1970s

Terry Kaff - Sweet Caroline and other songs composed by Neil Diamond

Terry Kaff – Sweet Caroline and other songs composed by Neil Diamond

Sleeve Notes:

Hand in hand with Neil Diamond’s success as a major recording artist goes his substantial reputation as a songwriter, and the songs interpreted so ably here by Terry Kaff are representative of the very best of the man’s prolific output. Some made the charts as singles, some were tucked away in albums, all are instantly memorable and evocative compositions which underline the fact that Neil Diamond is one of the most perceptive writers on today’s music scene.

Neil Diamond grew up as a shy, withdrawn loner in one of the tougher suburbs of Brooklyn. It was the kind of background which has a profound influence on a youngster’s attitudes and life-style, it could have affected Diamond in several very different ways.

At first he found himself in constant conflict, drawn into fights with rival neighbourhood gangs “Before I discovered I could write songs, fighting was the only way I had of expressing myself,” he recalls.

“The big kids all had zip guns. Well, one night we had a big rumble on the parade grounds in Brooklyn and I got shot in the face twice by CO2 pellets and that’s what made me cool it.”

So the youngster who till then had seemed set fair to turn into a hoodlum looked for a new outlet and found it, surprisingly, in poetry and love poems “I always used to wonder why I never got invited to parties and things, it was just that I was too shy to push myself forward but then when I found I could put my feelings into words then things went better.”

Diamond’s words in fact summed up the emotional stresses not only felt by himself but shared by a generation : “Kids like my songs because they see I’ve been through the things they are going through.”

Perhaps this is why it’s Diamond’s songs themselves, even more than his personal recordings of them, which have won so much respect.

With some successful singer/songwriters it is their own interpretation of their work which matters ; Diamond’s songs are different, they can be tackled in different ways by different artists without their effectiveness being in any way diminished.

The Monkees, Lulu, Cliff Richard, Aretha Franklin, the Four Tops, Andy Williams, Ray Charles and Deep Purple are just a few of the many world-renowned artists who have tackled Diamond’s songs in a wide variety of styles’ – and had hits with them.

Diamond himself, despite a string of American chart-stormers, had to wait until 1970 and the catchy Cracklin’ Rosie before notching a hit in this country, earning a silver disc in the process. He quickly followed through with Sweet Caroline and the autobiographical ballad I Am I Said both of which made the top-ten, while his concert appearances have been critically acclaimed box-office sell-outs.

Here Terry Kaff sings twelve masterful compositions which clearly demonstrate the eminence in the field of popular songwriting enjoyed by one of the finest exponents of this art Neil Diamond.

Roger St. Pierre.

All compositions by Neil Diamond Musical direction by Mike Perjanik Produced by Peter Dawkins

Terry Kaff - Sweet Caroline and other songs composed by Neil Diamond

Label: MFP 50108
Photograph: Colour Library International
Sleeve Design: David Wharin

1973 1970s Covers

The Sandpipers - Guantanamera

The Sandpipers – Guantanamera

Sleeve Notes:

There’s no doubt about it. The Sandpipers are one of the finest singing groups in the world. The three ex-Mitchell Boys – all aged 26 – who collectively call themselves the Sandpipers, make records which have a lasting appeal to the more discerning kind of record buyer – the type who shells out good money for something he knows will not pall inside a few weeks. It is significant perhaps to note that the solid popularity of the Sandpipers isn’t confined to one age group. Good music lovers of all ages readily snap up their records and, if they are lucky, make haste to take in one or more of their in-person appearances.

It’s always a pleasure to welcome the release of yet another Sandpipers album. For one thing, it guarantees the listener a musicianly, articulate performance, generously spiced with impeccable taste and utter professionalism. You can’t always say that about some of the other big name performers.

‘GUANTANAMERA’ is yet another example of the trio’s pre-eminence amongst the leading vocal groups in the densely populated jungle of the pop music world. It demonstrates many facets of the Sandpipers’ musical eloquence. For one thing, it shows clearly that like Paul Simon & Art Garfunkel, they have elevated the art of combining musical simplicity to fine musicianship to a level it doesn’t often attain.

Used loosely, and in the wrong way, the term ‘simplicity’ conjures up an instant mental – and aural – picture of three musical morons. Nothing could be further from the truth! But using the expression in the most complimentary sense, it means simply that the Sandpipers deliberately eschew the involved, the raucous and the unnecessary. Instead, they wisely concentrate on the not-always-easy art of singing well, and in a way that communicates naturally and easily to their ever-growing audiences throughout the record buying.

As this album demonstrates too, Mike Piano, Jim Brady and Richard Shoff are never afraid to select material that is as varied as it is interesting. The result is an ultra pleasant melange of good music, with a definite international flavour, and delivered – as always – with a finesse and ease that is wholly commendable.

The song ‘GUANTANAMERA’ has received wide coverage from a variety of artists in the field of recording, but for many people it will be forever associated with the Sandpipers. Whichever way you look at it, theirs is a treatment which can be safely termed “definitive”.

The Beatles’ “THE THINGS WE SAID TODAY” sounds absolutely tailor-made for the Sandpipers.

Anyone who remembers the film “Hans Christian Anderson”, must surely recall Danny Kaye, in the title role, singing Frank Loesser’s “Inch Worm” in most charming fashion. The Sandpipers obviously did and, with the assistance of a high-voiced chanteuse, rescue this neglected little number from obscurity. The result is quite delightful.

Composer Georges Bizet is saluted in composer/arranger Nick de Caro’s salute to “CARMEN”. Whilst the Sandpipers warble sweet things about the obviously alluring young lady, co-arrangers De Caro and Mort Garson utilise the “Habanera” from Bizet’s “Carmen”; the operatic excerpt is delineated most effectively by a harpsichord and acts as an ingenious counter-melody to what the Sandpipers are singing.

A word here about the arrangers. Nick de Caro and Mort Garson provide an ideal setting for the singers; one that is always listenable, yet never instrusive.

Nick De Caro alone arranges “INCH WORM”, “GLASS” and Jimmie Rodgers’ sad little song “IT’S OVER”, the rest of the tracks were scored by De Caro and Mort Garson, in tandem. The Sandpipers could not have asked for more instrumental sympathy from their accompanists.

The Sandpipers – though they weren’t then known under that banner – first got together when Seattle-born Richard Shoff persuaded Los Angeles-born Jim Brady and Mike Piano, from Rochester New York, to form a vocal trio. The boys taught themselves to play instruments – Mike, for instance, is a piano player – but for several years their efforts went unnoticed. Then, in 1964, when they were known as “The Grads”, they played their first gig in Palm Spring, Florida. Later came many offers to play in many of the plush U.S. Nightspots – Harrah’s, both in the Lake Tahoe district of California and Reno, and the Sands in Las Vegas.

In 1965 they received a call from A&M chief, Herb Alpert, asking them to audition for Tommy Li Puma, a talented and knowledgeable record producer. Recalls Richard Shoff of the incident “We went to Herb Alpert’s office and did our whole show for him’ – rock, pretty songs, a cappella things. He was impressed but he said “Well boys, right now I’ve got only myself and I’m interested in pushing myself. Come back in six months when probably I’ll be ready to take on some new acts”. We thought it was the ‘Don’t call us, we’ll call you’ type of thing. But we went back and he signed us up”.

After hearing an album by folk singer Pete Seeger recorded live at Carnegie Hall, the Grads were most impressed by one of the songs he featured in this programme. It was a Cuban song called ‘Guantanamera’. The group featured the number of their second single release (the first hadn’t amounted to much from the sales standpoint). Just before its release, they changed their name to…. the Sandpipers.

The change of name, the song and the Sandpipers performance did the trick. They were off on the dizzy road to fame and fortune. To other best-selling records. To highly-acclaimed concert and club appearances.

The three talented young men, who as kids sang together in the Mitchell Boys Choir, Los Angeles, have continued to combine their impressive musical talents to the best advantage. They will surely continue to do so for than, many Years to come. And for us – that’s good news.

Stan Britt. “Record Buyer”, September 1970.

The Sandpipers - Guantanamera

Label: A&M Records AMLB 1004

1970 1970s Covers

Ralph Vaughan Williams - Sir Adrian Boult - Fantasia On 'Greensleeves

Ralph Vaughan Williams – Sir Adrian Boult – Fantasia On ‘Greensleeves

Sleeve Notes:

There are probably few more familiar tunes than the English traditional melody “Greensleeves.” From 1580 at least – when it was first mentioned in a registry of ballads printed in London – to the present day, it has been used to bear a hundred or more different texts. (The familiar lines, “Alas, my love, you do me wrong, to cast me off discourteously,” seem to have been first printed in 1584.) Shakespeare knew the song, mentioning the title twice in his “Merry Wives of Windsor.” It was one of these references which prompted Ralph Vaughan Williams to use the tune in his opera “Sir John in Love,” which, in turn, was based on Shakespeare’s “Merry Wives.” (Mrs. Ford. pointing out the discrepancy between Sir John Falstaff’s words and deeds, complains “They do no more adhere and keep place together than the Hundredth Psalm to the tune of Green Sleeves.”)

The concert version here was adapted In 1934 by Ralph Greaves for string orchestra, harp and flute(s). The “English Folk Song Suite” is actually a set of three pieces formally entitled -English Folk Songs.” originally written for military band. Gordon Jacobs one of Vaughan Williams students, rearranged the ten-minute score for symphony orchestra in 1924. Vaughan Williams borrowed his basic themes from the notebooks compiled in Somerset by the great English folk song collector, Cecil Sharp, an old friend and colleague. The first section uses the sometimes bawdy “Seventeen Come Sunday”; the second “My Bonny Boy.” The last movement, titled only “Folk Songs from Somerset.,” is actually based on two songs, “Blow away the Morning Dew,” and the rowdy “Whistle, Daughter, Whistle.” (Significantly, in those pre-World War I days, Sharp could not publish the full texts of three of the four. -Whistle, Daughter, Whistle,” for example, contains this maiden’s lament, “But if I had a young man, how happy I would be, For I am tired and oh,so wearied of my virginity.”)

One wonders if Vaughan Williams chose to set these songs for military band knowing full well that the men in the ranks would surely know one or more of the bawdy texts. That would be one way to guarantee the popularity of the piece.

Thomas Tallis (ca. 1505-1585) was Gentleman of the Royal Chapel under Henry VIII, Edward VI, Mary I and the first Elizabeth. In 1567 he wrote eight tunes for the Metrical Psalter of Matthew Parker, then the Archbishop of Canterbury. Each of the melodies was cast in a different church mode: the third, provided Vaughan Williams with the material upon which the fantasia was based. (That tune was in the Phrygian mode, a “scale” from E to E played only on the piano’s white keys, which gives the music its archaic, moving quality.)

Vaughan Williams scored the work for a string quartet and two string orchestras, each of which is divided to play antiphonally.

THE ARTIST The conducting genius of Sir Adrian Boult first attracted wide attention when he conducted some of the Royal Philharmonic Society’s concerts during the season 1918-1919. His career since then has spanned five decades and as many continents culminating in honors few English musicians have known.

Sir Adrian has held many of the major musical posts in Great Britain: Conductor-in Chief of the London Philharmonic Orchestra, for many years Conductor-in Chief of the B.B.C. Orchestra of the Birmingham Festival Choral Society and the City of Birmingham Orchestra, and Musical Director of the B.B.C. He toured throughout Europe and the United States, both with the B.B.C. Orchestra and as a guest conductor, conducted at the Salzburg Festival, and directed the musical programs attendant upon the coronation of King George VI and Queen Elizabeth II. Sir Adrian was knighted in 1937 in recognition of his contribution to the musical life of Great Britain.

Coincidental to this album, Sir Adrian earned the consideration of being Vaughan Williams’ greatest interpreter.

Ralph Vaughan Williams - Sir Adrian Boult - Fantasia On 'Greensleeves

Label: Westminster Gold WGS-8111
Art Direction: Peter Whorf
Design: Martin Donald/See Hear! & How!
Photography: Fred Poore

1970 1970s Covers

The Players Association - Turn The Music Up!

The Players Association – Turn The Music Up!

Precisely what the cover model of this release is doing is hard to establish. My best guess is that, having spent the previous 30 minutes scrubbing the floor to a mirror-like sheen (look at that reflection!), she has just realised the folly of not adopting the correct posture when kneeling and cleaning. The result is intense pain particularly in the lumbar region. I think there’s a lesson for everyone there. Thank you Vanguard Records, The Players Association and cover photographer Frank Kolleogy.

The Players Association - Turn The Music Up!

Label: Vanguard – VSL 5011

1979 1970s Covers