Coco Cola Presents The Real Thing Steel Band

 

Sell The Pussy

Coca Cola Presents 

The Real Thing Steel Band

At Clay House Inn Bermuda

Edman Records ELPS 1105

Members of the band: Gordon Barrow (Captain), Neil Gibbs, Henry Jordon, Steve Snaggs, Lai Jagroop, Allan Woods, Carlyle Rose, Carlos Peters, Michael Scanterbury, Verold Matthews, Lester Hutchings

From the back cover: The natural gift, which is relatively common in Trinidad for a young man to be able to produce such pleasing sounds from an old oil drum wavering on the same level as a concert orchestra and which is so remarkable to others, is, we feel, displayed to its best advantage on this second recording of the Camboulays Steel Band. You can appreciate even more pieces such as Tchaikowsky's Waltz of the Flowers or the thunderous hymn Jerusalem when you take into account there is no music written for a steel band and that it depends solely on the ability of the Captain to produce suitable arrangements.

The group have been playing together for approximately three years. They started with Lever Brothers of the West Indies and then, after touring for a while in the United States returned to the Clayhouse Inn, Bermuda where they are presently appearing and where they have now acquired a new sponsor, Coca Cola.

The pans were produced by Mr. Bertram Kellman who is well known in Trinidad for his ability to create and tune this unusual instrument. When one mixes the co-operation of the members, with the skill of Mr. Kellman, the leadership of Gordon Barrow, the backing of Coca Cola, and setting of Clayhouse the final results could only be success as evidenced by this record. – B. Watson

Waltz Of The Flowers

Sell The Pussy

Hallelujah Chorus

Granada

Margie

My Way Of Life

Sounds Of Music Medley

Holy City

Rose Of Tralee

Stand

Lisboa Es Sempre Mulher

Goose Pimples - Jim Cullums & Bobby Hackett

 

Chloe

Goose Pimples

Jim Cullums' Happy Jazz 

With Bobby Hackett

Happy Jazz Records AP-96

The Happy Jazz Band Volume 5

1967

Jim Cullum, Sr. - Clarinet

Gene McKinney - Trombone

Jim Cullum, Jr. - Cornet

Bobby Hackett - Cornet

Willson Davis - Sousaphone

Cleff Gillette - Piano

Curly Williams - Banjo

Harvey Kindervater - Drums

From the back cover: If I came charging in with a mouthful of superlatives, bellowing "Bix lives!" I would make an ass of myself. But it would honestly reflect my feelings about the music packaged herein as "Goose Pimples."

I can't afford insinuations that I'm a sort of musical Manchurian Candidate, a patsy for that notorious Texas syndicate known far and wide as Jim Cullums Happy Jazz. So I played the tape of Goose Pimples for Andy Mitchell. Mitch looks like Brunis, plays like "Papa Mutt" Carey, and has dug small band jazz for 40 of his 56 years. He is the only cornet in Philadelphia who can play all five strains of Panama. And he tells it straight.

Mitch settled himself with a pot of black coffee and a small thermos of Gilbey's. "Okay, let's hear it."

As the first track came through Mitch was frowning (no bad sign; he frowns when he sings "Ugly Chile"), but his feet were tapping.

We sat through the tape without exchanging a word. I started to rewind. Finally, Mitch broke the silence. "Oh, man," he said, softly, almost in disbelief, "These guys are just the greatest. This is out of this world."

He asked for a replay of "Buddy Bolden's Blues." It rolled, and he jammed a finger into my face. "Listen to those voicings!" he commanded. "There's no cats in the country get a sound like that."

I agreed wholeheartedly. But I wanted it to come from someone else. In their fifth record, Jim Cullums Happy Jazz has gone and done it again: Proved that you can doff your hat to the jazz past without falling flat on your face; proved that creative musicians can find plenty of artistic scope within the disciplines of traditional jazz.

Jim Cullums Happy Jazz is what happened when good fellows began getting together five years ago to jam in the San Antonio home of James Cullum, Sr., a clarinetist and one-time Jack Teagarden sideman turned wholesale grocer.

Cullum didn't have to look far for a cornet. Jim Cullum, Jr. supplied that. Other San Antonians joined the fun – Gene McKinney, trombone; Willson Davis, sousaphone; Cliff Gillette, piano; Harvey Kindervater, drums.

All had done stints in dance bands. But only Curly Williams, who replaced the group's original banjo player (the late Ben Valfre), works as a full-time musician today.

On this record the lads get a friendly assist from another full-time "musicianer," a great admirer of the band sound which developed from those living room sessions.

His name is Bobby Hackett, and he needs no further introduction to anyone who owns a record player, let alone a record collection.

Bobby and Jim, Sr. have been friends for years. In July (1967) both played several nights at Peanuts Hucko's Club Navarre in Denver. Bobby happened to mention how much he liked the Happy Jazz Band's relaxed two-beat rock (Jim, Sr. calls it "buggy-trot rhythm").

A few weeks later Bobby turned up in San Antonio. By rare coincidence, so did E. D. Nunn, president of Audio- phile Records. Nunn is to high fidelity what Pablo Cassels is to the cello. He happened to have his gear with him. Hackett was packing his cornet.

Working Bobby into the act was a snap. He and Jim, Jr. unpacked their Getzen cornets, and for a warm-up Jim, Jr. stomped off "You Gotta See Mama." Nunn had the second go 'round on tape.

What you will hear has such rare cohesion for a traditional jazz band that someone is bound to ask about written scores. They were used in two instances only. Bix's lead on the outgoing choruses of "Goose Pimples" was scored for two cornets, working from the 1927 Okeh record. Cliff Gillette worked out harmonic interludes and sousaphone high jinks on "Chloe."

Twice-weekly sessions at The Landing in San Antonio, appearances at jazz concerts, musicianship and a rare flair for ensemble teamwork not scores have developed the Happy Jazz sound.

For Bobby Hackett, Armstrong was, is and always will be the greatest." Jim, Jr. feels Lu Watters should get the palm for the best ensemble lead. But there is a lot of Beiderbecke lurking around this record, and not just in the choice of tunes, either. Or maybe that silver bell-struck-with-a-padded-mallet tone is built into Getzen cornets!

For the record, Jim, Jr. plays ensemble lead on all tunes except "Mama." Bobby plays harmony or counter melodies. So... let's get on with it.

Goose Pimples. Associated with Bix but written by Jo Trent and Fletcher Henderson and recorded by Fletcher with his Dixie Stompers for Harmony October 24, 1927, a scant 24 hours before Bix cut the same tune for Okeh. Both labels were Columbia subsidiaries. Bobby solos first, building on a series of descending phrases. Jim opens his 12 bars with a series of ascending phrases. Bobby's tone is always velvet. Jim lets a little edge creep into his..

Memphis Blues. Jim, Jr. opens W. C. Handy's first published blues with a solo on the infrequently played first strain. After ensemble on the second and third strains, Jim, Sr. solos on the first strain with a tone as round and full as the late Jimmy Noone's capacious belly. Another ensemble leads into what to these ears is Hackett's choicest solo of the date. Louisiana. More Bixiana. Jim, Sr. glides gracefully over loose-limbed, "buggy-trottin'" rhythm; a cornet flurry, a la Chicago, brings on Gene McKinney for some simple but effective trombone ruminations. Then the cornets are off on "The Great Chase," swapping four-bar phrases. Jim gets in first licks and sounds downright aggressive in spots; Bobby never loses his cool.

Sorry is still a third tune from the 1927-28 "Bix and His Gang" recordings for Columbia. The Cullum cornet opens this version. Hackett solos after Jim, Sr. and the gang heads happily for home. Maybe this is how Bix would have sounded if he had ever recorded with jazzmen in his own league?

Buddy Bolden's Blues was cut before Bobby's arrival. As compensation, there is some really gorgeous voicing in the opening ensemble, with McKinney playing a harmony line above the cornet and clarinet. Listen, too, to the eloquent plunger work on his solo. Mr. Jelly Lord gets credits for the tune, but chances are it pre-dates his alleged "invention" of jazz in 1902.

Wang Wang Blues. Not a blues at all but a 1920 "jazzy" tune by New Orleans clarinetist Gussie Mueller, White- man cornetist Henry Busse, Leo Wood and Buster Johnson. Bobby's cornet leaps out of the ensembles like a playful deer, and he solos twice, with McKinney getting in some good 'bone between solos.

Mood Indigo. Some Duke's mixture here. Hackett embellishments are a highlight. Very pretty, restrained blowing by all hands, with Jim, Sr. taking the traditional clarinet chorus against soft noodling by Bobby.

Chloe. The dawn comes up like thunder in the guise of Willson Davis's big bass horn. Then Jim, Jr. plays the pick-ups, and Bobby takes the melody solo. Neil Moret the same fellow who penned the rag. "Hiawatha," fathered "Chloe" in 1927.

You've Got To See Mamma Er'ry Night Or You Can't See Mamma at All shows how four skilled front line men can put their horns together without stumbling over one another. Fine ensemble clarinet by the elder Cullum, Bobby and Jim, Jr. swap leads here, and the score card reads as follows: Jim leads ensemble on first chorus and verse; Bobby leads a second chorus into Gene McKinney's solo; Jim leads on the verse into a lower register chorus by his Pa; two ensemble choruses out, Hackett leading the first, Cullum the second.

A Biento translates as "Until We Meet Again" and is a delightful melody by Peanuts Hucko. It's the clarinet of Jim, Sr. all the way, backed by Curly Williams on guitar and Gene McKinney on string bass. The trio sustains a warm, nostalgic mood throughout, while the rest of the mob cool their horns.

Westmoreland Weare. A sort-of-original romp builds on a riff reminiscent of the "Farewell Blues" train whistle and moves into a theme which sounds like "When My Dreamboat Comes Home" after the captain has taken a couple of slugs of Geritol. Garner Clark, Dallas cornetist and old buddy of Jim, Sr. worked up the riff. In the folly of his youth, Clark liked a glass now and then. He lived on Westmoreland Street in Dallas, and his homeward treks are here immortalized by Jim Cullums' Happy Jazz. – ALAN WEBBER Philadelphia, September 27, 1967

Goose Pimples

Memphis Blues

Louisiana

Sorry

Buddy Bolden's Blues

Wang Wang Blues

Mood Indigo

Chloe

You've Got To See Mamma Ev'ry Night

Westmoreland Weave

Spencer's Washboard Kings

 

Spencer's Washboard Kings

Spencer's Washboard Kings

Featuring Miss Jackie Knight

Recorded for Davjon, Ltd. at General Recording Services, London

Engineer: Sean Davis

Musical Director: Carl Spencer

Produced by John Britten

Davjon Limited, London, W1

Davjon DJ 1012

From the back cover: Spencers Washboard Kings are the finest exponents of genuine 1920's music in the country. Having survived the recent 1920's "Boom" they are now firmly established as broadcasting and performing favourites. On this record they play many of the wonderful songs that typify the "Roaring Twenties" in their own humerous and original style. We feel sure that you would welcome personal details of the men who make up this extraordinary orchestra, and we are pleased to supply them below:

Carl Spencer is tall, fair, handsome and leads the Band on the cornet. He was previously with the Dixie Syncopators.

Charlie Smart brings his incredible banjo technique to the Band via his experience with the Back o' Town Syncopators.

Ray Wordsworth at 22 is the youngest member of the group. His sensational trombone playing began when he was with the Davy Jones Band, before he joined the Washboard Kings. Dave Wright plays the tuba and sometimes doubles on banjo. Previously with the Savannah Jazz Band, his ambition is to tour the world before setting up his own Jazz Club.

Ray Lewitt plays drums with the Washboard Kings and is an expert on antiques. He was previously drummer with the Bonzo Dog doo dah Band.

Brian Hills – known as the Legendary Brian Hills-is the band's clarinetist. Previously with the Downtown Syncopators. He is a particular fan of Coleman Hawkins and Bessie Smith.

Malcolm Everson also plays clarinet and alto sax, but on this record, principally plays the baritone sax. His ambition is to be a fully competent musician on all instruments, and he previously played with Colin Kingwell's Jazz Bandits.

Last, but by no means least, Neville Dickie, can be heard on the "Tea for Two" track. Neville's ambition is to make his name as a solo pianist and by the sound of his playing that day cannot be too far off. He was previously with the Brian Green Jazz Band.

California Here I Come
Miss Annabelle Lee
Deep Henderson
I Wish I Could Shimmy Like My Sister Kate (Featuring Miss Jackie Knight)
I Miss My Swiss Miss (Featuring the Rev. Barry Dunning, spinster of this parish)
Sweet Emmalina
Button Up Your Overcoat
A Cup Of Coffee (Featuring the Rev. Barry Dunning again)
Pasadena
2nd Hand Rose (Featuring the return of the delectable Miss Jackie Knight)
Tea For Two, a piano piece highlighting the multi-fingered dexterity of Neville Dickie)
Last Night On The Back Porch
Old Comrades March

Futura - Bernie Green

 

Ping Pong

Futura

Stereo Action

The Sound Your Eyes Can Follow

Bernie Green and His Orchestra

Produced by Lee Schapiro

Photo: David B. Hecht

Recorded in RCA Victor's Studio A, New York City

Recording Engineer: Bob Simpson

Stereo Action Mastering: Marty Gold and Jack A. Somer

RCA Victor LSA-2376

1961

From the sleeve: THE STORY BEHIND THIS ALBUM FUTURA... What will popular music sound like in 1970? In this album we are probing with both ears for full Stereo Action perception. We intend to foreshadow the future sounds and techniques of popular music recording. – BERNIE GREEN, Orchestra Leader, circa 1961

Bernie Green, an orchestra leader who became endeared to millions when he conducted the unusual music for Henry Morgan's weekly radio show not too long ago, is a musician who could well belong to the generation that will walk the earth in 1970. His ideas and techniques, particularly his tonal color achievements and his unabashed sense of musical humor, have placed him in the classification, "Ahead of His Time."

FUTURA was conceived by Bernie Green a full two years before Stereo Action made its debut. The arrangements were written with an eye to the future. They literally cried for performance in Stereo Action. Now that time has caught up with Mr. Green, and his musical ideas have become practical due to the development of Stereo Action equipment by RCA Victor engineers, this album appears to be headed for a classification as unique as that into which its creator has been placed: "Most Exciting Album Yet."

Some of the electronic techniques used in FUTURA are pretty far out. In the program notes overleaf Mr. Green will describe them as closely as words can. They have opened an entirely new field of work in the popular music area. Many of the orchestral devices and techniques used for color and texture are Mr. Green's own, and come from a mind in constant creative ferment. – FERRIS BENDA

THE STORY OF STEREO ACTION  – Stereo Action is a revolutionary new concept of stereo recording in which instruments, singers, whole sections, and even full orchestras are placed into movement so that the listener has, literally, music his eyes can follow.

Stereo Action is a conscious and deliberate effort to set music in motion by utilizing actual movement of instruments and sounds from one speaker to the other, and even, at times, suspending an instrument or sound between speakers. It is a pioneering concept in stereo listening, and resulted from years of extensive experiments and remarkable technical break-throughs by the RCA Victor corps of engineers.

Stereo Action requires a wholly new approach to recording. Musical motion is first conceived by the composer and arranger. Every note of the music to be recorded must be scored with Stereo Action in mind, as if it were a new and dominating musical instrument or voice. An elaborate sys- tem of charting each and every instrument for proper stereo placement guides the actual scoring. In addition to the musical annotation, a companion series of non-musical diagrams for the studio work is developed.

This wedding of musical artistry and electronic creativity produces Stereo Action – literally, the sound your eyes can follow.

GUIDE TO LISTENING

SIDE 1

FUTURA The title song of our album points the way to the dance band of the "70s, its rhythm, color. and harmonic qualities.

The introductory rhythmic figure played by bass, guitar and xylophone moves from right to left. Listen for the movement of the soloists as they enter. Each time the flute, sax and trumpet carry the melody, they move across from side to side. Watch for the trombones coming at you... then around you at the close! (ASCAP 1:48)

I LOVE PARIS – One of the results of rural electrification was to make the amplified guitar the most. popular musical instrument in the U.S.A. By 1970 there will be enough fine virtuosi of this instrument so that this arrangement for six electric guitars and percussion is a safe bet to be "voguey."

An eerie steel guitar floats across your speakers from the right with the melody at the start. A bass guitar solos in the second chorus and takes a walk while doing it. The steel guitar returns for another stroll toward the end. (ASCAP 2:04)

PING PONG – Stereo will have such a profound effect on composers that they will write especially for the medium. Ping Pong is such a composition. It is a duet for vibraphones in which the melody is batted from one speaker to the other by the two soloists. There are four vibes strung across the space between your speakers. Try to determine where the Stereo Action electronic movement begins and Bernie Green's arrangement for the vibes quartet leaves off. Or does it? (ASCAP 3:01)

KISS OF FIRE – The things done with magnetic recording tape will amaze us all. This is the first example available to the public of a new process called "Animated Tape." The notes of the solo part were recorded separately, measured and cut to proper length, then spliced together. Each bar of music required precisely twenty-eight inches of recording tape. Quarter-notes were seven inches long, eighth-notes three and one-half inches, and sixteenth-notes one and three-quarter inches. There were 778 splices in the complete solo track. The original trumpet notes were played by Tony Greenwald and each one was a real sound. Remember, you heard it here first!

Our patchwork phantom soloist bounces back and forth from speaker to speaker at the start, then pro- ceeds to float, somewhat jaggedly, between the speakers as he moves from side to side. The bass guitar and piano in deep registers set off the work of the soloist. Listen for a couple of flashes of the world's weirdest piano about halfway through. (BMI 2:23)

THE MUSIC BOX WALTZ – Just as the guitar vogue is a product of rural electrification, the vibraphone is a product of urban electrification. Just as the elec- tric guitar is a favorite "country" instrument, the vibraphone is a favorite in the city jazz spots. If in 1970 we have guitar orchestras, we assuredly will also have vibraphone orchestras such as the one that plays The Music Box Waltz.

The solo vibraphone at the start moves airily from the left over a shimmering background. The middle soloist also moves, but he takes the rhythm section with him. (ASCAP 2:37)

OUT OF THIS WORLD – Somehow the title seems to fit this album and we believe the arrangement does, too. After an introduction by bongos, piano and flute, there is a high, floating bass clarinet solo. This is an instrumental color not heard now. Shortly there follows a dazzling obbligato on the solo violin. We predict that these two colors will find places for themselves in the big band palette of 1970.

Everything's in a hurry at the start. The bongos rush from right to left, the piano rushes from left to right, and the flute races from right to left and back again. Listen for the bass clarinet's entrance from the right. The bass clarinet and the flute cross against each other, with the flute's figure setting up the violin figure to follow. The violin crosses from the right behind the bass clarinet, alto sax, and then the soprano sax. There's movement galore, and much of it threatens to go out of this world, like those trumpets at the end. (ASCAP 3:43)

SIDE 2

UNDER PARIS SKIES (Sous le ciel de Paris) – We unveil an interesting new electronic device called the Tonalyzer. Musical tones piped through the Tonalyzer may be sent shimmering upward or cascading downward in startling fashion. At the moment the Tonalyzer is in a very hush-hush stage, but we predict that one day it will be an important part of every well-equipped recording studio.

Watching the opening movement here is like being at a tennis match. The Tonalyzer sound opens from the left, then from the right, and so on until your neck hurts. Clue: keep your eyes and ears on the trumpet. And listen for more of the "Animated Tape." (ASCAP 2:10)

(All of a Sudden) MY HEART SINGS-In the future this will be an "old standard," popular among the guitar orchestras of the period. It might be given a nostalgic rock-'n'-roll treatment as it is here. Some touches of "Animated Tape" are used in this arrangement.

The "Animated Tape" is heard from the left at the start just before the finger-popping begins, and again before the guitars dig into the melody. Listen for the movement of the various guitars as they cross, criss-cross, and wander about. (ASCAP 2:08)

PENTAGON – It has been said that a pentagon is a five-sided square. That definition, not being a musi- cal one, does not apply here. The first half of this number is in 5/4 time and there's nothing square about it at all. It is for a dance called "The Pentagon." In 1970 this dance may be as much a part of American culture as the Square Dance is today.

The score of this work, with the Stereo Action movement marked in red, looks a lot more frightening and complex than The Pentagon in Washington, D. C. The trombones enter from the right, setting the rhythm. Listen for the wandering solo trumpet to come in from the left. Note how the sound seems to burst open with each sweep of the xylophone. (ASCAP 2:38)

STEEL BONES – There is an association from "dry bones" to the xylophone to the vibraphone to Steel Bones. This composition (based on Dry Bones) is played by The First Vibraphone Quartet. We sin- cerely believe it will not be the last vibraphone quartet.

There's movement here right from the opening fig- ure. And whenever that figure appears through the piece, there's more movement. The sound is that familiar light and airy blend of the vibes ensemble. (ASCAP 3:27)

I'LL REMEMBER APRIL – In 1970 this will be called an old-fashioned fox trot... but the country club set will still like this kind of music and dance to it. Note how the vibes and the bass each float from right to left in the introduction. Later on, there's some reed section movement, and some surprises. Talk about your walking bass... (ASCAP 2:15)

FUTURA (Reprise) – This treatment of Futura combines "Animated Tape" loops as a rhythmic pattern with the orchestra of guitars. Possibly by 1970 the "Animated Tape" machine will be a part of the rhythm section of every dance orchestra.

The "Animated Tape" and bass clarinet do most of the movement at the start. You figure out what you're hearing at the end! (ASCAP 1:55) – Program notes: BERNIE GREEN, Stereo Action notes: FERRIS BENDA

The Story Of A City - Kansas City Life Insurance Company

 

The Story Of A City

Proud Heritage

The Story Of A City

Presented by Kansas City Life Insurance Company

December, 1956

Also included inside of the jacket (as found):

Proud Heritage

Kansas City Life Insurance Company

Dr. Everett Hendricks, Dir.

Jim Lawless, Narrator

Easy Cup Of Coffee - Jimmy Reesor

 

Television Atom Bomb

Easy Cup Of Coffee

Jimmy Reesor & Orchestra

Arranger: Larry Benson

Music Director: Buzzy Orange

WAX STEREO SLP 409

1971

Sunday Morning Coming Down

Yesterday

Busted

Green Green Grass Of Home

Lord Jesus Lives

Abraham To Be Free

Release Me

Television Atom Bomb

Dreams Of The Everyday Housewife

Bright Side Of The Sun

Come Scuba-do With Me - The Barefoot Man

 

The Planet Ocean

Come Scuba-do With Me

The Barefoot Man

Front Cover Design: Mrs. Barefoot (Geri Nowak)

Recorded in the Cayman Islands and Mark-Five Studios, Greenville, South Carolina

Cayman Recording by Art Records, Ft. Lauderdale, Florida

Barefoot - Vocal and Rhythm Guitar

Phillip Bodden - Lead Guitar and Back-up Vocal

Harry Johnston - Bass and Back-up Vocal

Don Foster - Drums

Irving Ellis - Steel Drums

Barracuda

The Well-Equipped Diver

Tiny Bubbles

I Get Hight By Going Down

The Planet Ocean

Scuba-do With Me

It's A Moray

Divers Do It Better

Dive Club

Land Sharks

The European Touch - William Donati

 

Yesterdays

The European Touch
Featuring William Donati (pronounced DŌ-NHA-TE) 

Donati and His Quartet Playing American Modern

Produced and Directed by Robert Scherman

Artwork by Ray Rich

Photography by Ralph Poole

Tampa Records, Inc. - Hollywood, California

Tampa TP-17

From the back cover: Piano, cello and bass combine to present an unusual offering of selections arranged by William Donati. Donati on piano, has added cello and bass with striking results. The use of cello allows the piano more freedom and also allows it to engage in extensive counterpoint. And when the piano sings the cello can employ counterpoint. To this, the bass adds the beat plus giving it bottom. This sound is altogether new. William Donati calls it Bach jazz and the listener is conscious of hearing new tonal sounds. It is not all jazz nor confined to classical concert. The appeal of this album mainly lies in the fact that it is something fresh. Something different and for that reason could readily acquire a large audience. For words are inept to describe this album. Set the needle down listen for yourself - The tunes are - "Laura" a beautifully improvised piano solo. "How High The Moon" a swinging ball. A tender haunting "Yesterdays". "Funny Valentine". An original Donati tune entitled, "Firefly" and "I Get A Kick Out Of You".

William Donati was born in Italy and has traveled extensively the world over giving concerts. Playing the popular tunes of American composers as well as the old masters. With his classical background, the shadings, tonal quality and progressive harmonic changes are welcome sounds to the popular field of piano music.

I Get A Kick Out Of You

Yesterdays

Laura

Funny Valentine

Firefly

How High The Moon

If I Can Help Somebody - Kenneth Glover

 

If I Can Help Somebody

If I Can Help Somebody

The Touching Voice of Kenneth Glover

B/K Productions - Los Angeles, California

STEREO 1004

Create Me A Soul

King Jesus Will Roll All Burdens Away

Blessed Jesus

Rock My Soul

If I Can Somebody

He's Everything You Need

Did You Stop To Pray This Morning 

Without Him

Touch Me Lord Jesus

How Great Thou Art

He Knows How Much We Can Bear

Have A Little Talk With Jesus

"Miss Caravan" - Albertina Walker

 

Soon I Will Be Done

Albertina Walker

"Miss Caravan"

Supervision: Fred Mendelsohn

Recording: Rev. Lawrence Roberts

Mastering: Medallion Studios

Engineer: Paul Cady

Gospel Record, Co.

GOSPEL MG-3051

A Division of Savoy Records, Co., Inc.

From the back cover: Albertina Walker, "Miss Caravan" herself, has through the years spawned many of today's brightest stars, such as James Cleveland, Bessie Griffen, Dorothy Norwood, Inez Andrews, Shirley Ceasar, among many others. She is and has been a veritable star maker. The reason is because she has always surrounded herself with the very best, but so that the listener will never forget, "Tina" herself is a most outstanding soloist in her own right as this album so beautifully displays.

As Rev. Lawrence Roberts, director of Savoy Records so aptly explains, "Tina transforms any setting into a church". This she does because when "Tina" sings, no matter where she sings, "Tina" is with God, and God with all his goodness has so generously blessed this servant with a talent that is indeed rare, but a talent which "Tina" so unselfishly gives of herself.

In our quest to bring the listener the unique and unusual, and as an answer to the many requests we have had for such an album, we proudly present the great ALBERTINA WALKER in a program of solos that are sure to soothe, stimulate and satisfy the soul.

Tell The Angels

It's Real

Soon I Will Be Done

How Do You Plan

I Love To Tel The Story

I Came To Jesus

Where Of Today I'm Glad