Saturday, February 28, 2009
by Dorothy Ashby
DOROTHY'S HARP is a magical experience, indeed! It shimmers, glimmers and soars! It's funky, baroque and beautiful. Soulful, haunting, melodic. And besides that, it sounds good. An unbelievably versatile instrument, it offers the simple directness of the guitar, the fluidity and grace of the piano, the Old-World delicacy and charm of the harpsichord. Not surprising, really, since all of these instruments evolved from the harp.
What is surprising is that, until Dorothy Ashby, the harp has been consistently #1 in Downbeat's Category of "Most Forgotten Miscellaneous Instrument," easily edging such contenders as the theremin and seraphine. Yet, with all the versatility and beauty the harp has offered through the ages, most folks can name only two harpists, and they're remembered for skills other than their harping. David, who played lead harp in King Saul's Army Band, achieved his fame first by bonking Goliath the Super-Philistine, and later by becoming King of the Isrealites. What's more, he looked like Gregory Peck. And finally, his harping wasn't that good. Like President Nixon on piano, he played everything in "G."
Harpo Marx was an incredible harpist who could have done much to popularize the instrument, but he's remembered primarily for inventing the hydrogen bomb, which he kept in his pocket...next to the telephone, which was invented by Don Ameche.
So much for history. The fact is the harp has needed a champion for aeons, and it finally has one in Dorothy Ashby, as one hearing of Dorothy's Harp will reveal.
If you're a professional musician or jazz fan, chances are you're already aware of just how great Dorothy is; if this is you [sic] first exposure, you're in for a treat that'll make you glad you have ears.
Producer Richard Evans' arrangements showcase Dorothy's Harp to perfection and reflect everything that is tasteful and exciting in today's popular music. In addition to the six recent standards, you'll be delighted by two Evans' originals ("Truth Spoken Here" and "Toronado") and two Ashby originals ("Cause I Need It" and "Just Had To Tell Somebody").
The fender piano work of Odell Brown is also first rate, as are the flute and oboe solos by Lennie Druss.
This is the kind of album I'm happy to share with an audience.
RECORDED AT: Ter Mar Studios, March, 1969, Chicago
ENGINEER: Stu Black
ALBUM DESIGN: Randy Harter
PHOTOGRAPHS: Jeff Lowenthal
PRODUCED BY: Richard Evans
Fender Piano played by Odell Brown. Flute solo on "Fool On The Hill" and Oboe solo on "Cause I Need It" played by Lennie Druss.
CAN ALSO BE PLAYED ON MONO EQUIPMENT
CADET RECORDS, CHICAGO, ILLINOIS 60616
BY THE TIME I GET TO PHOENIX (BMI) 3:28
CANTO DE OSSANHA (BMI) 3:34
LOVE IS BLUE (ASCAP) 2:50
REZA (BMI) 2:58
THIS GIRL'S IN LOVE WITH YOU (ASCAP) 2:46
TRUTH SPOKEN HERE (BMA) 2:50
TORONADO (BMI) 2:59
THE WINDMILLS OF YOUR MIND (ASCAP) 3:17
CAUSE I NEED IT (BMI) 2:58
JUST HAD TO TELL SOMEBODY (BMI) 3:03
FOOL ON THE HILL (ASCAP) 3:39
Editor's note: I bought this one at a rummage sale today (4/21) for a $1 not knowing just what I had picked up! I thought it was going to be a cheesecake harp record by some local yokel unknown but it turns out that Ms. Ashby (a Detroit native) is actually thought of as a giant in the field of jazz harp. This record, an original print on the Cadet label, is highly sought after and valuable. Which means that I'm selling this sucker on eBay! I'm not in this to make money but it's no different than being a jogger and finding a hundred dollar bill on the ground, is it? Of course not. I'll tell you though: this album is actually pretty damn good. Considering that I don't care for jazz that's saying a lot. Plus the actual sound of the thing is quite brilliant.
Friday, February 27, 2009
by David Neil Cline
During the past decade, D.N.C. has developed a style that has been considered by many to be both distinctive and progressive.
A veteran of the highly competitive night club scene, he was led to the conclusion that the only way to gain recognition was to put out a product displaying his abilities.
Prior to the release of this album, his efforts were greatly rewarded as the formation of Detroit's most innovative new rock band "Trama" emerged from the depths of the competition.
Copyright 1987 All rights reserved
Unauthorized Duplication is a Violation of Applicable Laws.
album design: karen koziatek
I've Been Told
EDITOR'S NOTE: no relation to Patsy, I'm assuming! But all the better if he were. I mean, who doesn't love Patsy Cline? This local Detroit boy is pretty damn hardcore and I'm liking it. It breaks up the monotony of all of these happy records I've been listing. Plus the guy can play and put a song together pretty well. Considering that this EP was put out in 1987 it sounds very fresh. Not that I'm a metal maven but this sounds contemporary to what Metallica and bands like that were doing in the late 90s. Maybe I need to listen to more metal. Yeah...I think I'll pass unless they are indies like this. Great cover art as well. And to think...I bought this gem at a rummage sale for a dime.
Thursday, February 26, 2009
by LUTHER HENDERSON and His Orchestra
Got a minute? That's all it takes to discover the freshest, most inventive music of the sixties. Cracking the whip is Luther Henderson, brilliant arranger of ballads and blues for many leading singers. In this new collection of fancies, Luther looks west, casting a decidedly urban eye over some of the songs of the plains. The hand-clapping excitement he gives these songs is splendidly bracing.
Among other things, the hand-clapping Luther makes so integral a part of his arrangements sets up a lively sense of listener participation. Whether the claps are on the beat, off the beat, or both, the result is music that irresistibly invites listening. Of the songs chosen, DEEP IN THE HEART OF TEXAS has hand-clapping built in! Luther has seen to it that here too there is an inventive new approach by providing unexpected places for its appearance or avoiding it altogether. And whether the tune is a Western classic, like WAGON WHEELS or TUMBLING TUMBLEWEEDS, a "rube"-type jest such as GOOFUS, or the basic CHICKEN REEL, the Henderson crew produces a zestful air that these songs have rarely known. Listen for the rocking rhythm of TENNESSEE WALTZ, the hint of the cha-cha in RIDERS IN THE SKY, the swinging melange Luther makes of OLD MacDONALD'S FARM. Join in the fun: listen, clap!
You will also enjoy Luther Henderson' and His Orchestra in "THE GREATEST SOUND AROUND" (CL 1420/CS 8217) and "CLAP HANDS" (CL 1430/CS 8149).
THIS COLUMBIA STEREO FIDELITY RECORDING IS DESIGNED FOR USE ON 33 1/3 RPM STEREOPHONIC REPRODUCERS
Tennessee Waltz- 2:47 Acuff-Rose Pub. (BMI)
Riders in the Sky- 2:09 Ed. H. Morris & Co., Inc. (ASCAP)
Down Hoe-In It- 2:10 Lu-Mel Music, INc. (ASCAP)
Goofus- 2:32 Leon Feist, Inc (ASCAP)
Chicken Reel- 2:21 Public Domain
Wagon Wheels- 2:22 Shapiro, Bernstein & Co., Inc. (ASCAP)
Don't Fence Me In-2:29 Harms, Inc. (ASCAP)
Tumbling Tumbleweeds-2:20 Williamson Music Inc. (ASCAP)
Don't Let the Stars Get in Your Eyes-2:19 Four Star Sales Co. (BMI)
Deep in the Heart of Texas-3:03 Peer International Corp. (BMI)
I'm an Old Cowhand-2:09 Leo Feist, Inc. (ASCAP)
Old MacDonald's Farm-2:19 Public Domain
Editor's note: I'm pretty disappointed in this record! The "unexpected places for its appearance or avoiding it altogether" clapping routine is unacceptable! Clap you heathens! I want clap-clap-clapping until I'm slap-slap-slapping my knees and thighs in excitement. Like a monkey. But Luther had to go and sully it with musicianship! Boo hiss. I was expecting a John Waters-esque sound throughout the LP once the first track started playing but it was not to be. Seriously, how hard would it have been to make an album of lots of clapping and minimal music? You blew it Mr. Henderson and your so-called orchestra.
Also, I think there is one small skip at the end of "Deep in the Heart of Texas" on Side B or it could have just been the sound of NO HANDS CLAPPING. Grrrr.
Wednesday, February 25, 2009
An Analytical Commentary on Significant Trends in Radio Advertising For the Decision-Makers at Advertiser, Agency and Station
This is the first of a series of Ambrose/McMahan "Radio Briefings." Next issue January 1, 1967. Reserve your copy now. Duplicate copies of #1 available at special low prices. Write for data. Analytical Commentary Copyright 1966:
Warren F. Ambrose/Harry W. McMahan
620 Esplanade, Pelham, NY 10803, Telephone: (914)PE 8-3803, Cable: Macateevee
1."IMAGE CARRY-OVER"--How do you extend TV's efficiency through Radio's ability to restimulate the picture image...
a. Rinso (J. Walter Thompson)
b. American Airline (Doyle Dane Bernbach) Production: Tony Schwartz
c. Broxodent Electric Toothbrush (Doyle Dane Bernbach)
d. Volkswagen (Doyle Dane Bernbach)
e. Purolator (George S. Clarke)
f. Kent Cigarettes (Lennen/Newell/Grey)
2. "SOUND STIMULATION"--How sound can stimulate imagination
a. General Electric (Corporate)
b. New England Telephone (Batten, Barton, Durstine & Osborn) Production: Professional Sound Inc.
c. Mountain Dew (Ogilvy, Benson & Mather)
1. "MARKETING REPORT"--Current significant moves, strategies, success stories--and stories behind the stories...
a. Campbell's V8 Juice (Needham, Harper & Steers)
b. F & P Canning (Botsford, Constantine & McCarthy) Production: Alan Alch
c. Midas Mufflers (Bronner & Haas) Production: Shield
d. Ac'cent (Needham, Harper & Steers)
e. Mustang (J. Walter Thompson)
2. SPECIAL "NAME" TALENT--How to cash in on pre-sold "personalities." Ethnic potentials.
a. Schaefer Beer (Batten, Barton, Durstine & Osborn) Talent: Louis Armstrong
b. 7-UP (J. Walter Thompson) Production: Shield; Talent: Margaret Whiting, Perry King, Georgia Gibbs and 61 others audition.
c. Coca-Cola (McCann-Erikson) Talent: Ray Charles
d. Kraft Parkay (Needham, Harper & Steers) Talent: Don McNeil
a. Mountain Dew (Oglivy, Benson & Mather)
b. Schlitz (Leo Burnett)
c. Pepsodent Tooth Brush (SSC & B)
d. Dupont Cantrece (BBD & O)
e. Pepsi Cola (BBD & O)
Editor's note: you may not like spoken word records--I do--but you'll be intrigued by the old adverts featured here if nothing else. Some familiar names and brands and a few stereotypical comments about race and general society back in the mid-t-late sixties. The Mountain Dew segments are worth the price of admission themselves. Who could have thunked that Mountain Dew was originally brewed for hillbillies!
Tuesday, February 24, 2009
Circa Early 1960s
During the past year, Jerry Murad and His Harmonicats have developed the electronic harmonicas to further enhance their performances. This session will evidence the greater depth and musical color now provided by the harmonicas, played by this top trio. Hi-Fi bugs, as well as general music fans, have evinced great interest in the NEW SOUND, thus, this first album.
Herein, too, in addition to the NEW AND GREATER SOUND of the Harmonicats, are songs and arrangements to keep toes tapping from eight to eighty. Not the wonderful variety of tempos and moods, included in this DOLLS, DOLLS, DOLLS. Truly music for every mood.
This session was made at Universal Recording Studios, Chicago with M. T. (Bill) Putnam at the controls. Microphones utilized to reproduce the various sections and instruments included: solo chromatic harmonica and/or eight chromatic harmonica, played by Don Les, and special chord rhythm harmonica, played by Al Fiore, amplifiers on these harmonicas fed directly into the mixing console; piano, RCA 77X; drums, Telefunken, 201; string bass, altec 639; flute and reeds, B & O Fentone; rhythm guitar, shure 333; solo guitar, direct feed from amplifier into mixing console. The entire session was taped at 15 ips(inches per second).
This MERCURY LONG PLAYING 33 1/3 r.p.m. recording was made possible through the use of the MERCURY SOUND MARGIN CONTROL process-- a technique whereby it has become possible for Mercury to produce for the record-buying public a disc of truly superior quality, especially with respect to brilliance, clarity, dynamic range and reliable stylus tracking. This record can be played on any 33 1/3 r.p.m. turntable.
Photo by Don Bronstein
Printed in U.S.A.
CUSTOM HIGH FIDELITY
OH! YOU BEAUTIFUL DOLL
DANCE OF THE DUTCH DOLL
PARADE OF THE WOODEN SOLDIERS
MARCH OF THE TOYS
THE TOY TRUMPET
WEDDING OF THE PAINTED DOLL
PINK DRESDEN DOLL
THE WOODEN SOLDIER AND THE CHINA DOLL
Editor's note: ah- harmonicas. Electrified. With chunky finger-plunked bass and shards o' guitar. It almost sounds like very talented musicians having a jam session in a garage but minus the canned sound. Simplified genius is most certainly highly accessible and this opens the door for you and invites you in. Sit on the couch, grab sound Doritos and Kool-Aid and hug your women, children and pets within the sound of your loving record player because this one's cozy enough to get quite comfortable with.
Monday, February 23, 2009
by Dick Feller
UNITED ARTISTS RECORDS
THE CREDIT CARD SONG
THE SUM OF MARCIE'S BLUES
LORD MR. FORD
JUST SHORT OF THE LINE
NOBODY RIDES A TRAIN
BIFF, THE FRIENDLY BEAR
THE THING THAT KEPT ME GOIN'
ORLEANS PARISH PRISON
ANY OLD WIND THAT BLOWS
Editor's note: Feller's track Lord Mr. Ford was a number one smash for Jerry Reed in 1973 and Any Old Wind that Blows was a number 3 hit for Johnny Cash in '72, a few others from this record also cracked the top 25 & 50 respectively, with The Credit Card Song topping the top 10. Other than that he's mainly known as a songwriter for others and commercial work and hasn't made another album since 1982, or so says wikipedia. The Sum of Marcie's Blues is my favorite here. Not a bad album at all!
Sunday, February 22, 2009
It is only natural that the phenomenal life of modern man has become less and less connected to any certain or absolute reality, as the concept of some predominating authority or governor becomes more and more dim memory of less enlightened times. Technological wizardry and it alternatives have outmoded the primal cause, the Supreme Creator and the eternal Father, and left us is a disconnected state of mind with nothing to show for our efforts but some rocks and dust from the moon, TV watches that click, buzz, and beep, and more effective contraceptives for your dog. The end result is a world view in which things just don't connect and where all phenomena occur in a seemingly haphazard, random fashion. But as soon as we introduce the concept of the universal guide, who is the source and essence of the cosmic manifestation, order is immediately invoked. Where there was chaos, form becomes manifest. Where there was apparently no cause, there is unlimited intelligence. Where there was emptiness, there is fullness. That guide, or creator, is called Krsna, and He explains hat "Everything you see is Me."
This is called God consciousness, and in such a state of mind the whole creation becomes a jubilant chorus celebrating the excellences of the Supreme Person in His representations as the sun, moon, and stars decorating the heavens. The searcher who comes to this ultimate awareness sees everything as a reflection of the opulence of the Supreme. Therefore, he not only glorifies God through His holy name, but also serves Him, by offering everything available for God's pleasure.
We are all walking around in some dream world, thinking it all to be eternal--yet being constantly frustrated by the temporality of it all. Just as one is called from a dream when he hears the sound of his name, so also we can be brought back to eternal reality by the chanting of the Lord's holy name. If you experience the fullness of transcendental sound and relish it within your heart, then very soon, genuine spiritual vision will become yours and you will see the Lord within every aspect of His creation.
Chris McDaniels--Vocals, Drums
Calvin Moss--Vocal on "Just for Believing"
Bee Snow--Vocals on "Within The Sound", Background Vocals
Vakresvara Pandit--Vocal on "Chanting"
Piers Lawrence--Lead Guitar
Dave Webb--Keyboards, Acoustic Piano on "Just For Believing"
Roger Panansky--Keyboards, Synthesizer
Anthony Jackson--Bass on "Chanting" and "When Will The Day Come"
Patience Higgins--Sax on "A Perfect Love"
Ruderial Blackwell--Background Vocals
MUSIC--London McDaniels, except "Questions In My Mind" and "The Dream Is Over" which are by Andrew Marks
WORDS--Andrew Marks, except "Just For Believing" which is by Andrew Marks and London McDaniels
PRODUCED by London McDaniels and Jorge Barreiro
ASSISTANT ENGINEER--Akili Walker
RECORDED AT "THE MUSIC FARM", N.Y.
LABEL ARTWORK--Courtesy of Bhaktivedanta Book Trust
LINER NOTES--Adi Kesava Swami
SPECIAL THANKS TO GEORGE HARRISON, ALICE COLTRANE, TURIYASANGITANANDA, STEVIE WONDER AND NEIL DIAMOND FOR THEIR CONTRIBUTIONS TO ISKCON PROJECTS
1978 ISKCON INC.
GOVINDA RECORDS, 340 W. 55th ST., NEW YORK, N.Y. 10019
EVERYTHING YOU SEE IS ME 3:40
QUESTIONS IN MY MIND 2:52
A PERFECT LOVE 3:38
JUST FOR BELIEVING 4:36
WITHIN THE SOUND 3:45
WHEN WILL THE DAY COME 3:58
THE DREAM IS OVER 4:29
Everything You See Is Me
I am the sunshine
I am the moon
I am splendor
I am victory
Everything you see is Me.
I am the living
I am Time
I am the seasons turning
I am flower-bearing spring.
I am splendor
I am victory
Everything rests on Me,
But still I am free.
I am the wind
I am the sea
All beings are in Me
But I am not them.
Of secret things
I am silence
I am the Om
I am the wind
I am the sea
Everything you see is Me.
I am the monarch
I am the strong
I am wisdom
I am memory
Everything you see is Me.
EDITOR'S NOTE: OK, I get it...these guys are the Krishnic version of Steely Dan with some Bee Gees tossed in and a few Stevie Wonder affects. Yeah, I name-dropped. So did they on their SPECIAL THANKS list citing such dignitaries of the note as Geo. Harrison, Stevie Wonder and Neil Diamond. All personal friends of mine as well. Seriously, on all things I said. This one didn't win me over though the cover art is fairly poignant.
Saturday, February 21, 2009
Music by HAL SERRA and his Orchestra
ELEVEN EXCITING PRODUCTION NUMBERS
BEVERLY FLETCHER one of the most popular TAP and JAZZ teachers, choreographer, dancer, runs her prominent and highly successful dance studio in NIAGARA FALLS, NEW YORK. She has been on the faculty of most of the major dance teachers organizations in the U.S.A. Presently, she is TAP CHAIRMAN of the National Council of Dance Teacher Organizations. This L.P. ALbum "TAP TALK" was produced under Miss Fletcher's personal supervision.
THE GROUP* - is indeed a unique collection of beings and includes many occupations and four dancing teachers. The purpose of the "GROUP" is to present unusual BEVERLY FLETCHER production numbers in TAP, JAZZ and NOVELTY at Dance Teacher Conventions, Charity benefits and Professional engagements. They are in great demand throughout the entire East Coast.
*BARBARA DENNY, JOYCE MEENACHAN, BEVERLY FLETCHER, JUDY GOOGE, SHARON HENDERSON, CAROLE HARRIC
DESIGN: NOAH BEE
STATLER RECORDS INC.
200 ENGINEERS ROAD, SMITHTOWN, NEW YORK 11787
BIG NOISE FROM WINNETKA
THE JOKER IS WILD
PUT ON A HAPPY FACE
ST. JAMES INFIRMARY
MAMBO (from West Side Story)
Editor's note: just doing a little research it becomes clear that the late Beverly Fletcher was a respected name in the tap community. Which makes me wonder why the only directions are in a 6 page double-sided mimeographed pamphlet bundle. You'd think there'd be some vocal direction but the only instructions are in the pamphlet. Which is curious since the musical production aspect of the record is great, relatively speaking. It must work though because Shinichi Matsumoto over at Tap Wonderland uses another record by the same label and apparently with fantastic results. Or so he says! Whereas Ms. Fletcher appears to be more academic with her approach that swingin' dude on the record in the above link spells F-U-N. Have your fun. I'll take my chances here with the sultry SHARON HENDERSON (bottom row left) and her troupe of sophisticates.
The album designer, Noah Bee, was a noted political cartoonist and even designed some (or all) features for the first paper currency of Israel!
PS if you really need the rest of the instruction manual just leave a comment and I'll gladly scan them for you. Clicking the picture will give you a large clear reading view.
Friday, February 20, 2009
sung by Paul Clayton
THE MAID OF AMSTERDAM
THE GIRLS AROUND CAPE HORN
PADDY DOYLE'S BOOTS
THE DYING SAILOR TO HIS SHIPMATES
JOHNNY'S GONE TO HILO
SATURDAY NIGHT AT SEA
ROUND THE CORNER
THE GREENLAND WHALE FISHERIES
GO DOWN YOU BLOOD RED ROSES
THE TURKISH REVELEE
BONEY WAS A WARRIOR
LADY FRANKLIN'S LAMENT
Editor's note: sorry for the rough ride on this one but every time I played the record without weights it skipped. It shows no deeply grooved scratches but must just be one of the touchy wax creations that come along once in a while. As for the songs: they are hit and miss. Some are very good and others are just standard fare folksy sounding ballads. I've seen some reviews of this album expecting a full chorus of roughnecks but I like these examples with minimal guitar and solo singing.
Thursday, February 19, 2009
THE DELTA QUEEN CALLIOPE
SONGS OF THE PAST RECORDED LIVE ABOARD THE STEAMBOAT DELTA QUEEN
QUEEN CITY ALBUM RECORDS
She woofs. She toots. She tweets. She shimmers. She shines. She serenades you. She thrills you. She sets your hands to clapping. She's the cally-ope, the steam pie-anna, the good time music machine of the steamboat Delta Queen.
So crank up your old victrola and come to the calliope concert. You're on the Sun Deck of the venerable sternwheeler. Her steam-beaded gold whistle glistens in the sun. Funnels of steam jig like dancers above the Hurricane Deck.
Tap your feet and clap your hands. Sing along to "Cruisin' Down the River," "Baby Face," and "You Are My Sunshine." Strut about the deck to "Eli Green's Cakewalk." Swing your partner in time with "Turkey in the Straw."
At the keyboard are America's three foremost calliopists--
Vic Tooker: the Delta Queen's Steamboat Interlocutor, a fourth generation riverboat entertainer and master not only of the calliope but of 17 other musical instruments including the Tazmanian Garachiphone.
Professor Dan Foreman: pianist for the Delta Queen's Riverboat Ramblers, graduate of the Cincinnati College Conservatory of Music, and coach of the Cincinnati Summer Opera.
Pete Eveland: organist for both the Riverboat Ramblers and Cincinnati's Riverfront Coliseum.
The Delta Queen received her calliope in 1960 from Commander E. J. "Jay" Quinby, then the boat's chairman. Built by Thomas J. Nichol of Cincinnati before the turn of the century, it had been salvaged from the sunken showboat Water Queen in the Kanawha River in West Virginia in 1937.
The rescued calliope had passed from "Crazy Ray" Choisier, who played it in carnivals until his death, to the King Bros. Circus, to the collection of Ellsworth W. "Slim" Somers of Waterbury, Connecticut, and finally to Commander Quinby.
Quinby, an inventor in his own right, installed it on the Delta Queen as the first calliope with a remote keyboard located a safe distance from the whistles. He placed the keyboard at the stern of the Sun Deck and the whistles one level above at the stern of the Hurrican Deck. Earlier riverboat "steam-pianna" maestros suffered scalding from the steam and dousings from condensation, as well as blistered fingers from pressing old-fashioned, hot brass keys.
Commander Quinby, once the calliopist of of the showboat Lulubelle, had the honor of playing the first tune aboard the Delta Queen--"My Old Kentucky Home."
The calliope was invented in 1855 by one Joshua Stoddard of Vermont. His "American Steam Piano" was a spoked cylinder which, when cranked, closed and opened its valves much like a music box plucks its strings.
The Yankee inventor intended the calliope to be a church instrument replacing the bells which sumoned worshippers to church. But the notion never caught on, possibly because clergyman found the Steam Piano's sound less than heavenly.
Stoddard then coupled the steam calliope with the steamboat in 1856 by installing one on a New York tug and sailing it around Manhattan Island. This water-borne serenade established the instrument's popularity.
Soon a calliope was placed on the steamer Union, then on the side-wheeler Glen Cove, which doubled its passenger trade thanks to the raucous attraction.
The Armenia, which serenaded the Hudson River until about 1870, carried a 34 whistle calliope, an improvement over Stoddard's original eight-chime invention. But the instrument had to be modified because it sapped the boat's power and prevented it from sailing under full steam.
The first western riverboat to have a calliope was the Excelsior, sailing the upper Mississippi between St. Louis and St. Paul.
In the Sacramento River trade between Sacramento and San Francisco, calliopes became a craze, later a supernatural legend.
Professor Abe Harcourt, maestro aboard the steamer Amador, died of a heart attack at his keyboard mid-concert. Tales soon spread about a ghostly calliope serenading the fog-shrouded shores of the river.
On the lower Mississippi, the showboat Floating Palace, sailed by the Spaulding & Rogers North American Circus, was the first to use the calliope to summon crowds to the riverbank. The instrument was doubly valuable--it drowned out the bands of competing boats.
The Civil War silenced teh calliopes of the Mississippi during the fighting and for more than a decade after Appomattox. Not until 1877 did one reappear on the showboat New Sensation.
But the "steam-pianna" had captured America's imagination and, simultaneously, raised the ire of musical purists.
While newly arrived slaves thought the steam song was the trumpet of the Archangel Gabriel, detractors labeled it an unholy crossbreed between an organ and a fire engine.
And there always has been disagreement over what to call the phenomenon -- Calliope(Mother of Orpheus and Chief of the Muses) or cally-ope.
A nineteenth century magazine, Reedy's mirror, settled the dispute, at least for river people, with this rhyme:
Calling me Calliope;
Tooting joy, tooting hope,
I am the cally-ope.
THE DELTA QUEEN STEAMBOAT CO.
511 Main St., Cincinatti, Ohio 45202
Produced by Edward R. Bosken
Recorded by: QCA Recording Studio (Mobile Unit)
Distrib. by: QCA Records, Inc. 2832 Spring Grove Ave., Cincinnati, Ohio 45225
1976 QCA Records, Inc.
Recorded and Manufactured in the Queen City
Goodbye, My Lover, Goodbye
Down By The O-HI-O
Eli Green's Cakewalk
Black and White Rag
Goodbye Little Girl, Goodbye
God Bless America
I'm Forever Blowing Bubbles
In The Good Old Summertime
Down On The Farm
You Are My Sunshine
Man On The Flying Trapeze
Turkey In The Straw
Blow The Man Down
Light Calvary Overture
Editor's note: what can I say...it's circus music! At least to our minds it is. I would say that it's fascinating to learn that the calliope started as a church and steamboat pianna but I didn't even know that a calliope was a cally-ope. I mean, I just thought it was a freaky little organ that sounded like an accordion. Shows you what I know.
Wednesday, February 18, 2009
Music Box Melodies
PREMIER FILM & RECORDING CORPORATION
LARGO FROM XERXES
THE SPINNING WHEEL
HOME SWEET HOME
IL EST D'EAU MORCEAU BRILLIANT
MERRY WIDOW WALTZ
SWEET BYE AND BYE
LA GAZZA LADRA
THE MAIDEN'S PRAYER
LOIN DU BAL
EVERY LITTLE MOVEMENT
BLUE DANUBE WALTZ
Editor's note: imagine an electronic harp in a box with a metal disc record dictating the music. I guess you don't have to because that's what this is more or less. The pre-record player. Except that this seems more generic in sound. Kind of like a midi version of a live performance. Is there really anything else to say? Oh yeah...The Hackers. No viruses here just songs to warm your ears by and sharpen your zzzz's.
Tuesday, February 17, 2009
by Peter McWilliams
PERFORMED by LAURENCE HARVEY
Music by Luchi De Jesus
SR 5004 ST
I LOVE, THEREFORE I AM is a guide to contemporary love, written in a series of short, direct and pertinent poems by PETER MCWILLIAMS, young Midwestern poet who, by conviction and participation, qualifies as a spokesman for today's pairing. To love is ultimate proof that we are alive, and love is not in the dreaming and the wishing for an everlasting union of kindred souls-, love is in the making of it. The poems are written in the vocabulary of two persons preparing to share each other, free in form and driven by the natural rhythm of lovers' desire. There is courtship, fulfillment, and finally separation; all are steeped in healthy sensuosity, and all are wisely seasoned with an understanding for the humor of the human condition and, on occasion, with the kind of flippancy which is the best defense against hurt.
LAURENCE HARVEY is truly a man for all seasons. Equally at home with the classics and with the Avant-Guard, on the stage and in films, in the concert hall and on any dais, he interprets MCWILLIAMS' poetry with fine understated insight as is in keeping with the intimacies which are his subject. One of the richest and best controlled speaking voices of our time, Mr. Harvey movingly conjures up before the mind's eye the lovers as they thrill each other, and as they face the loneliness of separation.
LUCHI DE JESUS has worked with distinction in Symphony, Jazz, Pop, and Rock 'N Roll. His music is heard in such television hit shows as "Ironside", "Mannix", and "Gunsmoke". In this album Mr. De Jesus uses a legitimate chamber orchestra in a thoroughly contemporary way to discreetly underscore the joys and disappointments in the credo I LOVE, THEREFORE I AM.
Executive Producer: David B. Charnay
Produced by: Alfred Perry
Engineers: Ben Jordan/Andy Richardson
Photography/Design: Bob Gordon
Sculpture: "The Kiss" by Auguste Rodin
All MUSIC composed by Luchi De Jesus and published by BNP Publishing Co. (ASCAP)
Other books by Peter McWilliams,
published by Versemonger Press &
soon to be released on STELLAR RECORDS
COME LOVE WITH ME & BE MY LIFE
I HAVE LOVED
FOR LOVERS & NO OTHERS
THE HARD STUFF: LOVE
EVOLVING AT THE SPEED OF LOVE
SURVIVING THE LOSS OF A LOVE
1973, STELLAR RECORDS, 400 So. Beverly Dr. Beverly Hills, Calif. 90212.
THE HARD STUFF
WE AND ME
MY LOVE IS A KITTEN
LOVE HAS GONE
LOVE OR LUST
Editor's Note: this is one of the greatest albums ever! Of any genre. Especially comedy. At times it makes me roar with laughter. I'm not sure why because it's supposed to be semi-serious poetry but it comes across like a bad therapy sesssion with sitcom music and psychedelia interspersed. The fact that they came from an author of dozens of books is all the more reason to laugh. The smug British narrator only puts it over the top. Too bad Mr. Harvey died soon after this record was released. I'm glad he fit this one into his life though. I urge you to listen to this through to the end.