Tony Mottola- Roman Guitar

Hey it is Friday (As of the writing of this post, it is really Sunday and I am banging out this week’s posts).  But here we are with another one of my favorite record labels, Command.  This was a dollar. I got it for the song I am going to post.

Here is a collection of songs produced by Enoch Light and led by Command’s number one guitarist, Tony Mottola (not to be confused with record exec and Mariah Carey’s ex Tommy Mottola ).  Born in Kearny, New Jersey in 1918, Mottola was a well respected sessions guitarist, working with Frank Sinatra and Perry Como among others.  His work included thousands of albums as a session player as well as 50 records of his own as well as some time with Doc Severinsen’s band on the Tonight Show. His technically mastery primed him for a position with Command Records. Mottola would die in 2004 after suffering a stroke.

This may have been his second album for Command under his own name.  Released in 1960, it is a collection of Italian songs that take advantage of Mottola’s Italian heritage as well as his signature guitar sound.  I ran into the same problems as I did with the Wildcat album this week, whereas the sound on one channel was not coming in as strong.  This leads me to believe there is something wrong with my recording setup.  Otherwise, it is a fine album of instrumentals.

For a sample, I am going to use the one I always use, “Anna.” It is one of my favorite songs.  You can see the original in the link below.

Link to earlier post about “Anna”.

Anyway, ok album.  Satisfactory

Ace Cannon- Cool ‘n Saxy

This was $1 and had a bunch of songs I like on it.  Ace Cannon has been on this site many times in the past so this should make for a brief post as I have exhausted the subject.  Dare I get caught up with this week’s posts?  We shall see.

This was released by Hi Records in 1977, a bit later in his career as a storied session man.  Pretty decent record.  It has a lot of songs I know and like including “My Elusive Dream”, “Let It Be”, “Everybody’s Talking”, “Lodi”, and “House of the Rising Sun”.

Again the songs are pretty good but not really what I would describe as cool or sexy with the exception of “Rainy Night in Georgia”.  That is why I used it as a sample.

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Good album for a dollar.  Satisfactory.

Dvorak- Slavonic Dances

This was $2.00.  After seeing a performance of Dvorak’s Rusalka, his work had been on my radar.  

When the Czech composer Antonin Dvorak (1841-1904) wrote the Slavonic Dances, he was virtually unknown outside of Prague.  After winning an Austrian State prize for composition, one of the judges, Johannes Brahms was impressed and recommended him to his publishing firm, Simrock.  Simrock commissioned Dvorak to write a sequel to Brahms’ Hungarian Dances from 1869.  He first wrote Op 46 in 1878.  Op 72 followed in 1886.  Both were successful and well received.

This record features both Op 46 and 72 as played by the Bamberg Symphony Orchestra.  It was released on Vox Records in 1961. The music is pretty stirring and although it used Brahms’ work as a starting reference, the music is purely Dvorak.  For samples, I went with movement #2 from Op 46 and movement #7 from Op 72.

Good little record.  Satisfactory.

OST- Wildcat

I had seen this record over and over during the years and I am not sure why I finally bit on it this January.  I mean besides the obvious tie in to oil and gas, why now? And why at $4.  On a related note, the HGO’s season closed out for me on Saturday with a performance of Mozart’s Abduction from the Seragilo. Overall it was a very good performance (most notably the singer who played Osmin) but it came to close on the heels of the last opera I saw.  So it was a bit of an adjustment to go from epic German opera with fire, swords, and magic helmets to a Viennese Rom-Com.  Interestingly enough, at the time of the original production, the Ottoman Empire and the Turks were to European entertainment what the Australians were to the US in the 1980’s.

Back to this record, this marks Lucille Ball’s first and only foray into Broadway, at the ripe age of 48.  With the book by Richard Nash, music by Cy Coleman, and lyrics by Carolyn Leigh, this was largely a Ball driven vehicle.  Nash had originally envisioned his lead, “Wildy” Wildcat Jackson to be in her 20’s.  But when Ball showed interest in staring as well as financing the production, the rewrite took place.  It opened on Broadway and ran 171 performances due to lukewarm reviews and the illness of Ball.  The crowds clearly came to see her and when when fell ill, the production had to be suspended.  When she was able to return, the musician’s union demanded payment for the time spent idle and as a result, the production was permanently shelved.

Broadway Database for Wildcat

The story was set in 1912 at the border town of Centavo City.  Wildy and her sister try to take advantage of the recent discovery of oil, navigating a world normally reserved for rough  men.  Along the way she meets Joe Dynamite and the two fall in love in the Broadway sense of the word.  By that I mean, at first, he rejects her but after some musical numbers and some exposition to the story, Joe realized he loves her as well and by the time the final curtain falls, Wildy gets her man as well as a gusher from her well.  The musical also stars Edith King, Paula Stewart, Clifford David, Keith Andes, and Swen Swenson.

The songs are ok.  The big number that seemed to have a life after the production was “Hey Look Me Over”.  I am not sure if it was my set up but Ball’s vocals on the first side seem to be a bit muffled.  Besides that, the music is ok and there are some decent numbers in the show.

For a sample, I went with “El Sombrero”, sung by Ball and the various people at a fiesta.  I also went with “Corduroy Road” which is sung at the erection of the derrick, which in some ways is much different today and and others, not so much so.

Eh.  It was a bit pricey, but decent enough record.  Satisfactory.

Burl Ives- Down To The Sea In Ships

This was 80 cents with discount.  I probably bought it for the sea shantys at the time.  Due to the personal enjoyment of the whaling/sailing record I posted last month, I decided to work this one into the equation a bit quicker than normal.

Oddly enough, I watched the Duke of Burl last night during TCM’s airing of East of Eden. His performance as Sam the Sheriff lends a steadying calm force against the turbulent forces but internally with the Trasks and externally with the march of World War I.  Well, don’t let the all wise, father figure act fool you. In 1952, in order to avoid blacklisting, he named Pete Seeger (with whom Ives had previously worked) to the House Unamerican Activities Committee as a possible Communist.  This is further complicated by the fact that he was a liberal democrat and strongly opposed to entering WWII until the Axis invasion of the Soviet Union .

But back to this album, released by Decca in 1956, it features Ives, along with the Ralph Hunter Singers performing 18 songs of the sea.  The instrumentation is basic but apt.  Pretty good selection of songs with a brief explanation of each as well as the phenomenon of singing at sea.  All are pretty good but the tracks I like were “Santy Anna”, “Haul Away Joe”, “Away Rio”, “Blow Ye Winds”, and the always apt, “Drunken Sailor”.

For a sample, I wanted to go with “New York Girls”.  It is not the best song on this album but it has two interesting points. First, as with other songs previously listed on this site, Liverpool’s “Maggie May” and “The Maid of Amsterdam”, this song focuses on the worldwide phenomenon of slightly suspect women separating poor sailors from their wages.  Second, if this song sounds familiar, you may have recognized it from Gangs of New York.

Also, I am posting “Leave Her Johnny Leave Her”, a song usually sang by the crew when the ship was homeward bound.

Despite any personal grudge I may have against Ives for being a coward in front of HUAC, this is a decent album.  Satisfactory.

The Moody Blues- Days Of Future Passed

This was unbelievably only a dollar,  which is strange to me considering it was in pretty good shape.  I mean it was one of the biggest records of its period, at least the biggest one for the Moody Blues, I believe.  At the time of writing this, I am watching Game 7 of the Oilers-Ducks so I may be in and out of this post.

This was The Moody Blues’ second album. After not finding a lot of success as a R&B band, a few members shuffled and a new larger sound was formed with a more symphonic edge. Essentially, it was the beginning of prog rock. In order to capitalize on this sound as well as payback the debt the band owed the Decca on advances, the band agreed to make a record of Dvorak’s “Symphony No 9”.  It would be released on new subsidiary, Deram and used as a model to showcase the new Deram Studio Sound format.

The band was given creative control of the project but decided to abandon it for a different project, a pop record with orchestral interludes based on the concept of a day(Note”:  this story has been disputed). Anyway, the band recruited Peter Knight and the London Festival Orchestra to provide the interludes.  The result was this record, which was a huge success for the band.  “Nights in White Satin” also became a massive hit and was the only instance of interplay between the Blues and the orchestra.

Pretty good album.  Kind of dated concept now, but in 1967, I imagine it was pretty radical.  I liked the album.  I went with “Lunch Break: Peak Hour”, mainly because it is brief, but also because it is a good example of both Orchestra and band.

Good album. Satisfactory. Well, the Oilers, sadly enough did not make it.  I know to a reasonable person, just making it as far as the did was a big accomplishment, given their record in recent years. Well, I guess I was just expecting a Cup this year after the way they played.  Losing Game 5 hurt.  But, still, got to give credit to a good young team who will be a force to reckon with next year.

Caterina Valente- Cosmopolitan Lady

I liked the last Caterina Valente album I bought so I decided to pick this one up.  At $3, it seems a bit pricey considering the cover is falling apart in all directions and there was no record sleeve.

Caterina Valente, the Italian bred, French born singer, made a career out of her international style.  I wrote a bit about her on the last album I posed of hers.  Well, not much, but it is more than I will write today. As the clips show below, she knew how to work early television.

Link to Earlier link

This seems to be, according to discogs.com,. a South African release from 1958 from Polydor.  It is a collection of her early hits, including “Malaguera” and “The Breeze and I”.  In regards to the latter, I found this album’s version of “Breeze” to be quite tempid compared to the last version I posted.  Anyway, she sings in five languages on this album (Spanish, Italian, French, English, and German).

For a sample, I went with “Malaguera”.  I also went with “Bravo Caterina” as I think it takes a pair of brass ones to name check yourself in a song.

Great little album that is falling apart on me.  Satisfactory.

Gordon McCrae- The Seasons Of Love

This was $3.  I got this for the singer, Gordon McCrae, singer and actor.  Born in East Orange, New Jersey in 1921, McCrae started on Broadway in 1942. A singer career followed as well as the big screen, which he first appeared on in 1948. After roles in such musical hits as Tea For Two, and By The Light Of The Silvery Moon, McCrae landed the biggest two roles of his career in two Rodgers and Hammerstein film adaptations, Oklahoma and Carousel.  His love interest in both was Shirley Jones.  Oddly enough, they get married in both. One marriage does not work out.  Anyway, McCrae continued with tv, radio, and performances until his death of pneumonia in 1986.

It is the R&H movies in which I became aware of McCrae.  And on that note, I find it interesting as I really liked Oklahoma as a kid.  Carousel, on the other hand, was quite lame.  First off, I am sorry your marriage to a carny did not turn out to be the bed of roses it would appear to be.  Second,  the male protagonist really does not go through any deep change other than dying.  I think he could have done more for his daughter and the fact that when he comes back to earth for redemption, he strikes her is indicative of his character.  Finally, despite having one of the most recognizable and inspirational songs from Broadway, “You’ll Never Walk Alone”, I found the music overall to be quite singular in use and limited.

But time and tastes do change.  Today, I rather like Carousel.  I still think Billy Bigelow is a jerk and it could have ended a bit better, but  the story has grown on me some as well as the music aside from  the fact that the movie omits “The Highest Judge of All”.  In comparison, I now feel the portrayal of Judd in Oklahoma, is unfair and borders on class resentment.

This record came out on Capitol Records in 1959, after the success listed above.  Conducted by Van Alexander, the album contains songs mostly about seasons.  It is the slow crooning style that I guess he was known for.  Songs include “Indian Summer”, September Song”, “Autumn Leaves, ” and “I’ll Remember April.”

For a sample, I went with “I’ll Remember April” because I remember April.  It was last month.  Seems like a just paid rent for that month and here we are again.  

Decent enough record.  I mean not my cup of tea on all points but I knew what I was getting into when I bought this. 40’s/50’s style old school crooner with the moderately deep voice singing slower romantic tunes.

VA- Curtains Up! Music and Plunk, Tinkle, Ting-A-Ling

This was a dollar.  I like percussion-esque albums as well as orchestra pops.  This combined both. Internet service is still intermittent at best in my apartment.  This leads to brevity for today’s post.

This is a collection of various symphony orchestra’s conducting various numbers with a focus on various mood effects, mostly percussion.  The conductors on this album include Howard Hanson, Antal Dorati, and Frederick Fennell.  The composers on the record include Leroy Anderson, Percy Faith, Cole Porter, John Phllip Sousa, and Bela Bartok among others.  It was released by Mercury Records in a series of Curtain Up! Releases.  My guess is it was released sometime around 1958 to 1960.

I really liked this album.  A bunch of good interpretation of songs.  Musically, it covers a large span of sounds.  A lot of goods spots.  I had to pick two.  I went with Anderson’s “The Typewriter” and Porter’s “My Heart Belongs To Daddy”.  But I did like a whole lot of other songs on this album including “From The Diary Of A Fly”, “The One-Hoss-Shay”, and “Butantan”.  But I felt Porter’s song was the best on the album and “Typewriter” has that gimmicky appeal that I do love so.

Great little record.  Satisfactory. Probably deserves more writing on this post but not happening this week.

Goodwin “Goody” Goodload and his Frostonia Ballroom Orchestra- Supercamp

This album was $4.00.  I am not sure who this album was being marketed for.  That is probably one of the reasons I bought it. 

The Super Camp moniker puts a strange connotation to this album.  In what is really a collection of tunes from the 20’s and 30’s, is now being marketed as camp, a term that went mainstream in 1965 (after Susan Sontag’s seminal essay “Notes On Camp”)to  describe ironic appreciation of something that would otherwise be seen as corny.   The word has been interchanged with kitsch although I am told where kitsch refers to the work, camp describes the mode of performance. Finally, it has been described by camp’s grand master John Waters as   the tragically ludicrous or the ludicrously tragic, which triggered this response.

This album, released by Tower Records in 1966 and features Goodwin “Goody” Goodload and his Frostonia Ballroom Orchestra.  It features vocals from three sources; Robert, Tuttle, and Morris (a play on the American surgeon of the last century, Robert Tuttle Morris), Gi Gi Bumstead on female vocals, and Jimmy Wasson on male vocals. I do not know who any of these people are and assume they are all just aliases.  I spent about 45 seconds on this.

I truly hated listening to this album. I felt it was stereotypical and derivative. And I have liked 20’s/30’s trad jazz albums in the past but for some reason, this one did not work for me at all.  I think it was the fact that the songs are just plain silly with such comic book titles as “Popeye the Sailor Man”, “Mickey Mouse and Minnie’s In Town”, and “Little Orphan Annie”, along with such other songs as “The Good Ship Lollipop”, “Mairzy Doats”, and “Lookie,Lookie, Lookie, Here Comes Cookie”. Anyway, that is all I have to say about this.

For a sample, I was drawn to “Leaning On  A Lampost” although “I Met You At The Bijou On Dish Night”.  Both songs were sung by the previously mentioned Jimmy Wasson.

Again, I hated this record.  Meh.