WORLD PACIFIC/LIBERTY RECORDS WPS-21446 Circa late 1960's/early 1970s
Maharishi Mahesh Yogi the Beatles' spiritual teacher speaks to the youth of the world on Love and the untapped source of Power that lies within
The Untapped Source of Power That Lies Within
Editor's note: I have to say, you'd need to be looking for salvation in a very urgent way to be able to listen to this claptrap! Seriously, listening to this sermon on "love" makes me more internally violent than seeing war scenes. At least war makes sense: you want what somebody else has so you kill them. Simple logic. But what's with all this prattle? Sure, sure, all you need is love but what about when you already have enough love do you still have to hear about it? Grrr...
Circa late 1950s/early 1960s
By hunting, you can still find a place or few hidden in the shadows of the glittering tourist attractions at Wakiki...and even in the middle of the action on Honolulu town's Hotel Street...where local people go to enjoy this kind of music. But mostly anymore, you have to go to neighborhood clubs and country taverns...and there are dozens...to hear it live.
Now because local people like all kinds of music and like to dance, in any given set you'll hear everything: top rock, cowboy, cotchy-cotchy (Latin, if you're not local), thirties show tunes, Hawaiian songs as popular now s they have been for a hundred years...and any of a couple dozen tunes from elsewhere that Hawaiians have taken to heart. These, you'll observe, have certain similar characteristics: they're sentimental, ballad style, somewhat old-fashioned...and only a few enjoyed any amount of lasting or widespread fame anywhere but here. Please Don't Ever Think of Me, It Wouldn't Be the Same Without You, Out in the Cold Again are three of these that have been so literally adopted that most local people would realize with surprise, and only if reminded, that they were not local songs from the start. Tony now adds Like Strangers and I Don't See Me in Your Eyes Any More to this select list.
So wide a repertory demands musicians more versatile and accomplished than the combos playing only pop-rock in establishments where you have to wear shoes, pay cover charge and spend half and hour to find a parking place that costs more than a whole round would in the neighborhood or the country.
Here, too, the musicians' contact with the audience is more direct, more personal: the entertainment is seldom limited to the bandstand. That's where it starts, but it takes in the whole room. People understand, appreciate and enjoy the happenings. They talk with the musicians, sing along from the tables, join the act with or without invitation and sing, play music, dance hula if and when and how they feel like it. The entertainers may wind up in the house, applauding customers who have taken over the bandstand. The scene is always as lib, occasionally hazardous, but it's more fun that way...for the musicians and the customers.
When anything or anyone hits big, everyone tries to figure out why. Like: did Tony Lindsey make Blue Darling a hit, or was it the other way around? That's like asking which is the more important part of a cup of coffee: the cup or the coffee? In any event, if local- style music is your cup of coffee, then Tony Lindsey & Friends is your cup of tea.
Tony Lindsey comes from Molokai, where his father was sheriff. While the large family of brothers and sisters were growing up to follow more conventional occupations, Tony elected otherwise. After high school graduation in Honolulu, he was off to the mainland for seven years, studying art before and after military service.
Home again in Honolulu, he was for several years an artist and designer for one of Hawaii's first, largest and best-known houses. From the same time, and for recreation, he played music too...as other people play golf, or whatever. Like so many other Hawaiian entertainers, he prefers music to be his fun, not his work.
Well-known to other Hawaiian musicians, well-known to the Island public too, his making a hit record probably seems a Cinderella thing to everyone else. And, in a way, it is...if you remember how long Cinderella worked away before she was discovered.
BLUE DARLING - Tony Lindsey
Tony tells it this way: some twenty years ago on the mainland, he started this song to apologize to his mother for being a bad kid. But she didn't live to hear it. And so, when he came home he could seldom be persuaded to sing it even for family, let alone in public. But those who did hear it didn't forget it, and they wouldn't let him forget it either. Everyone who remembers the song from the early fifties also remembers how hard it was to get Tony to sing it, then. Though as time went by, he sang it more and more often. It grew in popularity. Others sang it. It became a standard with practically every musician who entertains at the local places. And still, it was almost unknown to other musicians, other audiences. At this point, family and friends insisted that Tony copyright it. Many groups wanted to record it...and did...but Tony, realizing by now that a recording would have to happen, wanted to release the first one himself: the song was, after all, dedicated to his mother. His single, released just weeks before this album, and played only on Hawaiian-music radio, out-sold any other single by any other artist on any other label. This of course astounded the "hit-makers" but not the people. The people know how long and how well, how many have loved Blue Darling
NANAKULI - Unknown
Several individuals or combinations are said, or claim, to have composed this song...but two things are for sure: everybody has known and sung it for a number of years and it is generally thought to have been made as a rally song for a group of young political activists from this district of Oahu.
O ka leo o na manu (The people say)
E ho'i mai e pili. (Come back to stayu.)
Keiki o ka 'aina i ka pono (True children of the land)
A'o Nanakuli ea (Of Nanakuli)
E ho'i mai e pili. (Come back to stay)
PLEASE DON'T EVER THINK OF ME (I'LL BE LEAVING)
NA LIMAHANA - Charles R. Lindsey, Sr.
Tony's father wrote this song for the working man: a tribute of respect for useful work well done. Tony and Friends play it in the old Hawaiian slak-key style, the way his father used to do.
1. Aloha na kanaka e huli ana i ke ola (Aloha to the men seeking a living)
O na 'aina like 'ole puni ka honua (In the different lands around the world)
E ola no 'oe a mau loa. (May you live forever.)
HUI: He inoa keia no na limahana (CHORUS: This is a song dedicated to the working hands)
E luhi mau ana i keia noho ana. (Always laboring for a livelihood.)
2. Kou mau kalena ua kaulana (Your many talents are famous)
E ho'oi ae mau ana i na 'ike o ke ao (Always improving in the knowledge of the times)
A'i pono ho'i ia no ka lehulehu. (For the benefit of everyone.)
3. Kaulana 'oe Hawai'i a puni ka honua (Hawaii you are famous around the world)
I ka noho lokahi ana o ka lehilehu (For everyone getting along together)
A'e luhi like ana no ka no ka pono o ka 'aina (And laboring equally for the good of the land.)
OUT IN THE COLD AGAIN - Kochler & Bloom
KU'U LEI ANUENUE - Sam Septimo
A name song for the composer's daughter. It means Rainbow Lei.
1. E Leianuenue, (O Leianuenue)
Ku'u pua makamae (My precious child)
Me 'oe mau ke aloha (Love is always with you)
I na kau a kau. (Forever and ever.)
2.He makana onaona (A sweet gift)
Mai ka lani ki'eki'e (From the high heaven)
I hoapili mau na'u (To be close companion always to me)
E hau'oli mau ai. (And always make me happy.)
3.Nanea au i ka lohe (I enjoy listening)
I ka nahe o ko leo (To the sweetness of your voice)
Ka hene o ko 'aka (The merriment of your laughter)
I piha me ka 'oli'oli. (That fills me with happiness.)
4. Ho'opili mai ho'i au (I'll always keep close)
Ma nei poli aloha (To this loving heart)
He lei ha'aheo na'u (A child for me to cherish with pride)
E milimili mau ai. (To caress always.)
5. E o mai i ko inoa (Answer to your name)
E Leianuenue (O Leianuenue)
Ku'u kama, ku'u lei, (My child, my darling)
Me 'oe mau ke aloha (Love is always with you.)
KAU'IKEAOULI - Traditional
A name song for Kamehameha III. In other days, the singer listened to ka wai, the stream; today na manu, the birds.
Lei aku au i ke ala (I am wreathed in fragrance)
Ke ala o ka 'awapuhi (The fragrance of the ginger)
Onaona wale ho'i ia uka (Sweet indeed in the uplands)
I ka uka 'iu'iu a'o Nu'uanu (In the far uplands of Muuanu.)
Noho aku au ho'olono (I sit and listen to)
Ka hoene mai a na manu (The soft sound of the birds)
Ke ala onaona o ka 'awapuhi (The sweet fragrance of the singer)
Kau'ikeao-lani he inoa (Royal Kavikeao, a song to honor the name.)
NA WAI KAULANA - Alice I. Namakelua
Composed in the middle 40's for the Maui float in the Kamehameha Day parade, this song praises the four famous streams of west Maui and other well-known features of that island. The streams are Wai-ka-pu (water of the conch); Wai-luku (water of destruction: site of a decisive 18th century battle between rival chiefs); Wai-ehu (foaming water); Wai-he's (slippery water: because of algae). At Kepaniwai (the water dam), a park in lao Valley, Wailuku Stream was dammed with bodies after a battle. And the Kula (plains) district is on the slopes of Haleakala mountain.
Ka'apuni 'Oe a puni o Maui (You tour around Maui)
E 'ike e na wai eha (And see the four streams)
'O Waikapu, 'o Wailuku, 'o Waiehu (Waikapu, Wailuku, Waiehu.)
Kaulana na wai eha (Famous are the four streams)
He 'inikiniki malie (And nipped gently is)
'O Waihe'e i ka makani Kili'o'opu. (Waihee by the wind [named] Kilioopu)
Na wai kaulana ia a'o ku'u 'aina. (These are the famous streams of my land.)
'Ike ana i ka nani o Maui (Seeing the beauty of Maui)
I Kepaniwai o 'lao (Kepaniwai at lao)
Ke kokoio a ka uwahi o Kula (The drifting of the dust of Kula)
Mehe uhiwai ala no ka uka. (Like fog there in the uplands.)
IT WOULDN'T BE THE SAME WITHOUT YOU - M. Wilson
KU'U HOA - Pono Beamer
1. He aloha ku'u ipo (Love to my sweetheart)
Ku'u hoa maka onaona noho i ke kuahiwi (My gentle-eyed companion living in the mountains.)
2.E ho'i mai no kaua (Let's return, we two)
Me a'u pili ku'u 'i'ini a ka pu'uwai. (It's my heart's desire.)
3.O ka pa konane (The shining)
A ka mahina la ahuwale no ka pae 'opua (Of the moon reveals the cloud-bank.)
4. Ha'ina ka puana (The story is told of)
Ku'u hoa maka onaona noho i ke kuahiwi (My gentle-eyed companion living in the mountains.)
I DON'T SEE ME IN YOUR EYES ANYMORE - B. Benjamin, G. Weiss
THE COVER DESIGN: a favorite pattern for a Hawaiin quilt: Pua Kukui...candlehut flower...the flower of the island of Molokai, where Tony Lindsey was born and raised.
PRODUCER: Don McDiarmid, Jr.
ENGINEER: Ken Hiller
LINER NOTES: Jean Sullivan
COVER DESIGN: Nieman Advertising
RECORDED IN HAWAII AT COMMERCIAL RECORDING STUDIOS FOR HULA RECORDS, INC., P.O. BOX 2135, HONOLULU, HAWAII 96805
PLEASE DON'T EVER THINK OF ME
OUT IN THE COLD AGAIN
KU'U LEI ANUENUE
THESE ARE ALL OLD FAVORITES THAT EVERYONE KNOWS EXCEPT, "AZUL". THIS IS A BEAUTIFUL LATIN NUMBER WRITTEN BY AGUSTIN LARA, A GREAT MEXICAN COMPOSER. WATCH FOR MORE OF HIS WORKS IN FUTURE ALBUMS.
THIS TAPE WAS RECORDED AT MASTERSOUND OF SAN ANTONIO IN SAN ANTONIO, TEXAS. THE RECORDS WERE PRESSED AT WAKEFIELD RECORDING STUDIOS IN PHOENIX, ARIZONA. MR. AEBLI MAINTAINS A PIANO AND ORGAN STUDIO AT 7070 SAN PEDRO IN SAN ANTONIO, TEXAS.
MY SILENT LOVE 3:24 SMOKE GETS IN YOUR EYES 2:45 SATIN DOLL 1:56 PETTICOATS OF PORTUGAL 2:16 MISTY 3:56 MY HEART AND THEY SWEET VOICE
Editor's note: truly an obscurity in the sense that there is only one small snippet about Mr. Aebli on a site devoted to organ music and not a mention of this LP anywhere on the internet. I like both the cover and the music on this one. Organ music and especially electrified organ music does it for me. As for the amusing secret between the lovely young lady and Mr. Aebli: it will never be known but it will now be speculated on by all three of us reading this gibberish. Not that I'm trying to make this a scandalous assumption since this could be his daughter or granddaughter--because I'm not--but they are surely amused by something. Don't you agree?
A few years ago popular music consisted mainly of love songs, uptemp fox trots, a few Broadway and movie songs, and an occasional novelty. Today, popular music has widened its horizons tremendously to include such diverse kinds of music as rock and roll, blues, calypso, television themes, folk music, jazz, and exotic music--to mention just a few.
Two of the most popular of these subdivisions form the exciting background for this album. One is the influence of jazz on the popular music scene.
Jazz was once strictly separate from any other form. Today, while pure jazz still flourishes, its influence on the general popular music field has become very strong.
The other subdivision is the exotic music field, which has become so gigantic in recent years. This growth has been largely due to Martin Denny's exciting brand of presentation and musicianship.
The exotic sound is especially well suited to the influence of jazz. No greater proof of this is necessary than the popularity of "A Taste of Honey" or any of the other superb examples of this exciting combination of musical expression.
OTHER ALBUMS BY MARTIN DENNY
Martin Denny In Person MONOAURAL LRP-3224 STEREO LST-7224 Romantica LRP-3207 LST 7207 Exotic Percussion LRP-3168 LST 7168 Exotic Sounds Visit Broadway LRP-3163 LST 7163 Exotic Sounds From The Silver Screen LRP-3158 LST 7158 The Enchanted Sea LRP-3141 LST 7141 Quiet Village LRP-3122 LST 7122 Exotica III LRP-3116 LST 7116 Afro-Desia LRP-3111 LST 7111 Hypnotique LRP-3102 LST 7023 Primitiva LRP-3087 LST 7087 Forbidden Island LRP-3081 LST 7001 Exotica II LRP-3077 LST 7006 Exotic I LRP-3034 LST-7034
This album is available in monoaural LRP-3237 and stereo LST-7237
Cover Design: Studio Five
LIBERTY RECORDS INC., LOS ANGELES 28, CALIFORNIA A SUBSIDIARY OF AVNET ELECTRONICS CORP.
Printed in U.S.A.
This is a stereophonic, non-compatible, long-playing record; to be reproduced with a stereo needle and cartridge only.
...visual sound STEREO
A TASTE OF HONEY I'M IN A DANCING MOOD BLACK ORCHID TAKE FIVE STRANGER ON THE SHORE WALK ON THE WILD SIDE
Editor's note: it's inevitable that the likes of Martin Denny, Enoch Light and Dick Hyman--all pianissimos--would make their way onto a blog about records. Though, not rare by any stretch of the imagination, these records were innovative for bringing new sounds to old instruments and redone sounds to new-fangled versions of old standards. Thank God they did or we never would have had the likes of Milli Vanilli, Vanilla-Ice and the Thompson Twins. Egads!
ARRANGED & CONDUCTED BY BOB CULL AND JAMES GABRIEL STIPECH
ENGINEERED BY SHAWN MICHAEL
RECORDED AT: Martinsound, Alhambra, California PROJECT COORDINATORS: Kathi Hewson & Greg O'Neal GRAPHICS & ILLUSTRATION: Vincent Peddle COVER PHOTOGRAPHY: Steve Gadouas...Gadouas Studio, Poulsbo, WA.
Distributed by THE BENSON COMPANY, INC., 365 Great Circle Drive, Nashville, TN 37228 Box 1144, Cambridge (Galt), Ontario, Canada N1R6C9 For Booking Information Contact: CHALICE MUSIC, PO Box 1542, Tacoma, WA 98401 206/272-0958
LAST HORIZON THIS KIND OF LOVE AT THE SEASHORE LET'S KEEP GROWING SHANTY HYMN
Editor's note: an easy listening, contemplative Christian album with a more spirituality based feel than a religious one. It's not my cup of JC but you may like it. Bob's full helmet of hair, Joy's fresh wholesome looks, their matching sweaters and mystic music should bring you closer in your pursuit of whatever you are pursuing. Presently, I need to do some scrounging for breakfast. Enjoy!
Editor's note: forget water boarding! Bring on the parakeet lady and her repeating album and the terrorists will capitulate and jabber in repetition the pseudo-social-Messianic-mantra. Man, what pure sweet hell it must be for parakeets to live with humans! Not only do you live in a small cage but you have to be told repeatedly to talk until your fragile little eggshell mind breaks and blurts out phrases to shut these damned people up! Nah, I'm sure they enjoy some of it but they'd probably prefer to be with their own kind in the wild hearing the wild sasquatch sing his glee club melodies all day long.
Editor's note: I didn't know anything about this -- except that it was French -- when I found it at the thrift store so I thought what the hell. I still don't know what it's all about but the B side is the story here. A funky, organ grinding, beatbox fuzzolator with a strict sensibility about it. Something you DJ folk might try playing at one of your next galas.
An expression of praise to our Savior for reaching into the cold empitness of our lives and filling it with...
the warmth of His Love
It is our prayer that together we may experience and grow in the love which He freely gives to us. "Walk in love, just as Christ also loved you, and gave Himself up for us..." -Ephesians 5:2
GUITAR - Russ and Dee Dee Tibbits, Debi Ackerman BASS - Dale Ackerman and Russ Tibbits KEYBOARDS - Dee Dee and Debi MELODICA - Debi PERCUSSION - Bob Cooley RECORDER-MANDOLIN-GUITAR-DULCIMER - Dee Dee VOCALS - Russ and Dee Dee, Dale and Debi ENGINEER - Jay Platte PHOTOS - Audrey Foster
A SPECIAL THANKS TO OLAN AND SALLY FRANK...ACCOMPANYING SONG BOOK AVAILABLE FROM KRISTI PRESS INC.
KRISTI PRESS INC. 2340 PEALE DRIVE SAGINAW, MICHIGAN 48602
COME BLESS THE LORD - James B. Hobbs HIS LOVE REACHING - William T. and Gloria Gaither, Gaither Music/ASCAP SURRENDER - Ackerman/Kristi Press Inc. BLESS THE LORD (Psalm 103)/HIS NAME IS WONDERFUL - Tibbits/Kristi Press Inc., Audrey Mieir/Manna Music Inc./ASCAP DESERT ISLAND - Tibbits/Kristi Press Inc. TRUST IN THE LORD (Psalm 37) - Tibbits/Kristi Press Inc.
PRAISE YE THE LORD (Psalm 150) - Gunther/Kristi Press Inc. A FEELIN - Ackerman/Kristi Press Inc. NO LONGER A BABY - Bryan Jeffery Leech/Fred Bock Music Co. LAY YOUR BURDENS DOWN - Girard/Dunamis Music EPHESIANS 6 - Tibbits/Kristi Press Inc. LIGHT (Matthew 5:14-15) Ackerman/Kristi Press Inc.
Editor's note: Dee Dee Tibbits, the lifeblood of this group, still goes on. According to her website, Living Truth was formed in 1979 and performed until 1999 when the Tibbits focused full-time on their family. But you can still book the missus for a show. I'm not sure that she would be willing to play any of this material--seeing as she is quite an accomplished player of many instruments--but you never know. Heck, maybe Russ will even break out the old garb and sing and play along.
Also, since the Tibbits left the group another pair, Elroy and Tammie Kosters, has taken on the torch and now go by the moniker of Living Truth 2.
Other than the above the only information I could scrounge up was a news clipping from the Cass City Chronicle (9-13-1984) announcing a performance they held September 16, 1984. The original quartet was still together at that time along with Tammie Barbret.
By November 1, 1989 (Cass City Chronicle) it was just a trio sans the Ackermans. No word on what happened between those two dates spanning 5 years and I won't speculate either!
Cleopatra was synonymous with all things exotic since the memory of red blooded man was first recorded. Her famed beauty and charm are legendary. In this album of oriental music, we have recreated the musical atmosphere that surrounded the fabulous Cleopatra where ever she went.
The aura of lush living is confirmed via the sensuous sound created by native musicians playing the authentic instruments of the time of Cleopatra.
Dancing girls with mysterious motions, stir gentle breezes with their perfumed veils as they sway to the strains of this, the most exotic music of all time.
Imagine yourself bedecked in golden finery, attended by gleaming Nubians whose only mission is to cater to your every whim, and you will have completed the picture of “The Music of Cleopatra on the Nile”.
Editor's note: A big sound, Madonna's charcoal art doppleganger and album cleavage: What more can you ask for?
Side A is pretty good for an no-musician roster album and especially the first two tracks, "Love Barge" and Egyptian Moon". "Egyptian Moon" could easily be the theme song for some NPR show intro. Entertaining mood music to say the least. Too bad nobody is putting out stuff like this these days!
Oh yeah, keep your ears on for the band leader shouting encouragement to the players! Bravo.
Described as the "Golden Voice" by everyone lucky enough to hear him sing. Indeed, his smooth voice and effortless phrasing justify all the praise he receives following each performance. However, he is no "overnight success". Mel has never done anything other than what he does now.
For the past fifteen years he has been the big attraction at London's Cafe De Paris, where he was Band Leader of his own group. At the same time, he appeared in several films, made countless T.V. shows and topped the bill in Cabaret at almost all of London's most famous night clubs.
Since arriving in the U.S.A. nearly three years ago, he has thrilled audiences across several States and is presently settled in Florida.
Mel has, what is termed as a "clean" voice. Meaning, that he does not have to resort to "gimmicks" to make his audience appreciative. All too aften [sic] vocalists hide their weak finish behind the volume of the orchestra. Not so Mel - his notes are clear and full. Mel sings everything, from ballads to pops, opera to jazz and whatever he sings, he sings it expecially [sic] for you. Not only with that special quality in his voice, but also, that vitally important thing, sincerity and expression.
We hope you will enjoy just a few selections from the "Gaynor Repertoire" and remember, he sings them Just For You.
Love Story 4:30 What Now My Love 2:43 And I Love You So 4:09 It's Not Unusual 3:00 Hava Nagilla 2:29
Editor's Note: another signed record! This time to Rene. Oh, Sally and Rene you fickle wenches! Such trophies to toss aside like old dusty pillows.I'm trying to confirm that this dude is the father of the Simple Minds drummer also named Mel Gaynor. Said drummer was born in London in 1960 which coincides with the jacket info that Mr. Gaynor was also present in the city during this period. NOPE! Wow, his name was actually Oscar Barnett and he died in Las Vegas in 2001. Very strange. Almost too strange. I must look more into this.
I'm not sure that "It's Not Unusual" is supposed to start the way it does or if that is a record defect. Considering that the jacket has two spelling errors it's not an unfounded assumption either way. This dude, father of the Simple Minds drummer or not, could belt them out. I still would prefer some original material. Oh well, he sang them just for us. We should be happy enough for that.
Theatre organ people are dedicated to a cause...theatre organs. Not little ones, but venerable, monstrous 82-story Wurlitzer pipe organs. They love em, and they love that big booming music. But where once "Dance of the Somedians" rattled your pop corn at Saturday movie intermissions, they're rattling other things in those places now. Bull-dozed are the Paramounts, the Odeons, the Bijoux. Most of these gaudy, Wagnerian behemoths are gone.
But not forgotten.
Not by Ann Leaf, anyway. Ann is about as tall--4'11"--as a top hat cymbal. She acts like the head of the ladies auxiliary of organ enthusiasts. While the male theatre organists sit around fiddling their krumets and kinuras, Ann's out it the world making big concerts at the last remaining Wurlitzers in those downtown theatres. And when she does, she fills those theatres with people who remember and who believe.
She plays as if she were 7'11". She rattles the theatre's ceilings, and those stucco statues of Dido and Jupiter up there shake and shimmy. The marble lobbies tremble to her troop of trumpets. Those flaking Grecian pillars holding up the balcony pulsate to her panorama of pipes.
It's all big, very, very big. Big like the Great White Fleet and San Juan Hill put together.
Like we said, downtown movie palaces are almost gone, or else they're playing three continuous features. So the theatre organ enthusiasts have gone out and bought up and lovingly packed up the neglected ten ton Wurlitzers and shipped them back home.
One who did just this was the late Buddy Cole, who constructed an entire studio just for his installation. Buddy did it right, not the way some men convert a basement for their electric train set. Where the pool should be, Buddy built what looks like NASA control center, and right in the center, surrounded by tape machines, control booths, and big louvre doors that open and shut so often you'd think Mack Sennett was running cops in and out of them, right there in the center sits this big, wood-and-ivory Wurlitzer, about the size of a '52 Buick. With all those flashing ivory keys laid across it looking like the finale of a minstrel show when they all smile real big.
A while back Ann Leaf climbed up to the Wurlitzer at the Cole studio. She recorded this album, mixing light classics with modern pops, just like the old days. Like the days when she used to make those musical short subjects for National Screen, like when she used to go out over national network radio for Columbia, like the time she played for FDR at the National Press Club.
The Pantanges, the RKO, the Keith-Albee may have hit the trail to dreamland. Kenny Baker, Cass Daley, and The Sons of the Pioneers may not bring em in any more. The popcorn maker may be dusty. But for those who remember, for those who like it big enough to rock the Roxy, it's here.
Produced by Lowell Frank
MADE IN U.S.A.
NOCHE CARIBE (ASCAP) 3:40 SHANGRI-LA (ASCAP) 2:27 WALTZ ON A CLOUD (ASCAP) 3:05 PORT AU PRINCE (BMI) 2:02 BLUE VIOLINS (ASCAP) 3:45 DANCE OF THE COMEDIANS (P.D.) 4:07
Editor's note: There's a short write-up on Ann Leaf here which gives a good cursory synopsis of her career(as if I knew her career beyond this record!). To me, it's organ music and that's enough in my book to make it good listening.
Editor's note: I'm no rap enthusiast but I know Schooly D from the movie The Bad Lieutenant. If you haven't seen that flick I highly recommend the NC-17 version. Listen for the Led-Zeppelin music track for Kashmir with a rap vocal and that's our featured record producer. Here...see for yourself. This is not work, home or people safe!
Oh yeah...listen to the end of the second to last track on SIDE B "Black Power" and tell me that you can't hear the intro to Stone Free by Jimi Hendrix way down low between it and the last song. Maybe it's just me gettin' all krunk yo.
FAVORITE HYMNS AND SECULAR SELECTIONS RECORDED AT THE MISSION A 25 Note Maas-Rowe Vibrachime and Old Mission Bell
MAAS-ROWE UNIVERSAL GROOVE RECORDS
Recorded at the Mission by J. W. Klein
Vinyl Pressing by RCA-Victor
33 1/3 RPM High Fidelity
LOS ANGELES 39, CALIFORNIA
Nestled in the hills of Southern California is the beautiful Mission San Juan Capistrano called "The Jewel of the Missions". Here on November 1, 1776 Fra Junipero Serra first celebrated Mass on a hastily constructed altar, believed to have been in the same spot where the present Mission Church now stands.
A great stone Church which was considered the finest of all California Mission structures was started in February of 1796 and completed nine years later. Four bells which hung in the tower of this Church now hang in the "Campanario" or bell wall at the Mission.
The bells crashed to the ground when the great stone Church was destroyed by the earthquake of 1812. All the bells except one are cracked to-day, either from the fall or from years of use. The only bell which is not cracked is the bell named "San Antonio", the second smallest of the group. This is the bell used for weddings in the Mission Church, and its tones are well-known to the villagers of San Juan Capistrano; as couples in ever increasing numbers come from near and far to be married in this most romantic spot in California. San Antonio, the happiness bell, cast in 1804, is heard at the end of this record. The other three bells, though cracked are still used to-day. The two largest bells are used to ring the Angelus and for Mass calls. The largest bell, named St. Vincente, was cast in 1776, and is estimated to weigh about 800 pounds. This bell is known as the memorial bell of the Mission since it has an inscription on it commemorating two resident priests of the Mission, Father F. Fuster and Father San Juan Santiago.
The second largest bell was cast in 1796, and is the only bell in the group to carry the name of the bell founder, Ruelas. The workmanship and lettering on the bells indicate that all four of them were cast in the same foundry.
In 1952 a modern 25-bell Vibrachime electronic carillon was installed in the mission. The Vibrachime carillon is equipped with an automatic player which plays both hymns and secular melodies that have long been favorites at the Mission. Eleven of these selections have been recorded here.
The Mass-Rowe Vibramachine uses accurately tuned metal rods to generate the bell tones. These rods are struck by small electrically actuated clappers, their tones are amplified and sound through special sound projectors concealed near the old bell wall. The effect is so realistic few visitors realize the beautiful carillon music does not originate from the old Mission bells until it becomes apparent that the four bells in the Campanario could not possibly cover the range of the music being played on the 25-bell electronic carillon.
The hymns and melodies were arranged for carillon by Paul D. Peery and Del Roper, staff carillonneurs of Maas-Rowe Carillons.
Since this record will find use on automatic tower music systems, which in many churches serve as a substitute for a carillon, tone quality and reliability of operation were given primary consideration in the cutting of the record.
The space on the rim of the record, where the needle is dropped by automatic mechanisms, is wider than on the usual record. That insures proper starting even though the turntable mechanism is not in perfect adjustment.
The universal groove is somewhat deeper than the usual micro-groove. It should be played with a micro-groove needle, but can be played with any good standard needle. Wide groove spacing is used to prevent breakthrough and to eliminate any possibility of echo. The original tape was recorded by Mr. J. W. Klein of Maas-Rowe Carillons, who supervised the installation of the Vibrachime carillon at Mission San Juan Capistrano.
In California this record is available only at Mission San Juan Capistrano. This is a special courtesy extended the Mission in return for the privilege of recording the Mission bells.
O MARIA MADRE MIA (Arr. Roper) - Traditional
AVE MARIA DE LOURDES (Arr. Peery) - Traditional
SALVE REGINA (Arr. Roper) - Traditional
HYMNO PATRIOTICO DE LA VIRGIN DE GUADALUPE (Arr. Roper) - Saucedo
CORAZON SANTO (Arr. Roper) - Jimeno
QUEEN OF THE HOLY ROSARY (Arr. Roper) - Traditional
LA GOLONDRINA (Arr. Roper) - Serradell
VENI EMMANUEL (Arr. Roper) - Ancient Chant
ADESTE FIDELES (Arr. Peery) - Traditional
WHEN THE SWALLOWS COME BACK TO CAPISTRANO (Arr. Roper) - Rene
AVE MARIA (Arr. Peery)
RINGING OF OLD MISSION BELL "SAN ANTONIO"
COMPUTER SPEECH by Bell Telephone Laboratories for educational use
BELL TELEPHONE LABORATORIES
An historical remark
"Bicycle Built for Two" (unaccompanied)
"Bicycle Built for Two" (accompanied)
Computer duplicates human voice
download Editor's note: obviously there is no SIDE B. This may/may not be part of a larger set. Well, according to Jukebox Mafia and the accompanying pictures, it is what it is: a 45 with a great sleeve that I have missed out on! Booo! Anyhow, read the comments over at that blog for some interesting--albeit short-- history of computer generated language.
The idea for this recording was born in my hear on an airliner the day foloowing my father's funeral. As I compared my father's journey to heaven to the flight I was making, this allegory was impressed upon my mind. It is the sincere desire of the cast and choir, and of myself, that as you listen to this dramatic presentation you will be inspired to prepare yourself for the journey that you will some day make into Eternity.
-Evangelist Forrest McCullough
"Superb...Moving...exalts Christ rather than indulging desire for self-glory."
-Dr. W. M. Greathouse,
President Trevecca Nazarene College
"Effective, with spiritual power, were all the words spoken. The singing is superb, with heart power...It merits being used and listened to by millions--saved and unsaved."
-Dr. Robert G. Lee
Past President Southern Baptist College
"I can truthfully say that I am thrilled about this. It gives the listener what I would call a believable comprehension of life after death."
Director of Public Relations
"THE UPPER ROOM" - The World's most widely used Daily Devotional Guide
"A thrilling experience! The most unusual recording I have ever engineered."
Senior Recording Engineer
RCA Studio, Nashville, Tennessee
PAUL EVANGEL - Ted Conner, Announcer-Narrator
WLAC, Nashville, Tennessee
STEWARDESS - Miss Judy Parchman, Honor Student, Trevecca Nazarene College
CAPATIN'S AND DIVINE VOICE - Dr. T. E. Martin, Minister, First Church of teh Nazarene, Nashville, Tennessee
DISPATCHER - Professor Harry Russell, Chairman, Department of Speech, Trevecca Nazarene College
Men's Glee Club-A Cappella Choir--Treble Tone Choir--Instrumental Ensemble:
TREVECCA NAZARENE COLLEGE
Professor Ramon R. Unruh, Director
Instrumental arrangements: Prof. Barbara McLain.
Soloist: Brock Speer
Cover Design by Jim Taft
Assitional Copies may be obtained from
Evangelist Forrest McCullough
P.O. Box 188
Tullahoma, Tennessee 37388
PLEGARIA VALLENATA - El Combo de las Estrellas; Canta: Jairo EL HIJO SIN CONSUELO - Jaime Ley LA FLAQUITA - La Super Banda de Don Filemon CARRATAPLAN - Los Graduados; Canta: Gustavo Quintero MORENA DE 15 ANOS - El Combo de las Estrellas; Canta: Jairo EL ALACRAN - Grupo Salvaje TU BOQUITA - La Nueva Generacion
LA CASA DE FERNANDO - La Billo's Caracas Boys TIBURON COMELON - El Combo de las Estrellas; Canta: Jairo; Canta: Jairo SON SABROSON - La Renovacion LAMENTO ARRABALERO - Los Graduados; Canta: Gustavo Quintero BUSCANDO NOVIA - El Combo de las Estrellas; Canta: Jairo; Canta: Jairo AMANECEMOS PARRANDEANDO - La Tipic Playera EL CANELAZO -El Combo de las Estrellas; Canta: Jairo; Canta: Jairo
I came across this record on a few blogs and managed to track down some audio from WFMU's site. I would love to hear more from this honky-tonkin' caterwaulin' queen. Listen to the tracks below and I think you will too!