Howdy Folks! Welcome to The UnEarthed In The Atomic Attic album blog! Here you will find a wide variety of unusual Space Age Vinyl finds that feature good quality cover scans, jacket notes and audio samples for you to enjoy. I'm here to have fun and hope you will share in my process of discovery!
Sound Stage
Hi-Fi Music From Hollywood
Paul Weston And His Orchestra
Columbia Records CL 612
1955
Beautifully orchestrated lush strings mood set.
Music From "Gone With The Wind" (Tara's Theme)
Love Letters
Indiscretion from "Indiscretion On An American Wife"
Duel In The Sun
The Song Of Bernadette
Music from "Quo Vadis"
Since You Went Away
Ruby from "Ruby Gentry"
Autumn In Rome from "Indiscretion Of An American Wife"
Music from "A Streetcar Named Desire"
Jennie's Song from "Portrait Of Jennie"
Music from "For Whom The Bell Tolls"
Rendezvous With Camarata and His Orchestra
Vocalion VL 3660
1959
Paris Interlude
Haunted Ballroom
Cascade Of Stars
All I Desire
Brief Interlude
Veradero
Theme From Swedish Rhapsody
Rendezvous
High On Windy Hill
Pizzicato Rhumba
Mademoiselle De Paris
Fiddlesticks
Any Time
Selections From Around The Musical Horoscope
Hal Mooney And His Orchestra
Mercury Records Wacker Series
MG 20175 & SR 60073
1959
From Billboard - August 24, 1959: Mooney serves up 12 original themes, depicting the signs of the Zodiac – "Pisces," "Scorpio," "Leo," etc. Moods of instruments vary with characteristics of various signs – as detailed in the liner notes – and style is semi-classic. Interesting item for astrology students.
Pete Rugolo is noted on the back cover as "Mercury Recording Director".
Aires
Taurus
Gemini
Cancer
Leo
Virgo
Libra
Scorpio
Sagittarius
Capricorn
Aquarius
Pisces
Spencer Collingswood
His Saxaphone (as spelled on label) and Orchestra
Hollywood Records LPH 16
Collingswood's name is found only on the disc label. Track titles, found on the disc label do not match titles found on jacket, although the catalog number (and album title) is the same on both jacket and Hollywood disc label. The tracks heard on the disk match the jacket titles.
Even with all these "budget release inconsistencies" and lack of "saxophone" passages (or any saxophone passages) because this is obviously a collection of tunes picked from various sources and not just from saxophone soloists, there is enough energy presented in the grooves to hold the attention and you also get to enjoy the sexy cover art.
(Disc label titles)
Stomping At The Savoy
This Can't Be Love
Willow Weep For Me
Just You Just Me
Sweet Loraine
Harlem Nocturne
Get Happy
Perdido
What Is This Thing Called Love
Off Shore
Lover Man
Come Rain Or Come Shine
All Strung Out
Caiola Combo
Al Caiola
Produced by Leroy Holmes
Engineer: Clair Krepps
Recorded in Mayfair Recording Studios, New York, N.Y.
Lowrey organ used for album recorded in New York City
United Artists UAS 6553
1966
Personnel:
Al Caiola: Guitar
George Duviver: Bass
Grady Tate: Drums
Ernie Hayes and Paul Griffin: Alternating at Organ
This set is not as "strung out" as one might have used the term in the mid-60s, but rather a grab bag of mood and light pop covers that are mildly reproduced, some with latin or light jazz overtones.
All Strung Out
So Nice
Sneaky
Misty
I Can Make It With You
Flamingo
Cherry, Cherry
Mas Que Nada
All I See Is You
Scratchin'
I've Got You Under My Skin
Summer Wind
Pictures In Music
Frank Perkins Conducts His Own Compositions
Decca Records DL 8467
1957
From the back cover: Frank Perkins was born in 1908, in Salem, Massachusetts. Although his entire family loved music, only his mother, who played light classics on the piano, was a performer. Frank graduated from the Moses Brown School in Providence and the better know Brown University in the same city. In 1929 he received his Ph. B in – of all things – Economics.
By the time he graduated he was practically a one-man orchestra. Although his specialty was the piano, he could play organ, trombone, saxophone, and all the percussion instruments – drums, tympani, etc. During college and after, he studied with various private instructors, including Tibor Serly, the noted music educator who was a student of the famous Hungarian composer Kodaly.
All this equipped him as a well-rounded musician. He had his own successful dance band and, after traveling briefly in Europe, returned to America to become a song writer. In 1934 he joined Fred Waring and his Pennsylvanians, and remained with them as arranger until 1938, at which time he joined Warner Brothers in the capacity of conductor and composer. Since 1946 he has devoted more and more to his own compositions, achieving many screen credits for his work.
From Billboard - May 20, 1957: Title conveys good notion of contents which consists of original work novelties in the Leroy Anderson manner. "Fandango," "Shindig For Skeletons," "The Toy Automobile" are some of the vignettes that encompass a variety of moods in slick style.
Fandango
Shindig For Skeletons
Feliciana
Escapade
Frustrate Floorwalker
Carromata
The Toy Automobile
The Deserted Patio
Babara
Pop-gun Patrol
Kentucky Trotter
My Reverie
Alvino Rey And His Orchestra
Electric Guitar Solos With Orchestra
And The Jud Conlon Rhythmaires
Decca Records DL 8403
1957
Rey's restrained approach on the guitar is softer, more minimal, in nature than heard on most period "Hawaiian" sets. His "mood" arrangements create a balanced, relaxing blend of guitar, chorus and orchestra.
From the back cover: It is an amusing fact that the proud possessor of a gold cup awarded by the American Guild Of Guitarists, made his profession debut as a banjoist. Moreover, Alvino Rey's first interest in the guitar was technical and purely mechanical. At ten, he was one of the youngest "ham" radio operators in the U.S.A., and at twelve, his dabbling with electricity and his passion for acoustics united to produce an amplified guitar. After he had enlarged the scope of the instrument he felt he ought to learn to play it. It was not long before he discovered he had manual dexterity as well as mental ingenuity.
As already indicated, Alvino began as a banjo player; he replaced Eddie Peabody in Phil Spitalny's band when it was an all-male aggregation. A few years later, he returned to his native California and was featured as guitar soloist and leader of the San Francisco's NBC staff band. Horace Heidt hear him in 1944 (pervious owner of this album marked out 1944 and wrote in "1934?") and lured him away to become a high-priced soloist with his organization.
So far, Alvino Rey's career had been fairly conventional. However, after joining Horace Heidt, Alvino fortunes took a new turn. He met the King Sisters, who vocalized with Heidt's band, married the eldest, formed his own band and starred the King Sisters. In less than a year his orchestra was one of the country's top ten.
During WWII, Alvino found himself in the Navy. To make up for lost time, he acted with phenomenal speed as soon as became a civilian again. Discharged from the Navy on Friday afternoon, Alvino was on the podium leading his band at eight o'clock the same night.
From Billboard - February 2, 1957: After a long absence, Rey makes his return to the disking fold with a package of mighty pretty mood music. Combination of the liquid electric guitar sounds with the voices of the Jud Conlon Rhythmaires makes for listening that's not only easy on the ears but might even spur some romantic action. Jocks will no doubt play it. Worth stocking, especially on the basis of the maiden and the rose on the cover.
My Reverie
It Could Happen To You
Flamingo
Don't Worry 'bout Me
Yesterdays
Moonlight In Vermont
Imagination
On A Little Street In Singapore
Moonlight Becomes You
Gond With The Wind
Midnight Sun
On Green Dolphin Street
From the back cover: Born in Toronto, Canada, Murray McEachern entered the musical world at the age of 5, studying violin, and later, classical composition. He played in Canadian dance bands as a youth, and at 23 joined Benny Goodman's orchestra, with which he made many records and two motion pictures. In 1938 he became a mainstay of Glen Gray's Casa Lomans, following this with important work in Paul Whiteman's band until December 1941. During the war, Murray served with the Armed Forces Radio Service. He returned to civilian life as a free-lance performer and arranger in Hollywood. Several years ago, Murray was selected to play the Glenn Miller trombone solos in the motion picture "The Glenn Miller Story." Today, he is very active in recording, TV, and motion picture studio work.
From Billboard - October 28, 1957: An album of beautiful trombone performances, caressing in quality as the title indicates. Accompaniments vary, in some instances a chorus; or Bob Wain's guitar, or the keyboard work on Jimmy Rowles. Tunes are standards as "Embraceable You." "Taking A Chance On Love," etc. Moderate Potential.
Embraceable You
The Boy Next Door
This Nearly Was Mine
Have You Met Miss Jones?
Far Away Places
In A Sentimental Mood
My Romance
Amber Moon
Taking A Chance On Love
I'm Getting Sentimental Over You
Warm Valley
Good-Bye
Any Time... Any Groove
The Don Scaletta Trio
Produced by Lee Gillette
Capitol Records ST 2204
1965
Don Scaletta: Piano
Ted Blondell: Bass
Nikki Lamkin: Drums
From the back cover: "Because we have to fight poor acoustics and clinking glasses on many of our dates," say Don, "we're constantly striving for a full sound. We've written and rewritten our arrangements so that the piano, bass and drums can work independently of each other, or as a solo unit, much on the same order as a big band. This technique allows us a wide range of creative freedom and helps assure that every arrangement doesn't sound the same."
Yankee Doodle Boy
Hello, Dolly!
Tomorrow Never Comes
Old Folks
Jani's Tune
York's Sauna
Over There
With The Wind And The Rain In Your Hair
A Taste Of Honey
