Come And Take Me)
Playground In My Mind
Diamond Girl
I Believe In You
Thursday, May 27, 2010
AC DC Let There Be Rock
AC DC
Let There Be RockAtco 36-151
1977
I don't collect rock anymore, but one album I still own is this autographed copy of Let There Be Rock with Bon Scott's signature.
The history behind the LP and AC DC's appeal for me started before I got out of high school in 1975. I bought AC DC's first LP and remember reading a review of the work. The reviewer felt the work was "raw" and "primitive". The review wasn't positive. Remember, what most kids were listening to was a very refined or slick form of rock and roll coming from heavy weights like Peter Frampton or Queen. I knew, even then, that AC DC had something and that "raw" quality wasn't a bad thing.
I saw AC DC play The Agora Theatre in Columbus Ohio (a converted movie theatre located on High Street in the OSU campus entertainment area). They kicked ass.
The next time they came to town, I did not see the show, but I did go to a record store in town where they made an appearance and had this LP signed.
My memory is that the boys appeared to be a bit shy, a little befuddled and possibly high. But they were smiling and seemed to be enjoying the attention.
Wednesday, May 26, 2010
Mallet Magic - Harry Breuer And His Quintet
Maxixe Mambo
Harry Breuer and his Quintet
Volume 1
Audio Fidelity AFLP 1825 & AFSD 5825
1957
From inside the AFSD 5825 "gatefold" cover: Harry Breuer is noted for his long and solid musical background that goes back to the early days of radio broadcasting and theater barnstorming. A native of Brooklyn, New York, he studied violin during the early years of his musical training. During his high school days he switched to xylophone and other percussion instruments in order to play in the school band. His professional career began when he became a xylophone soloist in motion pictures, vaudeville and on records.
Breuer made his radio debut in the early days of radio as a soloist with the A & P Gypsies, the Cliquot Club Eskimos and other polar groups of the day. He eventually had \his own program over radio, and at the time joined Roxy's Gang as soloist in the Roxy Theater in New York. He also appeared at the Radio City Music Hall. His credits in motion pictures include several short features produced by Warner Brothers, Educational Pictures and Sounds. For a time he was staff musician at the Warner Brothers studio under David Mendoza, at the Fox studios under Erno Rapee and later at the New York City studios of the National Broadcasting Company. During recent years he has been a featured player on many network radio and television programs. He is the author of numerous published solo works and study material for all mallet-played instruments. At present this appearances in crude films, radio, television, records and transcriptions.
From Billboard - July 1, 1957: A hi-fi adventure. The avid audiophile will find a lot to please his golden ears on this disk. Let him hear the gong at the end of "Chinese Doll" with its sustained shimmer. The crisp, bright sound of the Latin rhythm section in "Maxie Mambo" is equally exciting. Likewise, "Samba Macabre" in which the rhythm and xylophone are supported by some fascinating electric organ effects. But why pick out individual sections? The entire disk is a sonic delight.
Mosquitos' Parade March
Flapperette
Bumble Bee Bolero
Chinese Doll
Chiapanecas
Maxixe Mambo
Samba Macabre
Maple Leaf Jump
Tulip Polka
Buffoon
Glockenspiel Gavotte
La Rosita
Mallet Mischief
Harry Breuer and his Quintet V
Volumn 2
Photography: Bob Witt
Audio Fidelity AFLP 1882 & AFSD 5882
1958
From November 24, 1958 Billboard: Breuer and his crew serve a listenable set of international favorites, done in attractive various tempos. His facility with percussion instruments is nicely demonstrated. Sound is excellent, and buys can also be lured from hi-fi bugs. Good potential.
Farmerette
Pavanne
Dainty Miss
Fiesta De Oro
Fiesta Waltz
Hora Staccato
Paloma Beguine
TV Funeral March
Down Home Rag
Minute Merengue
Tropicale Stephanie
Boomerang
Mosquitos' Parade March
Flapperette
Bumble Bee Bolero
Chinese Doll
Chiapanecas
Maxixe Mambo
Samba Macabre
Maple Leaf Jump
Tulip Polka
Buffoon
Glockenspiel Gavotte
La Rosita
Pavanne (Stereo)
Harry Breuer and his Quintet V
Volumn 2
Photography: Bob Witt
Audio Fidelity AFLP 1882 & AFSD 5882
1958
From November 24, 1958 Billboard: Breuer and his crew serve a listenable set of international favorites, done in attractive various tempos. His facility with percussion instruments is nicely demonstrated. Sound is excellent, and buys can also be lured from hi-fi bugs. Good potential.
Farmerette
Pavanne
Dainty Miss
Fiesta De Oro
Fiesta Waltz
Hora Staccato
Paloma Beguine
TV Funeral March
Down Home Rag
Minute Merengue
Tropicale Stephanie
Boomerang
Tuesday, May 25, 2010
Latino - Don Swan
La Furiosa
Volume Two
Don Swan and His Orchestra
Don Swan and His Orchestra
Producer: Felix Slatkin
Engineer: Eddie Brackett
Cover Design: Pate/Francis & Accocs.
Cover Photography: Garrett- Howard, Inc.
Liberty Records LRP 3161
1960
Stompin' At The Savoy
Liberty Records LRP 3161
1960
Stompin' At The Savoy
Oh Señora
Bruca Manigua
Ole Matador
Nunca
La Furiosa
Hooray For Hollywood
I Get Ideas
Anna
Tico Tico
Greensleeves
Me Llamen Loco
Music Of Bali - The Gamelan Orchestra
Disk 1 (sides 1 & 2)
Disk 2 (sides 3 & 4)
The Gamelan Orchestra
From Pliatan, Indonesia
Directed by Anak Agung Gdé Mandera
Westminster International Series
XWN 2209 (2 record set)
1956
Westminster International Series
XWN 2209 (2 record set)
1956
From the insert: About The Author: Colin McPhee, composer and author of Hours In Bali (John Day, 1946), lived six years on the island studying Balinese culture and pursuing musical research. He has just completed an exhaustive study of Balinese music, to be published under the title, Music In Bali.
About The Performers: The small island of Bail boasts nearly seven thousand Gamelan orchestras, of which the group from the village of Pliatan is considered by the Balinese to be one of their best. This company has won many island-wide competitions, and was chosen to head the festivities in Jakarta, in Java, in celebration of the Indonesian Republic's original Independence Day in 1945. In 1952 the Pliatan Gamelan made its first appearance away from its island home with an American tour, the producer for which was John Coast, young British-born member of the Indonesian Foreign Office. The present recording was made during an actual performance in the Winter Garden Theatre in London during a recent British tour.
The Music Of Bali was recorded by the Argo Record, Co., Ltd., during actual performance at the Winter Garden Theatre in London, in association with Derrick de Marney for and in behalf of the Indonesian Government. The recording is processed according to the R.I.A.A. characteristic.
Side One
The Overture "Kapi Raja" (King Of The Apes)
Tumulilingan (Bumblebees) by Anak Agung Gdé Mandera
Kechak (Male Chorus)
Side Two
Légong
Side Three
Gambangan and Kebyar by Anak Agung Gdé Mandera
Oleg
Barong
Side Four
Janger - Endé - Baris
Guess Who's Coming Home
Guess Who's Coming Home
Black Fighting Men Recorded Live In VietnamBlack Fourm
1972 Motown Record
Great slice of raw war time anger on vinyl. Recordings of actual participants made over two years, 1967 and 69, by Wallace Terry and released in 1972. This recording reveals a side of the war that folks interested in the period might want to review to help form a more complete a picture of the war.
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