The Two Sides Of Having Griffin

 

The Two Sides Of Harvi Griffin (disc 1)

The Two Sides Of Harvi Griffin (disc 2)

The Two Sides Of Harvi Griffin

Producer: C.P. Schrantz

Photos: Tom Bert - Peggy Jo Studio, Detroit

Recorded and Manufactured by Rite Record Productions Inc. Cincinnati, Ohio

1971

Raindrops

Didn't We

Walk On By

Guantanamera

One Less Bell

Georgie Girl

Jamaica Farewell

I Wish You Love

Easy To Be Hard

Love Story

Handel's Concerto For Harp In B Flat

   Allegro Moderato 

   Larghetto

   Allegro Moderato

Song In The Night

Clair De Lune

Petite Valse

Harmonious Blacksmith

Rhumba

The Bob Allen Trio At The Christopher Inn

 

The Bob Allen Trio At The Christopher Inn

The Bob Allen Trio At The Christopher Inn

Album Design: Stockwell Design Associates

Sound: Musicol, Inc.

From the inside cover: Designed by the Columbus architectural firm of Karlsberger and Associates, the Christopher Inn was opened July 29, 1963.

Even though constructed on a downtown site, the Christopher Inn is noted for its generous allocation to open space for drives, terraces, and landscaping. Its circular tower is set back from the street, and automobile access and egress is swift and conve nient. Writing in the Washington Post, architectural critic Wolf von Eckhardt has called the Christopher Inn "the most eye-catching, yet appealing downtown motor hotel" of its type.

Such compliments are common from the traveling public, and the Christopher Inn's varied facilities are constantly in demand. In addition to 140 guest rooms, there is a dining room with an outstanding American and International menu; cocktail lounges; meeting rooms; and last but not least-the popular circular swimming pool and poolside lounge where the Bob Allen Trio provides musical excitement every Monday through Saturday evenings.

Also from the inside cover: Let me tell you what it was like, the first time I listened to Bob Allen at the Christopher Inn:

I'd returned to Columbus for a speech, or to work on a story, or something that no longer seems important. The day had been full, the hour was late, but Ron Pataky, who had followed me as critic of the Citizen-Journal, was insistent. "You've got to hear this trio," he urged, so we went over to the Christopher Inn – new since I had left town – walked down to a pleasant circular lounge separated by a glass wall from an indoor pool, and said hello to Bob Allen. Then I remembered that we had met before, several years ago when he was playing somewhere else, and I'd written an appraisal of this young pianist whose technique was Isure and whose musical invention commanded attention.

Well, Bob and his two solidly professional sidemen started to play, not all hellfire and thunderbolts at first but warming up to it, and I realized that in the intervening few years some kind of earlier promise had been fulfilled. A professional critic – like anyone else, perhaps – responds to his intuition first and his intelligence, such as it is, second. That is, he is subjectively elated, irked or awed by what he hears, then he seeks out his own fairly objective reasons for his reaction. Which was just what happened that frosty, midweek night.

As Bob played, my backbone stiffened, which was part of a total coming-to-attention. Without consciously willing it, I became acutely alert, as if I could assimilate the music not just through ears and mind but through fingertips and all the nerve endings. Only a bit later did I begin to separate and tabulate the reasons for my excitement, from the fact that it was an uncommonly good piano and im maculately tuned, to Bob's resourceful use of style and fragmented themes from composers such as Chopin and Rachmaninoff. Most important, he was inventing exquisitely. Not improvising, though he does that well too. This was carefully thought out and rehearsed invention, in which all kinds of musical ingenuity had been applied to a stand- ard romantic ballad, or a show tune, or a current pop melody. And it was polished – refined in a way to leave you almost breathless. His repertoire was familiar and dazzlingly fresh at the same time. That was how it began for me, and probably for everyone who has listened to Bob Allen at the Christopher.

And how did it really begin? What is the true genesis not just of a man, but of his creative artistry? Born Robert Allen Prahin in Cleveland in 1940 of parents who had come to this country from Yugoslavia in 1912, Bob en- countered the piano as part of the special training he received as a very small child. Blind since birth, he attended a school where the procedure of developing the other senses included touching a keyboard.

He studied the instrument from the age of five, always with a strictly classical emphasis, so that by the time he entered Capital University in Columbus as a music composition major 10 years ago he was as solidly rounded in the great piano composers as any young musician could be. "I was fairly didactic," he recalls. This training was to prove first a liability but later an invaluable asset when he began playing club dates. Being new to light and romanic or bouncy stuff, he drew on his classical background to introduce variety into his arrangements of standard themes. He also had been listening to Ferrante and Teicher, George Shearing, the old Art Tatum records, as well as Don Shirley, Peter Nero and Andre Previn, being most influenced by the last two..

Bob Allen, or any creative artist, is the end product of his own musical experience-plus. Thus Bob was shaped by Bach, Bartok, Chopin, Rachmaninoff and to a lesser extent by the pianists just named, and if he were to end there as a musical man he never would have been more than an ingenious imitator. The "plus," however, is what gives the artist his individuality, his distinction. And that is what has developed so surely and strongly in the last few years of this young man's already commendable career. What you hear today is Allen as a creative pianist, using an exhilarat. ing resource in classical and romantic music to broaden the stylistic range and brighten the coloration of everything he does.

Inevitably the question must come up. Does Bob's blind. ness influence his music? Does Shearing's? Did Tatum's? Who is to say? We don't know if seeing would have made a difference in their playing. But each, including Bob, has had to depend on sound (which is to say music) as his total expressive resource. So perhaps he exploits it more fully, seeks out its most delicate subtleties, and achieves grandeur through music as we might see it in a sunrise.

Allen's co-artists are bassist Vince Evans, originally from Ocean City, N. J., with a music degree from the University of Miami, Fla.; and Ray Racle, a percussionist whose drum work has improved the music of anyone he's played with in Columbus and elsewhere over quite a few years. Both Vince and Ray teach music in the Columbus area.

One thing more. The Christopher Inn is one of the few places in the country where a professional pianist doesn't have to struggle with an old, cheap, out-of-tune instrument. Host Henry Orringer has provided Allen with an absolutely stunning, new nine-foot Baldwin SD-10 concert grand, replacing an excellent earlier Baldwin of the same size. The new instrument has all the former Baldwin sonorities, range and facility, plus an exceptionally bright and clarion treble. Furthermore, Orringer has it tuned for Bob every week, which is enough to make less fortunate pianists weep with envy.

The music: Watch What Happens: Allen depends on a bossa nova treatment for this tune from the film, "The Umbrellas of Cherbourg." Syncopation, treble excursions around the melody and some piquant rapid runs and arpeggios all reinforce the lilting mood.

Here Comes That Rainy Day. If there is a sound to heartbreak, you could hear it in the keyboard voicing of this infinitely poignant little ballad. Bob opens with a one-finger introductory phrase, separated by two chords from its own repetition, then crosses a minor bridge to start the slow, sad song with its unexpected modulation into a major chord at the end of the second line. Once again there are tasteful touches of romantic or classical style – a feeling of Rachmaninoff here, a cleanly defined suggestion of Bach there. As he moves into a modern style (even if it is crossed briefly by a Bach phrase later), note the full, but not heavy, chords, the unhurried arpeggios.

Sunny: Against a lazy woodblock beat, the piano states this languid and lovely finger-snapping melody with all kinds of legato ease, as bass slips readily into the mood. Then just when you are lulled, the music explodes into a driving, locomotive rhythm on a fast three-beat figure. Thereafter "Sunny" moves through subtle rhythmic changes and some- times into modal variations on the theme, without ever ceasing to drive.

Do-Re-Mi: If there is a tour de force among the performances in this recording, it is the ebullient music lesson from the Richard Rodgers - Oscar Hammerstein II success, "The Sound of Music," as Allen has redesigned it. The music begins in child-like innocence, though a dissonant fillip at the end of the first phrase tips you off that the pianists has something up his sleeve. The rococo fragment repeats delicately, modulates into some almost churchly major chords, then suddenly gives way to a machine gun staccato in 16ths on one note (the dominant), to pick up "Do-Re-Mi" as it goes. Drums carry the rapid Latin rhythm irresistibly, and a running figure on string bass adds its own authority. After two driving, exhilarating choruses, the pianist switches to a Mozartean embellishment as light as spring rain, but still moving at that breakneck pace. Thereafter the melody undergoes brief transpositions to the style of Bach, and even switches to a minor key for a change. All the way, the driving 16ths, the drums, the bass figures, command unswerving atten- tion and provide an ideal contrast to the melodic embellish- ments higher on the keyboard. It is virtuoso invention, and virtuoso playing.

All The Things You Are: If you recognize the long open- ing passage as the Chopin A-flat Etude, known as The Aeolian Harp, you are exactly where the pianist wants you to be. These Chopin arpeggios, structured into one of the most lyric melodies in 19th century music, are transformed, almost before you are aware it's happening, into "All The Things You Are," in the same style and key. The bridge between the two is simply a pair of notes which occur in both melodies, and permit the crossover from one to the other and later back again. Note the abundance of piano sound in this. The whole keyboard sings, and you suspect that Allen plays the way Chopin wrote and must have played-as if the piano were a world unto itself, neither derived from or related to or in need of any other instrument. Pianistically, this is the most beguiling arrangement among these eight.

Monday, Monday: Ray Racle uses a triangle to define the rhythmic figure for this rock dance treatment, later reinforcing with snare and cymbal. Meanwhile, Allen is orna. menting the melody in a style both capricious and cunning. You might find yourself thinking of a harpsichord rather than a piano; an amusing and quite workable blend of disparate styles.

It's Over: Here Allen captures, on keyboard, the quality which Felicia Sanders imparts to this palpably poignant ballad with her deeply emotional singing. The small opening melody becomes a countermelody, when the title song is voiced through the pianist's right hand. As the song progresses, there are some subtle, but unadorned, modulations to link its 19th century romanticism with the faintly suggested harshness of a modern lost love.

Love For Sale: Here we get a rock beat, straightforward and hard, flecked with trills, as if Allen had once been exposed to a player piano. Without the least affection, he manages to use ninths, garlanded with free-falling arpeggios, all through this strong and positive number. After a bit, drums and bass manifest themselves more strongly, while the pianist swings into the rapid playing he does so authoritatively. Allen has said that he tries to develop excitement by rising or descending to a climax. He does both in this. There is an extended upward development, followed by a sustained level of music, then a decline toward what becomes a second and equally impressive resolution of his theme. In simpler language, it swings. – Norman Nadel

Both Sides Of Mark Barnett

 

Both Sides Of Mark Barnett

Both Sides of Mark Barnett

Cherish STEREO CS 12090

Flint Hill Special 

Foggy Mountain Breakdown

I'll Fly Away

Dizzy Fingers

Meditation

(Take Me Home) Country Road

Fisher's Hornpipe

Peace In The Valley

Ponce: Sherzino Mexicano (Transcribed by Manuel Lopez Ramos)

Lauro: Vals Venezoland No. 3

Tarrega: Recuerdos De La Alhambra

Lucuona: Malagueña

Just Trilly - Trilly Cole

 

Just Trilly

Just Trilly

Trilly Cole

Executive Producer: Alan Moore

Producer: Scotty Turner

Engineer: Lee Hazen

Photography: Denny Burrell and John Morgan

Art and Layout: George Lewis 

LSI 75-9-02

Highway Headed South

Country Sunshine

Ghost Riders In The Sky

Country Girl

Another Somebody Done Somebody Wrong Song

Exodus

Country Roads (medley)

Alabama Jubilee

Master Jack

Maria

Old Joe Clark

You Can't Be A Beacon (If Your Light Don't Shine)

Polka Music With The Big Band Sound - Ray Kaminski's Merry Makers

 

Let The Sunshine In Polka

Polka Music With The Big Band Sound

Ray Kaminski's Merry Makers

Staff Recording

Rite Record Productions, Inc. - Cincinnati, Ohio

Sides #33621 & #33622

Let The Sunshine In Polka

Swinging Brass Polka

Stan And Ann Oberek

Angeline Be Mine Polka

Lovers Waltz

Chicagoland Twirl Polka

Helena Polka

Nobody Cares About Me Polka

Old Time Oberek

100 Proof Polka

Lucy's Polka

Y'all Come Polka

Ray Trotta In Dallas

 

Ray Trotta In Dallas

Ray Trotta In Dallas

Director of Engineering: Skip Frazee

Director and Advisor: Bob Davis

Cover Design: Ed McCurdy

Oak Cliff Records PCP 470

Rite Records - Cincinnati, Ohio

Sides #26061 & 26062

1970

If I Were A Rich Man

You Don't Understand Me

L-O-V-E

Never On Sunday

Be My Little Baby Bumble Bee / Do You Ever Think Of Me

If I Didn't Care / Peg O My Heart

Can't Take My Eyes Off You

Heartaches

Spanish Eyes

The Girl From Ipanema / My Day Will Come

Japanese Sandman / Mr. Sandman

Once In A While

Musical Moods - Don Lynn

 

Musical Moods

Musical Moods In Stereo

Don Lynn - His Drum and Orchestra

Greg-Thomas Records 12 GT 2001

Everett Massi - Saxophone & Flute

Pete Irme & William Marino - Bass

Dick Lorson & Gil Castagna - Piano

Don Lynn - Drums

From the back cover: Dominick latella, professionally known as Don Lynn, was born in Portchester, New York in 1923. he started playing drums in the 30's using five gallon tin cans with his brother Tommy. he formed a drum corp with crude instruments, a total of ten boys marching down the road to watch other men on parade in uniform. one day his fat- her took him and his brothers Tommy, Paul and Frank to a toy store and bought all four instruments, three drums and a piano. from then on they started forming their own little groups.

During world war II, don lynn was a member of the us navy concert & dance band, a detached unit from the carrier USS Lexington. he appeared on the west coast at the Palladium, Brown Derby, Hollywood canteen and many naval bases. the band also played at many bond benefits and gave performances at many high schools. entertained troops in the south pacific, flying from island to island. when not entertaining the troops, he was an armed guard. After three years in the navy,

Don attended the Manhattan School of Music and studied percussion and symphonic analysis. during the years, he has played at many niteclubs and stage shows, mostly along the east coast. currently he is concentrating on recordings. This is his first lp in stereo his label Greg-Thomas is in tribute to his late father and brother Gregory and Tommy, for their help and encouragement in starting him on his musical career.

Rainy Day

The Shadow Of Your Smile

Somewhere Over The Rainbow

Day In The Life Of A Fool

What Kind Of Fool Am I

I Didn't Know What Time It Was

Blue Prelude

When Your Lover Has Gone

Green Eyes

Before I Gaze At You

I've Got A Crush On You

On A Clear Day

From The Inside Out - Mark & Clark

 

Distant Eyes

From The Inside Out

Mark & Clark Seymour

Produced by Mark & Clark

Production Assistance: General Holding Corp.

Audio: John Hall

Jacket: Gene Kerrigan

Twin Co. Records

Rite Records Productions - Cincinnati, Ohio

Sides #22195 & 22196

Love Is Blue

Look Of Love

The Joker

Theme from "Valley Of The Dolls"

Supercalifragilisticexpialadocious

Distant Eyes

I Say A Little Prayer

Gold Finger

Free Again

Goin' Out Of My Head

Tara's Theme

Something In Your Smile

Party Punch with The Ackerman Orchestra

 

King Of The Road

Party Punch

With The Ackerman Orchestra

Production and Engineering: R. Heineke

Photography by Unity Photo Studio

Additional Front Cover Photography: F. Dolezsar

Candiana Talent Series

Nicole Records - South Saskatoon, Sask. 

Nicole 6806

From the back cover: Party Punch is something all Ackerman Orchestra fans have been waiting for and if you are not a fan, "Party Punch" will make you one too.

If you don't live in Northern Saskatchewan or Eastern Alberta, you will never have heard of the Ackerman Orchestra, but let me tell you, you're missing something. Originally a 5 piece family group in Rutland, Saskatchewan twenty years ago, it now consists of twin brothers, Ernie and Don Ackerman, or actually it should be Don and Ernie Ackerman because Don is 20 minutes older.

Don plays guitar, saxophone and banjo and Ernie, piano, accordion and organ. Listening to selections such as "Lara's Theme" and "Stein Waltz", you will hear the versatility and beautiful arrangements these two have put together. Whether it is because they are twins or because they have been playing together since they were young does not matter, but the music is great.

Backing up on drums is Fred Fisher and Richard Gilles is on bass. They put the rhythm in the music and make that "can't sit still" beat that makes this record such a success at parties.

Of course that's not the end by any means. We also have Barry Beausoleil on rhythm guitar and trumpet. You can hear him in such numbers as "Spanish Flea" and "Tiuana Taxi" where the group gets the real Herb Alpert sound going.

The group plays for weddings, graduations and all types of dances and have perfected that special danceable style of music that makes a hit everytime. So there is "Party Punch" a record that has real punch for a party, so get out the punch bowl, add "Party Punch" and when the punch bowl is emptied, "Party Punch" will keep you going.

Stein Waltz

Dominique Polka

King Of The Road

Blue Hawaii

Duluth

Tiuana Taxi

Somewhere My Love

Magic Trumpet

Scandinavian Jump

I've Had It

You Can't Be True

Banjo Polka

So What's New

Edelweiss

Spanish Flea

Peanuts

You Asked For It - The Great Imposters

 

You Asked For It

You Asked For It

The Great Imposters

Doyle De Bolt, Bob Field, Kenny Malone, Harry Lyons & Nick Henschied

Produced and Arranged by The Great Imposters

Accent Photography, Cover Photo Design by Duane Straight

Recorded "Live" at The West Omaha Holiday Inn by Cherrywood Studios, Cedar Falls, Iowa

Engineer: Johnny Durham

A Triple Crown Production

STEREO GI 2027

From the back cover: WOULD YOU BELIEVE THE INIMITABLE "GREAT IMPOSTERS"? !! REALLY!!

Although their specialty is imitating the great hit artists of the fifties and sixties, they always manage to inject their own unique fresh enthusiasm and zest to each oldie they sing, making it seem brand new again. It's a magic mood they create; and it's inimitable!!

The first time I saw "THE GREAT IMPOSTERS" perform was in Harlan, Iowa. They were the opening act on a show starring Ray Stevens (who was riding the top of the charts with his recording of "THE STREAK" at the time) and I was the Master of Ceremonies. It's a night I'm sure none of us will ever forget because just 30 minutes before our show was to begin we all stood backstage watching President Nixon announce his resignation to the country. The sound was piped over the public address system in the auditorium so that the entire audience could hear. It was, needless to say, a tough act to follow. I, for one, was dreading going out on stage and facing what was certain to be a dreary audience. Well, to make a long story short, inside 10 minutes, "THE GREAT IMPOSTERS" had managed to make us all forget the troubles of the country and totally captured the audience with their infectious, happy songs AND great musical ability (vocally and instrumentally). That's what I would call the ultimate test of a performer, and they passed it with flying colors.

Ray Stevens and I stood backstage watching them and Ray remarked how grateful he was to have such a great group break the ice for him on such a "downer" night. Quite a compliment, coming from one of the best pro's in the business, I'd say! And I've been a "GREAT IMPOSTERS" fan ever since.

Their following grows every day they make a personal appearance and whenever they're on stage you can always count on a large, happy and responsive audience.

When I heard they were going to record an album live at the West Omaha Holiday Inn, my only concern was wondering if the sound engineers would be able to capture their special magic on tape. Sometimes artists who come off so great in person lose something in the electronic translation to tapes and vinyl. Well, I've been listening to this album while typing these liner notes and I'm extremely happy for them and for all of their fans, because it's all there in the record...just the way it is in person. All the people who have been asking "THE GREAT IMPOSTERS" if they had an album out obviously inspired the title, "YOU ASKED FOR IT". I, for one, am glad they asked, and I know they won't be disappointed. – Jimmy O'Neill, Program Director KOIL - Omaha, Nebraska - Jimmy Broadcasts Daily from 3 - 7 p.m.

Little Darlin'

Come Go With Me

Surfin' U.S.A.

Chantilly Lace

Kansas City

The Great Pretender

Shake, Rattle & Roll

Get A Job

Pretty Little Angel Eyes

Roll Over Beethoven

Rock Around The Clock

Peppermint Twist

Potpourri - Keith Pierce

 

Bacharach Medley

Potpourri

Keith Pierce

At The Hammond Concorde Organ

Lemco 74111

From the back cover: One thing 15 years in Lexington has taught me is that expecting superior talent in a Lexington night spot on a regular basis is a whole lot like expecting an oak tree to stay green through the winter. Not that there isn't some good talent from time to time.

But, on the other hand, it isn't Basin Street or Music City, either. There's good talent sometimes, but there's a lot of Joe Blow and Hot Air, and the result is that if you want a little more than dance music, you haven't always got it on tap.

Which made the pleasant surprise even more pleasant one night in 1972, when I'd wandered into the Phoenix Hotel's Firebird Lounge.

Even out in the lobby I'd heard the new sound and asked Norman Tice who it was. "A friend of mine," he said. "I knew him in Carbondale, his name is Keith Pierce.

It was an understatement.

I suggested to Keith that he sounded "sometimes like Ethell Smith, if you don't take offense at be- ing compared to other artists." Not at all, he told me. In fact, he said, they were old and dear friends. We chatted for a while; I learned he was a graduate of Southern Illinois University at Carbondale, had played professional for several years, though not at too many spots. Seems he likes to settle into one lounge and stay as long as possible. He had been taught by Wes Morgan, now in the music depart- ment at the University of Kentucky. And he had bought a new organ, the Hammond Concorde, in which he took justifiable pride.

I was impressed. So impressed I began to write about him in feature stories and in a column I was doing then for the Sunday Herald-Leader. And thereby did myself a disservice.

I'm one of those types who likes almost empty bars, where there are lots of dark corners and emp- ty seats, where aloneness is a positive asset, where you can sit for hours without anyone butting in on your conversation with yourself. The bar isn't making any money, you know, but it's a great place to be.

The Firebird wasn't that way for long when word got out on Keith. For the first time they served lunch to a standing-room only crowd for two, sometimes three hours a day. Keith was playing for lunch, you see. Cocktail hours got to be just as full of people. He really is that good an entertainer-- alone he could pack the lounge area.

Then the Phoenix closed, and Keith moved to the Continental Inn, where Keith Plus Four came in- to being, featuring the talents of Hank Adams, Dusty Paling, Dick Hughbanks and Lorraine Moodie. "Maple Leaf Rag" and "The Entertainer" on this album feature Hank at drums, Dusty at guitar and Dick on clarinet, as well as Keith at the Concorde.

Last April, Keith resumed an interest he has had most of his life--playing church music. In addition to the regular chores at the Continental, he is regular organist for the Episcopal Church of the Good Shepherd.

Earlier this year, his influence brought Miss Smith to town for a concert. Not only were her words about his talent extremely good--and sincere as well--but she furnished him three arrangements for this album.

If you suspect you've heard the arrangements of "Nola," "Parade of the Wooden Soldiers" and "Maple Leaf Rag" before this album came out, you're probably right. They are the same arrange- ments Miss Smith has been doing for years.

There's also a "Sound Of Music" medley, a "Fiddler On The Roof" medley, a waltz medley and a Bacharach medley, all of these original arrangements and among those most requested at the Contin- ental.

As a package they are designed to show off three things--the amazing versatility of the Concorde itself, the extreme talent of an artist who understands its potential, and the depth of repertoire Keith Pierce possesses.

Rate it excellent on all three and then add one more.

People who heard him at the Phoenix always agreed on one thing--his was a "happy sound,".. bright, joyous, vibrant.

The album captures that mood as well. – John Alexander

The Entertainer (Theme from "The Sting")

Medley from "The Sound Of Music"

  The Sound Of Music

  Do-Re-Mi

  Edelweiss

  My Favorite Things

  Climb Ev'ry Mountain 

Bacharach Medley

  Raindrops Keep Falling On My Head

  Close To You

Parade Of Wooden Soldiers

Maple Leaf Rag

Waltz Medley

  Around The World

  Somewhere My Love

  Fascination

Medley from "Fiddler On The Roof"

  Fiddler On The Roof

  Matchmaker

  Sunrise, Sunset

  If I Were A Rich Man

  Fiddler On The Roof

Nola

Take Me Along - Friendship

 

Take Me Along

Take Me Along

Friendship

Produced by Billy Strange

Engineers: Dave McKinley, Rex Collier, Neil Wilburn

Photography: John Guider Studio / Ben Spaulding

Album Design: Don Huffine

Records at Woodland Sound Studio, Nashville, Tennessee - American Studio, Nashville, Tennessee

Multi-Media MM-1-LP

Nationwide Sound Distributors NSD

1977

The Golfer

Songs For Lovers

Bernard The Mule

Keeper Of The Spring

Bill Bailey

Take Me Along

Here's To The Love We Once Knew

A Maiden's Prayer

Livin' Not Lovin'

Don't Blame Him

Everything Nice - Spice

 

Rock Flight

Can I Stay

Everything Nice

Spice

Ecips Records SO 16040

Rock Flight

Musical Interlude

Gotta Get Hold

Number One Musician

The Rain

Family Reunion

Be My Love

Some Summer Night

Normal Man

Can I Stay

Portrait Of The Graduates Very Much Alive!

 

Summertime

Pieces Of April

Portrait Of The Graduates

Very Much Alive!

Cover Design by Noel Gouveia

Recorded and Produced by Tinory Productions

Mad-Grad Records 21673

Sea Cruise

'Til There Was You

Mustang Sally

I'm Sorry

Donna

Honky Tonk

Jailhouse Rock

Burnin' Love

Summertime

Pieces Of April

Dialogue

Johnny Lester Trio Plus One

Johnny Lester Trio

Johnny Lester Trio Plus One

RK Records - Chicago, Illinois

16802-LP

San Antonio Rose

Home Coming Waltz

You Can't Be True Dear

My Baby Polka

South Side Gallop

Lillie Marlane

You'd Be Surprised

Maybe It's Because

I Wonder, I Wonder, I Wonder

To Each His Own

Beer Barrel Polka

Cold Cold Heart 

Thank God There Is An America - Sam Sutter / Dave Mills and The Swingers

 

Thank God There Is An America

Thank God There Is An America

Sam Sutter / The Kings Palace

Dave Mills and The Swingers with Metty Keller

Clearday Records 877C-4525

From the back cover: Sam and Rose Sutter opened the doors of The Kings Palace on April 18th, 1968 with the hopes of giving their customers more than excellent food and warm atmosphere.

Mr. Sutter, owner of The Kings Palace, has experienced failure and success, great happiness and sorrow, and feels that the United States Of America has given him the freedom to soar to any height. He has attained the ultimate goal in life, which is to be able to see clearly into the future and know who and what you are. Because of all these things, Sam has given a life and brilliance to his operation that is surpassed by none.

Sam would say, "Welcome to my humble saloon".

You Asked For It - Lord Radio

 

You Asked For It

You Asked For It

Lord Radio and The Bimshire Boys

Radrec 001

Made in Barbados

1973

Bajan Spouge 

And I Love You

Love Story

Miss Little Pig

For The Good Times

Yellow Bird

Yours Sincerely

Shame And Scandal

The Big Bamboo

Beautiful Barbados