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!
Jazz Spectacular
Frankie Laine and Buck Clayton and His Orchestra
Featuring J. J. Johnson and Kai Winding
Columbia CL 808
1956
Available from online vendors so I will not be posting a sample presented here to share the cover art and notes excerpt.
From the back cover: The combination of Frankie Laine and Buck Clayton's swinging band and arrangements on records has turned out to be a natural. But there was ample evidence that it would turn out this way from the beginning of the date. Frank and Buck are old friends who have worked together, admired each other for many years, and, most important, share the same enthusiasm for the same brand of swinging jazz. Moreover, Buck's band includes many of Frank's favorite jazz stars: Sir Charles Thompson (courtesy of Vanguard Records), piano, Hilton Jefferson, alto sax, Jo Jones, drums, and Budd Johnson, tenor sax. The session on which these sides were made took place at Columbia's 30th Street Studios between Frank's shows at New York's famed Latin Quarter. The Clayton band includes, in addition to the above personnel, Milt Hinton, bass, Clifton Bests, guitar, Nick Nicholas, tenor sax, Dave McRae, baritone sax, Ray Copeland, trumpet, and Urbie Green, trombone.
From Billboard - February 16, 1956: A sampling of this set, issued on an EP last November, reportedly sold well to both pop and standard jazz customers. Now, severn tasty morsels have been added to the original three – "Baby, Baby All The Time," "Rose Of Picardy" and "Taking A Chance On Love." It's swing-style jazz, comfortable as old shoes, warm and expressive. Laine is in good voice and mood, and he wails thru-out. Clayton's best track is his lyrical "My Old Flame." The Kai and Jay trombone team is a big musical and sales plus on several tracks. Should sell strongly over a broad area.
S'posin'
Stars Fell On Alabama
Until The Real Thing Comes Along
My Old Flame
You Can Depend On Me
That Old Feeling
Taking A Chance On Love
If You Were Mine
Baby, Baby All The Time
Roses Of Picardy
Current Hits
Vol. No. 4
Producer: Bill Beasley
Recorder: Sam Phillips Recording Studio, Nashville, Tennessee
Engineers: Billy Sherrill & Cecil Scaife
Compatible Mastering: Beltone Recording Studio, New York
Cover Layout: A. R. Mac Pherson Company, Nashville, Tennessee
Hit Records HLP 1004
Let's Limbo Some More
Blame It On The Bossa Nova
Let's Turkey Trot
One Broken Heart For Sale
Ruby Baby
You're The Reason I'm Living
End Of The World
What Will My Mary Say
Our Day Will Come
South Street
Walk Like A Man
Send Me Some Lovin'
Rhythm & Blues
Million Sellers
Volume Number Six
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder: Sam Phillips Studio, Nashville
Engineer: Billy Sherrill
Compatible Mastering: Columbia Recording Studio, Nashville
Cover Design: McPherson Studio, Nashville, Tennessee
Modern Sound MS 506
Lover Please
Love Letters
Soldier Boy
Playboy
Bring It On Home To Me
Locomotion
The Right String But The Wrong Yo Yo
Ride
Tell Him
Loop De Loop
The cut out that is taped to the lower left cover of this "radio station copy" is titled "RCA VICTOR POPULAR ALBUM RELEASE SERVICES".
Personel:
Joe Venutor - Percussion
Al Block - Jute
Dave Hildinger - Piano
Rex Peer - Trombone
Bobby Nichols - Trumpet
Nanette Horton - Harp
Pete Dadderio - Drums
Warrn Hard - Percussion
Tigger Alpert - Bass
Ruth Yorke reading The Minute
From the back cover: This is an album of percussion music – percussion in this case being sound produced by objects of differing weights and timbres being struck by tools of differing weights and timbres. The organization of groups of such struck sounds in time and space (pitch) – this incidentally is our role – gives off an association of thought and feeling that is music, percussion music. So here "time" is more than a matter of hands on a clock.
Normally there are three "percussionists" in the band, including the player of the standard set of drums. Because there are percussive qualities in other instruments as well – for instance, the plucking of harp strings, the piano, the tongued attack of wind instruments, even the human voice – these instruments have their place in this album. When these performers aren't using their chosen instruments they are drafted into the enlarged percussion section, and although they're not drummers, their proficiency as musicians makes them adaptable in this secondary role. In essence it is somewhat like an adult version of the rhythm bands so popular in kindergartens.
The Jukes Family Takes A Holiday – Imagine this not-too-bright family numbering twenty or so packed into a high-bodied, large-wheeled, brass-trimmed touring car, vintage of 1910, off on a spree. Bulb horns and flat tires are incidental. Rex Peer on trombone, Bobby Nichols on trumpet, Al Block on clarinet, and the percussion section made up of the rest of the Jukes family.
E = MC2 – A piece for percussion alone that demonstrates the relativity of time, space, pitch and volume mentioned earlier.
Time Machine – Joe Venuto and Pete Dadderio as libbing on two sets of drums. Variations on a basic beat: the familiar "ding chicka ding, chicka ding" of which the incessant reiteration had partially become a tick in jazz circles.
World Without Time – Al Block, flute; Dave Hildinger, piano, Joe Venuto and Warren Hard, percussion. Simply music for flute, piano and percussion.
The Minute (a poem by Karl Shapiro) – This poem was chosen because it deals with "time" – an element of percussion – as well as for its allusions to percussive sounds and the rhythmic intensity with which it unfolds itself. Originally it had been planned for the group to read it as a sort of Greek chorus, which is percussive in nature. Our friend Ruth Yorke, an actress currently associated with TV, was on hand to coach us through its intricacies. Unforeseen obstacles, such as a thick mixture of Brooklyn, New England, and Mid-Western accents, plus fierce individuality frustrated that attempt. Ruth made a test recording to demonstrate her idea to the group, and performed so beautifully that it became our record. The entire Jukes family supplies the musical background.
The Stone Age – So titled because what happens seems to refer to some ancient civilization. Structurally, it is based on the blues. Joe Venuto, ad lib tympani; Dave Hildinger, first piano; Eddie Sauter, second piano; and the percussion group of assorted ticks, water glasses, cymbals and so on.
Whoo Doo Voodoo – A ritualistic orgy of ad lib percussion led by Joe Venuto, Warren Hard and Pete Dadderio. Screams by Nanette Norton and Bobby Nichols.
A Chinese Painting – Joe Venuto plays the marimba, improvising on a six-bar theme. The Jukes family provides the framework on which he paints.
Abstraction – An angular, percussive solo piece for piano that refers to another manner of painting. Painted by Dave Hildinger on the piano, with Joe Venuto and Warren Hard, percussion. Dave, incidentally, is a man to watch. He plays jazz as well as he plays classical music and composes as well as he does either. We should be hearing more of him.
Kinetic Energy – Minute particles in vigorous motion. All percussion
Swingcussion – When the band is on tour the percussion equipment uses half the space on the bandstand. Lords of this domain are Joe Venuto and his partner. Standard equipment, along with their uniforms, is a pair of twenty-league boots. People are always asking Joe which of his instruments he likes most to play. The question has become so universal, Joe has written a song in answer, and he sings! This is it.
Roulette – P.S. He Lost – A Joe Venuto and Warren Hard interpretation of a disastrous night in Las Vegas. It closes with finality. And so does the album. Hope you enjoy it! – Eddie Sauter and Bill Finegan
From Billboard - May 5, 1956: When the Sauter-Finegan band sets up, half the space on the band-stand is allowed to the percussion equipment. Joe Venuto runs the gamut from tympani and cymbals to marimbas and ticking on plain water glasses. There are occasional interjections of other instruments like trombone, trumpet, and flute, but this show belongs to the percussionists. They succeed in presenting a veritable catalog of struck sounds, all of which must be particularly intriguing to hi-fi addicts. To anyone else, it is likely to prove a colossal bore.
Morales
Latin Dance Time
Grand Prix Series K-154
Pickwick International, Inc.
Who's Worried Noew
I Can't Give You Anything But Love
Dark Eyes
For Me And My Gal
I'm Getting Sentimental Over You
Home
The Children's Merengue
Norin-Norin
Rainbow Bolero
Mississippi Mambo
From Billboard - May 19, 1958: Dotty Lamour's knowledgeable way with the lyric of a pop song shows thur on this low-pricer. Never blessed with a dynamic voice, she nevertheless exacts maximum mileage from a group of standards and oldies. Backing by George Norman Ork and an unnamed vocal group is adept. Sound is good. Fans of the Crosby-Hope-Lamour "Road" films may go for this, out of sentimental memories.
You're Mine You
Did You Ever See A Dream Walking?
Why Was I Born
Can't Help Loving That Man
I Can't Tell You Why I Love You
Don't Ever Leave Me
Lulubelle
My Bill
That Old Feeling
Aloha Oe
Belly Dance With Omar Khorshid
And His Magic Guitar
Voix de l'Orient Series
Volume 3
Produced by A. Chahine & Fils
Beirut, Lebanon
Polysound Studios
Recording Engineer: Nabil Moumtaz
Manufacture & Distribution by EMI Greece S.A.
GVDL 203
1974
Love Story
Hernandos Hide Away
Guitar Tango
Pop Concerto
Godfather
Pop Corn
Malaguena
Midnight Love
La Laloma
Soup & Onions Soul Cookin' By The Roy Meriwether Trio Produced by Tom Wilson Columbia Records CL 2433 1966
Personnel:
Roy Meriwether - Piano Issac Sloan - Bass Joseph Arnold - Drums
Available from online vendors so I will not be posting a sample. Presented here to share the cover art and notes excerpt.
From the back cover: This young man, not yet twenty, owes the very early discovery of his talent to his mother. One day, in Dayton, Ohio, while busy in her kitchen, Mrs. Meriwether suddenly heard the sounds of a church hymn, "Near The Cross," coming from the old upright in the front room. Startled, since she was sure that only three-year-old Roy was in the house with her, she went to the parlor. There she saw her son seated at the piano, playing the hymn. Recovering from her surprise, she wondered how to break the new of Roy's rare gift to her husband. When the Reverend Meriwether returned home, she told him of her discovery. As he listened to what his son could do, "he sat there, amazed," his wife recalls. It wasn't long before all of Dayton learned of the three-year-old marvel, and soon Roy was in demand for piano recitals. Although his mother introduced him to music teachers, she was told that formal music training at his early age probably would not help him. So Roy continued to develop and perfect his playing on his own. As time went on, he accompanied gospel singers, played organ at churches and consistently won talent contests.
By the time he was eighteen, he landed his first professional job – at a musical bar. As Roy tells the story: "I was playing with a group after school and hated the job, and wanted to quit many times, though the drummer, Joe Arnold, who is with me now, encouraged me to stay. But I went on to The Lantern Club as a single. There, without benefit of bass or drums, I had to develop and work hard for a good sound.
Some month later, Roy opened at The Nowhere, in Fairborn, Ohio. As far as Roy is concerned, the club is misnamed, since the chain of events that led to his contract with Columbia Records began there. By now he had added a vocalist and an accompanying group, and they became so popular that soon they moved to the nearby Famous Tropics. George Rudin, the club's owner, was impressed with Roy and the others and was generous with encouragement. Soon, Roy's talent came to the attention of Clarence Avant, one of New York's ablest personal managers, who immediately introduced Roy to Columbia recording executives.
That, in brief, is the story – thus far – of a brilliant self-taught pianist who is destined to become one of the future giants of jazz. Roy, of course, will be compared to many contemporary pianist. But listening to him, you will find that he has developed his own style. As Roy says, "I don't have any favorites; I hear some beautiful things in all of them. I hope that with the grace of God I will draw my own picture in my own way as the greats are now doing."
In this debut album, Roy's offering of ten tasty tunes proves he is a formidably capable, two-fisted pianist: he drives, he swings and – pardon the cliche – he has lost of soul. – Del Shields
From Billboard - January 19, 1966: An exciting newcomer to the jazz scene Meriwether's soul-gospel Piano is totally individual and highly appealing. It's today sound for today's record buyer. His unique style should create a large following from teens up. Soup And Onions Little Lousy Jane Cast Your Fate To The Wind St. James Infirmary Screwdriver A Taste Of Honey The Ripper Georgia On My Mind Satin Doll Exodus
Famous Ghost Stories
With Scary Sounds
Adapted and Produced by Wade Denning
A Product Of Pickwick International, Inc.
SPC 5148
1979
The Headless Horseman - Washington Irving
The Ghost Ship - Wade Denning
The Tell Tale Heart - Edgar Allan Poe
The Railroad Signal Man - Charles Dickens
The Hitch Hiker - Oscar Brand
A Visit To Transylvania - Wade Denning
The Bloody Tower - Frank Daniel
The Haunted Gold Mine - Wade Denning
The Specter - Guy De Maupassant
The Miser's Gold - Oscar Brand
