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!
Organ Grinder's Swing
Bent Fabric
Cover Photo: James Moore
Cover Design: Loring Eutemey
Recorded by Metronome Records, Copenhagen, Denmark
ATCO / A Division of Atlantic Records Corporation
SD 33-164
1964
From the back cover: Bent Fabric has been the host of various Saturday night TV shows in Copenhagen. His current program, "The Blue Hour," is the name of a fictitious restaurant where Bent, ensconced at the piano, entertains the patrons. Naturally, many show business personalities dine at the restaurant and they are given the opportunity to sing or perform for their supper. The show is Denmark's most popular TV program. – Bob Altshuler
Organ Grinder's Blues
As Time Goes By
Darling, Je Vous Aime Beaucoup
Liza
In A Little Spanish Town
Blue Hour
In Einer Kleinen Konditorei
Sweet Georgia Brown
Nagasaki
Stumbling
I'm Confessin'
Goofus
Harmonica Favorites
George Fields With Orchestra And Chorus
Produced by Dave Pell
Tops Records L1665 & 9665S
1959
From the back cover: For our harmonica virtuoso, we are privileged to bring you the renowned master of the instrument, George Fields. You have thrilled to his harmonica magic in such motion pictures as "Raintree County," "Ruby Gentry," RKO's "The Naked Sun," Warner Bros.' "Goodbye My Lady," among others. On television, you have heard him in the "Playhouse 90" and "Climax" series, to name a few.
Hot Canary
J'Attendrai
Pizzaria
On A Little Street In Singapore
Left Bank Louie
I'll Remember April
Nocturne For The Blues
Lover Man
Adventure
I'll Walk Alone
Helter Skelter
Sentimental Journey
From Billboard - April 30, 1955: The teen-age songbird thrushes 12 tunes (some formerly released as singles) with varying degrees of success. The coloratura soprano is at her best when she remains within her own field. Her voice is pure and lovely when she applies it to operatic arias, but somewhat less impressive when she tries to swing over into the pop field field with "Kiss, Kiss, Kiss," However, the inclusion of this kind of pop material may account for extra sales to pop customers. Record-wise, Anna Maria Alberghetti is best known for her performance on Mercury's sound track album "The Medium" and dealers should be wise to remind prospective buyers of this fact. They also might stir up some extra business among movie fans, in view of the singer's appearances in a couple of Paramount's films (Bing Crosby's "Bride and Groom," Rosemary Clooney's "The Star Are Singing") back in 1952.
From the back cover: "Vocal prodigies come alone so rarely that it is no wonder that there was such incredulity and delight last night at Carnegie Hall. A coloratura soprano who was a real wunderkind (wonderchild) made her appearance there. She was Anna Maria Alberghetti." Reprint from the New York Times Music section April 29, 1950
Also from the back cover: Anna Maria was born May 15, 1936, in Rome, Italy. Her father, taking one look at the robust infant, immediately announced to his friends and family that he had a famous singer for a daughter. That insistence, which during her infancy branded him an over-doting father, has been borne out ever since. Daniele was himself a fine, aspiring tenor at the start of his career, but a vocal coach urged him to swing to the baritone range. Because of the strain placed upon his voice, Daniele halted his career early because of the realization that his vocal equipment had become worn prematurely. Seeing that his career was blighted, he vowed that his first-born should see the long and successful career which he has not been able to fulfill.
The Island of Rhodes, where Anna Maria spent her first year, became a bomb-blasted area as the years of World War II extended. A stopping off place for Italian and German naval shipping. It was regularly bombed by the Allied fleet and planes. As a result, Daniele and Vittoria determined to leave the island in 1942. Because both of them were employed at the government-operated Conservatory, Italian law demanded that civil service employees remain at their posts along with their families. Daniele twice petitioned the island's governor, but was turned down twice on his effort to move his family, which, with the birth of a second daughter, Carla, in 1939, had grown to four. As a last effort to win the governor over, Daniele started a concert in early July, 1942, at which precocious six-year old Anna Maria made her first public singing appearance, doing the difficult Caro Noms from Rigoletto. The governor, impressed by the child's voice realized that Daniele wanted to save the family because of the musical possibilities offered by the tiny tot's voice. He agreed to let the two children move to the Italian mainland, but forced the parents to remain on the island.
During the ensuing two months, the Mussolini regime fell and the parents and two daughters were re-united at Pesaro, a coastal community on the Adriatic shore. When the fighting between Italian and German troops and the Allies reached this area, the family moved inland to a farm, about 15 miles from Pesaro, where Paulo was born February 7. Looting became rampant and the only possessions of any value salvaged were a piano, which thieves found too heavy to steal and which Daniele had to haul two miles on a wheel barrow with the aid of a friend; and his cello.
When the Allies occupied Pesaro a year later, the Alberghettis returned to their home in the costal town. It was here that Anna Maria made her first big appearance with her father and mother, who as conductor and soloist, respectively, with a symphonic wing, did camp shows for Allied troops, Anna Maria still recalls the heaps of chocolate candy with which the GI's applauded her performances.
In 1946, Daniele received special permission for Anna Maria, now 10, to work as an added extra attraction at the "Concorso," a regional competition for the brightest adult singers from each city. After her guest appearance, the judges, veteran musicians, singers and conductors, voted to crown Anna Maria the best talent they had observed. She was the first child ever so honored. Again, her winning song was Cara Noms. During the latter part of the year, the three Alberghettis worked their first professional concerts together in smaller Italian cities such as Catholic, Riccone and Urbino, with Anna Maria billed as "The Smallest Soprano in the World."
When she reached 11, Anna Maria was booked by her father into the Press Theater, Turin, Italy, the Palace Theater of Italian music. She passed the critic's rugged requirements easily, being called the "reincarnation of Adelina Patti, legendary coloratura soprano of Italian music who was the rage of the early 19th century."
By early 1950, after numerous appearances all over the European continent, offers from impresarios like Sol Hurok, were coming from America. Daniele felt the 14-year old girl wasn't ready. Maestro Verna, now a teacher in New York of some of the country's finest singing talent, had known Daniele when both were in music school. He came to La Scala from America in mid-1950 and upon hearing Anna Maria, beseeched her father to bring her to America. Maestro Alfrano, prominent composer and director of the Conservatory at Pesaro, too, insisted on an American tour.
Not wishing anything but the biggest break in, Daniele introduced Anna Maria at famed Carnegie Hall and the resultant accolades from New York's critics spelled immediate American success. In November 1950, despite a growing number of request for appearances all over America, the Alberghettis returned to Italy for a short time so that Anna Maria could play in the filmed version of Gian Carlo Menotti's The Medium. This movie is still a consistent player in American movie houses and the soundtrack, starring Anna Maria, only Italian in the cast which is otherwise American, is a Mercury best seller.
Early the next year, Anna Maria and the family returned to America. She appeared on the Ed Sullivan network TV show, where Frank Capra saw her and hired her for her first movie, Bride and Groom. she made a second for Paramount in 1952, The Stars Are Singing.
The family works with her on many of these engagements. Vittoria still accompanies Anna Maria on the piano, Daniele handles the baton, as he did on this Mercury album, while sister Carla, who possesses a most robust lyric soprano at 15, and brother Paulo, 9, who has conducted as large as a 60-piece symphony orchestra at Red Rocks, Denver, listen carefully to her performance to enable them to make helpful comments.
Giannina Mia
Theme and Variations
The Blonde Girl In The Gondola (La Biondina In Gondoletta)
Four Exciting All-New Action Adventure Stories! Star Trek Produced by Arthur Korb Power Records Divison Of Peter Pan Industries 8168 1976
Hear 4 Exciting All-New Action-Adventure Stories!
Star Trek
Original Stories For Children Inspired By Star Trek
Peter Pan 8168
1979
The Time Stealer - Cary Bates & Neal Adams
To Strave A Fleaver - Alan Dean Foster
The Logistics Of Stampede - Alan Dean Foster
A Mirror For Futility - Alan Dean Foster
Wes Montgomery: A Day In The Life Arranged and Conducted by Don Sebesky Produced by Creed Taylor Recorded at Van Gelder Studios - June 6, 7, 8 and 26, 1967 Engineer: Rudy Van Gelder Cover Photographs by Pete Turner Album Design by Sam Antupit A&M Records SP 3001 CTI
Personel:
Herbie Hancock - Piano Ron Carter - Bass Grady Tate - Drums Ray Barretto, Jack Jennings Joe Wohletz - Percussion George Marge, Romeo Pence, Joe Soldo, Stan Webb - Bass Flutes Phil Bodner, Stan Webb - Woodwinds Ray Alonge - French Horn Julius Brand, Peter Buoncosiglio, Mac Ceppos, Lewis Eley, Harry Glickman, Harry Katzman, Leo Kruczek, Gene Orloff, Tosha Samaroff, Sylvan Shulman, Harry Urbont, Jack Zayde Viola - Harold Coletaa, Emanuel Vardi Celli - Charles McCracken, Alan Schulmann Harp - Margaret Ross
Available from online vendors so I will not be posting a sample. Presented here to share the cover art.
From the inside cover: As for the company he (Montgomery) keeps on this LP, his drummer is Grady Tate (at one time of another an accomplice of the accomplished Jimmy Smith, Kenny Burrell, and Bill Evans); his bassist is the impeccable Ron Carter and his pianist is Herbie Hancock. Ron and Herbie are both with Miles Davis. (Hancock, by the way, composed Watermelon Man and the score of Antonioni's controversial film, Blow-up.) The arranger and conductor is Don Sebesky, among whose many credits is Wes' own California Dreaming.
A Day In The Life Watch What Happens When A Man Loves A Woman California Nights Angel Eleanor Rigby Willow Weep For Me Windy Trust In Me The Joker
Soft Lights, Sweet Trumpet
Harry James And His Orchestra
Cover Photo: Dirone Photography
Columbia Records CL 581
1954
Available from online vendors so I will not be posting a sample. Presented here to share the cover art.
From the back cover: Among the most published of popular musicians. Harry James has virtually lived with popular music all his life. Arriving on the commercial scene just too late for first-hand absorption from the great jazz masters, he worked with most of the swing greats, who had already culled the best of the jazz techniques and adapted them to their own styles. James' first important job in popular music was with Benny Goodman and his orchestra in the late thirties, where he brought to its peak the shining trumpet mastery that is his trademark. Learning from the brilliant musicians of the Goodman orchestra, and supplementing their work with his own fresh ideas and expert technique, he swiftly became one of the top-ranking stars in an orchestra of stars.
That he was already a musician upon joining the group is no accident: he was born into music, for his father was bandmaster with the Mighty Haag Circus. The rousing brass of the circus band was part of his daily routine, and he worked with the band frequently during his early years, until the family retired to Texas. There, in Beaumont, he continued to study, and in his 'teens he played with local orchestras and supplied them with an occasional original number. One of these numbers got recorded, Benny Goodman heard its and sent from the young composer.
After a number of fruitful years with Goodman, James started his own orchestra, and found the going at first a little difficult. The swing era like everything else at the time, was going into a recession, and he found, with the changing mood of the country, that audiences wanted to dance rather than listen; the clusters of avid youngsters around the bandstand grew smaller. So he brought out the smooth, warm ballad techniques that is so uniquely his, and, with a group of hit records, found himself the leader of one of the most successful orchestras in the land. The formula was not only commercial – his group is one of the very few big orchestra still in existence – but musical, and it produced music that is still listened to on records and still very much a part of the popular scene.
From Billboard - July 26, 1952 (10 inch release, Columbia CL 6207): New collection of evergreens played by Harry James Ork freatures the skillful trumpet man playing sweet music on the horn, music that is danceable as well as listenable. The tunes include "Embraceable You," " Manhattan," "Just A Gigolo," "You Go To My Head" and other favorites. James does a lovely job with his solos, which are clear and sweet and stress the smooth James tone. The arrangements are tasteful and the work plays them well. This set will probably form a companion piece to the recently issued Columbia LP "Benny Goodman With Strings," since both are in the sweet, danceable vein. James' fans should go for this one.
Serenade In Blue
Manhattan
September In The Rain
You Go To My Head
Autumn Serenade
Lovelight
That Old Feeling
If I'm Lucky
Just A Gigolo
Embraceable You
Moonglow
When The Sun Gomes Out
In Hi-Fi Sauter-Finegan Memories Of Goodman and Miller Clarinet Solos: Walter Levinsky RCA Victor LPM-1634 1958
Available from online vendors so I will not be posting a sample. Presented here to share the cover art.
From Billboard - November 10, 1958: This Save-On-Records package is a potent entry in both the stereo and monaural fields. LP spotlights some of the best arrangements Finegan did for the Glenn Miller band ("Little Brown Ju," "Sunrise Serenade," etc.) and Sauter did for Benny Goodman ("Ramona," "Benny Rides Again," etc.) presented in S-F style. Excellent, inventive sound for jocks, with good nostalgia angle.
The Miller (Finegan) Tunes:
Little Brown Jug Sunrise Serenade Swing Low, Sweet Chariot Song Of The Volga Boatman "Moonlight" Sonata Tchaikovsky's Piano Concerto
The Goodman (Sauter) Tunes:
Clarinet A La King Benny Rides Again Superman Ramona Soft As Spring
The Last Dance... For Lovers Only Jackie Gleason Arrangements by George Williams Instrumental solos by Charlie Ventura on tenor sax and Pee Wee Erwin on trumpet Produced by Dick Jones Cover Photo: Capitol Photo Studio/Ken Veeder Capitol Records W 2144 1965
Available from online vendors so I will not be posting a sample. Presented here to share the cover.
From Billboard - April 10, 1965: Another LP in the long line of lush, posh Gleason offerings. The sophisticated, romantic and melodious arrangements have made the series a popular one. Selections include: "People," "Hello Dolly!," "Be My Love," and "Who Can I Turn To?"
The Best Is Yet To Come Lazy Afternoon People The Last Dance Hello, Dolly! On The Street Where You Live Who Can I Turn To Everybody Loves Somebody I Wish You Love Be My Love Softly, As I Leave You
Big Band Man
Ralph Materie And The All Star Men
Mercury Records SR 60183
1960
From the back cover: In his 15 years batoning his own dance band, Ralph Marterie confesses he's dreamed of the prefect dance or listen date. Working for over a year with Mercury's west coast recording director, Pete Rugolo, that peak of musical performance became a reality herein.
It required a number of factors which would meld perfectly. First, the selection of tunes – melodies that had a cohesive quality, yet different enough in quality to avoid monotony. And the selection – Jimmy McHugh – Hollywood's premier tunesmith, with over two decades of hits to his credit was an easy choice. You'll find McHugh runs the gamut successfully from blues thru ballads, from waltz to fox-trot.
And to properly set the stage musically, arrangers like Johnny Mandel, Skippy Martin, Morty Corp, Bill Holman, and Frank DeVol, again the cream of Cinema City's scorers.
Rugolo, a veteran of hundreds of Hollywood recording sessions, selected outstanding instrumentals, like Buddy DeFranco, Bud Shank, Gus Bivona, Bob Cooper, Babe Russin, Pete Condoli, Frank Rossolino, Jimmy Rowles, Red Mitchell, Don Fagerquist, Jack Sterling, Conrad Gozzo, Vern Friley and Al Hendricks.
And welding all these important forces into the dream album, Big Band Ma, Ralph Marterie utilizes the musical leadership qualities that have made him America' No. 1 Trumpet Star and Orchestra Leader.
From Billboard - April 25, 1960: The ingredients here include the versatile Ralph Materie band, a brace of well-known pop tunes all cleffed by Jimmy McHugh, and some colorful and spirited arrangements. The result has to be listenable, and it is. The band never gets so far out that the dancing beat is lost, but it also has some standout arrangements of such tunes as "It's A Most Unusual Day." "On The Sunny Side Of The Street," "I Can't Give You Anything But Love," "Diga, Diga, Doo," and "Don't Blame Me."
It's A Most Unusual Day
Don't Blame Me
Where Are You
Waltz Medley: Cuban Love Song, Louella, Whisper Waltz
I Can't Give You Anything But Love
One The Sunny Side Of The Street
* Medley: Anybody For The Blues, A Lovely Way To Spend An Evening, I Can't Get Enough Of You
I'm Shootin' High
Exactly Like You
Diga Diga Doo
Additional Mercury Albums by Ralph Marterie:
Music For A Private Eye - SR 60109 / MG 20437
Dance Party - SR 60004 / MG 20395
Hits That Made Ralph Materie Famous - MG 20336
Marvelous Marterie - SRW 12511 / MGW 12154
Love Themes From The Classics - MGW 12160
Dance Date - MGW 12117
