Ray himself sings on Honey Come Back, at first a sort of spoken cantor but fully committing during the chorus backed by “the Singers”.
Sleeve Notes:
Most of you reading this already know the instantly identifiable sound that is Ray Conniff. You are familiar with the Conniff mystique and are going to buy this record no matter what it says here on the back, because you know if its Conniff it’s going to be great. But the Conniff greatness didn’t just happen. The LP in this jacket is – “like all Conniff records” – the product of years of hard work, devotion and imagination. It is testimony to the musical genius who created it and gave his name to the sound pressed in its grooves. Like all great things, the music that is today known as “The Conniff Sound” took time. Ray studied under that toughest of teachers, Experience: by the time he was ready to graduate, Ray Conniff had rewritten the textbook. His long list of hit arrangements include some of the all-time best sellers like: Don Cherry’s “Band of Gold,” Johnnie Ray’s ‘Walking in the Rain,” Frankie Laine’s “Moonlight Gambler,” Guy Mitchell’s “Singing the Blues,” and Johnny Mathis’ “Wonderful, Wonderful,” “It’s Not for Me to Say” and “Chances Are.” Shortly after his success with “Band of Gold, Roy created what could be termed his Doctoral Thesis, he recorded S’ Wonderful,- The Conniff Sound was born. Since that first LP, Ray has recorded many great albums for CBS. Nine of them have received the coveted Gold Record Award. Ray has been further honored by receiving a “Grammy” from the Notional Academy of Recording Arts and Sciences for best performance by a chorus on “Somewhere My love”. Because his very first and succeeding albums have been such great successes, Ray has been termed an “instant success” by some. Nothing could be further from the truth. Like all great artists, musical or otherwise. Ray has matured and improved like a fine wine. His years of service to the greatest bands in the country coupled with his inherent musical genius have resulted in his deserved recognition. The magical “Conniff Touch” transcends musical fads and, fortunately for our and future generations, it will be preserved for years to come in this album.
The ten items on this record are so well known that they require no commendation from me. They are the chosen favourites of my large audience on BBC Radio 2 on Sunday nights These are the tunes that occupied the first ten places in a recent nationwide poll, when listeners to my programme were asked to nominate their hundred best tunes. The response was quite remarkable, and the many thousands of letters clearly show what the mass of music lovers were ready to accept and appreciate. As one listener put it “Music that speaks to us in straightforward terms”. The selection presented here affirms that impression, and gives us a choice of music that cannot fail to delight. You will hear music as varied in mood and character as is possible to find on any one record.
Who is not moved by Sibelius’s tone-poem – Finland. As stirring a piece of nationalistic music as was ever written. Or who can resist the joyful outburst of the finale of Beethoven’s – Pastoral-Symphony There is no need for me to attest to the popularity of the enchanting song. – Sei nicht bos – “Don’t be cross”, from Zeller’s operetta, or the famous chorus from Verdi’s “Nabucco”. Nor need I remind you of the heartfelt melodies of the Violin Concerto in G minor by Bruch. These and the others in the list that make up the top ten of – Your Hundred Best Tunes are familiar to all who listen to what might be termed “more serious music”.
Here is a chance to hear these favourites in your own time, and as often as you wish. And always, I am sure, with the greatest pleasure. …
Sibelius: Finlandia
This famous tone poem was original, the finale of an earlier orchestral suite that Sibelius composed in 1899 and though for a time performances of “Finlandia” were prohibited by the Imperialist authorities, it nevertheless came to represent the defiance of the Finnish nation struggling for independence from Czarist Russia It was generally assumed that some of the themes In “Fintandia” had been based on actual folk melodies, but Sibelius emphatically denied this.
Johann Strauss: Casanova – Nuns’ Chorus. When the English version of “Casanova” was presented at the London Coliseum in 1932, with book and lyrics by Harry Graham, it was described as a musical play of Adventure and Love. The score was arranged by Ralph Benatzky from Johann Strauss’s music. But the only reminder we have of it today is The Nuns’ Chorus, which is still as popular as it was almost forty years ago.
Mascagni: Cavalloria Rusticana – Intermezzo. This Intermezzo is perhaps the most famous piece in the opera. It follows a dramatic encounter between Santuzza and Allio who rush from the scene, leaving an empty stage. In this tense and hushed stratosphere, the orchestra softly begins the Intermezzo.
Zeller : Der Oborsteiger – Don’t be cross. A song about a miller\’s daughter who is wooed by a fisherman. Thinking that she can improve her status in life, she rejects him, saying “Don’t be cross, it cannot be”. When later, having experienced the outside world and returned disillusioned, she asks the fisherman to comfort her, only to be paid back in her own coin.
Beethoven Symphony No. 6, “Pastoral” Final movement. It was Beethoven himself who subtitled his Symphony No 6 in F major. “The Pastoral: Recollections of life in the country”. The last of the five movements he called A Shepherd’s Song of happy and thankful feelings after the storm. A hymn of gratitude, as shepherds gather their scattered flocks, and the sky is again serene.
Beethoven: Piano Sonata No.14, “Moonlight”. The name “Moonlight” by which the C sharp minor Sonata is known, was not Beethoven’s. Legend has it that a critic of the time had said that to him, the music suggested Lake Lucerne in the moonlight. Presumably he was only referring to the first movement, Adagio. But though none of the numerous explanations are to be taken seriously, it may be that the nickname has contributed to this sonata’s popularity with the general public.
Verdi: Nabucco -Chorus of the Hebrew Slaves. One of Verdi’s most celebrated choruses, this fervent plea by the Hebrew slaves held in bondage never fails to impress its listeners. On the Banks of the Euphrates, by the Waters of Babylon, they sing “Va pensiero sull ‘ali dorati – “Go, our thoughts on golden wings”.
Bruch: Violin Concerto No.1 in G minor.Through this violin concerto alone, Max Bruch’s reputation will remain secure. It is a standard work in the violinist’s repertoire. The warm expressive melodies of the Adagio have led some to regard this movement as one of the most rewarding pieces of music ever written for the violin. Indeed, its main theme has been called “a melodic glory of the nineteenth century’.
Bach: Cantata No.147: Jesu Joy. No one section of any of Bach’s Church Cantatas is better known than “Jesu, Joy of man’s desiring”, the final chorale of Cantata No 147. This tune is familiar too, in transcriptions for the keyboard.
Elgar: Enigma Variations – Nimrod. In discussing the Enigma Variations, Elgar once said that in his music he sketched the idiosyncrasies of thirteen of his friends The ninth sketch, or variation, refers to Elgar’s friend A. J. Jaeger. “Jaeger” is German for “hunter”. And the Bible says Nimrod was a mighty hunter.
Label: Decca SPA 112 Cover photograph by David Wedgbury
This business of trying to predict just what will top the record charts from week to week is probably one of the most thankless and frustrating tasks facing anyone. Especially those who make their living through selling pop. Yet glance down at the twelve titles on this album, listen to the lyrics and the strong melodies that emerge and you may find yourself wondering just why the experts didn’t sit back and wait for success to happen. These are, after all, good songs by writers who know about popular appeal and some have been around long enough to ensure that the essential ingredients of a good pop song-catchy, simple melody and easy-on-the-ear lyrics are there. But in the end it’s the record buyer who decides that a song like “In the million-plus seller and that the haunting delicacy of Cat Stevens’ melody for “Lady D’Arbanville” isn’t overlooked. And that’s just what pop is all about, so settle back, turn on the record player and listen to some of the most successful chartoppers of the year! summertime” becomes a phenomenal.
The romance of Hawaii, land of waving palm trees and dusky grass-skirted maidens, comes vividly to life through the music of the island as played by the Pacific Serenaders. For these musicians have put on one album some of the best and most durable of Hawaiian hits, among them “Beyond the reef”, “Moon of Manakoora”, “Mahala Pua” and “Aloha oe”. Through their music they ensure that although Hawaii may be a distant dream for those who would love to visit these magic islands, there’s really no need to stray further from your favourite armchair and the record player. So just sit back, listen to the sounds of the Pacific Serenaders and the music of Hawaii will gently steal its way into your mind.
This is the first in the Hot Hits series and therefore doesn’t carry a “volume” number. The series went on to run for many volumes – see our collection page of “Hot Hits” to view more of them.
Sleeve Notes:
These are twelve of the HOT HITS that are riding high in our charts. They have been excitingly recreated by talented artists who recapture the original appeal that has made them into hits. Music for Pleasure brings you these chart busters on a single LP so if you want to make your party swing or simply wish to relish the sounds of HOT HITS, pop this album onto your record player and enjoy yourself.
Here comes No. 9 in the series of “Top of the Pops”. There are a few “Greats” like Sinatra or the Rolling Stones who can successfully repeat a winning style; but the great majority of songs in the Hit Parade at any one time differ from each other and so give the Parade a constantly changing freshness and variety.
In making each “Top of the Pops” LP we particularly notice all this, partly because it poses us some pretty ticklish problems. For instance, hardly any two titles involve precisely similar groups of musicians. As a result we find ourselves at times in the middle of thirty or forty people – could be Brass, Strings, Woodwind, Percussion, Rhythm, not to mention Voices – all belting away happily, whereas ten minutes later we may solemnly be distilling something equally potent with less than ten. This makes for the spice of life, and thus never a dull moment. So if you enjoy this one as much as we did making it, it means only one thing – congratulations, you’ve bought a winner!
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
As old precepts and concepts about music come tumblin’ down as in the days when Joshua was doing his thing, a whole new spectrum of musical integration seems to be emerging from the dogmatic rubble. Take jazz, as it used to relate to the organ. At one time the organ was considered a dirty word among people who manufactured public opinion about “what was, or was not acceptable in a jazz combo, band or orchestra.” It was strictly a tool for rock and roll musicians to create a less than pure atmosphere of frenzy for a bunch of wildly undulating teeny-boppers. “Critics” are always right, aren’t they?
Now all this has changed drastically. For starters, rock has finally taken its rightful place among the genuine forms of music that have developed and evolved in our culture. Its roots have been traced further back than most people who are alive today can remember. It can be perceived in blues, gospel, folk music and, with increasing effectiveness, jazz. In addition, almost every instrument used in the current presentation or in the overall development of this mode of expression is considered “Acceptable” if it enhances the desired projection of a style or mood. Further, the gap between jazz and rock has been bridged to such an extent that they both can be found interwoven in the repertoire of many of the top record sellers of our day.
All of this prelude now brings us to Jimmy McGriff, one of the finest organists (jazz, rock or otherwise) in the vast community of modern musicians. For the last few years, his albums have been persistent testimony to individualism. His protean ability and nonrestricted approach to everything his musical taste favors have made it impossible to fit him within the boundaries of one category. He originates and then develops and in doing so presents a total picture of himself.
“Electric Funk” is the latest in the constantly evolving story of Jimmy McGriff. It’s a complete experience of thought and ability. Although the title connotes a purely upbeat rendering, “Funk” offers a mixture of tempo and feeling and in two cuts “Spear For Moon Dog” (Parts I & II) McGriff shows a great deal of musical compassion (Moon Dog is a blind man who can be found almost any day in New York City’s mid-town area dressed as a Viking and carrying a spear. He never begs money, he just listens to the world around him).
As previously stated, things have changed and the talent and incisiveness of one James Harrill McGriff stands out as one of the most convincing tributes to progress. JEFF SMERIN (original liner notes)
Listen to an organ with more funk than a funk filled arena on National Funk Day…
The Music of Herb Alpert – Simple, Melodious, Infectious
People like music that’s fun. They want something to sing in the shower and whistle on the street. Herb Alpert is the man who gave it to them by using two trumpets playing in parallel thirds and sixths over a strong steady beat. What critic Morgan Ames calls “modern ragtime.” The music is simple, melodious, infectious.
Since this is what people wanted to hear, the TJB sound was picked up by everyone in the business and was incorporated into every kind of music. Composer Johnny Mandel utilized it for his film score “Harper” and arranger Pat Williams incorporated it into two big-band albums. Even television was improved: Detergent commercials became less irritating when accompanied by a swinging, lilting sound.
The popular sound of the Living Brass and Living Marimbas lends itself ideally to this type of music. In this collection you’ll find many of Herb Alpert’s biggest hits, including such favorites as This Guy’s in Love with You, What Now My Love and A Taste of Honey.
Here then is the music of Herb Alpert and The Tijuana Brass interpreted by the Living Brass and Living Marimbas. It defies analysis. Enjoy it. That’s what music is all about anyway.
