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!
Music Around The World
The Rich Instrumental Listening Moods Of Jackie Gleason
For Lovers Only
Produced by Dick Jones
Arrangements by George Williams
Instrumental Solos by Charlie Ventura on tenor sax and Pee Wee Erwin on trumpet
Cover Photo: Capitol Photo Studio / George Jerman
Capitol Records SW 2471
1966
From Billboard - March 26, 1966: The scintillating strings of Jackie Gleason's twin orchestras build up warm romantic mood on a repertoire that's pegged on a global musical tout. It's highly melodic and a perfect platter for any mood music setting.
On A Slow Boat To China
I Love Paris
Song Of India
On Miami Shore
April In Portugal
Hawaiian Wedding Song
Swedish Rhapsody (Love Theme from "Madame X"
London By Starlight
Canadian Sunset
Brazil
Arrivederci Roma
Bossa Rio
Producer: Sergio Mendes / A Serrich Production
Art Direction: Tom Wilkes
Photography: Jim McCrary
Recording Engineer: Larry Levine
Recorded at A&M Recording Studios
Bossa Rio acknowledges the use of the Lowrey Organ
1969
From the back cover: Atop the voices is a young, effervescent and adorable Gracinha Laporace. She is the spark plug for the singers and instrumentalists. She sings crisp and clean... in tune and in time. Perhaps the key to the overall instrumental concept is organist Manfredo Fest. This is no ordinary organ player; this is something even a "no organ aficionado" will love. He grooves and you'll feel it. – Johnny Magnus
From Billboard - August 2, 1969: A Sergio Mendes discovery, the Bossa Rio svelte their way through a set of Brazilian rhythms, applying them naturally to items like "Saiupa" and "Cancao do Sal" and grafting them on standards ("Old Devil Moon") and future standards ("Do You Know The Way To San Jose"). Also making appearances are some good jazz touches from the piano with this singing-instrumental group. They produce a good valid, authentic sound.
Saiupa (Por Causas De Voce Menina)
Do You Know The Way To San Jose
Wave
Day By Day
Today, Tomorrow (Bon Palavra)
Up, Up, And Away
Nana
Old Devil Moon
Veleiro (Sailboat)
Gentle Rain
Cancao do Sal (Sultry Song)
March With The American Legion Band
Conducted By Joe Colling
Vocallion VL 3614
American Patrol
General Pershing March
Jack Tar
You're A Grand Old Flag
The Black Horse Troop
The Whistler And His Dog
The Caissons Go Rolling Along
Parade Of The Legionnaires
The Picadore
Oh, How I Hate To Get Up In The Morning
The Free Lance
National Emblem March
The Amazing Amanda Ambrose
Arranged and Conducted by Bobby Scott
Produced by Bob Bollard
Cover Photo by David Makeba
Liner Photo by Peter Perri
Recording Engineer: Bob Simpson
Tape Mastering: Paul Goodman
RCA Victor LPM-2742
1963
Amanda is on piano, all selections.
Flute and saxophone solos are by Phil Bodner. Trumpet solos on big band arrangements are by Nick Travis.
From the back cover: C. C. Rider is an early blues classic. The title has varied through the years; Easy Rider and others. The words are as flexible as the individual suffering of several generations of singers of love lost. Here is a classic performance with Joe Wilder on trumpet, George Duvivier on bass and Osie Johnson, drums.
Also from the back cover: Bobby Scott deserves a whole liner to himself. In fact, he has several already on his own albums. He has been described as the Orson Wells of the music business. But that is very misleading.
True, he produces records, sings, plays a mean piano, conducts and arranges (for Bobby Darin most recently), composes (the score of A Taste Of Honey). Also he is a expert vibist. Bobby is much too thin to be compared with Orson Wells, however, and he wouldn't be caught dead with a cigar. His slender figure and boyish mop still cast him in a perpetual enfant terrible role. He has been arranging and astounding jazz circles for 16 years and more, however. Musically, he has matured into a solid substantial force on today's scene.
From Billboard - July 6, 1963 (Night Club feature): Amanda Ambrose is another in a long line of "overnight discoveries" who burst upon the night club-record-TV scene – after long, tough and hungry years, Miss Ambrose is a highly polished performer with tremendous versatility and it's apparent that her years of coming up the hard way prepared her well. Recently signed by RCA Victor, which released her first LP. "Amanda Ambrose Recorded Live!" She is currently on night club tour as was caught at "The Living Room: in Cincinnati.
She is, in fact, a more powerful attraction in person than on record. The album work restricts her natural talent for blues, jazz, fold and her big talent as a pianist. Her feeling for a lyric and her solos combine to make an act that proves the old vaude line, "Nobody sleeps while I'm on." Working to a fairly noisy audience, she not only quieted them but grabbed their attention for the rest of each set.
She is very much at home with gospel or spiritual numbers and this was, for the main, the Amanda Ambrose that the LP introduced. But she introduces her night club audiences to the full scope of her talent when she sells in almost desperate style jazz, ballad, and folkish tunes with equal aplomb. Her version of "Guess Who I Saw Today, My Dear" dictates attention and appreciation.
The Living Room is doing great business with Miss Ambrose as its only attraction. If RCA Victor can capture the range of this many faceted artist in her next LP release, all America will appreciate the many years of training and experience that Miss Ambrose brings to her act. She's a freak, exciting talent – Tom Noonan
Hong Kong Blues
Indian Love Call
Goose Never Be A Peacock
Crawdad
House Of The Rising Sun
While I Am Still Young
C. C. Rider
More Than You Know
What Are The Parts Of A Flower
God Bless The Child
Out Of This World
Just In Time
Percussion And Piano
Honky Tonk And Trio
Mike Di Napoli
Directional Sound
Album Design: Sam Suliman
Production Director: Sam Suliman
Production Co-ordinator: Charles Goldberg
Printing: Queens Lithographing
Plating And Stampers: Audio Matrix
Stereo and Monaural Mastering: Sol Kessler - Bell Sound
Pressing Plant: Diskmakers
Premier Albums Inc.
From the inside jacket (book fold): Mike Di Napoli has toured the entire country and most of Canada as featured artist with the Frank Petty Trio, a position he had held for thirteen years, but always returns to Massachusetts, the center of his activities. He began developing his fantastic instrumental technique during a period of intense training and study at the New England Conservatory in Boston. It was there also that he first was recognized as a composer-arranger; the products of this outstanding ability include songs written by Mike which have achieved national success. These include: "She Was 5 And He Was 10", recorded by the Mills Brothers and The Four Preps; "Everybody's Got A Girl But Me", recorded by Tennessee Ernie Ford; "I Can't Control My Heart", recorded by the great Hank Snow; "Mister Pogo", recorded by the Frank Petty Trio, The Commanders, Richard Hayman and Arnette Cobb; and "Frolic On 5th Avenue", recorded by Mike himself. The above titles comprise only a fraction of the original material that has gained for Mike he excellent ASCAP rating he holds.
W.B.Z. T.V. in Boston enjoyed the honor of having Mike Di Napoli as Musical Director for two years, during which he performed on a daily one-hour show. He has also appeared on television for such sponsors as Chevrolet and the Narraganset Breweries.
Hot Time In The Old Town Tonight
Under The Bamboo Tree
Turkish March
Schooldays, Schooldays
Honky Tonk Schbert's Serenade
Kentucky Bee
Meet Me In St. Louis, Louis
Mozart (Honky-Tonk) Sonata
In My Merry Oldsmobile
Toreador Song
In The Shade Of The Old Apple Tree
La Donna E Mobile
Right Here! Right Now!
The Big Mod Sound Of Si Zentner & His Orchestra
Producer: Jack Tracy
Art Direction: Woody Woodward
Design: Gabor Halmos
Cover Photo: Ivan Nagy
1967
Double Whammy
Sunny
My Girl
Up, Up And Away
Skootchy
Mercy, Mercy, Mercy
I'm On My Way
Soul Machine
Goin' Out Of My Head
The Happening
You've Lost That Lovin' Feelin'
Ain't There Something That Money Can't Buy
The Breeze And I
The Music Of Lecuona
D'Artega And His Orchestra
Decca Records DL 8990
1960
From the back cover: Cuban-born Ernesto Lecuona was an accomplished pianist at the age of five, composed his first work at the age of eleven, and received his degree from the National Conservatory of Havana at the age of fifteen. Appearing in concert recitals and introducing his own compositions, Mr. Lecuona won fame in Europe, South America and the United States; and today he is recognized as making greater contributions to Latin American music than any other contemporary composer.
Born of Spanish parents, D'Artega, arranger and composer, is a fitting conductor for this album. He has conducted orchestras for radio, television, recordings, concert, stage and the motion pictures. In addition, he originated and conducted the Carnegie Hall Pop Concerts, with the members of the N.Y. Philharmonic Orchestra.
From Billboard - August 8, 1960: The poignant, lushly romantic music of Lecuona is spotlighted in this package of listenable instrumentals. Utilizing rich, full orchestrations, D'Artega interprets 12 of Lecuona's most effective compositions – "Malaguena," "La Compares" the title tune, etc. Standout mood music.
Malaguena
Ante El Escorial
Jungle Drums
Amor Que No Es Verdad
Aragonesa
La Comparsa
The Breeze And I (From the suite "Andalucia")
Amor Que Bonito Has Vuelto
Medley: No Tienes Corazon, El Merinaque
Say "Si Si" (Para Vigo Me Voy)
Gitanerias
Cordoba
Dorsey Burnette's Tall Oak Tree Arrangers: Hank Levine & Sir Chauncy Cover Photo & Design: Garrett/Howard, Inc. Engineer: Eddie Brackets ERA Records - Hollywood, California El-1021960
Available from online vendors so I will not be posting a sample. Presented here to share the dynamic original cover art.
From the back cover: This larger-than-normal approach to living has been Dorsey's pattern ever since he was a boy in Memphis, Tennessee, where the Mississippi River flowed by with promises of distant adventures. At fourteen Dorsey succumbed to the lure of the river and sailed off on the riverboats, working as an oiler, a deck hand, a striker in the engine room, whatever would give him passage to the wondrous world that stretched out between New Orleans and Minneapolis.
Having taught himself to play the guitar at the age of nine, Dorsey was well prepared to entertain the other boatmen, singing the songs he had learned in his childhood and quickly picking up the varied and colorful songs that flowed on to the Mississippi from the people and places along its bank.
After a few years on the river, Dorsey became a prizefighter. It was his challenge to the world, and, as a promising light-heavyweight, he slugged his way through a whole string of victories. Soon, however, he realized that this was not the life he wanted and he retired from the ring, undefeated. Now he returned to singing, but this time hopeful that he could make a career out of it. A local winner in the Ted Mack Amateur Hour competitions, he went on to New York and Madison Square Garden, where he triumphed in the finals. It was the big push he needed; from then on he was a "pro." This was several years ago, and ever since then he has traveled the country, playing clubs and fairs and dances, making records, growing in stature both personally and professionally.
From Billboard - January 11, 1960 (ERA 3012 - Tall Oak Tree): Light, bright rocker receives a happy reading by Burette over a solid rhythm backing. This could get some action.
Big Rock Candy Mountain Hey Little One Hard Working Man Lucky Old Sun Suddenly There's A Valley Lazy Bones Red Roses Noah's Ark Swing Low Wayward Wind I Got The Sun In The Morning Tall Oak Tree
The Incredible Carlos Montoya
Recorded Live At Montoya's Historic Town Hall Concert
Produced by Jack A. Somer
Recording Engineer: Ed Begley
Cover Photo: David B. Hecht
RCA Victor LPM/LSP-2566
1962
From the back cover: Born in Madrid of gypsy heritage, Montoya started taking guitar lessons at the age of eight from his mother "La Tula," then from a local barber-teacher, "Pepe el Barbero." Carlos's finishing school was the influence of the great flamenco guitarists of the period. At fourteen he was playing in the cafes castanets, in the heyday of flamenco singing and dancing, for such fabulous artists as Antonio de Bilbao, Juan el Estampio, La Macarrona and La Camisona.
Montoya's real training came, however, in the school of experience. When the late Antonia Merce – "La Argentina" – came to Madrid looking for a guitarist, she chose Montoya. Thus he left his native Spain for the first time to tour all Europe with her for three years. After performing with Merce he went on to play with all the great names of the time – La Argentinita, Antonio, Vicente Escudero, Carmen Amaya (when she was still a child), Teresina and many more.
Alegria-Rosa
Guajiras
Rondena
Huelva
Zambra
Cafe De Chinitas
Zapteao
Alorno Y Verdial
St. Louis Blues
A Perfect Blend
The Si Zentner Orchestra & The Johnny Mann Singers
Art Direction: Woody Woodward
Cover Photography: Jerry McMillian
Liberty LST-7483
1966
From Billboard - November 19, 1966: The album is aptly named. Si Zentner's brass and the female voices of the Johnny Mann Singers combine with such old favorites as "Marie," "Dream," "Paper Doll" and "If I Didn't Care." The result is real easy listening.
Serenade In Blue
Marie
Dream
I'll Never Smile Again
The Hut-Sut Song (Swedish Serenade)
'Taint What You Do (It's The Way You Do It)
Paper Doll
St. Louis Blues
If I Didn't Care
It's A Lonesome Old Town
Baubles, Bangles and Beans
At Last
