Chateau Dietrich

If You Would Like to Hear This Record

Because of various problems with public blogs and rights problems, I have decided to take my blog and convert it to a private email. If you’d like to listen to this album (and more) or any other album I am posting here, just send me your email address at radiovickers1@gmail.com and I will put you on my list. Along with this album, I have a gigantic archive of my vinyl digitizations that gets added to every week. I do them myself and de-click them. Most sound pretty darned good, if I do say so myself.
This is not some come on. Just caution on my part. It costs nothing and there’s nothing to join. Just an email address. I have about a hundred people on my list at the moment. Come and join the musical fun.


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Saturday, November 23, 2013

My Vinyl Attic - Ian Fletcher Kemp (Writer) (1979)



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The vinyl on this one sounds great.   The album itself is very enjoyable.  The opening song is especially pleasing.  

A1
Singin' All The Blues Away3:09
A2
Someone's Kissin' Linda3:44
A3
J. & D. Railroad Line2:59
A4
Bethy (In The Gulf Of Mexico)3:40
A5
Notes From The Line3:56
B1
Love Catch Fire3:06
B2
Photos By The Sea5:03
B3
Pilgrims, (The Runaways)3:25
B4
Jennifer Grew Tall4:18
B5
She' Never Goin' Home


I can find nothing out about this record, other than "It's rare."

My Vinyl Attic - Della Reese -Melancholy Baby (1959)



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The sound of this vinyl is quite good.  Only the most minor of imperfections - considering its age though there is some distortion which always makes me crazy.  I've always had a weakness for Della's voice.  A thoroughly enjoyable record. 



01 My Melancholy Baby
02 Who Can I Turn To
03 Mood Indigo
04 I Get Along Without You Very Well
05 Cottage For Sale
06 They Can't Take That Away From Me
07 One For My Baby
08 I Could Have Told You So
09 When Your Lover Has Gone
10 Say It Isn't So
11 All Alone
12 It's Monday Every Day



Info stolen from This Great Site


Delloreese Patricia Early, known professionally as Della Reese (born July 6, 1931) is an American actress, singer, game showpanelist of the 1970s, one-time talk-show hostess and ordained minister. She started her career in the 1950s as a gospel, pop andjazz singer, scoring a hit with her 1959 single "Don't You Know?". In the late 1960s, she had hosted her own talk show, Della, which ran for 197 episodes. Through four decades of acting, she is best known for playing Tess, the lead role on the 1994-2003 television show Touched by an Angel. In more recent times, she became an ordained New Thought minister in the Understanding Principles for Better Living Church in Los Angeles, California.

Reese was discovered by the gospel singer Mahalia Jackson, and her big break came when she won a contest, which gave her a week to sing at Detroit's well-known Flame Show Bar. Reese remained there for eight weeks. Although her roots were in gospel music, she now was being exposed to and influenced by such famous jazz artists as Ella Fitzgerald, Sarah Vaughan and Billie Holiday. In 1953, she signed a recording contract with Jubilee Records, for which she recorded six albums. Later that year, she also joined the Hawkins Orchestra. Her first recordings for Jubilee were songs such as "In the Still of the Night" (1937), "I've Got My Love to Keep Me Warm", and "Time After Time" (1947). Although the EP did not enter the charts, it sold 500,000 copies, and the songs were later included on the 1959 album And That Reminds Me.
In 1957, Reese released a single called "And That Reminds Me". After years of performing, she gained chart success with this song. It became a Top Twenty Pop hit and a million-seller record. That year, Reese was voted by Billboard, Cashbox, and various other magazines, as "The Most Promising Singer".
In 1959, Reese moved to a RCA Records, and released her first RCA single, called "Don't You Know?", which was adapted from Puccini's music for La Bohème, specifically, the aria Musetta's Waltz. It became her biggest hit to date, reaching the #2 spot on the Pop charts, and topping the R&B charts, which were then called the "Hot R&B Sides", that year. Eventually, the song came to be widely considered the signature song of her early career.
Reese received a Grammy nomination for her 1960 album, Della, and then released a successful follow-up single called "Not One Minute More" (#16), and she remained on the Billboard Hot 100 chart with the songs "And Now" (#69), "Someday (You'll Want Me to Want You)" (#56) and "The Most Beautiful Words" (#67).
In November 1960 Reese appeared in advertisements in Ebony magazine for the newly launched AMI Continental jukebox.
Reese recorded regularly throughout the 1960s, releasing singles and several albums. Two of the most significant were The Classic Della (1962) andWaltz with Me, Della (1963), which broadened her fan base internationally. She recorded several jazz-focused albums, including Della Reese Live (1966),On Strings of Blue (1967), and One of a Kind (1978). She also performed in Las Vegas (Nevada) for nine years, and toured across the country.
Reese continued to record albums in the following decades, receiving two more Grammy nominations in the gospel category for the album Della Reese and Brilliance (1991) and for the live recorded album, My Soul Feels Better Right Now (1999).
Motown singer Martha Reeves sites Reese as a major influence, and says that she named her group The Vandellas after Van Dyke Street in Detroit, and Della Reese.

 




My Vinyl Attic - S.J. Perleman - And Informational Hour With...(1956)


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The vinyl is in great shape, considering the age of this sucker.  It is definitely vinyl, cut considering it's spoken word, the imperfections are very minor.  The album itself is a curiosity.  Is it hysterical?  Not really, but there how many comedy albums are?

01 kitchen bouquet
02 the sweeter the tooth, the nearer the couch
03 and thou beside me, yaketing in the wilderness
04 Is There an Osteosynchrondroitrician in the house

Information stolen from here:


Sidney Joseph Perelman (February 1, 1904 – October 17, 1979), almost always known as S. J. Perelman, was an American humorist, author, and screenwriter. He is best known for his humorous short pieces written over many years for The New Yorker. He also wrote for several other magazines, as well as books, scripts, and screenplays.

In cinema, Perelman is noted for co-writing scripts for the Marx Brothers films Monkey Business (1931) and Horse Feathers (1932), and for the Academy Award-winning screenplay Around the World in Eighty Days (1956).
With Ogden Nash he wrote the book for the musical One Touch of Venus (music by Kurt Weill, lyrics by Nash), which opened on Broadway in 1943 and ran for more than 500 performances. His play The Beauty Part (1962), which starred Bert Lahr in multiple roles, fared less well, its short run attributed at least in part to the synchronous 114-day 1962 New York City newspaper strike.
Perelman's work is difficult to characterize.  He wrote many brief, humorous descriptions of his travels for various magazines, and of his travails on his Pennsylvaniafarm, all of which were collected into books. (A few were illustrated by caricaturist Al Hirschfeld, who accompanied Perelman on the round-the-world trip recounted in Westward Ha!)
Perelman is highly regarded for his humorous short stories that he published in magazines in the 1930s and 1940s, most often in The New Yorker. For these, he is considered the first surrealist humor writer of the United States. In these numerous brief sketches he pioneered a new style that was unique to him, using parody to "wring every drop of false feeling or slovenly thinking."
They were infused with a sense of ridicule, irony, and wryness and frequently used his own misadventures as their theme. Perelman chose to describe these pieces as feuilletons— a French literary term meaning "literary or scientific articles; serial stories" (literally "little leaves") — and he defined himself as a feuilletoniste. Perelman's only attempt at a conventional novel (Dawn Ginsbergh's Revenge) was unsuccessful, and throughout his life he was resentful that authors who wrote in the full-length form of novels received more literary respect (and financial success) than short-form authors like himself, although he openly admired his British rival, P.G. Wodehouse. While many believe Dawn Ginsbergh's Revenge to be a novel, it is actually his first collection of humorous pieces, many written while he was still a student at Brown. It is largely considered juvenilia and its pieces were never included in future Perelman collections.
The tone of Perelman's feuilletons, however, was very different from those sketches of the inept "little man" struggling to cope with life that James Thurber and other New Yorkerwriters of the era frequently produced. Yet his references to himself were typically wittily self-deprecatory—as for example, "before they made S. J. Perelman, they broke the mold." Although frequently fictional, very few of Perelman's sketches were precisely short stories.
Sometimes he would glean an apparently off-hand phrase from a newspaper article or magazine advertisement and then write a brief, satiric play or sketch inspired by that phrase. A typical example is his 1950s work, "No Starch in the Dhoti, S'il Vous Plait." Beginning with an off-hand phrase in a New York Times Magazine article ("...the late Pandit Motilal Nehru—who sent his laundry to Paris—the young Jawaharlal's British nurse etc. etc. ...), Perelman composed a series of imaginary letters that might have been exchanged in 1903 between an angry Pandit Nehru in India and a sly Parisian laundryman about the condition of his laundered underwear.
In other sketches, Perelman would satirize popular magazines or story genres of his day. In "Somewhere A Roscoe," he pokes fun at the "purple prose" writing style of 1930s pulp magazines such as Spicy Detective. In "Swing Out, Sweet Chariot," he examines the silliness of the "jive language" found in The Jitterbug, a teen magazine with stories inspired by the 1930s Swing dance craze. Perelman voraciously read magazines to find new material for his sketches. (He often referred to the magazines as "Sauce for the gander.")
Perelman also occasionally used a form of word play that was, apparently, unique to him. He would take a common word or phrase and change its meaning completely within the context of what he was writing, generally in the direction of the ridiculous. In Westward Ha!, for instance, he writes: "The homeward-bound Americans were as merry as grigs (the Southern Railway had considerately furnished a box of grigs for purposes of comparison) ... ". Another classic Perelman pun is "I've got Bright's Disease and he's got mine".
He also wrote a notable series of sketches called Cloudland Revisited in which he gives acid (and disillusioned) descriptions of recent viewings of movies (and recent re-readings of novels) which had enthralled him as a youth in Providence, Rhode Island, later as a student at Brown University, and then while a struggling comic artist in Greenwich Village.
A number of his works were set in Hollywood and in various places around the world. He stated that as a young man he was heavily influenced by James Joyce and Flann O'Brien, particularly his wordplay, obscure words and references, metaphors, irony, parody, paradox, symbols, free associations, clang associations, non-sequiturs, and sense of the ridiculous. All these elements infused Perelman's own writings but his own style was precise, clear, and the very opposite of Joycean stream of consciousness. Perelman drily admitted to having been such a Ring Lardner thief that he should have been arrested. Woody Allen has in turn admitted to being influenced by Perelman and recently has written what can only be called tributes, in very much the same style. The two once happened to have dinner at the same restaurant, and when the elder humorist sent his compliments, the younger comedian mistook it for a joke. Authors that admired Perelman's ingenious style included T. S. Eliot and W. Somerset Maugham.
Perelman was indirectly responsible for the success of Joseph Heller's novel Catch-22. When first published, this novel received lukewarm reviews and indifferent sales. A few months later, Perelman was interviewed for a national publication. The interviewer asked Perelman if he had read anything funny lately. Perelman—a man not noted for generosity with his praise—went to considerable lengths to commend Catch-22. After the interview was published, sales of Heller's novel skyrocketed.
Perelman's personal life was difficult; his marriage to Nathanael West's sister Laura (née Lorraine Weinstein) was strained from the start because of his innumerable affairs (notably with Leila Hadley), and Perelman was not much of a father. He generally regarded children as a nuisance, and his son Adam ended up in a reformatory for wayward boys. The two things that brought him happiness were his MG car and a mynah bird, both of which he pampered like babies. His Anglophilia turned rather sour when late in his life he (temporarily) relocated to England and actually had to socialize with the English themselves.
Perelman picked up plenty of pungent expressions from Yiddish and liberally sprinkled his prose with these phrases, thus paving the way for the likes of Philip Roth. Both his surprisingly lackluster biography by Herrmann and the Selected Letters ("Don't Tread on Me", edited by Prudence Crowther) suffer from the fact that "Lotharian Sid's" erotic escapades and fantasies have been censored beyond recognition to protect certain individuals.
A British expert on comic writing, Frank Muir, lauded Perelman as the best American comic author of all time in his Oxford Book of Humorous Prose. Humorist Garrison Keillorhas declared his admiration for Perelman's writing. Keillor's 'Jack Schmidt, Arts Administrator' is a parody of Perelman's classic 'Farewell, My Lovely Appetizer', itself a parody of the Raymond Chandler school of tough, amorous 'private-eye' crime fiction.




My Vinyl Attic - Tim Lake - Same Old Roadside Inn (1978)


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The sound on this is mostly excellent.  It looks like (by the price tag) I bought this record at the Record Surplus on Pico.  Very pleasant album with some very tasty playing on it.  

01 Roadside Inn
02 Back Home
03 Linda the Lover
04 Sammy Lou
05 Before the Monring Birds Awaken
06 To Rescue Jesus
07 Grandpa Didn't Like Much of Nothing
08 Devil's Dream


Info taken from here:

Singer-songwriter, composer, performer, and teacher Tim Lake is a multi-talented musician who has been playing banjo and guitar as a professional musician for over 20 years. He has performed across the United States and internationally with his group "The Little Big Band." Among his credits are the release of ten albums of original songs.
A master on his instrument, Lake's music displays rare qualities heard on the radio far too infrequently. The sound is pure with the words coming straight from the heart and soul, breaking the conventional barriers of modern music. While over 90 percent of the compositions on his albums are original, Lake also often turns his eye to the classics, giving them his unique spin.
But his musical abilities are not limited strictly to songs and ballads. In 1991 he completed his doctoral dissertation, resulting in "An American Concerto for 5-String Banjo and Orchestra," a masterwork that proved, in one fell swoop, that a banjo can successfully be put on a concert hall stage to good reviews.

Sunday, November 17, 2013

My Vinyl Attic - Black Market - Changing of the Guard (1981)



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The sound on this is great.  I've always been a huge Domenic Troiano fand and this album is more great stuff.  I also had the pleasure of being a label-mate of his when he recorded this album.  Nobby Clegg was signed to El Macambo records when Domenic recorded this.  I actually got to see him in the hallway of their offices on one occasion.  His passing was a tragic loss to music. 

Info stolen from This Great Site:

 With drummer Paul DeLong, bassist Keith Jones, and keyboardists Jacek Sobatta and David Tyson backing him, Troiano issued his second Capitol album in 1978. The Joke's on Me was recorded at Toronto's Sounds Interchange and was produced by Terry Brown, best known for his work with progressive-rock group Rush. The album was a challenging and inspired effort that was highly overlooked by critics and the general public. Troiano regrouped and recorded what would be his next album later in the year. Produced by Domenic himself, Fret Fever was released in April of 1979. The LP featured a wide range of styles and former bandmate Roy Kenner occasionally singing lead vocals. The album instantly spawned a hit, "We All Need Love," which turned out to be Troiano's most successful single as a solo artist. The song reached the Top 20 in several European countries and became a radio smash in Canada. Domenic was nominated for Producer of the Year for Fret Fever at the 1980 Juno Awards in Canada; he lost to Bruce Fairbairn for his work on Prism's album Armageddon. Although the album enjoyed modest success, Fret Fever turned out to be Troiano's last with Capitol Records.

Domenic Troiano reemerged in late 1980 with a new musical project. Black Market featured Troiano, Bob Wilson, and Paul DeLong in a no-frills power trio setting. "I've been typecast in a jazz-rock vein because the last three albums with Capitol had a variety of stuff, including some jazzy moments," Troiano said in 1981. "Black Market hopefully will remind people that I've been playing hard-edged, aggressive music for twenty years. I've been rockin' since high school and I don't intend to stop now." In the age of new wave and a minimalist approach to rock, Black Market seemed very appropriate for the times. Changing of the Guard, the group's debut album, was issued on independent label El Mocambo Records in 1981. Despite Troiano's enthusiasm about Black Market, the project only captured the attention of hardcore fans