So Good - Don And The Goodtimes

 

My Color Song

So Good

Don And The Goodtimes

Produced by Jack Nitzsche

*Produced by Jack Nitzsche and Stu Phillips

**Produced by Jerry Fuller

Arranged by Jack Nitzsche and Stu Phillips

Cover Design: Michael Mendel

Epic Records LN 24311

1967

From the back cover: Li'l Don Galliucci, 19, was a child prodigy on piano and organ and is considered by The Goodtimes to be the best musician in the bunch (any bunch). In carving the album, his fingers also had opportunity to caress harpsichords, clavichords and other intriguing instruments.

Born October 31 in Portland, Oregon, Don has brown hair and eyes, a love-me kind of smile, and the firm belief that he is 9' 7" ("but I photograph shorter," says he). He is the group's musical arranger, spark plug, spearhead, and presently leads in the fan letter sweepstakes.

He's an avid reader (including cereal cartoon at the breakfast table), lifts weights to keep muscles on his slender frame, assembles model cars, loves to study people and many set an Olympic Dating Record this year.

Ron (Buzz) Overman, 21, is the first up every morning, regardless of how late the bedtime. He's the Goodtime visionary, who approaches every group project with dedication, devotion and a sense of destiny. "The Buzzard," through his songwriting, is a prime creative force. On stage, smiling, stepping and strumming the bass guitar, singing lead vocal or la-la-la-ing in the background, his mere presence commands an audience to enjoy.

Buzz is 5' 10", weighs 158, has blue eyes and dark brown hair. He's a movie buff and would score high on any film trivia quiz, has a long-standing hope to one day date Carol Lynley, loves corn on the cob and watermelon, and wouldn't dream of missing "Star Trek." His birthday is January 7.

Bobby Holden, 20, organized Don and The Goodtimes with Li'l Don, after both had spent time with other Portland bands, and it is he who injects much of the mirth into the gourds live-action proceedings. Bobby is both the Goodtimes' drummer and built-in sense of humor.

He can find something funny about anything and, as an alternative, will invent funny. He can announce a miss-mash of noise as his latest composition, give a complex definition for a word of his own invention, and have the audience believing.

Bobby, whose birthday is April 16, is 5' 10", has blonde hair and blue eyes, and an appetite that is at constant odds with his current diet. He's a fresh fruit fanatic, particularly oranges and apples, enjoys hunting, fishing and mechanical drawing, and hopes to one day own his own cattle ranch.

Jeff Hawks, 20, sings shakes a tambourine and creates new dance steps and astonishing combinations of gyrations. And he sprinkles his performances with jokes, imitations (Marlon Brando and Wolfman Jack being his current favorites), and the "Goodtimes Hi-Sign," which he invented. It requires one to put hand under chin, palm downward, and wiggle the fingers like five berserk worms.

The darkly handsome Jeff, whose large, loving, brooding brown eyes can be hypnotic, has proven a fan favorite since stepping onstage to replace a Goodtime retired by illness. His warmth, appreciation and eagerness to please are three reasons why that's so.

Jeff, raised in Alameda, California, is 6', has black hair and tips the scales at 150 pounds. He devours steaks, digs football, writes short stories and songs, and can spend hours on end in a photo darkroom. His birthday is August 31.

Joey Newman, 19, is beginning to tire of being mistaken for Peter No-one, although his resemblance to Herman is in the uncanny category. It goes with having blonde hair, blue eyes, and one of the biggest, brightest, toothiest smiles ever unlipped off the planet Krypton.

There is no mistaking, however, that his way with lead guitar give the Goodtimes' music its get-up-and-go quality. And his vocalizing is important to the distinctive Goodtimes blend.

Joey, 5' 11", was born August 29 in Seattle, Washington, and was playing with another Pacific Northwest band when invited to enlist with The Goodtimes. He's a sharp with a pool cue as with the guitar and used to win trophies in a go-cart racing league; enjoys movies and baseball games; hopes to meet Paul Newman (who is no relation, just a favorite); wants to see the world. – Bob Levinson

From Billboard - July 22, 1967: Don and the Goodtimes have a top sales attraction in their first album for Epic including their hit single, "I Could Be So Good To  You," this 11-selection pressing offers upbeat numbers like "Gimme Some Lovin'," "With A Girl Like You," and "And It's So Good." "My Color Book" is a good slower number with today's sound.

I Could Be So Good To You

The Music Box

*I Could Never Be

*Gimme Some Lovin'

**If You Love Her, Cherish Her And Such

With A Girl Like You

*My Color Song

And It's So Good

Sweet, Sweet Mama

* Good Day Sunshine

Barbie And Her Friends

 

Barbie And Her Friends

Barbie And Her Friends

Produced by John Braden

Kid Stuff Records

Phono Picture Disk

Limited Edition KPD 6003

1981

Barbie And Her Friends

It All Comes Back

To You

You've Got A Friend

Handle With Care

How Can I Thank You

Barbie And Her Friends

Erroll Garner Gems

 

I Cover The Waterfront

Erroll Garner Gems

Columbia Records CL 583

1954

From the back cover: There is no point in commenting on the individual numbers of this collection. Most of these numbers have been picked by Garner's ever-growing host of fans. As a matter of fact, it was a difficult thing to select only twelve numbers which typify his work. His style is so varied and provocative, so deft and invigorating that it is almost impossible to select a series of tunes which would adequately display his style. Nevertheless we feel that in this collection we have made a fair choice of numbers. The titles are almost synonymous with the name Erroll Garner. Garner, incidentally, is a prolific composer and has many tunes to his credit, including Play, Piano, Play, his version of which was voted the outstanding jazz record in France in 1950.

From Billboard - April 28, 1954: Here's a delightful jazz package which should appeal equally to those seeking "cocktail music." Garner plays 12 tunes which have been standouts in his repertoire for several years. Backing is either by John Simmons (bass) and Shadow Williams (drums) or Bull Ruther (bass) and "Fats" Heard (drums). On each selection the Garner piano is well evident – and on each the man displays his ability to sell in any tempo or mood. Most of the performances are really "gems".

Laura

Indiana

I'm In The Mood For Love

The Way You Look Tonight

Penthouse Serenade

Frenesi

Play, Piano, Play

Body And Soul

I Cover The Waterfront

Oh, Lady Be Good

Mean To Me

Easy To Love

Frank Proffit Sings Folk Songs

 

Down In The Valley

Frank Profitt Sings Folk Songs

Recorded by Sandy Paton

Edited by Frank Warner

Cover Design by Ronald Clyne

Photo by J. C. Brown

Folkways Records FA 2360

1962

From the cover of the lyric insert: Frank Proffitt has been our friend since 1938 when we met him at the home of his father-in-law, Nathan Hicks, on our first visit to "the Beech" – Beech Mountain in the Blue Ridge section of the Appalachian chain in the northwest corner of North Carolina. We began our serious collecting experience with Frank, who taught us two songs on that first visit. One of them – Dan Doo – he sings on this recording. Over the years, he gave us many more – maybe a couple of hundred – more than any other person we have sung with. Frank Warner has sung Frank's songs, and talked about Frank, from one end of America to the other (and on a number of recordings), and we are proud and happy that now Frank's own voice can be heard singing the songs he learned from his father, his mother, his aunts and uncles, and from other folks in  his music-rich area. Frank has a tremendous storehouse of these songs, and he sings and plays them in the heart-stirring mountain style that creates a feeling deep in one's bones – as if long-forgotten pioneer memories were there to be awakened.

Beaver Dam Road

Cindy

Bo Lamkin

Julie Jankins

George Collins

Ninety And Nine

Down In The Valley

Baby-O

Old Abe

Poor Ellen Smith

Dan Doo

John Hardy

Groundhog

Johnson Boys

The Consolers Greatest Hits

 

To Late

The Consolers 

Greatest Hits

Produced by Shannon Williams

Album Layout and Design: Dan Quests Art Studio

Cover Photography: Dan Quest

Nashboro Records 27200

1978

From the back cover: Sullivan and Iola Pugh met and married in their native Florida. They remained proud residents of Miami, and their singing contains all the folkloric elements of blues, gospel and country -and-western found in that part of the country. Both had launched successful careers as soloists and group singers, but their greatest boost occurred when they decided to launch a gospel duo.

They commenced traveling in Florida, Alabama, and North and South Carolina. Originally their repertoire was based on traditional spirituals and songs of the Holiness Church. But as time went on, Sullivan Pugh became noted for his composing abilities. It was Sullivan's gift, as well as his plaintive guitar-playing and the Consolers' appealing vocal blend, that led Ernie Young, the founder of Nashboro Records, to sign them in 1954.

For over twenty years, The Consolers have been among Nashboro's biggest sellers. Their first Disc, "Give Me My Flowers" was a hit and still sells. It's message, that kindness is better appreciated this side of the grave, was understood and applauded by audiences all over the country. During the late fifties, Mr. and Mrs. Pugh became popular touring artists.

In 1963, the Consolers recorded their greatest hit, "Waiting For My Child To Come Home." All over America, families were being wracked by separation and juvenile delinquency. Sullivan Pugh put the fears and hopes of countless mothers into his song, and they responded by buying over a half-a-million copies of the single and over one hundred thousand albums.

Give Me Flowers

Won't It Be Grand

On God's Word

His Child Is Aboard

Too Late

Somewhere Around God's Throne

The Train Moves On

By The Grace Of God I'm Saved

Every Christian Mother

Someone Must Answer At The Judgement

Lord Bring Me Down

May The Work I've Done Speak For Me

Thank God Things Are As Well As They Are

Since The Lord Laid His Hands On Me

Over Yonder (Where Jesus Is)

Waiting For My Child

The Lighthouse

These Old Hands Of Mine

Don't Let Nothing Shake Your Faith

Together We Shall Stand

Stretch Out Your Hand To The Lord

Upendo Ni Pamoja - Ramsey Lewis

 

Collage

Upendo Ni Pamoja

The Ramsey Lewis Trio

Produced by Ramsey Lewis

Production Coordinator: Teo Macero

Engineering: Stan Tonkel, Fred Plaut, Russ Payne

Columbia Records KC 31096

1972

Ramsey Lewis - Steinway Concert Grand Piano and Fender Rhodes Electric Piano

Cleveland Eaton - Acoustical Bass and Electric Bass

Morris Jennings - Drums and Percussion

From Billboard - June 17, 1972: With that old interpretive spirit, the Ramsey Lewis Trio digs into "Upendo Ni Pamoja (Love Is Together)" and gives the song special impact for an evening of soft listening pleasure. "Put Your Hand In The Hand" is also intriguing. Ramsey Lewis produced the LP.

Slipping Into Darkness

People Make The World Go Round

Please Send Me Someone To Love

Got To Be There

Concierto De Aranjuez

Upendo Mi Pamoja (Love Is Together)

Trilogy

Morning

the Nite Before

Eternal Peace

Put You Hand In The Hand

Collage

The Number One Ballads - Jimmie Rodgers

 

Tammy

The Number One Ballads

Jimmie Rodgers

With the Hugo Peretti Orchestra

Cover Photo: Jay Seymour

Roulette Records R-25033

1958

From the back cover: Jimmie Rodgers was born in Camus, Washington. He sang from about the time he was five years old; taught himself to play piano and guitar any up until the time he enlisted in the Air Force during the Korean conflict, lived a normal teenager's life. It was during his four-year tenure in the service that he began to blossom as a singer with a song to sell. He was encouraged by his sergeant to enter camp shows and slowly began building a repertoire of folks songs.

By the time Jimmie was ready to leave the service, he knew that what he wanted most of all was to sing for people. The road to doing what he wanted most, however, was paved with a series of disappointments and Jimmie road the Pacific northwest working in logging camps and on farms. All this time, he continued to add to his growing knowledge of folk songs by listening to his fellow workers sing as they labored. He eventually worked his way back to singing for a living, but the pickings were mighty slim.

One day, a friend in the music business heard Jimmie in a club in Nashville, and urged him to go to New York and seek a recording contract. Jimmie had, by now, become accustomed to the well-known brush-off. So, when he auditioned for Roulette and was asked to call again in a few days, he took it as another brush and disappeared. Roulette, however, had been very serious about recording Jimmie and when after a few days had past and he didn't call they set out to find him.

Jimmie had done a good job of getting himself lost. Hundreds of phone calls, concentrated searching, and some six months later they finally tracked him down back in his own hometown. Jimmie was brought back to New York and a recording session was immediately set up. Oddly enough, he recorded the same two songs he had sung at his first audition – "Honeycomb" and "Their Hearts Were Full Of Spring." "Honeycomb" was released in July 1957 and the rest of the tale is, of course, music-world history.

In this, Jimmie's second album, he sings the number one ballads. All of these songs have, at one time, led the Tin Pan Alley hit parade as the number one song in the country. Here, Jimmie is heard for the first time minus his guitar and backed with a full sound and scope of a string ensemble accompanying him. These are not folk songs, but still the warm earthiness and folk-like quality in his voice is evident. It is, of course, very apparent on such numbers as "Unchained Melody," "Tammy," and "I Believe."

From Billboard - June 9, 1958: This one's a sure-fire package for the guitar-playing singer's growing legion of fans. Backed by Hugo Peretti's lush, multi-stringed sound, Rodgers glides faultlessly thru a dozen well-selected hit ballads of recent seasons, such as "Tammy," "Unchained Melody," "Hey, There," "Three Coins In The Fountain" and others. Ideal for DJ's who like to mix in standards with current hits. Cover shot of the young singer shows him at his boyish best.

My Prayer

Tammy 

Unchained Melody

Hey There

Love Letters In The Sand

True Love

I Believe

The Song From Moulin Rouge

Too Young

Secret Love

Three Coins In The Fountain 

Que Sera Sera

Jan August Styles Great International Hits

 

Brazil

Jan August Styles Great International Hits

Mercury Records SR 60667

1962

Mexican Hat Dance

Song Of India

Medley: Italiano, Tarantella, O Sole Mio, Capriccio Italien, Sorrento, A Francesca

Brazil

Aloha

Scandinavia

Volga Boatman

Granda

Hora Staccato

A Foggy Day

Blues (Theme from "An American In Paris")

Canadian Capers

Away We Go-Go - Smokey Robinson & The Miracles

 

I'm The One You Need

Away We Go-Go

Smokey Robinson & The Miracles

Photography: Frank Dandrigde

Design: H. Webber/E. Edwards

Tamla 271

1966

Whole Lot Of Shakin' In My Heart (Since I Met You)

You Don't Have To Say You Love Me

(Come 'Round Here) I'm The One You Need

Save Me

Oh By My Love

Can You Love A Poor Boy

Beauty Is Only Skin Deep

I Just Don't Know What To Do With Myself

Baby Baby

Walk On By

Swept For You Baby

More, More, More Of Your Love

Switched On Bach II - Walter Carlos

 

Sheep May Safely Graze

Trans-Electronic Music Productions, Inc. Presents

Switched On Bach II

Watler Carlos

Produced by Rachel Elkind

Cover Design: John Berg

Cover Photo: Horn/Grimer

Columbia Records KM 32659

1973

From the back cover: Walter Carlos and I met formally in 1965, three years before the release of Switched-On Bach. At that time Walter was a recording engineer and tape editor at a large New York studio. He had completed graduate studies in classical electronic music studio technique with Vladimir Ussachevsky at the Columbia-Princeton Electronic Music Center in New York City. Here, he learned the basic techniques of electronic sound generation and processing, and musical manipulation and assembly of sounds on a magnetic tape. His graduate work included original tape composition, some of which had been played in public concerts and were well known among the (then) small circle of electronic music devotees, and have subsequently been released on records.

Carlos heard of that modular electronic music, instruments that we had developed a short time before and initiated correspondence that led to our first formal meeting. We talked about many aspects of electronic music hardware and composition techniques, and I remember being amazed at how thoroughly Walter understood the musical application of instruments that, for him, then existed only on paper. His initial purchase included some instruments that we designed and built to his specifications.

From then on, we met or talked frequently. Over the months and years that followed, Carlos explored the technical and musical subtleties of his instruments. He often suggested features and modifications that would increase the instrument's capabilities and improve their operation. He demanded the highest level of sound quality and musical accuracy. We frequently discussed new types of instruments and then collaborated on the details of their design. My associates and I translated these ideas into hardware, and Walter put them to the test. The Moog 1967 catalog list many modules with features that he first suggested. This same catalog also listed several "synthesizers" – integrated systems of voltage-controlled modular instruments for electronic music composition and performance.

Soon after Carlos began working with his new instruments, he started to assemble his own studio. With the help of his friend Bob Schwarz, he designed and built a simple, yet elegant, mixing board. He built his 8-track recorder from a refurbished tape deck and a hefty pile of surplus parts. The completed studio, fitted neatly into one corner of Carlos' living room, consisted of his synthesizer, mixing board, 8-track recorder and a few "store bought" pieces of professional studio equipment. It is significant that this studio, which could easily have developed into a cranky, haywire assemblage, emerged instead as an efficient, professional, musically-oriented facility. Using this studio, Carlos, with the assistance of Rachel Elkind and Benjamin Folkman, produced the master tape for Switched-On Bach.

To appreciate the historical significance of Switched-On Bach, one must remember that in 1968 most people thought that electronic music was an avant grade endeavor that had little connection with traditional musical values. Commercial musicians generally felt that electronic medium in general, and synthesizers in particular, had no place in the production of high quality music of wide appeal. Walter knew better. He understood that the alleged limitations of the electronic music medium could be overcome by the application of technique and discretion. His control over the equipment increased rapidly as he developed a repertoire of techniques and procedures for converting technical function into musical material. As Switched-On Bach neared completion, excitement ran high among Walter's friends and professional associates. We were literally witnessing a breakthrough! Guided by his own insight and integrity, Walter had achieved the seemingly impossible. He had produced high quality music in his studio, with only electronic instruments.

I remember the first public playing of Switched-On Bach, about a month before the formal release of the album. It was at the Electronic Music session of the Audio Engineering Society Convention, October 1968. I had presented a paper on "Recent Trends in Electronic Music Studio Design." After describing Walter's studio, I illustrated the points I had made by playing the Third Movement of the Brandenburg Concerto No. 3. The audience of several hundred audio engineers, music producers,  and technicians gave Carlos enthusiastic, emotional ovation, an uncommon response from those critical professionals.

The universal success of Switched-On Bach is now well known. It is the largest-selling classical album of recent times. Throughout the world, far more people know of electronic music and the synthesizer through Switched-On Bach than through any other musical endeavor. But Carlos did more than popularize a medium and an instrument. He set definitive artistic and technical standards, which in the long run have been of paramount importance in promoting electronic music and the synthesizer.

Each of Walter's works after Switched-On Bach is another milestone. He has invented tone colors, mastered new pieces of equipment, refined his control over balance and ambience. The delicacy of The Well-Tempered Synthesizer, the drama of the Clockwork Orange score, the scintillating complexity of Sonic Seasonings, have all redefined the boundaries of the electronic music medium. As a listener and as a musical instrument designer, I eagerly look forward to every new album by Walter Carlos. – Robert A. Moog.

Selections From Suite No. 2 In B Minor

Badinerie

Minuet

Bourree

Two-Part Invention In A Minor

Two-Part Invention In A Major

Sheep May Safely Graze from "Cantata No. 208"

Suite from Anna Magdalena Notebook

Brandenburg Concerto No. 5 In D Major

Affegro

Affettusos

Allegro