Connie Francis – Who´s Sorry Now (1958)

LPFrontCover1.jpgWho’s Sorry Now? is the first studio album recorded by U. S. Entertainer Connie Francis.

By 1957, none of Connie Francis’ first nine solo singles had charted. Her duet single with Marvin Rainwater, “The Majesty Of Love”, b/w “You, my Darlin’ You” had only been a minor hit, peaking at # 93 (though it sold over one million copies). As a result of these failures, the managers at MGM Records had decided not to renew her contract after the last scheduled single release.

During what was supposed to be her last recording session for MGM Records in October 1957, Francis recorded a cover version of the song “Who’s Sorry Now?”. For quite some time, Francis’ father, George Franconero, Sr., had wanted his daughter to record this song with a contemporary arrangement, but the discussion had become heated and Francis had refused to record it, considering the song old fashioned and corny. Her father persisted and Francis agreed.

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As her father had predicted, “Who’s Sorry Now?”, released as MGM Records Single K 12588, became a huge hit. With this success, MGM Records renewed the contract with Francis. The recording sessions for a new album, which would include the breakthrough hit, began in March 1958 and were completed in April 1958.

The album’s formula is clearly inspired by the arrangement of its title song: Choose Standards from the time between the 1910s and 1940s, but present them in a contemporary arrangement. To give the album some diversity in music styles, there were two exceptions: “My Melancholy Baby” and “How Deep is the Ocean,” which featured grand orchestra arrangements. When the album was released in May 1958, it failed to chart. The album was re-packaged with a new cover design and re-released in March 1962. (by wikipedia)

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The music for the brilliant song Who’s Sorry Now? was written by Ted Snyder with lyrics by Bert Kalmar and Harry Ruby, and published in 1923. Snyder (1881-1965) gave Irving Berlin his start in the music business by hiring him in 1909 as a song plugger for his publishing company, as I wrote here. Kalmar (1884-1947) ran away from his home in New York at the age of ten and worked in a travelling tent show as a magician. He performed in vaudeville mainly as a comedian and began writing material for his own and other performers. He did not have much success until he met Ruby and they began working together. Ruby (1895-1959), also from New York, failed at his early ambition to become a professional baseball player. He then toured the vaudeville circuit as a pianist. Kalmar and Ruby were a successful songwriting team for nearly three decades.

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Who’s Sorry Now? was featured in the 1946 Marx Brothers film A Night in Casablanca, but was best known as a hit for Connie Francis. She had released nine records which all flopped when she went into the studio in October 1957 for the last session in her ten-record contract with MGM. Her father wanted her to record Who’s Sorry Now? but she didn’t like the song, and deliberately took so long at the session with other numbers that there was almost no time left. She recorded Who’s Sorry Now? with just a few seconds to spare on the tape. In April 1958, it reached No 4 in the US and No 1 in Britain. (am-records.com)

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Personnel:
Connie Francis (vocals)
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Joe Lipman Orchstra

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Tracklist:
01. Who’s Sorry Now (Snyder/Kalmar/Ruby) 2.20
02. I’m Nobody’s Baby (Davis/Ager/Santly) 2.24
03. It’s The Talk Of The Town (Livingston/Neiburg/Symes) 2.55
04. I Miss You So (Henderson/Robin/Scott) 2.35
05. I Cried For You (Arnheim/Freed/Lyman) 2.59
06. Heartaches (Hoffman/Klenner) 2.34
07. I’m Beginning To See The Light (Ellington/Hodges/James/George) 2.41
08. My Melancholy Baby (Burnett/Norton) 3.54
09. You Always Hurt The One You Love (Fisher/Roberts) 2.26
10. How Deep Is The Ocean (Berlin) 2.25
11. If I Had You (King/Shapiro) 2.48
12. I’ll Get By (Ahlert/Turk) 2.48
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13. Too Young (Dee/Lippman) 2.56
14. That´s My Desire (Kressa/Loveday) 3.22
15. April Love (Webster/Fain) 3.57

(taken from the Connie Francis album “One For The Boys” (1959)

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Raymond Lefevre – Soul Symphonies 1 (1971)

FrontCover1.jpgRaymond Lefèvre (November 20, 1929 – June 27, 2008) was a French easy listening orchestra leader, arranger and composer.

Born on November 20, 1929 in Calais, France, Raymond Lefèvre is best known for his interpretation of the 1968 theme “Soul Coaxing (Ame Caline)” (composed by Michel Polnareff), which became an international hit. He also wrote soundtracks for movies with Louis de Funès such as La Soupe Aux Choux (1981) or the legendary series Le Gendarme de Saint Tropez. During the late 1950s and early 1960s he accompanied Dalida on most of her recordings (Bambino, Por Favor, Tu peux tout faire de moi, Quand on n’a que l’amour), amongst many others. He started his musical career in 1956 on the Barclay Records label. His recordings were released in the United States on the Kapp and Four Corners record labels until 1969.

He was accepted at the Paris Conservatory when 17 years old. During the early 1950s he played the piano for the Franck Pourcel orchestra. In 1953 he played the piano at the Hilton Hotel in Los Angeles. He started his musical career in 1956 on the Barclay label and recorded his debut album that year.

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He worked on the French television programmes Musicorama (1950s) and Palmarés des Chansons (1965, 1966, 1967) accompanying such famous artists as Dalida, Claude François, Richard Anthony, with his own orchestra.

His recording of “The Day the Rains Came” was a best seller in the United States in 1958. The song “Ame câline” (Soul Coaxing) became an international hit in 1968 and “La La La (He Gives Me Love)” was a minor hit in 1968 in Canada and the United States. In 1969 his recording of “La Reine de Saba” (Queen of Sheba) became a big hit in Japan. From 1972 until the early 2000s (decade), he undertook several successful tours of Japan.

He worked on the soundtracks of many Louis de Funès movies.

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Lefèvre conducted entries four times at the Eurovision Song Contest, three times for Monaco (in 1961, 1962, and 1963) and once for Luxembourg (in 1970).

Raymond Lefèvre died on June 27, 2008 at the age of 78. (by wikipedia)

And here´s his first album of the very sucessful “Soul Symphonies” … I guess the best way to play Classic tunes in a very uniques Easy Listening was ..

Enjoy, dream (like me) or whatever !

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Personnel:
Raymond Lefevre Orchestra

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Tracklist:
01. Allegro De La 40ème Symphonie De Mozart (Mozart) 3.05
02. Largo De Dvorak De La Symphonie Du Nouveau Monde (Dvorak) 3.03
03. Aria De Jean-Sebastien Bach (Bach) 2.45
04. Largo De Haendel (Händel) 2.31
05. Aranjuez (D’Après L’Adagio 2ème Mouvement Du Concerto D’Aranjuez De Joaquin Rodrigo-Vidre) (Rodrigo-Vidre) 4.43
06. 5ème Symphonie De Beethoven (Beethoven) 2.53
07. Prelude En Do De Jean-Sebastien Bach (Bach) 2.53
08. Adagio De La Sonate Pathetique De Beethoven (Beethoven) 3.07
09. Modinha (Préludio Tiré Des Bachianas Brasileiras № 1 De Villa-Lobos) (Villa-Lobos) 3.41
10. Adagio Cardinal (Vacquez) 2.40
11. Andante Maggiore Du Concerto Pour 2 Mandolines De Vivaldi (Vivaldi) 3.33
12. Le Canon De Pachelbel (Pachelbel) 3.29
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13. Concierto en do menor para oboe – 2º mov, Adagio (Marcello) 2.40
14. Concierto para una voz (Saint-Preux) 3.31

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Raymond Lefèvre (November 20, 1929 – June 27, 2008)

T-Bones – Sippin’ ‘N Chippin’ (1966)

FrontCover1.jpgA real strange band and a real strange album:

The T-Bones were a Liberty Records recording group from 1963 – 1966. The studio recordings of all of their albums but the last were done by American session musicians, The Wrecking Crew.

They should not be confused with Gary Farr’s British mid-1960s band of the same name. In Britain, the name “U.S. T-Bones” was used for the Liberty Records group.

When the T-Bones had a hit in 1966 with the single No Matter What Shape (Your Stomach’s In), Liberty Records quickly recorded an album of the same name using session musicians from The Wrecking Crew, but those musicians weren’t willing to go on tour to promote the album. They were making too much money doing sessions in Los Angeles. So Liberty created a different “public” T-Bones group to appear on record covers, TV, and in concert. The “public” T-Bones were Judd Hamilton, Dan Hamilton, Joe Frank Carollo, Tommy Reynolds, and Gene Pello. None of them played on the hit record, nor did they play on the next album, “Sippin’ and Chippin.” However the “public” T-Bones did record the T-Bones’ final album, “Everyone’s Gone To The Moon (And Other Trips).” Dan Hamilton, Carollo, and Reynolds would later form the 1970s soft rock trio Hamilton, Joe Frank and Reynolds.

“No Matter What Shape (Your Stomach’s In)”, was based on the melody from a commercial for Alka-Seltzer. The tune reached #3, and its follow-up, “Sippin N Chippin”, peaked at #62; the accompanying album hit #75 on the Billboard 200. (by wikipedia)

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And here´s one of these crazy albums …

Call it Lounge music or Easy Listening … and you have the chance to hear “(I Can’t Get No) Satisfaction” in a very smoothy way ..

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Personnel:

Members of the Wrecking Crew employed for a session at Gold Star Studios in the 1960s. Seated left to right: Don Randi, Al De Lory, Carol Kaye, Bill Pitman, Tommy Tedesco, Irving Rubins, Roy Caton, Jay Migliori, Hal Blaine, Steve Douglas, and Ray Pohlman:

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Tracklist:
01. Walkin’ My Cat Named Dog (Tanega) 1.58
02. Tippy Toeing (Harden) 2.03
03. Time Won’t Let Me (Kelley/King) 2.21
04. (I Can’t Get No) Satisfaction (Jagger/Richards) 2.16
05. Forty Five (Colt 45 Theme) (Claman/Toth) 2.00
06. Sippin’ ‘n Chippin’ (Burland) 1.59
07. The Phoenix Love Theme (Senzza Fine) (From Film “The Flight Of The Phoenix”) (Wilder/Paoli) 2.16
08. What Now My Love (Et Maintenant) (Sigman/Delanoë/Bécaud) 2.09
09. Sure Gonna’ Miss Her (Russell) 2.27
10. Cinnamint Shuffle (Mexican Shuffle) (Lake) 2.02
11. Pretty Face (Cimbalo/Cashman) 2.33
12. Spanish Flea (Wechter) 2.33

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The public T-Bones:

Danny Hamilton, Joe Frank Carollo, Judd Hamilton, Tommy Reynolds:

(The public) T-Bones

Carl Stevens – ”Skin” and Bones (1958)

FrontCover1.jpgCarl Stevens was the alias of Charles H. “Chuck” Sagle:

Chuck was born July 28, 1927 in Aurora, Illinois. He showed an early aptitude for music, excelling at keyboard and trumpet in high school. He entered the University of Illinois at age 16, where he joined Phi Delta Theta fraternity, and became director of its chorale. His college career was interrupted in 1944 by World War II. He toured the Pacific with the Navy as a musical arranger, trumpet player, and bandleader. When the war ended, he returned to the University of Illinois, where he completed studies in music and advertising, and graduated in 1950.

Chuck joined the Artists & Repertoire (A&R) department of Mercury Records, first in Chicago, and later in New York City, where he produced Joni James and the Del Vikings. As musical director of the New York publishing firm Aldon Music, he worked with songwriters Carole King and Neil Sedaka. As an arranger and conductor, he appeared on “The Ed Sullivan Show” and “The Tonight Show.” He later held an A&R position at Epic Records in New York. He was associated with acts including the Hi-Los, The Crew Cuts, The Platters, Bobby Darin, Gene Pitney, and the Lennon Sisters.

CarlStevensIn the 1960s, he moved to Los Angeles to serve as musical director for Reprise Records, where he produced and arranged for Frank Sinatra, Dean Martin, Ethel Merman, and Sammy Davis, Jr. His greatest musical passion was always Big Band music, exemplified in his best-known instrumental album, “Splendor in the Brass.”

Chuck developed a love for Nashville when he visited in the 1960s to record with the area’s great musicians. After moving to the city in 1972, he arranged for ABC-Dot, Sugartree Records, Starday-King Records, the Jack Daniels Silver Cornet Band, and the Establishment Orchestra. Chuck developed a second career in the late 1970s when he returned to college to study computer programming. He worked in this capacity for ten years, retiring at age 67. He became a father again at age 68, retiring to stay home with his son, Jacob.

Chuck pursued many interests with diligence and intensity. He loved photography and read voraciously, especially biography, history, and science fiction. He enjoyed bridge and Scrabble. He taught a class on Jewish music at West End Synagogue, and composed a musical for the synagogue choir. In 2008, at age 81, he arranged and conducted a concert in celebration of his son Jacob’s bar mitzvah at Sherith Israel Congregation.

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Charles H. “Chuck” Sagle died peacefully April 13, 2015 from complications following a stroke.

Chuck is survived by his wife and love of his life, Sarah Stein. He is also survived by his sons, Jacob Sagle of Nashville and Christopher (Clara) Sagle of Los Angeles, and two grandchildren.

He was preceded in death by his parents, Herbert and Helen Sagle, and a younger brother, James. (

This is his first pretty good solo album.

And here´s a review from Billboard, December, 15, 1958:

Review

If you like this Easy Listening sound with a great touch of Jazz … you should listen !

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Personnel:
Benny Baileys (saxophone)
Bobby Christian (percussion)
Paul Crumbaugh (trombone)
Bob Dale (trombone)
Howard Davis (saxophone)
Phil Durant (percussion)
Pete Eagle (harp)
John Frigo (bass)
Norm Jeffries (percussion)
Barrett O’Hara (trombone)
Dick Marx (piano)
Sam Porfirio (accordion)
Frank D’Rone (guitar)
Marty Rubenstein (piano)
Frank Rullo (percussion)
Tommy Shepherd (trombone)
Mike Simpson (saxophone)
Carl “Chuck” Stevens (trumpet)
Cy Touff (trombone)

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Alternate frontcovers (slightly different)

Tracklist:
01. Love For Sale (Porter) 3.18
02. Walkin’ Shoes (Mulligan) 1.57
03. How Long Has This Been Going On (Gershwin) 3.07
04. Long Ago And Far Away (Robin/Rainger) 1.53
05. Fascinating Rhythm (Gershwin) 2.53′
06. The Moon Was Yellow (And The Night Was Young) (Leslie/Ahlert) 2.13
07. It Had To Be You (Khn/Jones) 2.20
08. Winter Dreams (Palmer/Raye) 2.24
09. Soon (Gershwin) 2.21
10. Imagination (Burke/Van Heusen) 2.18
11. All Of You (Porter) 2.31

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Herb Alpert – Tijuana Christmas Album (1968)

FrontCover1.jpgChristmas Album is a late-1968 album by Herb Alpert & the Tijuana Brass. It was the group’s eleventh release. The LP edition of the album was issued twice. The original edition had the cover photography filling the front and back sides of the album jacket. For the reissue, the photos were reduced to half size and placed in the center of a white background. Although the Brass’ albums were out of print for a good many years, the Christmas Album was released on CD in the 1980s (with the CD release sporting the altered cover artwork), with annual reappearances in record stores at Christmastime. The album was re-released again on CD by the Shout!Factory label in 2006 as were many of the other Tijuana Brass albums. The Shout!Factory release restored the original artwork to the front cover and featured the original back cover on the included CD booklet. Another CD re-release occurred on October 23, 2015 (Herb Alpert Presents label, remastered), this time restoring the original artwork to the front and back.

The album contains a mixture of popular Christmas-season music, mostly American secular standards. Exceptions include the Bach piece “Jesu, Joy of Man’s Desiring,” and a traditional Hispanic number, “Las Mañanitas.” The latter song’s arrangement, provided by marimbist Julius Wechter, is near identical to one used by Wechter’s Baja Marimba Band several years earlier, on their 1965 album For Animals Only. The songs’s title literally means “The Little Mornings;” the song is traditionally sung on the morning of one’s birthday celebration, or the day of a religious figure such as a saint (or, in this case, Jesus).

The cover features the image of Alpert, who is Jewish, dressed as Santa Claus while playing his trumpet. (by wikipedia)

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I trace my eclectic Christmas music tastes to my childhood. My parents had some Christmas albums they’d pull out every year. As a result, these albums, by artists I haven’t heard of anywhere else, are so ingrained in me that the first few notes immediately make me think of Christmas past. This is one of those albums.

Originally released in 1968, Herb Alpert and the Tijuana Brass’s holiday offering was a hit, reaching the #1 spot three Christmases in a row. It’s been out of print for many years except for a brief issue on CD until this year, when it was released as part of the Herb Alpert Signature Series. It’s been fully restored and includes a booklet talking about the release.

So what about the music? This is a mostly instrumental recording featuring Herb on the trumpet and the drums, guitars, and maracas of the band as well. This makes for unique arrangements of the classic songs. I guarantee you have nothing like this in your collection.

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I say mostly instrumental because a choir is involved. Mostly, they hum the melody for a few measures and then let the band take over, sometimes coming in later to highlight the melody again. In addition, Herb sings on two songs. His version of “The Christmas Song” isn’t going to top anyone lists of favorite versions, but is good. I’ve only heard “The Bell that Couldn’t Jingle” here, but this time Herb’s vocals are better suited to the song. It’s a fun little number about Santa and Jack Frost helping a Bell find his jingle again.

And fun best describes the arrangements on this disc. The choir opens with a few a cappella measures of “Winter Wonderland,” then the band takes over with a samba arrangement that will be sure to have you dancing. The samba rhythm applies to “Jingle Bells” as well. “My Favorite Things” is probably the most original song here (and also a huge hit at the time of original release). It features several breaks and changes in tempo. You have to listen closely sometimes to follow the melody of all of these songs, but the music is so much fun to listen to, you’ll be tapping your toes or dancing along before you know it.

The samba rhythm is still going strong for “Sleigh Ride,” but they slow things down and switch to more jazz inspired arrangements for the final three songs. “Jesu, Joy of Man’s Desiring” is especially unique because the choir hums the melody throughout to the accompaniment of the band.

This album is not for everyone, but if you like something different to break up the monotony that can set in come December 20th, this is a CD to check out. I am so glad it is back in print so I can once again enjoy it for many Christmases to come. (by Mark Baker)

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Personnel:
Herb Alpert (trumpet, vocals)
Nick Ceroli (drums, percussion)
Bob Edmondson (trombone)
Tonni Kalash (trumpet)
Lou Pagani (keyboards)
John Pisano (guitars/mandolin)
Pat Senatore (bass)
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Julius Wechter (percussion)
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unknown choir

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Tracklist:

01. Winter Wonderland (Smith/Bernard) 3.07
02. Jingle Bells (Pierpont) 3.13
03. My Favorite Things (Rodgers/Hammerstein) 3.08
04. The Christmas Song (Tormé/Wells) 3.43
05. Las Mañanitas (Traditional) 3.01
06. Sleigh Ride (Anderson) 4.04
07. The Bell That Couldn’t Jingle (Bacharach/Kusik) 2.59
08. Let It Snow, Let It Snow, Let It Snow (Cahn/Styne) 3.49
09. Jingle Bell Rock (Beale/Boothe) 1.54
10. Jesu, Joy Of Man’s Desiring (Bach) 3.26

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Don Swan & His Orchestra – Latino (1959)

FrontCover1.jpgMore on the kitschy easy listening side than the smooth, cool Latin recordings of Cal Tjader, Don Swan was nonetheless one of the better white musicians to make inroads into Latin jazz during the ’50s. Swan was born Wilbur Clyde Schwandt in Manitowoc, WI, on June 28, 1904; he studied composition at the University of Chicago and became an arranger for various big bands, even working with comedian Bob Hope’s touring show. In 1940, he was hired as an arranger for Xavier Cugat’s orchestra, a post he would hold off and on for the next 20 years. Swan’s resulting experience and familiarity with Latin music helped put his services in great demand — not only as an arranger, but also as a composer, for both white big bands (Skinnay Ennis, Freddy Martin) and Latin dance orchestras (Perez Prado, Desi Arnaz). Swan signed to Liberty Records as a recording artist circa 1956-1957, and recorded a string of five Latin lounge LPs, beginning with Mucho Cha Ca Cha. Subsequent LPs like All This and Cha Cha Too, Hot Cha Cha, and two volumes of Latino! DonSwan01found Swan heading up all-star groups of West Coast session men, walking the line between Latin jazz and exotic gimmickry. The success of his albums allowed Swan to form a touring group, and he played extensively in New York and Las Vegas. Swan retired from music in the mid-’60s, and eventually moved to Miami, where he died on July 23, 1998, at the ripe old age of 94. (by Steve Huey)

Latino is no closer to serious Latin than Don Swan’s previous three albums, but there is a new maturity and confidence here. Even though “Razz-Berry Mambo” may be lacking in maturity, and “Linda Mujer” begins with a rock beat, overall the group of star West Coast jazz men is sounding more like a touring orchestra than a studio contrivance. The whistling and harp seem to be gone in favor of more post-“Cherry Pink” trumpet theatrics. Latino also raises the bar slightly in its lurid jacket art. (A thumbnail can be seen, and “El Cumbanchero” heard, on the Liberty sampler, Stereo: the Visual Sound LST-100). The model, conga drum, and soft focus are still there, but the fishnet stockings and all else are gone. Even stripped down to the essentials, Latino still reeks of Hollywood cheese. (by Tony Wilds)

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Personnel:
Don Swan & His Orchestra

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Tracklist:
01. El Cumbanchero 2.04
02. Chatita 3.01
03. La Paloma 2.11
04. Miami Beach Rumba 2.21
05. Once Ocheta y Uno 1.46
06. Razz-Berry Mambo 2.16
07. Linda Mujer 1.55
08. Betita 3.20
09. Hokey Joe 2.18
10. Gracias 2.22
11. A San Antonio Me Voy 2.04
12. Cha Cha in Alaska 2.39

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Herb Alpert & The Tijuana Brass – Warm (1969)

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Herb Alpert (born March 31, 1935) is an American jazz musician most associated with the group variously known as Herb Alpert & the Tijuana Brass, Herb Alpert’s Tijuana Brass, or TJB. Alpert is also a recording industry executive, the “A” of A&M Records, a recording label he and business partner Jerry Moss founded and eventually sold to PolyGram. Alpert also has created abstract expressionist paintings and sculpture over two decades, which are publicly displayed on occasion. Alpert and his wife, Lani Hall, are substantial philanthropists through the operation of the Herb Alpert Foundation.

Alpert’s musical accomplishments include five No. 1 albums and 28 albums total on the Billboard Album chart, nine Grammy Awards, fourteen platinum albums, and fifteen gold albums. Alpert has sold 72 million records worldwide. Alpert is the only HerbAlpert01recording artist to hit No. 1 on the U.S. Billboard Hot 100 pop chart as both a vocalist (“This Guy’s in Love with You”, 1968) and an instrumentalist (“Rise”, 1979)

Warm is a 1969 album by Herb Alpert & the Tijuana Brass. It was the group’s twelfth release and their final album to reach the top 40 on the Billboard albums chart. Warm was a vast departure from all previous Tijuana Brass albums and featured much slower-paced songs leaning more toward a “Brazilian” sound. At this point in his career, Alpert had grown tired of the music the band was playing feeling that it was repetitive and wanted to try a different direction. The opening track “The Sea Is My Soil” was one of the longest songs ever released by the Tijuana Brass running four and a half minutes, while three songs on the album featured lead vocals by Alpert (“Without Her,” “Zazuiera,” and “To Wait For Love”). All three vocal tracks were released as singles. The album received mixed reviews during its initial release but has since become a favorite of many Tijuana Brass fans. (by wikipedia)

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Herb Alpert and the Tijuana Brass shed almost all of the dust of Tijuana on this mellow, richly textured album; one reviewer at the time wrote that Alpert seemed to have exchanged bullrings for wedding rings. Lest one think that the TJB came down with a terminal case of the warm fuzzies, though, there are some selections here that sizzle — particularly the old standard “The Continental” — and in terms of arrangements and song selection, the accent falls on Brazil more than on any other TJB album.

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Shorty Rogers again was called in to provide voices and orchestrations, but he is more tasteful here than on the Christmas Album, the extreme dynamic range on Harry Nilsson’s “Without Her” notwithstanding. A different take of “To Wait for Love” — the lovely, Bacharach-penned, Alpert-sung follow-up to “This Guy’s in Love with You” from 1968 — is included here, as is the fine single “Zazueira.” Yet Warm was the first non-seasonal TJB album in some time that couldn’t crack the Top 20, for the Brass’ cross-generational appeal was fading fast. (by Richard S. Ginell)

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Perssonnel:
Herb Alpert & The Tijuana Brass

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Tracklist:
01. The Sea Is My Soul (Caymmi/Mota) 4.31
02. Without Her (Nilsson) 3.24
03. Marjorine (Lake) 3.07
04. Girl Talk (Hefti/Troup) 2.54
05. Ob-La-Di, Ob-La-Da (Lennon/McCartney) 1.59
06. Zazueira (Ben) 3.15
07. The Continental (Magidson/Conrad) 2.07
08. Pretty World (Adolfo/Gaspar/A.Bergman/M.Bergman) 3.47
09. Warm (Wechter) 2.34
10. To Wait For Love (Bacharach/David) 2.59
11. Sandbox (Pisano) 3.24

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