Top of the Pops Vol. 72

Sleeve Notes:

VOLUME 72 of the world famous Top Of The Pops series of records has just been released, and record shops everywhere are reporting thousands of customers clamouring for their copies.
A spokesperson for Red Hot Records Ltd. said “This happens every time the Top Of The Poppers release a new LP. It’s even worse now there are 16 smash hits taken straight from the charts on each record. We are totally exhausted trying to cope with the demand. I wish they’d stop doing this to us.”

Top of the Pops Vol. 72 - Volume 72 of the world famous Top Of The Pops series of records. 16 smash hits taken straight from the charts on each record

Label: Hallmark SHM 3008

1978 1970s Covers

The Peter Moss Sound – Eastern Avenue

This is a bit of an oddity. On the Multitone label which specialised in Indian music and derivatives this offering gives us Boney M’s back catalogue but instrumentally and using mostly Indian instrumentation and percussion. Little is known about Peter Moss which is a shame as I’m sure this recording is a testament to his talent. The cover, on the other hand, though of course fitting well into the Cover Heaven world, does nothing to reflect the the music whatsoever.

The Peter Moss Sound - Eastern Avenue

Label: Multitone MUT 1004

1981 1980s Covers

The George Shearing Quintet – Mood Latino

George Shearing had quite a life, successful in many ways despite being born blind. An Englishman, he later became a US citizen but retired in part back in Gloucestershire, UK in his later years. This album is typical of many from this period, very relaxing to listen to, to look at and to enjoy. George released several “Latino” records based mainly on sambas, cha-chas and boleros.

Sleeve notes:

“Authentic” seldom describes Latin rhythms played by a non-Latin musician. But it has correctly applied to George Shearing’s stylings in three previous hit Latin albums for Capitol, and so it does here. George’s is a sunny, danceable, now-famous brand of Latin that he applies not only to these exciting mambos and cha-chas, but to the subtle, insinuating boleros, as well.

“These boleros,’ George explains, “bear no resemblance to the famed Ravel composition. The bolero rhythm we play here is the Latin ballad tempo. Latin with mild seasoning, if you like, it’s distinctly an Afro-Cuban style — as distinctly as Armando’s.

The bongo and conga playing of Armando Peraza is indeed distinctly Afro-Cuban, and it must be described with such contradictions as “controlled” and “frenzied,’ Armando has served as the percussion mainstay in each of the Shearing Latin albums to date, and joining him as important additions to the Quintet in each of these numbers are several other Latin percussionists and a flutist.

The flute, by the way, adds an exciting first-time element to the Shearing sound — new scope to the Quintet’s Latin mood. And “Mood Latino” promises to add a new scope to your enjoyment of Latin music. There’s enough variation in tempo — from the smooth to the tempestuous — to satisfy any listener’s ear or dancer’s feet. There’s an even mixture of standards in Latin translation and fiery Latin originals. There’s … but to say more would spoil the mood you’ll soon be in.

The George Shearing Quintet - Mood Latino

Label: Capital T1567

1961 1960s Covers

Bobby Hackett plays Tony Bennett’s Greatest Hits

For a Hallmark budget release this album contains some fine trumpeting from Bobby Hackett if that is a correct term for the playing of a trumpet. Listen to “I Left My Heart in San Fransisco” and you’ll be transported to a place where a thick fug of smoke hangs languorously in the air, the gentle clink of cocktail glasses the only shrill sound and where velvet is the texture du jour. Time stands still and a request for water, even in a dirty glass, will have you removed unceremoniously with neither fanfare nor debate.

Sleeve Notes:

TONY BENNETT has about the most uncanny ear for hit songs in the music business (with a voice to match, we might add). For anyone who needs proof of this, a quick glance at even a small part of Tony’s private hit parade tells the story. How’s “I Left My Heart IN SAN FRANCISCO,” for openers? Or “Because Of You,” “I Wanna Be Around,” “The Shadow Of Your Smile,” “Rags To Riches,” “The Good Life”? .. . actually, we could go on until we ran out of ink.

Trumpet pundit Bobby Hackett, a friend and a fan of Tony, turns these same songs into a collection of instrumental gems in an album that says quite eloquently: ‘Tony sure can pick ’em and Bobby sure can play ’em.’

Tony Bennett, a friend and a fan of Bobby, has heard the album and digs what Hackett and his horn have done with the songs. We’re sure you’ll agree.

Bobby Hackett plays Tony Bennett's Greatest Hits

Label: Hallmark HM 613

1965 1960s Covers

Carmen Jones OST – Oscar Hammerstein II

The stirring music of Bizet with exceptionally fine lyrics and a fiery front cover. Not to be confused with Carmen Miranda samba queen – that’s the fruity one. In this production “Otto Preminger… has woven together the stirring music of Bizet with exceptionally fine lyrics and the synchronisation of talented actors and actresses…” Synchronisation is a technical term to mean the actors and actresses mime to the songs, these being sung by hidden professional singers or played back from a recording.

Sleeve Notes:

Side One

Overture
Opening Medley
Dat’s Love (Habanera)
You Talk Jus’ Like My Maw
Dere’s A Cafe On De Corner
‘Dis Flower
Beat Out Dat Rhythm On A Drum

Side Two

Stan’ Up An’ Fight
Quintet: Whizzin’ Away Along De Track
Card Song
My Joe
Duet And Finale

Probably no film has created more comment in recent years than has Oscar Hammerstein II’s ” Carmen Jones “. The fact that the music of Bizet had been applied to a modem story and a present-day setting, caused purist lovers of the original opera to shudder. However, none was disappointed with the brilliant treatment of this subject and that applies to this LP record, taken from the original sound-track of the film.

As Oscar Hammerstein himself says, “Carmen Jones is not in any way an opera, but is, in fact, a musical play based on an opera. The score of Bizet’s original music has not been altered in any way, nor has the traditional tempo been varied.”

Otto Preminger in his production of “Carmen Jones ” as a film, has woven together the stirring music of Bizet with exceptionally fine lyrics and the synchronization of talented actors and actresses. with the magnificent yokes of an unseen singing cast.

The story of ” Carmen Jones ” follows in a modern pattern, along the lines of its operatic counterpart, with a change of setting that brings the action into the 20th century — specifically World War II.

The story begins when Joe (Harry Belafonte) an Army corporal stationed in Jacksonville, U.S.A., is about to enter Flying School and a party is given in his honour by workers of the nearby parachute factory. Among them is his sweetheart Cindy Lou (Olga James), for whose attentions Sgt. Brown (Bros Peters) is a rival. During the course of the celebrations, Carmen Jones (Dorothy Dandridge) swaggers in and attempts to use her feminine wiles on Joe, who is not at all interested.

Joe at that time is seeking permission from his C.O. to marry Cindy Lou when Carmen chooses to pick a fight with another female employee. Sgt. Brown maliciously puts her in Joe’s custody to take her to Jacksonville Jail, and suggests to Cindy Lou that Joe has volunteered to be responsible for Carmen.

Carmen continues to lure, and her attempts are eventually successful. Meanwhile they stop at a shanty town where she proudly shows of her Joe — all the time promising him that they will soon be aboard the train for Jacksonville and the jail. Carmen’s grandmother, who is a fortune-teller, predicts evil things for the couple, which so much upsets the superstitious Carmen that she runs away.

Joe is imprisoned for his neglect of duty, and during his imprisonment he is so devoured by his passion for Carmen that he cannot face Cindy Lou when she visits him. The only reliefs in his
imprisonment are letters and promises from Carmen, with a gift of a rose.

Carmen, meanwhile, settles down at Billy Pastor’s night club to wait for Joe. Husky Miller (Joe Adams), a heavyweight champ, wants her as his girl friend, but Carmen will have none of it, despite the coaxing of her old friend Frankie (Pearl Bailey), whose job comes to depend on arranging things for Husky.

Joe is released, and joy reigns until Carmen realizes he still plans to go into flying school. She wants him to forget the army and go of to Chicago with her. He fights the temptation, but Sgt. Brown overhearing the scene, intrudes sneeringly and is knocked out by Joe, who, knowing now that the alternative is prison, hides the unconscious sergeant and agrees to Carmen’s plan.

In Chicago, they must evade M.P.’s and go into hiding. When their money has gone, Carmen goes to Husky for more. Frankie urges Carmen to be nice to the fighter, but Carmen swears she’s no two-timer. When Carmen retums to Joe, who complains to her for being away so long, he is suspicious as to the source of the money provided for food. This drives Carmen back to Husky’s where, at a party, she reads her own cards, forecasting death.

Joe follows Carmen, eluding the M.P.’s, while Cindy Lou arrives in pursuit of Joe. All meet at Husky’s training quarters, where Carmen tells Joe it’s all over between them, but helps him to escape. Cindy Lou departs in tears knowing that she has lost her Joe.

At the championship fight, the crowd acclaiming Husky’s triumph, Joe confronts Carmen, again pleading with her. When she refuses his love, he kills her. As the mob mums out of the doors screaming for their hero, the heartsick Joe weeps for the dead Carmen and voices his hope they will soon “hang him on the highest tree”, so that he might join his beloved.

Note by MERVYN DOUGLAS

Carmen Jones OST - Oscar Hammerstein II

Label: HMV CLP1034

1954 1950s Covers

Capitol’s Country Festival

Side One:
1. Gentle On My Mind – Glen Campbell
2. The Price I Pay To Stay – Jeannie C Riley
3. Sixteen Tons – Tennessee Ernie Ford
4. Orange Blossom Special – The Buckaroos
5. Since I Met You, Baby – Sonny James
6. Harper Valley PTA – Billie Jo Spears
7. Big In Vegas – Buck Owens

Side Two:
8. Okie From Muskogee – Merle Haggard And The Strangers
9. Right Or Wrong – Wanda Jackson
10. With Lonely – The Hagers
11. Wabash Cannon Ball – Hank Thompson
12. Deck Of Cards – Tex Ritter
13. Wings Of A Dove – Ferlin Husky
14. Ode To Billie Joe – Bobbie Gentry

Capitol's Country Festival

Label: Capitol SRS5021

1970 1970s Covers

Tony Danieli – Intimate Slow

Tony Danieli was a pseudonym used by Albert Ferreri, one of the founders of the VOGUE label.

Sleeve Notes:

Spécialiste du slow, cette danse calme, si propice aux plus tendres confidences, Tony Danieli avec son alto sax, nous invite à le suivre (avec votre partenaire) tout ou long des sillons de cet album consacré en totalité à cette danse.
Vous trouverez réunies ici les meilleures interprétations de Tony Donieli qui lentement mois sûrement monte vers le firmament des <Maitres à danser>, but vers lequel il aspire le plus pour se mettre totalement à votre service et guider vos pas sur les pistes cirées, baignées de lumière douce et tamisées…
OUR BEAU PROGRAMME

Intimate Slow - Tony Danieli

Listen to “Saxuality”.

Label: Pye VRL 3018

1965 1960s Covers

Country Giants Vol. 3

Country Giants. Giants of Country Music. But that’s enough about the cover. I’m no country music expert but I suspect this selection wasn’t taken from the premier league of country hits.

Sleeve notes

The world of country music has provided that wider world of show business with some great performers; names like Jim Reeves, Chet Atkins, Floyd Cramer immediately spring to mind as people who have enhanced overall the music industry. But these names, like the others on this album, are basically country music artists and their enthusiasm and love for this music that is so indigenous to America but has yet spread its appeal to most western countries keeps them leaders in the field.

On this album you’ll hear the legendary Jim Reeves performing two songs, one of which is that great favourite “Scarlet Ribbons”. And you’ll hear Floyd Cramer giving very different treatment to “Release Me”, the song that gave Engelbert his big break. Skeeter Davis, Waylon Jennings, Dolly Parton and Porter Wagoner all come in with fine country songs and there’s a memorable duet by Dottie West and Don Gibson.

Most of these artists have been delighting country music audiences in America for many years now and over the past few years a steady stream have made their way to London for appearances at theatres and festivals throughout Britain. Both in their music and in their background they reflect all that is best and enduring in country music. Some of the songs they write and perform may become hits, not only for their originators but for other artists, but what remains essentially the same is a spirit that comes into every country song and makes it a vital part of today’s musical scene.

Country music fans will know just what we mean.

Country Giants Vol. 3 Skeeter Davis, Waylon Jennings, Dolly Parton and Porter Wagoner all come in with fine country songs and there's a memorable duet by Dottie West and Don Gibson

Label: Camden 1119

1975 1970s Covers

George Melachrino & His Orchestra – Serenade My Lady

Sleeve Notes:

The name of George Melachrino will always be associated with rich, melodious instrumental music, and the titles on this L.P. ably demonstrate Melachrino’s easy-going style.

Melachrino was born in London in 1909 of Greek parentage, and he showed a leaning towards music at a very early age. “I wrote my first composition when I was four. There was never a chance of my becoming anything but a musician.” He first played the violin at three, and when he was three he made his first public appearance as a violin soloist m a day concert at a London music hall. At sixteen he won a scholarship to Trinity College of Music where he formed a jazz band and learned to play eight different instruments. After his graduation he appeared regularly as a singer and performer at the Old Savoy Hill Studios in London. In the 1930 he played in many different bands and proved to be accomplished performer on the violin. viola, oboe, clarinet and saxophone. During the Second World Was he became musical director of the Army Radio Unit and later formed and conducted the British band of the Allied Expeditionary Force. After the war George formed the Melachrino organisation which consisted mainly of the full size Melachrino Orchestra. He recorded extensively throughout his career and has also been responsible for many films and theatrical performances.

When the first song-writer was casting round for inspiration It is probable that it came to him in the shape of a woman. Through the ages the members of the fair sex have proved the stimulus for many a tunesmith to burst into song in their honour. On this L.P. we invite you to meet twelve beguiling beauties of modern times bewitchingly gowned in creations by George Melachrino and his Orchestra – the twelve lovely ladies who between them display such a variety of charms as to leave any poor male in a state of bemused enchantment. Each of our ladies has a personality that is all her own.

“Laura” is elegant and expensive with a hint of mystery in her eyes: “Dinah” a dusky charmer with a lazy southern drawl; “Louise is a coquettish Parisienne, while “Dolores” is a blackeyed senorita with a fiery Latin temperament. The enigmatic smile of “Mona Lisa”, the sweet innocence each portrait is subtly shaded and coloured by an artist who uses an orchestra for his palette and cellos for brushes. One thing they have in common… each is irresistible.

SIDE 1

  1. Laura
  2. Rosalie
  3. Sweet Sue, Just You
  4. Mona Lisa
  5. Liza
  6. Marie

SIDE 2

  1. Chloe
  2. Dolores
  3. Irene
  4. Louise
  5. Dinah
  6. Sally
George Melachrino & His Orchestra - Serenade My Lady

Label: MFP 1173

1966 1960s Covers