The cover of this record is a fine example of that age old maxim, “less is more“. By choosing to show only a portion of the woman’s face, mainly the eyes, we are left wanting to know more, to see more. The colours are mostly restricted to the reds and blacks of the colour spectrum, further creating a minimalistic look. What do you think about this record cover? Let us know.
Sleeve Notes:
The tragic story of Madam Butterfly begins when Lieut. Pinkerton, of the American Navy, is inspecting the house he has taken for his Japanese bride-to-be, Madam Butterfly. An American consul, Sharpless, tries to dissuade Pinkerton from the marriage-and explains that Butterfly has coot given up her religion for it. The marriage is celebrated, but not without opposition from the family and denouncement of Butterfly by her uncle, a priest, for forsaking her faith. Act One closes with the beautifully moving love duct, which also closes the first side of this record.
Butterfly has a little boy who has never seen his father, because Pinkerton, recalled to America, never kept his promise to return. Butterfly is sure he will come and sings of her faith in him in the world-famous aria ‘One Fine Day’. Sharpless tries to tell her of Pinkerton’s marriage to an American girl, but Butterfly doe’s not listen to the explanation and still believes Pinkerton will come back into her life. An American ship arrives in the Bay and Butterfly and her maid, Suzuki, decorate the house for Pinkerton’s arrival.
Pinkerton eventually arrives with his American wife and Sharpless, but when he realizes the position he cannot bear to stay. Butterfly hears that Pinkerton wishes to adopt the child and promises that within half an hour he may take the boy away. Left alone she embraces the child and then kills herself by falling upon her father’s sword.
The wonderful voice of Marie Collier, who played Butterfly so successfully in the Sadler’s Wells theatre production, repeats her fine performance on this disc. Miss Collier is already a firm favourite with visitors to Sadler’s Wells and Covent Garden. Since she recorded this album she has gone from strength to strength.
Charles Craig is not new to records. This record was produced as a tribute to his fine performance in the Covent Garden production of ‘Butterfly’. His performance as Lieutenant Pinkerton was greeted with rave reviews by the critics after the opening night and his first record certainly deserved the title ‘Fame in a Night’. He has since made many records and operatic appearances.
Ann Robson is no newcomer to the role of Suzuki – she has played it many times – and Gwyn Griffiths as Sharpless joins with hoe to add great support to Marie Collier and Charles Craig.
The Sadler’s Wells Orchestra is conducted by Bryan Balkwill, who once again gives the faultless performance that one has come to expect of him.
This interesting album of contrasting serenades demonstrates once again the musical skill and versatility which has placed Ron Goodwin rightfully in the top league of British and international light music. All-rounder is something of a double-edged description, implying a jack-of-all-trades but possibly a master of none. However, in Ron’s case, he excels in every area of music in which he chooses to participate, from conducting concerts of popular music with the Bournemouth Symphony Orchestra; the Royal Philharmonic Orchestra; the Royal Liverpool Philharmonic Orchestra, and the Toronto Symphony Orchestra to writing a string of highly distinctive and successful film scores 633 Squadron, Where Eagles Dare; Day Of The Triffids and Monte Carlo Or Bust amongst them), and finding time to encourage and assist young musicians with the Hampshire Youth Orchestra.
Ron was born in Plymouth in 1925, the son of a policeman and began piano lessons when he was five. The Goodwin family moved to London four years later, and Ron learned the trumpet whilst at school taking musical theory as a subject in his matriculation examination. He formed his own semi-professional band called the Woodchoppers, but in deference to his mother’s doubts about the security, status and prospects of music as a career, took a job as a junior clerk in an insurance office. After repeatedly catching him fixing gigs for the Woodchoppers over the office ‘phone, Ron’s boss advised him to forget insurance and take his chances in music.
He started as a copyist for a music publisher, studying arranging and also playing trumpet with Harry Gold’s Pieces of Eight. Ron added orchestration and conducting to his study schedule, and began arranging and conducting accompaniments for singers on records. Then he started recording in his own right with a concert-sized orchestra, and his LPs are widely popular at home and abroad. The film world soon realised the extent of his talent, and Ron Goodwin grew into the first-class musical all-rounder that he is today.
Here you have the opportunity of enjoying some scintillating serenades as he draws his material from the classics, the film world, the big band repertoire and his own lively imagination.
NIGEL HUNTER.
NIGEL HUNTER.
Label: MFP SPR 90086 Photograph: Terry Beard Sleeve Design: Terry Beard
Of all the hundreds of musical instruments in use today, the Hammond Organ must spring to mind as being perhaps the most versatile, and certainly one of the most popular. Originally invented by Laurens Hammond in the mid-thirties, it has become widely used throughout the years. It is one of the few instruments that can produce an almost infinite range of tone colours. This album presents the opportunity to hear a wide variety of your most popular tunes, brought to life by Ken Morrish, a prominent member of the Theatre Organ Club of Great Britain. Each tune has a rhythm of its own, a selection which demonstrates the versatility of the organ.
Hear such cheerful, bouncy numbers as Jeepers Creepers and the oh so familiar tune that has introduced innumerable shows, There’s No Business Like Show Business. The organ becomes suddenly wistful, portraying the sadness of I Left My Heart in San Francisco, and the sorrow of The Green, Green Grass of Home. Then quite without warning one is swept into the fairground and onto the merry-go-round. Imagine yourself travelling up and down, round and round to the sound of Gold and Silver.
So if you’re holding a party what could be better than inviting the Hammond Organ along to provide the music.
Pop On The Zither? Yes – With Hubert Wolf Here he comes crossing the “WeiBwurscht, equator now. With melody and rhythme which will also please North German ears: the wolf from Lammerspiel. Or rather: Hubert Wolf, who is living near Frankfurt at Lammerspiel, has, with the electronic zither, the only one in the whole world, created an instrument which lends sound and swing to dull parties. In the first place by record. as e.g. the LP “Zither-Pops 2” (Telefunken, SLE 14 741-P). The artist who was already distinguished once with Radio Luxembourg’s Golden Lion for “Wheels”, is only in German still relatively unknow (sic). Wolf has already made a worldwide name for himself with his sound. Especially in America he is among the secret bestsellers. Only experts know that, technically, the zither is the most difficult instrument to handle, since one hand has to practice two functions (melody and accompaniment). It is Wolf’s mission to prove that an originally popular instrument ist (sic) fully capable to meet the demands of pop-music. The arrangements, of course, plays a big part here. Therefore, Hubert Wolf arranges his titles himself. And the artist Wolf makes the strings produce unique sounds. He frees the zither and the popular songs of their cobwebs. With the result that titles like Snow Waltz, Kufstein Song – i.e. titles from popular hit parades – turn into pop-affairs which stand a good chance in the hit parades of this type of music. The medleys are ageless, the music, however, is suitable to the period. “With this music I am really happy”, says the trained trumpeter and violinist. And happy will be the various generations whom Wolf adresses (sic) with this album. “Zither-fiends” will not get one more in. The sound of Hubert Wolf is much too grand, too convincing – simple startlingly modern. Even stiff dolls will unbend.
Russ Conway’s story is somewhat more tragic than the sleeve notes convey. Of course the sleeve notes are not the place to describe his propensity for bad luck and they were written long before his fall into alcoholism and depression. Russ Conway had the world at his feet at one point and the cover picture of this recording likely portrays a lifestyle not too far removed from reality.
Sleeve Notes:
This is Russ Conway in happiest of moods – pub piano under his fingers. Relaxed, warm, friendly – you can sense the smile, the twinkle in those blue eyes the moment he starts to play. Music to be easy with in true Russ Conway manner; the manner that’s come to be a personal trade-mark on radio, on disc, and to limitless TV audiences on the Billy Cotton (“Wakey Wakey”) Band Show. It’s the manner that marks Russ not only as a top pianist with a rarin’ to go style that’s fresh as paint, but a top entertainer who delights his audiences whether they’re 8, 18 or 85 years old.
Russ Conway was born Trevor H. Stanford in 1927 – a Bristol man. His showbiz career started when he was actually 10 when he made a public appearance with an accordion band at the Bristol Ideal Home Exhibition. But before going into the professional big time he was, among other things: plumber’s mate, salesman, civil servant and barman. Russ also spent about seven years in both the Merchant Navy, starting as a galley boy at the age of 15, and in the Royal Navy – where he was awarded the Distinguished Service Medal.
SELF-TAUGHT MUSICIAN
Cornet, French Horn, Euphonium the 14 year old Russ played them all at Naval Training School, and though piano has always been his first love he also plays the organ. Not only that – he’s completely self-taught in music, too. Playing in a club around 1957 Russ was introduced to an EMI recording manager by dancer Irving Davies who heard him there. He made his debut on disc that April and came up with a seasonal best-seller “Party Pops” the same year. In 1959 Russ received the New Musical Express Award for the outstanding Instrumental Personality of the Year.
GALAXY OF FAVOURITES
On this disc you’ll find all your Russ Conway favourites – all recorded specially for Music for Pleasure. There’s that spanking million-seller “Side-Saddle” along with another of Russ’s hit compositions “Roulette”, chartmakers like “Snow Coach” and oldies like “The Wedding of the Painted Doll” bouncing-bright as a button under the fleet Conway fingers.
A galaxy of old and new tunes bound together by that inimitable freshness, rhythm and sparkle that ensure you stop whatever you’re doing, start your feet tapping, lift your head and say to yourself: ‘That’s Russ!’
They say that all work and no play makes Jack a dull boy. What, then when your work-time’s all playing time? One thing’s certain – when it’s Russ Conway who’s got time to play, there’s always time to listen!
Yet again Music for Pleasure brings you twelve exciting songs on a single album – but these are songs with a difference, twelve outstanding hits made famous by some of the world’s most popular female vocalists, all skill-fully recreated by our studio singers who successfully recapture the atmosphere injected by the original artists.
Vikki Carr waited several years for her first major achievement, ‘It must be him’ and Clodagh Rodgers, no new-comer to the pop scene emerged in 1969 to rise high in our charts with `Come back and shake me’. Clodagh has achieved a great deal in a very short time, and has recently been chosen to represent Britain in the forthcoming Eurovision Song Contest.
Lulu, Sandie Shaw and Mary Hopkin have also represented Britain in the same contest, and songs made famous by each of these singing stars are featured on this album. Lulu sang the tide song for the film which starred Sidney Polder and Judy Geeson, To Sir with love,’ in which she also took ik part, that of Barbara Pegg. This song rose to the top of the American charts for Lulu, and Sandie Shaw’s ‘Monsieur Dupont’ proved to be a winner, as did Mary Hopkin’s ‘Termma Harbour’. Shirley Bassey recently scored a tremendous hit with her new and fascinating interpretation of a number penned by George Harrison, ‘Some-thing’, and Dusty Springfield added another song to her long line of successes with ‘Son of a Preacher Man’. With the hit-making team of Tony Hatch and Jackie Trent writing a song for Pet Clark it was a foregone conclusion that ‘Don’t sleep in the subway’ would be a hit for Britain’s immensely popular singer, and Cilia Black rather proved to us all that it’s possible to increase your popularity if you ‘Surround yourself with Sorrow’
The jaunty, country-styled ‘Harper Valley P.T.A.’ soared high in the hit-parade for Jeannie C. Riley, as did ‘I’ll never fall in love again’ for Bobbie Gentry, and ‘Don’t play that song’ followed a similar pattern for the soulful Aretha Franklin.
Let the songs on the record remind you of these tremendous artists, hear them now on this excitingly new Cover Girl album.
Maybe this cover was partially inspired by this legendary, and now long defunct, aftershave. Interestingly, only two years later everybody was kung fu fighting. And it was a little bit frightening.
There is a fairly widespread belief held in musical circles that you can judge the true value of practically any musician or singer by the kind of artistic company he keeps, and the kind of music with which he is associated. When not used in a pretentious manner, it’s a statement which does bear some validity. Joe Loss has been a bandleader now for more than 50 years and throughout this extraordinarily lengthy career invariably Joe has been close to, and surrounded himself with, first-class musicianship. At the same time he has usually managed to find the choicest morsels amongst trends which have occurred through the years.
One musical form which has continued to delight Joe Loss since he first became aware of its beguiling rhythms, lovely melodies and subtle harmonies, is the Bossa Nova originating, of course, from that colourful, sprawling country called Brazil. Joe was enchanted with the music of such as Jobim, Bonfa, the Gilbertos, Baden Powell and de Moraes, when it and they first attained full international recognition in the early 1960’s – as indeed he was delighted with the efforts of non-Brazilians like Stan Getz, Charlie Byrd, Dizzy Gillespie, Joe Hornell and Quincy Jones in interpreting Bossa Nova so sympathetically and meaningfully …
It is not really surprising then to find that well over a decade after its emergence the Bossa Nova remains as appealing to someone like Joe Loss, as indeed it does to you and me. It is not surprising neither that Joe should want to become involved with an album as musically and artistically worth-while as this one.
With his abounding admiration for the best in musicianship, it is to be expected that, along with his own fine musicians – like trumpeters Vic Mustard and Stan Pickstock, trombonist Sam Whatnough, saxist-flautist-clarinettist Bill Brown, guitarist Lee Fothergill, bassist Joe Quinlan and drummer Bill Eyden – he has chosen scream-of-the-crop selection of top session men like terrorists Duncan Lamont and Keith Bird, saxist-flautist Roy Willcox, guitarist Ike Isaacs and trombonist Don Lusher to interpret this beautiful music so eloquently.
The choice of material which Joe Loss & Co. have used could hardly be faulted – any such album containing Bossa classics such as Desafinado and The girl from Ipanema (a solo feature for the persuasive tenor-sax of Duncan Lamont) can’t be at all bad. And the inclusion of such fine contemporary songs like You are the sunshine of my life, Killing me softly with his song, We’ve only just begun and (They long to be) Close to you detracts not one iota from the overall quality of what is, a uniformly rewarding album. And the most recent compositions – Big Band Bossa, Sweetie and Listen to the rhythm – add a further lustre to proceedings.
Just see if you can resist the potent combination of Joe Loss and the Bossa Nova. Bet you can’t!
STAN BRITT
Label: MFP 50202 Photograph: Paul Antony Sleeve Design: David Wharin
I suppose the way most people recognise the name of the Mike Sammes Singers these days is via the captions that roll up at the end of a good many television shows to confirm the fact that we have been lurking in the background, providing the required ‘noises off’ behind the artistes in the show and generally filling in whatever vocal colour was needed. From this recurrent facelessness, some people may well be led to think that we are some mere figment of the imagination some strange vocal machine that trots out ‘oohs and ahs” at the drop of a baton. (At times, to be honest, we even ponder this point ourselves).
In fact, to give the lie to this and to prove to ourselves and to anyone else who’s interested that we can actually tackle the odd lyric in our own right, we have pieced together a mixture of “our kind of music – the sort of songs we enjoy singing presented in the way that we like to hear them. Happily, other people seem to share the enjoyment too. Lest you go away with the impression that we spend our lives chained to the back of a television camera I must add that we cram in a large amount of backing for other people on records, and over the years we have had the pleasure of backing practically every major British recording star, and quite a lot of American and Continental ones as well. In fact it’s out of these recording sessions that a lot of our TV work has materialised. We’ve been on practically every record that Tom Jones and Englebert Humperdinck have ever made. Recently we recorded a big TV series with Tom for screening both here and in America, followed by a similar stint with Englebert.
Last year we had the pleasure of backing Andy Williams who did three concerts at the Albert Hall. At the same time we had the opportunity to renew our acquaintance with Henry Mancini – a very happy and satisfying occasion all round.
Des O’Connor took us to his desert island with him, and having been with him from the start on all his highly successful records, I guess we might even consider taking him on with us if we ever become similarly marooned, The big, big names we’ve backed really are legion. We’ve backed ’em by the hundred from Uffa Fox to the Beatles and enjoyed every minute of it. I only hope we’ve been instrumental in giving as much pleasure as we’ve got out of it in return.
TV, recording sessions, live shows – we’ve done them all. We keep popping up in the charts too, behind all manner of unlikely people, but because we’re not mentioned on the label nobody ever knows we’re there!
At least on this album there’s no mistaking it – here we are in large letters and I’ve done all the arrangements myself to make sure we get a fair chance to make our mark. On which subject I must give full credit to Ken Thorne who has added some super orchestral backings which give that little bit of excitement and dimension to the arrangement without even getting in the way – beautifully done.
