Keeps Gripsweat ad-free. Marty Robbins, R. Gripsweat is a searchable archive of past rare vinyl record sales and auctions. None of the records on the site are for sale, these are all completed sales and auctions. Gripsweat is intended to be used a resource for pricing vinyl records. This is only a rough guide, however. Songs from these shows and more are featured here. It goes without saying that the CD is bursting with rare theater songs— many of which have never been recorded before—and will be of great interest to fans of musicals and vocals alike.
Kei Kobayashi started singing professionally as a teenager in the early '90s and began his recording career soon after, exploring the Great American Songbook in a dozen or so albums to date. Booklet incl. Of course, The Beatles are represented— with P. A dozen more tracks recorded betweenall newly remastered: Who's That Knocking at My Door?
The show features 27 songs by the popular contemporary singer-songwriter, whose tunes have been recorded by artists like Barry Manilow, Diana Ross, Jane Olivor, Sam Harris, Portia Nelson and, especially, by the late Nancy LaMott, Friedman's early mentor, and Kathie Lee Gifford, his most recent champion.
The remaining sides, many not easy to find elsewhere, are culled from the various labels, large and small, for which she recorded throughout the '50s and '60s—Columbia, MGM, Pye Nixa, Wing, Esquire, Piccadilly, and NJE—a vast and eclectic oeuvre of acclaimed recordings which led to her eventual breakthrough, and subsequent popularity, in the States.
Recorded with the orchestras of Frank Cordell and, LP, Geraldo, most of these tracks have never previously been issued on CD. With some of the Big Easy's most talented young musicians on guitar, percussion, bass, cello, trombone, tenor sax, and trumpet, the album, asscording to to the publicity materials, "is eclectic, organic, and undoubtedly jazz, moving smoothly from sambas to hard-driving swing tunes with heartfelt ballads interspersed. Most have not been available since their initial dates of release.
The vast majority of the 60 songs here are of British vintage. Brown Harry Roy. Loren sings Almost in Your Arms, Bing! Some of these have sufaced before on movie soundtrack collections or on what-were-they-thinking compilations, but many of these are only available on this collection. And there are expanded versions of three other themes. The above perform, respectively, It's a Good Day, Mr. Though in one of his songs he laments I've Never Been in a Show by Andrew Lloyd Webber, Kates, refreshingly, does not compose grand, self-conscious arias or hollow, overblown pop ballads.
More Jerry Herman than Lloyd Webber, he writes in the classic tradition of musical theater and cabaret—charming, pointed songs which are sometimes poignant, often funny. A good example of the latter is When I Gaze into a Mirror, which he puts across with his customary verve and a respectable singing voice: When I gaze into a mirror what I see Is a person I don't recognize as me I am surely ten years younger Make Album) twenty, make it more Who the hell requested wrinkles Or an ass that hits the floor?
So what happened to the blossom and the bloom, Turning heads from simply walking in a room? Well, the heads have not stopped turning 'They just turn to look away No one loves a faded fairy Or a queen who loves ballet. No More Mr. It's What I Understand. They provide stellar support for the singer on a program that balances self-penned originals and well-known instrumentals to which Hendricks has set his customarily deft lyrics.
According to critic Michael Nastos, "Of the many projects Hendricks has been involved in, this is his crowning glory. It toured the country as a stage production, depicting the history of African-American roots music, from spirituals and field hollers to blues, gospel, and jazz.
Hendricks recites signposts of the musical progression in rhyme and singing Both on film and on record Betty Hutton's style was one of total abandon, even anarchy. She seemed hellbent on perfecting hollering as an art form and selling mania as the basic human condition—and she succeeded.
At her peak, Hutton recorded extensively for RCA and Capitol, and mostly she sang funny novelty numbers especially written for her, many by Frank Loesser. But more important, when she wanted to, she could handle a ballad with ease and aching, heartbreaking simplicity, proving herself to be one of our great popular singers.
There are no liner notes, but the fidelity is excellent, and as a crash course in the history of the popular song, it's tough to beat. Such an unexpected and intimate accompaniment demonstrates something that may have been overlooked before. While Comstock is the co-heir apparent, with Steve Ross, to the mantle of the late Bobby Short—that is, our premier cabaret or "society" singer-pianist—he is also, far and away, the best singer of all the performers, past or present, with whom he shares his particular musical niche.
Napoleon's sensitive arrangements present an ideal musical setting for Comstock's vocals, cushioning and showcasing them at the same time. Comstock's singing is lovely—unaffected, heartfelt, warm, clear, even sensual at least to these ears —in short, every good thing.
Despite the obvious temptation posed by solo guitar accompaniment, Comstock wisely resists interpreting these songs as bossa novas, with the natural exception of Jobim's Living on Dreams which features lyrics by the late Susannah McCorkle.
Jaye P. Caroland more. Her commitment to improvisation She lost to Ella Fitzgerald. The former, fromhas never been available on CD. The latter, released a year later, was available only on a now out of print, collectible import. Those are the original albums covers, pictured here. Frances Faye, NO REGRETS Singer Frances Faye, whose motto was "I think when you're pretty, it doesn't matter how you wear your hair," is largely forgotten except by gay men, who especially relish the dry, hip, camp repartee of her live albums "I was gonna strip but I'm not feeling too well [pause] I'm not pretty but I'm very wild [pause] and if you ever saw me during the day in a black sheath and sneakers, you'd kill yourself.
It is important to acknowledge her greatness as a singer, and this 2-CD import, released 15 years after her LP ingoes a long way toward that end.
Plus songs by k. Eyen died of AIDS in The other 20 songs, however, are indeed by newer, younger composers several of whom remain unfamiliar to us even today, over 20 years later. A member cast!! When the group disbanded in the '50s, Johnson struck out for New York, where she performed regularly on metropolitan radio shows. Here's a lengthy YouTube tribute to Johnson and her career. The last was recorded for Atlantic, for whom she waxed two albums of standards before marrying and retiring in But Hockenberry had been recording five albums to date and performing throughout the Preachin And Teachin - Houston Person - Wild Flower (Vinyl Area for many years before that.
Here are master takes, as well as countless previously unissued alternate takes and recordings of live performances—an incredible sides in all, recorded with the bands of Benny Goodman, Count Basie, Benny Carter, and Eddie Heywood but, mostly, with Teddy Wilson and with Holiday's own orchestra—a running time of over 11 hours!!
Her voice is a miracle. Astaire starred with his sister and dance partner Adele in the first two shows, both written by George Gershwin, and Adele is heard on eight of the tracks here, with George Gershwin playing piano on five songs. Astaire, then 76, is in fine voice, and the two solo albums offer a variety of material. But mostly he revisits some of his most famous songs, incl.
Keyboard Man. Sullivan, BART! The CD is highlighted by two rare songs from an unproduced musical about Gertrude Lawrence—Who Besides You and Beware of the Woman—although calling them highlights might be splitting hairs since none of the tracks by Julie Wilson, or any of the others for that matter, appear elsewhere, all of them having been recorded specifically for this release—rare performances of mostly rare songs.
Though far from a household name, Howard is well known to followers of pop, jazz and cabaret. The rest are obscure treasures, prime examples of the intimate, rarefied cabaret song, culled from the back pages of the Great American Songbook.
The rest are performed by Howard himself, still going strong in his 80s. According to the liner notes, "ByAntonio Carlos Jobim had enjoyed more than a decade of success as a songwriter with songs like The Girl from Ipanema and Desafinado. Singing it in both Portuguese and English, Jobim Like George Gershwin, with whom he was often ranked as an equal, Jobim had ambitions beyond writing popular songs; he wanted to compose music for the concert hall.
In the '60s, the Jim Kweskin Jug Band which included a young Maria Muldaur recorded five albums for Vanguard Records, and they were indeed in the vanguard of contemporary music.
In a culture steeped in rock music and drenched in psychedelia, the Jug Band cultivated an eclectic repertoire, popularizing vintage blues and old-time folk, and mining the Great American Songbook for classic pop and jazz. Songs: What Is There to Say? According to Wikipedia, "Kustbandet is a Swedish jazz orchestra founded as a school band in Stockholm in The band has recorded more than 20 albums Judy Niemack, The dozen tracks, recorded individually by the two artists, were all arranged by Antonio Carlos Jobim, and all recorded in Rio de Janeiro in Breach is a minimalist, who literally just sings —sings in a lovely voice with a slight but not unappealing nasal quality, a total absence of vocal and stylistic tics and tricks, and an unerring, direct yet subtle connection to the lyric of any song she sings.
This is the second of Breach's three tributes to Mabel Mercer, the late doyenne of cabaret music and the greatest and most influential singer the genre has ever produced.
She is supported throughout by a guitar and bass trio led by the great Keith Ingham on piano. Liner notes by James Gavin. Here the rarely heard one-act jazz opera, with lyrics by Buddy DeSylva, is performed by the Orchestra della Svizzera Italiana and various soloists. Pollock is the lead vocalist with Steve Mellor's Chicago Hoods, and together they have performed at venues throughout the UK and presented a successful series of jazz programs on BBC Radio.
Since then, however, the show has acquired a reputation as a lost classic, and Herman's score has since come to be acknowledged as one of his finest, yielding at least one contemporary standard, Time Heals Everything, and several other songs that have become famliar through musical revues and entered the cabaret repertoire. Her CD on the prestigious Blue Note label by this popular and acclaimed jazz singer.
Reeves is backed by a septet led by Mulgrew Miller on piano and featuring Kevin Eubanks on acoustic guitar and Terri Lynne Carrington on drums. She may be young in years, but she shows real maturity when it comes to musical styles and tastes In producing this album, Johnny applies some wonderful arrangements to some old favorites, as well as adding some of his new songs to the mix This record is a first look at a dynamic young singer who is sure to be around for a long time.
Backed by a quintet that includes jazz accordionist Eddie Monteiro, Akers performs a program of French chansonsmost of them popular internationally. Quand revienras-tu? Blackhurst has charmed audiences throughout the country with this acclaimed tribute to her musical idol, complete with witty patter.
That's the original album cover pictured at right. The eight bonus tracks, recorded with the likes of Benny Goodman, Page Cavanaugh and Hugo Winterhalter, come from a variety of sources. After beginning to record songs in German in the s, Leander became popular internationally, and a huge star in the Third Reich. Though no recording dates are given, apparently most of these tracks date from the s. One Amazon contributor writes calls this "one of the best Zarah recordings I have ever heard.
I am from Sweden so I have been able to get my hands on some vinyl Zarah, but this CD tops everything. But this, Pope's debut CD and, alas, her sole effort to date shows that she lacks nothing to qualify her for full-fledged Broadway stardom except, one supposes, luck.
Backed by a variety of combos—from solo piano to quartet to a nine-piece orchestra—Pope performs a refreshing program of vintage tunes, none more recent than Liner notes by Ben Vereen.
Since online track listings for this CD include chart positions of the individual songs, they are included here. The Beatles, 1 According to Wikipedia, "The Beatles' 1, a compilation album of the band's British and American number-one hits, was released on 13 November It became the fastest-selling album of all time, with 3.
It topped albums charts in at least 28 countries, including the UK and US. As of Aprilthe compilation had sold 31 million copies globally, and was the best-selling album of the decade in the United States.
On this album, incredibly, Carmen is backed by a trio led, on piano, by none other than the great Shirley Horn, whose own late-career renaissance was already in full swing on Verve Records.
Look past the well-scrubbed, boyish good looks and you'll find a masterful pianist and a singer with a completely natural, warm and easygoing sound and style. Those are the original album covers pictured here. According to critic William Ruhlmann, "Horne's song choices ranged from the very familiar to the very obscure. Horne sang everything like it was a classic, however Ruhlmann sums it up: "The Sands Hotel LP were on hand, but many of the arrangements called for only a piano trio, placing more emphasis on the singer's precise phrasing and incisive lyrical interpretation.
At 43, she remained at the top of her game Those are the original 78 rpm albums pictured here. According to Wikipedia, "Sparky is a little boy with an overactive imagination. The result is a somewhat frenetic cloud of desert sand.
The styles contrast and compliment each other. The soundscape is hot, arid, and tempestuous. It is an exotic sound design. It is essential world music. Omar Faruk Tekbilek's One Truth continues his exploration of the mystical sounds of Sufism, blending Middle Eastern instruments like the ney flute and modern electronic textures into intense, intricate works. The album's songs of devotion showcase Tekbilek's technical skill as well as his intuitive understanding of this passionate and spiritual music.
The latest release from Turkish-Egyptian multi-instrumentalist Omar Faruk Tekbilek is all about love, and its sense of romance spills across all 12 tracks, from the lush "Gardener" to the heavy melodicism of "Lachin. While there's a definite Middle Eastern underpinning to everything, in part thanks to percussionist extraordinaire Steve Shehan, whose remarkable senses offer the muscle behind the music, the melodies are sometimes sweetened a little for Western consumption, as on "Forbidden Love," where the voices rest on clouds of synthesizer, and at times the feel is pan-Mediterranean, bringing in strains of Greek and Italian feel to the mix.
There's nothing wrong with that at all, and its heart's in the right place. The end result of all this is an album of beautiful songs, like the classic "Dark Eyes," performed with grace and sensitivity, and sometimes a sense of real adventure. Suleyman the Magnificent, Keane's imaginative soundtrack to the documentary and traveling art exhibit on the Ottoman Empire, also features Tekbilek and several other Middle Eastern musical experts. Reuniting the innovative duo of Brian Keane with Omar Faruk Tekbilek, Beyond the Sky comes across as an even more adventurous excursion than their two earlier recordings, Suleyman the Magnificent and Fire Dance.
The listener is transported to exotic regions of the Mediterranean, including Turkey, the Middle East and North Africa Amidst the Middle Eastern harmonies, the listener catches whiffs of Moroccan and even Afro-Cuban or South American styles, in a unique marriage of musical cultures.
Here's Ud virtuosi of two generations and two traditions. Munir Bachir is perhaps the finest living player in the great Iraqi school. In this Paris concert he concentrates on the high-classical tradition in four maqamaat. The Iraqi oud player Munir Bachir -- or Bashir -- is considered one of the greatest oud players of the 20th century. He is credited for restoring the oud to its former glory.
He was an ardent defender of Arab music against its misrepresentation in terms of usage and perception. A great composer and improviser, he had an in-depth knowledge of all Arab repertoires and music theory. Munir Bachir explored the limits of the Arab modal system in all its purity. The oud he used was made to his personal specification, with five double strings and an additional bass string, adding grandeur to his beautiful music.
On this CD, Bachir proposes three traditional maqams alongside two of his own works. Pure meditative pleasure. Other than a few cassettes in the s, Tunisian oud master and composer Anouar Brahem has spent his entire career recording for ECM. The one exception was his score and soundtrack for the film Les Silences du Palais.
With producer Manfred Eicher, Brahem assembled a band for this special date featuring bassist Dave Holland who worked with the oudist on 's brilliant Thimardrummer Jack DeJohnette who has a nearly year history with Hollandand British pianist Django Bates. The album title signifies the union between the incredibly complex Arabic modal and harmonic system and the "blue" so often evoked in jazz improvisation.
Throughout, Brahem seamlessly combines the uncommon time signatures, sonic timbres, and whole-tone textures of Arabic music with the dynamic adventure of jazz improv.
That premise is immediately put forth in the first track, "Opening Day. The laid-back tom-tom groove DeJohnette establishes on the title track is Preachin And Teachin - Houston Person - Wild Flower (Vinyl indicator. He's joined by the rest of the rhythm section before Brahem enters with a tender melody that swings gently. It commences with an oud solo accompanied by Brahem's humming, and opens onto a full-on jazz trio conversation. The oudist uses the scalar maqam ballad style as his rhythm section delivers grooving support in contrast.
On "Persepolis's Mirage," Brahem turns in some of his knottiest playing before the quartet delivers a processional Arabic melody augmented with layers of rhythmic invention. Bates adds fills from his instrument's lower and middle registers, providing weight and texture, but it's Brahem's meaty playing that ultimately shines. There are excellent solos from each member and plenty of blue accents. Bates' elliptical chordal statements and fills add an elegant flourish in a closing statement to both the track and the album.
Blue Maqams is lovely. It's a nearly perfect illustration of balance between cultural and musical inquiry, underscored by the confidence and near symbiotic communication of this gifted ensemble.
This is an exceptional outing, even for an artist as accomplished and creative as Brahem.
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