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!
Shelby Flint Arranged and Conducted by Perry Botkin, Jr. Cover by George Jerman / Ken Kim Valiant Records, Inc. VALIANT LP 401 Distributed by Warner Bros. Records, Inc. 1961
Available from online vendors so I will not be posting a sample. Presented here to share the cover art and jacket notes excerpt.
From the back cover: Shelby is unashamedly "enthusiastic" when it comes to what she calls "my kind of music, folk music." A fan of participant in folk singing since her high school days in Los Angeles' San Fernando Valley, when she joined a folk song trio, she is still very genuinely surprised by her commercial singing success. As a matter of fact, Shelby is a dedicated anti-commercialist. When approached with the usual questions, such as "What is your greatest professional goal," Shelby honestly and frankly says, "I have none. I want to star right here at home with my husband and new baby girl, Tara Lee. I think my career is, well, as accident. Barry De Vorzon, the man who first brought me to records, is the one person to whom I owe most of my success.
Shelby met De Vorzon while in school. "I never had sung professionally before," Shelby recalls, "and had never had any aspirations to. My main interest in singing was in folk music, but I had performed only for friends, school programs, and civic groups." De Vorzon found Talent in the young Miss Flint; he and his partner Billy Sherman recorded her, and shortly thereafter were able to watch Angel On My Shoulder begin to climb up the national popularity charts. This was the beginning.
The success of that recording prompted the album, in which Shelby joins with Arranger Perry ("Bunny") Botkin, Jr. It is he who has added the instrumentations to Shelby's voice and guitar, backgrounding her with a variety of woodwind and string groups chosen to set Shelby off to her best advantage. Joey Quiet Kind Of Love Scarlet Ribbons Lavender Blue Far Away Places I Will Love You Heather On The Hill The Riddle Song Danny Boy Hi-Lili, Hi-Lo Every Night Angel On My Shoulder
Percolator Twist
And Other Twist Hits
The Drums Of Earl Palmer
Producer: Snuff Garrett
Engineers: Eddie Brackett and Jim Economides
Cover Design: Francis & Monahan, Inc.
Photography: Garrett-Howard, Inc.
Liberty LRP-3227
1962
From Billboard - April 7, 1962: Drum star Palmer sets a fine, danceable beat for 12 catchy Twist tunes on this teen-appeal package. The line-up presented attractively by ork and young vocal chorus, includes such recent and current hit single songs as the title tune, "Dear Lady Twist," "Midnight In Moscow Twist," "The Twist," "Hit The Road Jack Twist" and "Twistin' The Night Away."
Percolator Twist
Twistin' The Night Away
I'm Blue (The Gong-Gong Song) Twist
Peppermint Twist
Dear Lady Twist
Midnight In Moscow (Twist)
The Twist
Hey! Baby (Twist)
Hit The Road Jack (Twist)
I Know (You Don't Love Me No More) Twist
Hey, Let's Twist
Let's Twist Again
The Stroke Of Genius
Charlie Byrd
Aquarius
Produced by Teo Macero
All Selections Arranged and Conducted by Teo Macero
Engineering: Stan Tonkel, Frank Laico and Russ Payne
Cover Photo: Frank Bez
Columbia CS 9841
1969
Personnel:
Charlie Byrd - Guitar
Bernard "Pretty" Purdie - Drums and Percussion
Bobby Rosengarden - Drums and Percussion
Ed Shaughnessy - Drums and Percussion
Herbie Hancock - All Keyboard Instruments (Courtesy of Blue Note Records)
Mario Darwin - Flute
Joe Mack - Fender Bass
Vinnie Bell - Electric Guitar
Romeo Pence - Flute, Alto Flute, Oboe, English Horn and Piccolo
Aquarius/Let The Sunshine In
My Way
Galveston
Time Of The Season
Julia
You've Made My So Very Happy
Traces
While My Guitar Gently Weeps
The Way It Used To Be
Happy Heart
Where's The Playground Susie?
Here's Art Tatum Piano Solos Art Tatum Trio Brunswick BL 54004 1955
Available from online vendors so I will not be posting a sample. Presented here to share the original cover and jacket notes excerpt.
From the back cover: Born in Toledo, Art got his first chance to appear in public over his hometown station WSPD. He had begun at 13 as violinist, but Art soon recognized that the piano was his natural medium. After three years, Art left Toledo for Detroit, went on to New York, after which he shuttled between the East and Midwest. In 1938 he found himself in England where he became a sensation. He had always been interested in the classics – Chopin had been his favorite composer since youth – and his favorite pianists were such eminent classicists as Leopold Godowsky, Vladimir Horowitz and Walter Gieseking. Somehow, he was able to blend a classical feeling with a strictly modern rhythm and a forceful jazz technique.
Honeysuckle Rose Moonglow I Got Rhythm Begin The Beguine Tea For Two Stormy Weather Gone With The Wind St. Louis Blues Cocktails For Two Deep Purple After You've Gone Rosetta
Pete Fountain Presents
Jack Sperling and His Fascinatin' Rhythm
Drum Solos with Orchestra Featuring Pete Fountain
Directed by Charles Dant
Coral Records CRL 57431
1961
From the back cover: On each of the previous Pete Fountain albums for Coral the propelling factor at the drums has been Jack Sperling. It is not inappropriate, then, that such a basic and yet highly important integer be showcased with a special spotlight. And to add color, special arrangements were written, and a hand-picked group of musicians rounded up for the occasion. Don Bailey, who has appeared with Pete on at least one of his albums for Coral, and who is a Kenton big band alumnus, did the arrangements. Pete told me, gleefully, that after "Bags" has completed a couple of arrangements for the date he brought them in to Bud Dant and said, "Give me some more to do, man; my chops are fine!" Which, (in musicians parlance) usually refers to physical condition in playing, and more specifically embouchure; but in this case it was the arranging ideas that were flowing easily; and as you will hear, the results were as colorful and direct as Bagley's speech.
Rounding out the rhythm section and comprising the rest of the basic a quartet with Pete and Jack are pianist Stan Wrightman and bassist Morty Corp – both veterans of the jazz scene and no strangers to recording dates with Pete and Jack.
It's something of a tribute to Jack Sperling that I can't tell you minute biographical details about him. After I'd had a chance to give an advance dub of the album a listen we chatted long-distance (I here in New Orleans and he in Hollywood) and in my enthusiasm for the music I had heard and in discussing it I forgot to ask him where he was born, which shoe he ties first, how he likes his eggs (or if he even likes eggs!) and all that jazz. This we know: that he was with the Glenn Miller band that Tex Beneke took on the road right after World War II; that subsequent to that he became Les Brown's drummer and held that chair for several years on a steady basis, eventually relinquishing it to accept a position as staff drummer at NBC, but still working with Les on the Bob Hope TV shows. Needless to say he's an experienced, talented and swinging drummer; and if you can corner him long enough between duties, recording dates, etc., I'm sure he'll be glad to fill you in with additional personal data...
From Billboard - February 13, 1961: This happy, swinging set features Pete Fountain along with drummer Jack Sperling and musicians Stan Wrightsman, Bill Russelton and Conrad Gozzo, in a group of jazz classics. The tunes include "Sing, Sing, Sing," "Hawaiian War Chant," "Wire Brush Stomp" and "Big Noise From Winnetka." They are played with the usual Pete Fountain sparkle. Fountain is on clarinet and he's backed smartly by the combo. Album could be a big seller.
Fascinating Rhythm
Golden Wedding (La Cinquantaine)
Big Crash From China
Cute
Sing, Sing, Sing (With A Swing)
Hawaiian War Chant (Ta Hu Wa Hu Wai)
Wire Brush Stomp
Scott Free
Las Chiapanecas
Quiet Please
Creole Gumbo
Big Noise From Winnetka
Johnny Grelle's
Raggedy Ann Songs And Stories
Frank Luther
Vocalion
A Product Of Decca Record
VL 3665
1959
From Billboard - October 26, 1959: Strong low price kiddie merchandise. Luther does such material as "My Raggedy Ann," "The Cheery Scarecrow," "The Fairy Ring," and many other pieces of material.
My Raggedy Ann - The Cheery Scarecrow
The Fairy Ring - The Worn Out Doll - The Cookie Bush
Mother Dear - Belove Belindy - Frederika
The Swinging Brooklet - Christmas Morn - Little Wooden Willie
The Tired Old Horse - Coo Coo Clock
Snoopwiggy - Happy Bluebirds - Raggedy Andy
Accompanied by Jesse Crawford At The Organ (side two)
Raggedy Ann and Andy and The Nice Fat Policemen
Raggedy Ann and The Golden Butterfly
Raggedy Ann in The Magic Book
Gershwin For Moderns
Ted Heath And His Music
London LL 1217
1955
Personnel:
Ted Heath - Leader
Bobby Pratt, Bert Ezzard, Duncan Campbell, Eddie Blair - Trumpets
Wally Smith, Don Lusher, Jimmy Coombes, Ric Kennedy - Trombones
Les Gilbert, Roy Willox - Alto Saxes
Henry McKenzie - Tenor Sax & Clarinet
Danny Moss - Tenor Sax
George Hunter - Bariton Sax
Frank Horrox - Piano
Johnny Hawksworth - Bass
Ronnie Verrell - Drums
On Nice Work If You Can Get It, George Hunter (Baritone Sax) is replaced by Ken Kiddier
From Billboard - September 17, 1955: When Ted Heath played his most recent concert at the London Palladium August 21, London Records had its engineers on hand to tape the affair. This month the firm is releasing an earlier concert from the same source. No. 3 in the series. Heath also is represented this month with his "Gershwin For Moderns" LP.
The Man I Love Love Walked In
Nice Work If You Can Get It
Love Is Here To Stay
Clap Your Hands
I Got Rhythm
But Not For Me
Someone To Watch Over Me
That Certain Feeling
Embraceable You
Changing My Tune
Soon
At The Varsity Drag The Australian Jazz Quintet Illustration by Burt Goldblatt Recorded July, 1956 in Hollywood, California Bethlehem Records BCP-6012
Dick Healey - Alto, Flute Errol Buddle - Tenor, Bassoon Jack Brokensha - Vibes Bryce Rohde - Piano Jimmy Gannon - Bass Frankie Capp - Drums
From the back cover: The title of this album, besides being the name of one of the tunes, is in honor of the success of the group with the younger, college set. Even though the costumes of the collegian crowd isn't as depicted on the cover, the spirit is still with us in their appreciation and support of jazz of all kinds. The Australian Jazz Quintet's success is naturally partly due to this kind of youthful support of their appearances in clubs, at "Varsity Drags" and on records.
This is the Quintet's first complete twelve inch record. The others in the Bethlehem catalog are all or partly by the earlier quartet.
The group is heard here in a well rounded sampling of their current product: jazz, within the framework of swinging arrangements, interpreted on their many instruments.
The Quintet, with the addition of an extra man for this recording, here has a full rhythm section of piano, bass and drums (not including vibes). Perhaps because of the added rhythm, on the out-and-out "swingers" like That Old Feeling, New South Wail or Koala, the group swings harder than on their earlier records.
ALONE TOGETHER - The Schwartz-Dietz evergreen is here given a middle of the road reading. As a featured part of the arrangement are contrapuntal lines giving the impression of a Modern Jazz Quartet type of sound.
KOALA - This Bill Holman original honors the Australian animal that the dictionary calls "an arboreal marsupial, about two feet long, with large hairy ears, gray fur, sharp claws, and feeding upon eucalyptus leaves." The arrangement calls for "mainstream" blowing by Broken- sha on vibes, Buddle on tenor and Healey on alto.
THAT OLD FEELING - First there's a quiet impressionistic introduction and then the "swinging" begins; there are sax choruses by Buddle, Healey and Frankie Kapp on drums sandwiched in between arranged sections; the whole thing ends almost as quietly as it began.
AFFAIRE d'AMOUR - Bill Holman has here written a lovely original which features the softer side of the quintet, with vibes, the flute of Healey and Buddle's bassoon to be heard.
THE LADY IS A TRAMP - Flute and bassoon are here to be heard playing arranged lines that could bring sprightly classical music of the baroque period to mind; they also take choruses as does Rohde on piano. For the "blowing" finale Healey and Buddle switch to saxes.
LOVER MAN This track features the flute of Dick Healey on the "chorus" and the bassoon of Errol Buddle on the "release." The mood is a pretty one and the alternating between flute and bassoon provides a pleasant contrast in musical colors.
THE THRILL IS GONE - One of Brown and Henderson's all-time favorites is here given a typically interesting A.J.Q. arrangement.
NEW SOUTH WAIL - Another "mainstream-of-jazz" number; it's a Med Flory original and the A.J.Q. gets a chance to blow freely. The pun in the title is too obvious to point out.
FEW GET IT - Kloman Schmidt's original with the intriguing title (interpret as you will) is here played by the A.J.Q. as if it were "one of those good ole good ones," to quote one of the immortals.
SO NICE On this original by Bill Holman, as well as on the others in the album, the A.J.Q. makes itself very much at home. Quite possibly this comfortableness comes from playing the material on the job. Of course the fact that they work together steadily also lends a fine group feeling to their work.
VARSITY DRAG - The title tune, so to speak, is given a bright flute, bassoon and vibes treatment in the state- ment of the theme that opens and closes the track. In between there are tasty choruses by bassoon, piano and flute.
IT MIGHT AS WELL BE SPRING - Another pretty, flute and bassoon arrangement that contrasts very much with the "jazzier" numbers in the album. – Joseph P. Muranyl
From Billboard - December 22, 1956: The title emphasizes the great appeal that this group has for the college set and for young people, generally. The AJQ strives for a sound and musical approach that lies somewhere between the Modern Jazz Quartet and that of the Shearing combos. Typically, it's soft, "cool," impressionistic – and accessible. Rather commercial, perhaps, but certainly not devoid of serious musical interest. Jack Brokensha's work on vibes is particularly worthy of note. Dick Healy contributes a fine flute solo in "Lover Man." To show off the swingy, extrovert side of the AJQ, demonstrate "The Lady Is A Tramp."
Alone Together Koala That Old Feeling Affaire d'Amour The Lady Is A Tramp Lover Man The Thrill Is Gone New South Wail Few Get It So Nice Varsity Drag It Might As Well Be Spring
The Cheerleaders Sing Dixieland Jazz
Under Direction of Sid Robin and The Post Paraders
Carlton Record Corporation LP12/105
1958
Available from online vendors so I will not be posting a sample. Presented here to share the original cover and jacket notes excerpt.
From the back cover: What makes a "good group"? The answer is obviously a personal one and each of us would define it in his own terms. But there are certain things that must be common to both your definition and mine: The Cheerleaders sing in tune. Now there's a gimmick in itself. Pay Pinney, Donna Manners, Tom Roddy, and Joe Pryor (as you listen from the top voice down) work as a unit – on one is flying off on an irresponsible tangent like a loose neutron which has just spotted a pretty female portion next door. There is cohesiveness in the way The Cheerleaders perform. A unity that can only verify their having been together since 1950, and digging it!
The shame of the music business is sometimes its lack of immediate recognition for deserving artists. There are many logical and illogical reasons for this which we needn't burden ourselves with here. Suffice to say that The Cheerleaders, although perhaps new to your record player, have a large and loyal following thanks to appearances in such diverse media as New York's Blue Angel", Palace Theater, and T.V.'s Dave Garroway, Tennessee Ernie, Betty Hutton and Frank Sinatra show. – Jack Lazare
From Billboard - November 17, 1958: The bright, bouncy sound achieved by The Cheerleaders in this platter is more in the mood of the old Pied Pipers and Modernaires groups than anything that came out of New Orleans. About half of the songs are "semi-Dixie" treatments of oldies like "Copenhagen," and the rest, like "Woodchoppers' Ball," are almost straight swing vocals. Nice stereo work, with singers "centered" before Side Robin's ork. rather than confined to one channel. Group's fans should like it.
King Porter Stomp
Monday Date
Undecided
Savoy Blues
Copenhagen
Yancey Special
New Orleans Post Parade
Nocturne For The Blues
Sweet Lips
Woodchoppers Ball
Cornet Chop Suey
Wrappin' It Up
Here's Cugat Featuring Xavier Cugat and His Orchestra Mercury Records MG 25120
1953
Available from online vendors so I will not be posting a sample. Presented here to share the original 10 inch jacket art.
From the back cover: It is no accident that Xavier Cugat is acclaimed the foremost exponent of Latin-American music today, for he comes from a family which prided itself on its patronage of the arts and which traces its ancestry back several generations in Spanish history. He was born in Barcelona, Spain, studied music at the finest conservatories in Europe and groomed for the concert stage.
It was during a concert in Rome that the Great Enrico Caruso heard the brilliant young violinist, Cugat, perform and persuaded him to accompany him on a tour of the United States. After remaining with Caruso for five years, Cugat realized that he could not become the greatest concert violinist in the world, and if he could not be the greatest, he would seek a new vocation. Thereupon, he decided to do cartooning, which had been a hobby of his since he was a young man. He achieved great success as a cartoonist for the Los Angeles Times newspaper, but finally became bored with the routine of having to meet deadlines and once more returned to his first love – music.
He formed an orchestra in California featuring Latin-American music. This type of music was partially unheard of at that time, but his unique treatment of it soon "educated" the public and was widely accepted. Credit, in considerable part, is due Xavier Cugat for the popularity of the Rhumba, Tango, Conga and Mambo today, for his music not only popularized but actually influence these dance rhythms.
