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.
A common ruse to part punters from their pounds – display the name of a very famous singer (Engelbert Humperdink in this instance) in large print and then in much smaller print on the back reveal the fact that these are not actually sung by that famous singer but by someone you’ve very likely never heard of.
Sleeve Notes:
Engelbert Humperdinck (that unusual name) attracted everyone’s attention when he appeared on the pop scene with “Release Me”. He has never lost it. The name was a gimmick, but the voice and songs of Engelbert needed no gimmicks. This album has all his World Wide greatest hits such as ‘Release Me’, ‘The Last Waltz’ and ‘Bicylettes De Belsize’. All are beautifully recorded and arranged with a voice – a very famous one (but not Engelbert’s, of course) – that may make you scratch your head with wonderment
In direct contrast to the frantic, frenzied, frenetic pop music of the Western World, the haunting, romantic, nostalgic music of Hawaii evokes visions of Sunshine, Surf and Sea. In both musical styles the guitar is the chief instrument, but to what different ends! On the one hand we have beat, aggressive rhythm and a brash yet not unattractive harshness; on the other, a gentler, soothing, melodic sound with a subtle hint of sadness. There is an indefinable something about Hawaiian music that reaches to the very heart; and the Waikikis – exponents of Hawaiian music in excelsis – take the basic melodies, smooth them, polish them, add their own inimitable orchestrations and then play their hearts out to reach right into your heart. On this album you will hear some of the most popular Hawaiian melodies played by the Waikikis – and that is hearing Hawaiian music in its superlative best. Just settle in your armchair and let the Waikikis waft you away to blue tropical skies and a dream world of peace and contentment.
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.
One of our more risqué covers and a fine example of the cover’s importance in compensating for the unremittingly poor versions inside of the “pop hits” of the day. The model on this cover is Ingrid Steeger who also appeared on similar covers some of which were more revealing than this one. How many copies were bought solely for the pleasure of its very attractive cover model? That’s kind of a rhetorical question we will never know the answer to. A look at the back cover will reveal the name DL Miller as Recording Director. David Miller was a prolific releaser of records in the budget genre and his name appears on hundreds of records from the sixties and seventies. He set up the Stereo Gold Award label examples of which feature prominently in our archives. For more on Mr Miller read his Wikipedia entry here.
Sleeve Notes:
Here are the very latest chart hits – sung and played in the same arrangements as the original versions – Enjoy on this one record TODAY’S TWELVE TOPS
Here’s a dance party with two favourite ingredients – the great, nostalgic sounds of Glenn Miller and hit songs by The Beatles. These sweet and swinging arrangements were written by Bill Holcombe (an old T. Dorsey sideman), who has taken these British bred hits and written the inimitable Glenn Miller style around them. The Hiltonaires under the baton of Stan Reynolds are joined by the vocal stylings (a la Modernaires) of Tony Mansell and his group. Here’s big band beat at its best – with familiar hit songs.
The Hiltonaires with extra percussion play for your dancing and stereo listening pleasure. This stereophonic recording was originally produced in an acoustically perfect studio equipped with Telefunken microphones that were placed within the band to enhance the “pin-pointing” of the musical effects scored in the program. The performance was mixed and amplified to a four track Sculley Tape Machine running at 30 I.P.S. The four track program was then edited and reduced on an Ampex No 300 two track stereo machine for subsequent transfer to disc on a Neuman heated stylus cutting lathe. The maximum frequency response of the original performance has been faithfully maintained through use of the latest quality controls to give you this program of exciting stereo dimensions.
What is great about these Stereo Gold Award albums is that they almost always include at least two tracks not actually written by the people they are supposed to be tribute to, but by someone called L Miller, L Muller, Leo Muller or some variation. For many years I was baffled by this and eventually came to the conclusion it was a clever scam by the afore-mentioned Miller/Muller so that he could cream off a further cut of ‘Mechanical’ royalties on the back of people like Glenn Miller, The Beatles, Bacharach and David etc.
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.
