This puppy was a buck. Got it for the songs, most of which I like. What is going on this week, other than zipping thru posts? Well, nothing as much to make note of but still too much to dedicate too much time to writing this.
On that note, Billy Vaughn has always been hit or miss with me. Well this album from Dot Records, released in 1959, is pretty much a miss. I found the arrangements to be a tad slow and boring and not really in the whole tropical vein. Of course, exotica was never really Vaughn’s bag and perhaps this is not fair, but what do you expect me to do about it today?
Well, for a sample, I went with one of my faves, “Hawaiian War Chant”.
Meh. Sorry Billy. I’ll get you the next time around.
Here comes Saturday which means quick post. This was $5. I got it at the first Hilton record show I went to. Due to too huge a backlog, I do not go to record shows anymore. So sad. Anyway, I was on a Byrds kick when I got this. What I week it has been for spell check.
This was the seminal California band, the Byrds’ first album, based on the strength of the single, their rendition of Bob Dylan’s “Mr Tambourine Man”. Featuring original members Mike and Gene Clark, David Crosby, Chris Hilman, and Jim McGuinn, It was released in 1965 and was the first real US challenge to the British Invasion at the time.
Good little album. It features other Dylan songs “Spanish Harlem Incident”, “Chimes of Freedom”, and “All I Really Want To Do”. It also features folk classic “Bells of Rhymney” which incidentally, McGuinn performed earlier on Judy Collins album (featured on this blog).
Anyway, I went with Gene Clark’s “I’ll Feel A Whole Lot Better”, which was covered on Tom Petty’s first solo album. Petty was greatly influenced by the Byrds and I believe that is the reason he played a Rickenbacker, McGuinn, himself was influenced by seeing George Harrison play on in A Hard Day’s Night.
Anyway, great little album. Top Rated.
Woo hoo!! Saturday. Let’s fly thru this. This was $2. Too many good songs to pass up. Also after 2-1/2 years of doing this blog, I still hate typing the word rhythm. I mis-spell it every time. Anyway, you can not go wrong with ending the week with Jerry Lee Lewis.
This record, released by Sun in 1969 was a repackaging of songs recorded earlier with Sam Phillips. At the time, The Killer was going thru his county period (which I felt was even better than his rock and roll days). He was very hot during this period and the new owner of Sun, Shelby Singleton, wanted to capitalize on this so they put out a series of compilation records like this.
A lot of good rock and roll/ rockabilly songs on here. Most of these songs weer made famous by others including Chuck Berry, Little Richard, and Ray Charles. Also, I kind of do take offense for taking songwriting credits for “C.C. Rider”. But other than that, every song is pretty much a classic. So I went with “Little Queenie”.
Top Rated Record.
So very close to finishing out this month. So close. This was $1.00. I liked the song list.
Peter Nero born in Brooklyn in 1934, is a Grammy winning pianist who has worked with orchestras, pop stars, television shows, and other forms of entertainment. I am not even sure this is a proper sentence. Anyway, he has also worked with the Philly Pops Orchestra, the largest stand alone pops orchestra in the US.. According to Wikipedia, he is transitioning to moving in to an old folks home in Florida. Probably deserves a bit more exposition on this subject but not going to happen at this time. Perhaps I will post another one of his records earlier in a month.
Well, this record, released by Dynagroove in 1967, is Nero’s tribute to the A in A&R Records, Herb Alpert and his Tijuana Brass. All the big hits are here: “Spanish Flea”, ” The Lonely Bull”, “Tijuana Taxi”, and “Flamingo. Pretty good interpretations and Nero’s skill on the ivory is impressive. Very versatile style. It is saying something that in the liner notes, Alpert commends Nero for his (with his being italicized) interpretations of Alpert’s work.
For a sample, I went with an amazing version of what I normally feel is an overrated song, the “Theme from Zorba the Greek”. Nero’s version really takes off into a free jazz thing which weaves in and out from the traditional Greek soundtrack song. Really good stuff. Also, I wanted to throw in ” What Noe My Love”.
Good record. Satisfactory. Maybe next Nero post, I will go into more depth.
This was $2. I liked the Monkees when I was young. Still do to an extent. Why you may ask. I may have answered that question on this site before but for the sake of this post, I will answer it again. Because on the TV show, they always stuck together. Mostly through the bad times. And on the show, they were always one step away from making it. Despite always falling just one step short, they stuck together.
This was a huge album for the band. After fighting hard to write and perform their own music, the Monkees got their break with this album. It is kind of funny how it played out. Mike and Peter wanted to be musicians. Mickey wanted to be a director. All Davy wanted to do was make money and as shown in the made for TV movie about the band, he appeared frustrated with his bandmates’ ambitions.
But here this is, the Monkee’s third album, with music performed by the members, rather than the session musicians used on the previous two records (the main exception was Chip Douglas for provided bass among other things). The Monkees also contributed a good chunk of song writing to this album although others such as Boyce and Hart are present as well.
It is Mike Nesmith’s influence that gives the album a country-folk-rock sound, but one particular exception is Mickey Dolenz’s “Randy Scouse Git”, which is a British slang that is quite unpleasant.
This was meant to be the Monkees’ crown achievement and they were rewarded with a #1 record spot upon its release in May of 1967. However, as fate would have it, Sgt Peppers was released the following week, changing music as it was known at the time, knocking Headquarters to an eleven week run at the #2 spot,overshadowing the accomplishments of the made for TV band. IN a way, it was very fitting and followed the TV show’s plot lines; the band fought so hard to make this great little album, just to fall a tad short in the end to one of the most important albums of the 60’s.
Anyway, here this is. For a sample, I was torn in several directions but ultimately went with the Nesmith penned/sung country flavored “You Just May Be The One”.
Great album. Top rated.
This gem was only 50 cents. A lot of songs I like on this. When I wrote yesterday’s post, I was somewhat unsure how this month would play out. However, between now and then, I took a trip down memory lane and looked at some for the older posts. Some of it was pretty painful, going back to when I could not get the pictures straight, did not know how to display links, or properly record songs. But overall, I felt that the output nowadays is more diverse than in the past and as I have always tried to make diversity a point of this blog, this is saying something. Anyway, Happy Fourth of July. Nothing more patriotic than a bit of brass.
Well, there is this, which bills itself as “the most enjoyable musical event in stereo history”. It is a collection of show tunes and standards in stereo with trombones on one side and trumpets on the other. It was the brainchild of Lew Davies (1911-1968) who besides arranging for Perry Como, Lena Horne, and Lawrence Welk, also worked closely with fellow audiophile Enoch Light and Command Records.
Davies’ Space Age Pop Page
The songs, by such luminaries as Rodgers, Porter, Loesser and Lowe, and Berlin, contain back and forth sections between the competing brass sections. As the title would suggest, this showcases the “dialogue” between groups. Good arrangements. Nice song selection. As this was on Columbia records and released in 1960, you know this is a serious effort. Besides the brass, the vibes/xylophone and other percussion make for a good effect.
For a sample, I decided to go with Irving Berlin’s staple “Anything You Can Do”.
Good album. Satisfactory.
This was $4 but looked interesting enough as I like to buy and review product or promo records.
The Easy Pickin’s group, I believe were from Stamford,which oddly enough was Xerox’s headquarters until 2007. The group consisted of Barbara Allen on vocals, her husband Bill on guitar, mother of three Linda Shackleford on bass, Joe Knowlton on banjo, and Dave Raucsher on the mandolin, violin, and just about every other instrument. According to the one piece of information I bothered looking at, the band had been around some twenty years or so, recording a live album at the Country Tavern Restaurant, where they gigged regularly. It is said that they had a interesting repertoire between bluegrass standards as well as contemporary country hits. The record does reflect this.
This record is a promotional record but for whom, I am unsure. The records welcomes the holder as a proud member of the ISG team. It also mentions FSM members which I assume is the Full Service Maintenance group. The record encourages members to ” share points for service achievements focusing on machine reliability and response time”. These points, in turn, can be translated “into merchandise gifts for you… and your family”. So I am deducting that theses were given to Xerox service people who achieved departmental goals. And this was back in the day when people were decently paid.
I am guessing this came out sometime in the seventies. Pretty good mix of tunes. including “Luckenback Texas”, “Heaven is Just a Sin Away”, “Tennessee Stud”, and “Foggy Mountain Breakdown”. Decent album. Nothing that will make you radically re-look the way for see bluegrass, but not bad either.For a sample, I went with the theme song/jingle of the record, “The Winning Combination”. Decent record, overall, although I am sure I would have liked a monetary bonus more if I worked at Xerox. Anyway, Satisfactory record.
This was $2.40 at a discount. I used to like getting celebrity records on this site but that was when I was unemployed and had all day to write post. Those days have past.
John Schneider, born in Mount Kisco, NY in 1960, is best known for his portrayal of Beauregard “Bo” Duke from the Dukes of Hazard. As a child from the 80’s, this was my favorite TV show. Like most kids my age, I had a crush on Daisy Duke as well as hated shows when Bo and Luke’s cousins took over during contract disputes (or going on the NASCAR circuit as the show stated). Along with playing Chips, me and my pal used to play Dukes of Hazard but for some reason, I always had to be Luke (since my friend argued that his name was Jon, I was always Paunch in Chips). Back to Schneider, it should be noted that he had a re-occurring role as Superman’s adoptive father in Smallvile.
Not sure of those were simpler times or if we just turned an eye to casual racism. Well my bet is on the latter but I do not want to turn this into a big debate. I will say this: Sorrell Booke and James Best, who played Boss Hogg and Roscoe P Coltrane, were good friends and were allowed to ad-lib on set. Best also taught acting classes later in his career and one of his students was a young Quentin Tarantino. It was at Best’s classes where Tarantino met collaborators who would work on his films.
Schneider was able to parlay his popularity on Dukes to a successful music career. He recorded ten albums (including a Christmas album with Dukes’ co-star Tom Wopat) with four Country #1 singles to his credit. This was Schneider’s third album, released on the Scotti Brothers label in 1983. It did not chart.
Decent album but I would have probably liked it more if I was a girl in the 80’s. There are some decent moments. As a whole, I really do not like much 80’s country so I am a bit biased to start with this.
For a sample, I went with the old Johnny Burnette classic “Dreamin” which was released as a single. It charted at #32 on the country chart.
Meh. As stated above, do not like 80’s country and I am pretty much over the Dukes. Not 10 anymore. I mean it sounds just as good as anything else from that decade, it is just not my proverbial cup of tea.
Here’s a really good one dollar record for a Saturday.
This was the fourth album from the UK group Traffic but the first without guitarist Dave Mason. In his departure, and after some side projects, Steve Winwood, Chris Wood, and Jim Capaldi put together this album which was released in 1970. Critics were a bit hard on this album noting Mason’s absence, but it sold well both in the US and the UK , eventually going gold. Most of the record is very jazz/blues oriented with the exception of the title track, which was a nod to the rising influence of bands like Fairport Convention on the UK scene.
“John Barleycorn” (Round 164) is an English folk song dating back to the Age of James I. The earliest copy is from the 1400’s. There is also around 140 versions of the tune according to the back cover. On the surface, it seems like a pretty nasty song. Three men have decided that John Barleycorn must die. He is mowed down and left in the sun to dry. He is then cut down at his knees, rolled into a cart, smashed between stones ground up. The songs concludes that many men can’t function without the death of John Barleycorn and that his blood is consumed by many from all walks of life.
Pretty gruesome until you realize that John Barleycorn is not actually a person and is instead barley and malt, the main ingredients in beer and whiskey. The song in fact is a description of the harvest of these cereal crops and the production of alcohol. It remains popular today and versions as shown above exist in both minor and major tones.
Anyway, I found Traffic’s version to be quite interesting. Thus, here it is as the sample. It should be noted that the rest of the record does not sound like this.
Good record. Satisfactory.
This was one dollar and a good chance to put some soul music on the site. After what proved to be almost a book of a post on Thursday coupled with the fact that this is Saturday should make this brief.
This is a greatest hits compilation from Mercury Records from the former lead singer of the Impressions/ the current Cook County Commissioner Jerry Butler. Born in 1939 in Sunflower, Mississippi, The Iceman moved to Chicago as a youth and used music and church as his escape from poverty (he sung in the local church choir with Impression’s band mate Curtis Mayfield).
He left the Impressions in 1960 to pursue a solo career which spawned a good amount of hits in the 60’s and 70’s which this record (released in 1978) compiles. Butler is still singing and performing somewhat while serving his commissioner duties.
This record is pretty good but what else would you expect from a greatest hits album? The songs are good an probably warrant more explanation from me but I am posted out this week so all I am going to say is here is “Hey Western Union Man”, from 1968 which was #16 on the US chart as well as #1 R&B chart.
Great little collection of R&B/pop. Satisfactory.