Volume 241: Nashville Souvenirs

Volume 241: Nashville Souvenirs

Liner Notes

The Ultimate Nashville Stars

Here’s a nice little compilation album with some pretty big names on it. The recordings you are about to hear sold millions of copies combined.
 
And they all came from a town at the heart of country music smack dab in the heart of Tennessee.
 
So get ready to hear wall-to-wall solid gold from wall-to-wall talent in Volume 241: Nashville Souvenirs.

Video Intro

Listen here or on my PodBean Podcast Episode page:

You can check out the video version here or on YouTube:

Go Directly to Any Song or Break on YouTube:

00:00 – Season’s Show Intro
00:49 – Episode Introduction
01:29 – Harper Valley P.T.A.
04:35 – First Break: Why I chose this record for this episode
06:04 – Sittin’ And Thinkin’
09:10 – Johnson’s Old Gray Mule
11:36 – Second Break: More information about the record, its marketplace value and what condition my dad’s vinyl is in.
13:56 – Feel My Love
16:14 – Sweet And Easy To Love
18:23 – Third Break: Artist Bio
19:05 – Got You On My Mind
21:41 – Night Life
24:07 – Fourth Break: this episode’s Interesting Side Note.
27:33 – Blue Suede Shoes
29:51
– I Walk The Line
32:29 – Fifth Break: Final Words
34:51 – I Walk The Line
37:21 – Close

Credits and Copyrights:

Various – Souvenirs Of Music City U.S.A.
Label: Plantation Records – PLP-506
Format: Vinyl, LP
Released: 1978
Genre: Folk, World, & Country
 
We will hear 10 of the 20 songs on this album. I got a little carried away.
 
Jeannie C. Riley – Harper Valley P.T.A.
written by Tom T. Hall
Released in August 1968
 
Charlie Rich – Sittin’ And Thinkin’
written by Charlie Rich
First recorded on August 9, 1962 and released in October of that year.
 
Gordon Terry – Johnson’s Old Gray Mule
is attributed to Thomas Westendorf, who wrote the song in 1884, but it’s listed as traditional on Second Hand Songs dot com.
Released in March of 1957.
 
Rita Remington – Feel My Love
Written by Rita Remington and Shelby S. Singleton 
Released in January of 1977
 
Roy Orbison – Sweet And Easy To Love
written by Sam Phillips
recorded on December 14, 1956 and released on January 24, 1957.
 
David Allan Coe – Got You On My Mind
Written by Howard Biggs and Joe Thomas
Released August of 1977 more than 10 years after recording it.
 
Willie Nelson – Night Life
written by Myles Goodwyn, Walt Breeland, Paul Buskirk, and Willie Nelson
Released in September of 1965.
 
Carl Perkins – Blue Suede Shoes
Written by Carl Perkins
Recorded and released in December 1955. Elvis did his version just three months later.
 
Johnny Cash – I Walk The Line
Written by Johnny Cash
recorded on April 2, 1956 and released May 1.
 
Little David Wilkins– Just Blow In His Ear
Written by Bill Way, John Reynolds, and Johnny Bienstock
Released in 1969
 
I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.
 
#nashvillesound #musiccity #musichistory #vinylcollecting #vinylrecords #musicalmemories

Here is the Episode Script!

Thanks sweetie and thank YOU for tuning into episode 241 of Spinning My Dad’s Vinyl. 
 
Here’s a nice little compilation album with some pretty big names on it. The recordings you are about to hear sold millions of copies combined.
 
And they all came from a town at the heart of country music smack dab in the heart of Tennessee.
 
So get ready to hear wall-to-wall solid gold from wall-to-wall talent in Volume 241: Nashville Souvenirs. 
 
 
[Music: Harper Valley P.T.A.]
 
 
Jeannie C. Riley with Harper Valley P.T.A.
written by that old storyteller himself, Tom T. Hall.
And according to him, it is based on a true story from his hometown.
That song was released in August 1968.
 
Ok…Why this record for this episode?
 
I don’t talk much on this show about my nearly three years at a country radio station since most of my dad’s vinyl falls under the jazz and pop category. I played quite a few of the tunes from this album on the air there. This was in the mid to late 1980s so they were classified as country classics even then.
 
You’ll recognize several of the songs or artists I’ll feature on this episode. I mean, there are some powerhouse singer/songwriters here.
 
Even my girlfriend knew many of the tunes on this album. That’s a rarity with my dad’s music.
 
There were other popular artists on this record but I thought I would give some lesser known of those artists some air time on this episode. I mean I skipped George Jones in order to hear Rita Remington and Little David Wilkins.
 
This next artist had a big hit with a story about what went on behind closed doors. Before that he was contemplating what he was going to do.
 
 
[Music: Sittin’ And Thinkin’]
[Music: Johnson’s Old Gray Mule]
 
 
There is Johnson’s Old Gray Mule performed by Gordon Terry. 
It is attributed to Thomas Westendorf, who wrote the song in 1884, but it’s listed as traditional on Second Hand Songs dot com.
This version was released in March of 1957.
 
Before that we heard Charlie Rich with Sittin’ And Thinkin’
written by Charlie Rich
First recorded on August 9, 1962 and released in October of that year.
 
Now let me tell you about my dad’s vinyl I am spinning for this episode.
 
Various – Souvenirs Of Music City U.S.A.
Label: Plantation Records – PLP-506
Format: Vinyl, LP
Released: 1978
Genre: Folk, World, & Country
 
We will hear 10 of the 20 songs on this album. I got a little carried away.
 
There are no liner notes per se. The back cover lists out all of the details of each song on the record complete with a small headshot of each artist.
 
So let’s see what prices this record is being sold at on discogs dot com.
 
It’s never been sold on that website.
 
My dad’s record is in poor condition. In fact, you get to hear a couple big skips in Harper Valley and coming up in Night Life. But they didn’t affect the song enough for me 
 
The surface does not look to be in bad condition, but this does seem to be a budget label product, so you never know.
 
The cover is in fair condition. Just some wear marks on the white cover from being in a stack of records. There are none of my dad’s usual markings on the back and no address label on the front.
 
So I’ll value my dad’s vinyl at two dollars since nobody else wants to set a value.
 
Next up is from a singer I was not familiar with, but what a sweet pure voice.
 
 
[Music: Feel My Love]
[Music: Sweet And Easy To Love]
 
 
The one and only Roy Orbison singing Sweet And Easy To Love
written by Sam Phillips
recorded on December 14, 1956 and released on January 24, 1957.
 
Before that we heard Rita Remington with Feel My Love
Written by Rita Remington and Shelby S. Singleton 
Released in January of 1977
 
Since there is no one artist for the bio section, we’ll just keep rolling along with TWO of my favorite singers.
 
 
[Music: Got You On My Mind]
[Music: Night Life]
 
 
The Red Headed Stranger and National Treasure Willie Nelson singing Night Life
written by Myles Goodwyn, Walt Breeland, Paul Buskirk, and Willie Nelson
Released in September of 1965.
 
Before that we heard from the ever rebellious David Allan Coe with Got You On My Mind. Not exactly You Never Call Me By My Name, but it’ll do.
Written by Howard Biggs and Joe Thomas
Released August of 1977 more than 10 years after recording it.
 
Time now for this episode’s interesting side note and it has to do with why Nashville has earned its title.
 
Nashville’s connection to the title “Music City” reaches back well over a century. In the late 1800s, the Fisk Jubilee Singers, a vocal group from Fisk University, traveled across the United States and Europe to raise money for their school. Their performances of spirituals and folk songs were so moving, they found themselves invited to sing for Queen Victoria. When she learned they were from Nashville, she’s said to have remarked, “You must be from the Music City.” The name followed them home, and the city’s identity began to grow around it.
 
By the middle of the 20th century, Nashville had more than lived up to that name. The Grand Ole Opry, broadcasting live every Saturday night, brought country music into living rooms from coast to coast. At the same time, producers like Owen Bradley and Chet Atkins developed the “Nashville Sound,” a smooth blend of country and pop that made the city a magnet for artists from all over the country. Recording studios sprang up along what became known as Music Row, turning the area into one of the busiest music-making hubs in America.
 
Over time, the nickname stopped being just a catchy phrase and became a reputation — one that stretched across genres and across the globe. From church choirs and front porch pickers to chart-topping hits recorded in world-class studios, Nashville built its legacy note by note. Today, when people say “Music City,” they’re talking about more than a place on the map — they’re talking about a place where music is woven into everyday life.
 
I do have my own Music City story.
 
I’ve only been in Nashville once for a professional conference many years ago. Music Row was everything it was said to be. I ended up in a bar that during the day did business as a diner and boot shop. At night, they would clear out the front display window of all the boots and stick a band in there. I saw one of the best guitarists I’ve ever heard in that place that night. And he was so young. I never caught his name, so I’ll never know what happened to him. But if that was the caliber of music being heard on a week night in a converted boot shop diner, then I can only imagine what was happening around the rest of the city and in the recording studios.
 
Next up, a famous version of a song made even more famous just a few months later.
 
 
[Music: Blue Suede Shoes]
[Music: I Walk The Line]
 
 
I told you there was some powerhouse talent on this record.
The Man in Black Johnny Cash with I Walk The Line
Written by Johnny Cash
It was recorded on April 2, 1956 and released May 1.
 
Before that was Carl Perkins singing Blue Suede Shoes
Written by Carl Mr. Blue Suede Shoes Perkins himself.
It was recorded and released in December 1955. Elvis did his version just three months later.
 
Well, I hope you enjoyed this episode as much as I enjoyed bringing it to you.
 
There were some great artists and songs on this episode. You can always hear the quality of music coming out of Nashville.
 
These songs brought me back to my days at WBKC in my hometown of Painesville, Ohio. The BK Country Network as we simulcast on two other radio frequencies. 
 
I worked there for nearly three years. And while I was a DJ, playing many of these tunes on a regular basis, that’s the station where I earned most of my news and sports reporting experience. I covered the Cavaliers and Browns for three seasons. 
 
But I also got to meet some pretty big stars at the time in the Forrester Sisters and Steve Earl. Great memories from my years there.
 
Now, I don’t remember this album cover from my growing up days in the house.
 
The front is strictly words. Souvenirs of Music City USA along the top in black and blue thick serif font. There are two star bursts reading “Contains 20 original Hits” and “Contains 20 Original Artists.”
 
Under each are the songs and the artists in the order they appear on the record. But I know any graphic designer worth their salt would hate it. Those all capital sans serif letters are in SEVEN different colors. There’s no need for that kind of violence.
 
The back, like I described it above, is filled with info about each song with the photo of the artist next to each listing.
 
OK…Let’s end with a weird one.
 
 
[Music: I Walk The Line]
 
 
Little David Wilkins, who in the photos I saw of him isn’t very little, with Just Blow In His Ear.
Written by Bill Way, John Reynolds, and Johnny Bienstock
It was released in 1969
 
And there you have selections from an album with some real country star power.
 
So thanks for tuning into Volume 241: Nashville Souvenirs
 
however you did. If you want more information about this SHOW, head over to spinning my dad’s vinyl dot com.
 
I’ll be back next week with all my skips, scratches, and pops 
 
FOR Volume 242: Mancini’s Gunn
 
Until then,
Go with the flow my friends.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Volume 240: A Singing Satchmo

Volume 240: A Singing Satchmo

Liner Notes

The Voice of Louis Armstrong

My dad’s favorite trumpet player also was an extremely popular vocalist. I have documented many trumpet players who have also recorded their singing voices during the course of this show. Rarely do they commit to a full record of it. And none were as famous for it.
 
This musician popularized a singing style, while making some of the hottest jazz records in the 1920s and 30s with his trumpet.
 
So, get ready to hear the gravely voice of the guy they called pops in Volume 240: A Singing Satchmo.

Video Intro

Listen here or on my PodBean Podcast Episode page:

You can check out the video version here or on YouTube:

Go Directly to Any Song or Break on YouTube:

00:00 – Season’s Show Intro
00:49 – Episode Introduction
01:38 – Someday You’ll Be Sorry
04:40 – First Break: Why I chose this record for this episode
06:09 – Sincerely
09:01 – Second Break: More information about the record, its marketplace value and what condition my dad’s vinyl is in.
14:02 – Your Cheatin Heart
16:42 – Third Break: Artist Bio
19:27 – April In Portugal
22:12 – Kiss Of Fire
25:15 – Fourth Break: this episode’s Interesting Side Note.
28:02 – The Gypsy
31:15 – Fifth Break: Final Words
33:25 – Takes Two To Tango
36:17 – Close

Credits and Copyrights:

Louis Armstrong – Satchmo Sings
Label: Decca – DL 8126
Format: Vinyl, LP, Album
Released: 1955
Genre: Jazz
 
We will hear 7 of the 12 songs on this album
 
Someday You’ll Be Sorry (Louis Armstrong and the Commanders)
Written-By – Louis Armstrong
 
Sincerely (Sonny Burke and His Orchestra)
Written-By – Allen Freed, Harvey Fuqua
 
Your Cheatin Heart (Sy Oliver Orchestra)
Written-By – Hank Williams
 
April In Portugal (Louis Armstrong and His Orchestra)
Written-By – Jimmy Kennedy, Raul Ferrao
 
Kiss Of Fire (Louis Armstrong and His Orchestra)
Written-By – Lester Allen, Robert Hill
 
The Gypsy (Louis Armstrong and the Commanders)
Written-By – Billy Reid
 
Takes Two To Tango
Written-By – Al Hoffman, Dick Manning
 
I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.
 
#louisarmstrong #satchmo #musichistory #vinylcollecting #vinylrecords #musicalmemories

Here is the Episode Script!

Thanks sweetie and thank YOU for tuning into episode 240 of Spinning My Dad’s Vinyl. 
 
My dad’s favorite trumpet player also was an extremely popular vocalist. I have documented many trumpet players who have also recorded their singing voices during the course of this show. Rarely do they commit to a full record of it. And none were as famous for it.
 
This musician popularized a singing style, while making some of the hottest jazz records in the 1920s and 30s with his trumpet.
 
So, get ready to hear the gravely voice of the guy they called pops in Volume 240: A Singing Satchmo.
 
 
[Music: Someday You’ll Be Sorry]
 
 
Louis Armstrong and the Commanders with Someday You’ll Be Sorry 
Written-By – Louis Armstrong
 
Ok…Why this record for this episode?
 
I am as big of a fan of Louis Armstrong’s as my dad was. I even visited his gravesite a couple years ago when my girlfriend, daughter and I were on a trip to New York City.
 
I’ll be honest. Other than What A Wonderful World and maybe Hello Dolly, I wasn’t really enthused when I heard Satchmo singing, so I was resisting this album. But as I heard more recordings of Louis’ singing over the years thanks to streaming audio services, I became more aware of just how much he used his voice more as an extension of his trumpet. So I decided to take a listen.
 
Of course I’m glad I did, and I hope you’re glad I did too.
 
There are several standards here that got the Armstrong treatment. Plus the self-penned one that opened the show.
 
Next up. Now follow me. This version of Louis’ was recorded and released on this record in 1955, a year after the Moonglows first recorded it. But it was the version that the McGuire Sisters did in 1954 that became the definitive version.
 
 
[Music: Sincerely]
 
 
Sonny Burke and His Orchestra backing Louis on Sincerely
Written-By – Harvey Fuqua and Allen Freed. Yes, THAT Allen Freed. The Cleveland and then New York radio DJ who popularized the term Rock and Roll. 
 
We have visited HIS gravesite as well in Cleveland’s Lakeview Cemetery. Please don’t think us morbid, but listening to Volume 144: Where Jazz is Buried – Woodlawn will tell you everything you need to know about that obsession.
 
Now let me tell you about my dad’s vinyl I am spinning for this episode.
 
Louis Armstrong – Satchmo Sings
Label: Decca – DL 8126
Format: Vinyl, LP, Album
Released: 1955
Genre: Jazz
 
We will hear 7 of the 12 songs on this album
 
The liner notes are relatively short and very odd, so I’ll read them all.
 
Everyone knows that Satchmo is Louis Armstrong, and everyone also knows that he is a great trumpet player, perhaps the greatest performer whoever blew a horn. But not quite everybody, perhaps only every other person, knows that Satchmo – Armstrong is an extraordinary singing soloist. His unique vocalizing has highlighted many a composition. The same color and quality that go into his trumpet playing are immediately recognizable in his voice, a voice which has been labeled gravel throated. sandpaper roughened, Sawmill strident, Horsley piercing, and guttural, usually misspelled gutteral. That’s an e where the second U should be I guess.
 
When Decca issued an album of Louis’ vocals it was titled Satchmo Serenades, and it was an instantaneous success. So wide was the response that another album of solos by Satchmo was inevitable. This is it.
 
Any estimate of Louis’ remarkable contribution to American Jazz is, at this date, superfluous. Critic after critic has paid a series of glowing tributes to his dazzling technique, his amazing improvisations, and the inspiration which has made him a legend. Perhaps no critic has summed up his feeling for jazz so pithily as the French critic Hugues Panassie who, in the real Jazz wrote quote in the shortest passage, in the individual note itself, Louis Armstrong Swings with such intensity and such Rhythm that he seems to become a veritable incarnation of the music. His unrelenting attack, his tremendous tone, the power and supreme ease of his playing and the greatness of his ideas create a whole so impressive that to compare his style with that of other musicians is like comparing a Monumental Cathedral with a gray city dwelling. unquote 
 
Let’s see what prices this record is being sold at on discogs dot com.
 
$26.00 High
$2.46 Low
 
$13.29 Average
$15.00 Median
 
Last sold on Jan 08, 2025 $3.71 or 3.15 Euro.
 
My dad’s record is in poor condition. Lots of popping and several skips.
 
The album surface itself is a real mess. Plenty of markings and scratches. One of the poorest I’ve actually seen in the collection. You have to remember, my dad wasn’t actually an audiophile. Many people who listened to a lot of records didn’t always know the proper care.
 
The cover is in surprisingly good condition as far as no wear or tear on the edges like you usually see. However there are other odd scratches on the front cover almost like you would see on the record surface itself.
 
The word Posted is stamped on the back and there is a letter K written in a sharp green magic marker. That’s a new one.
 
So I’ll value my dad’s vinyl at a couple of bucks.
 
Next up. I know Louis liked his jazz and pop standards. I think this song counts as a country standard.
 
 
[Music: Your Cheatin Heart]
 
 
The Sy Oliver Orchestra backing Louis on Your Cheatin Heart 
Written-By – Hank Williams
 
We’ve thoroughly covered the life of my dad’s favorite trumpet player in previous episodes. But this album brought up a good question, and I’ll answer it here.
 
Why did Louis Armstrong decide to record and perform as a vocalist besides playing trumpet?
 
Louis’ singing career actually has its roots in his earliest musical experiences, even before he became famous for his trumpet playing. As a young boy in New Orleans, Armstrong sang on the streets with other kids, harmonizing for pennies and entertaining passersby. This childhood foundation in singing stayed with him throughout his life, and when he began recording with his own bands in the 1920s, it felt natural for him to add his voice to the mix, even though he was already gaining recognition as a trumpet virtuoso. Back in his days with King Oliver’s Creole Jazz Band and later with Fletcher Henderson up in New York, bandleaders and producers caught on quick. His phrasing was fresh, his tone full of life—and when he started recording under his own name in the mid-1920s, the crew at OKeh Records nudged him to sing more. He did, and just like that, audiences lit up. That voice had grit, charm, and swing—and Louis treated it like a second horn.
 
His singing style wasn’t a gimmick—it was part of who he was.
 
To Armstrong, there was no line between blowing a horn and singing a tune—it was all part of the same joyful expression. As radio and records brought his music into homes across the country, his warm, playful voice became just as iconic as his trumpet. He scatted, stretched phrases, and spun melodies with that same inventiveness that made him a jazz giant. In the end, his singing didn’t just complement his playing—it became a signature part of the magic that made Louis Armstrong unforgettable.
 
He was born August 4, 1901, in New Orleans, a controversial date that I explained in a previous episode featuring Satchmo. He died July 6, 1971 in Corona, New York and is buried in Flushing Cemetery. Louis Armstrong was 69 years old.
 
Now here’s Louis and his own orchestra for the next two, starting with a great version of this tune.
 
 
[Music: April In Portugal]
[Music: Kiss Of Fire]
 
 
Kiss Of Fire
Written-By – Lester Allen and Robert Hill
 
Before that we heard April In Portugal 
Written-By – Jimmy Kennedy and Raul Ferrao
Both were performed by Louis Armstrong and His Orchestra
 
Time now for this episode’s interesting side note and it has to do with a style of singing Satchmo made popular.
 
No, Louis Armstrong did not invent scat singing. Vocal improvisation using nonsense syllables—what we now call scat—had already been heard in vaudeville, barbershop quartets, and early jazz before Armstrong ever stepped up to a microphone. But what *is* true, according to both Louis and his bandmates, is that during the 1926 recording session for “Heebie Jeebies,” he dropped his lyric sheet mid-song. Rather than stop, Armstrong kept going, filling in the missing words with joyful, improvised syllables. The result? One of the first and most famous examples of scat singing on record—and a performance that helped popularize the style across the country.
 
While others had dabbled in scat, no one *owned* it like Louis. His ability to treat his voice like a jazz instrument—bending pitches, syncopating rhythms, and riffing with boundless creativity—made his singing electrifying. That “Heebie Jeebies” session didn’t just show off his quick thinking; it showcased the playfulness and invention that defined his style. From then on, scat became a signature of Armstrong’s vocal identity, and he returned to it often in recordings and live performances, always bringing humor, soul, and rhythmic flair.
 
Armstrong’s singing became popular not in spite of his unusual voice, but because of it. His gravelly tone, joyful delivery, and swing-era phrasing stood out in a world of smooth crooners. He brought something deeply human to every song—he didn’t just sing the notes; he *felt* them. Whether delivering heartfelt ballads or trading scat phrases with his trumpet, Louis invited listeners into the music with warmth, charm, and a touch of mischief. His voice, like his horn, told stories the world wanted to hear.
 
He certainly liked to do his own thing. Quite like the people who are the subject of this next song.
 
 
[Music: The Gypsy]
 
 
The Gypsy from Louis Armstrong and the Commanders
Written-By – Billy Reid
 
Well, I hope you enjoyed this episode as much as I enjoyed bringing it to you.
 
Like I mentioned, Armstrong’s singing started to grow on me as I was exposed to it more. Especially as I started to compare his vocal to his trumpet improvisations.
 
His stylings were definitely fun to listen to.
 
But the most popular vocal Louis ever recorded was released well after this album. That of course would be What A Wonderful World in 1967. His definitive version still brings tears to my eyes especially when they play it in Times Square after the ball drops every new year’s eve.
 
I don’t remember this album cover from my growing up days in the house.
 
It’s only got two colors, red and black. Two thirds of it is taken up by a headshot of Armstrong in mid-song on a black background. Above him are the all lowercase red letters spelling Satchmo sings. The one-thirds red strip on the right holds the Decca Records logo and the list of songs on the album in small black font.
 
The back cover includes some interesting 50s style artwork. It’s black and white with an artistically styled trumpet coming from top left corner, with markings making it look like it’s being played. The word Satchmo is much larger than on the front and in a puffy font style. A floating Louis Armstrong head appears out of the white background next to the remaining title of Satchmo sings, Louis Armstron with orchestra.
 
A small patch on the lower left side lists the tunes, composers and orchestras, while the rest of the back cover holds the liner notes I read.
 
Sort of the artwork you would see on the early stages of what was considered space rock in those days.
 
So…to finish it up, it takes DOS for the dance of love.
 
 
[Music: Takes Two To Tango]
 
 
Takes Two To Tango
Written-By – Al Hoffman, Dick Manning
 
And there you have selections from my dad’s favorite trumpet player who was an acclaimed vocalist as well.
 
So thanks for tuning into Volume 240: A Singing Satchmo
 
however you did. If you want more information about this SHOW, head over to spinning my dad’s vinyl dot com.
 
I’ll be back next week with all my skips, scratches, and pops 
 
FOR Volume 241: Nashville Souvenirs
 
Until then,
Go with the flow my friends.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Volume 239: Unknown Dixieland

Volume 239: Unknown Dixieland

Liner Notes

Dixieland Veterans

My dad loved his Dixieland music. Even when he had no idea who was performing it. This is a perfect album for that mindset, because this budget label doesn’t even get all of the tunes listed correctly on the cover and label, let alone tell us who’s performing on it.
 
And even though the title of this episode leans toward anonymous musicians, today’s technology might have helped. And then again. It might not have.
 
So, get ready to hear some hot jazz recordings from an album re-released without naming the artists in Volume 239: Unknown Dixieland. 

Video Intro

Listen here or on my PodBean Podcast Episode page:

You can check out the video version here or on YouTube:

Go Directly to Any Song or Break on YouTube:

00:00 – Season’s Show Intro
00:49 – Episode Introduction
01:40 – Battle Hymn Of The Republic
03:49 – First Break: Why I chose this record for this episode
05:07 – Pee Wee Blues
09:28 – Synthetic Blues
14:45 – Second Break: More information about the record, its marketplace value and what condition my dad’s vinyl is in.
17:43 – Strike Up the Band
20:02 – Third Break: Quick one – no bio
20:19 – Billboard March
23:10 – Fourth Break: this episode’s Interesting Side Note.
26:26 – Blue Blues
30:57 – Fifth Break: Final Words
32:22 – When The Saints Go Marching In
36:07 – Close

Credits and Copyrights:

Unknown Artist – Dixieland!
Label: Omega Disk – OSL 63
Format: Vinyl, Stereo, LP
Released: mid 1960s best my research could tell
Genre: Jazz
Style: Dixieland
 
We will hear all 7 songs from this album.
 
Buck Clayton – trumpet
Jo Jones – drums
Vic Dickenson – trombone
Pee Wee Russell – clarinet
Lou Carter – piano
Bud Freeman – tenor saxophone
 
Omega was a budget record label based in Hollywood run by the International Pacific Recording Corporation, which also produced reel-to-reel tapes on their Omegatape label.
 
Battle Hymn Of The Republic
[Traditional]
 
Pee Wee Blues
written by Pee Wee Russell, Nat Pierce
 
Synthetic Blues
written by Tim McEwan and Tyler Lyle
 
Strike Up the Band
NOT Chiribiribin as both discogs and the record album itself listed here.
written by George Gershwin, Ira Gershwin
 
Billboard March
written in 1901 by John N. Klohr, and dedicated to the Billboard music-industry magazine.
 
Blue Blues
written by Nick Mulder
 
When The Saints Go Marching In
Traditional
 
I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.
 
#dixielandmusic #musichistory #vinylcollecting #vinylrecords #musicalmemories

Here is the Episode Script!

Thanks sweetie and thank YOU for tuning into episode 239 of Spinning My Dad’s Vinyl. 
 
My dad loved his Dixieland music. Even when he had no idea who was performing it. This is a perfect album for that mindset, because this budget label doesn’t even get all of the tunes listed correctly on the cover and label, let alone tell us who’s performing on it.
 
And even though the title of this episode leans toward anonymous musicians, today’s technology might have helped. And then again. It might not have.
 
So, get ready to hear some hot jazz recordings from an album re-released without naming the artists in Volume 239: Unknown Dixieland. 
 
 
[Music: Battle Hymn Of The Republic]
 
 
There is the traditional song Battle Hymn Of The Republic. 
 
And yes, I do know who was in this recording session. Thank you, internet!
 
Buck Clayton – trumpet
Jo Jones – drums
Vic Dickenson – trombone
Pee Wee Russell – clarinet
Lou Carter – piano
Bud Freeman – tenor saxophone
 
A great collaboration. We’ve heard many of them in past episodes.
 
Ok…Why this record for this episode?
 
Well, the psychedelic artwork on the front cover has certainly caught my eye every time I’ve glanced at it. But it just didn’t go with the words Dixieland which includes an exclamation point.
 
The cover eventually wore me down and I had to drop the needle on it to see what was there. Boy, was I pleasantly surprised. I still had no idea who the musicians were until I started writing the script, but I had already enjoyed listening to the record several times before that happened.
 
This was a great session featuring some veterans in the jazz recording business and they really seemed relaxed on the tunes which I think were recorded in the mid 1960s.
 
If you like Dixieland, this is some great stuff.
 
Next up, a couple of Blues tunes.
 
 
[Music: Pee Wee Blues]
[Music: Synthetic Blues]
 
 
Synthetic Blues
written by Tim McEwan and Tyler Lyle
 
Before that we heard Pee Wee Blues
written by Pee Wee Russell and Nat Pierce
 
Now let me tell you about my dad’s vinyl I am spinning for this episode.
 
Unknown Artist – Dixieland!
Label: Omega Disk – OSL 63
Format: Vinyl, Stereo, LP
Released: mid 1960s to the best my research could tell
Genre: Jazz
Style: Dixieland
 
Omega was a budget record label based in Hollywood run by the International Pacific Recording Corporation, which also produced reel-to-reel tapes on their Omegatape label.
 
I did want to tell you that this is a re-release of this collaboration that went under the same title except for in the UK, the title was Dixieland Ala-Carte. Also Record number OSL 63. This is how I found out about what musicians are playing on this recording.
 
We will hear ALL 7 songs from this album, I thought why not?
 
There are no liner notes about the tunes or the musicians. There’s just a list of the songs on the album and a list of other records available from Omega.
 
It also has some blah blah blah about the record company and how they use only the finest ingredients for their records kind of thing.
 
So, let’s see what prices this record is being sold at on discogs dot com.
 
It’s only been sold twice 
 
$2.33 High
$2.00 Low
 
$2.16 Average
$2.16 Median
 
Last sold on Nov 26, 2021 for that 2.33 high or actually 2 Euros.
 
My dad’s record is in poor condition. There is a lot of noise between tracks and it’s really scratchy at the needle drop points on both sides.
 
The surface has normal scuff marks, but they seem to affect the recording a little more than it looks like it should. 
 
The cover is actually in pretty good condition. The color might be a little faded as it is mostly red, but otherwise it looks good. No real outline from the record can be seen, so I think it’s a sturdy material.
 
The back has a shorter than normal green magic marker streak and the word Posted stamped on it. This one has a capital K along with those other two markings.
 
He does NOT have his normal address label stuck to the front.
 
So I’ll value my dad’s vinyl at two bucks. I’ll stay within the framework set above.
 
Next up, is NOT chiribiribin as it says on the label and the back cover.
 
 
[Music: Strike Up the Band]
 
 
Strike Up the Band
written by George and Ira Gershwin
 
Since there is no one featured artist in this collaboration, we’ll keep the music rolling.
 
This next song was written for a popular music trade magazine.
 
 
[Music: Billboard March]
 
 
Billboard March
written in 1901 by John N. Klohr, and dedicated to the Billboard music-industry magazine.
 
Time now for this episode’s interesting side note and it has to do with the technology I use to research and write this show.
 
I realize that I get to use a lot of technology that I didn’t have available to me when I was in radio broadcasting from the early 1980s through the mid 1990s. Long before the internet and even longer before social media. 
 
Our information back then came from paying attention, reading newspapers, and scouring the trade magazines. Most radio stations had subscriptions to Billboard or Radio and Records, two of the big radio and music trade magazines. When I was at a rock and roll station in Erie we used a weekly called Friday Morning Quarterback. It’s where we found the latest information on artists and the music industry.
 
It’s incredible the information I have at my fingertips now to help write this show.
 
The reason I wanted to talk about this is because I found myself using the music identification app Shazam to try to figure out who actually recorded this album. While it didn’t quite get all of the songs’ artists correctly, it did lead me down the right path where I found that this album was actually released as another album before.
 
It was with the main website I use to catalog my record collections where I identified that previous album. You’ve heard me mention discogs dot com in every episode when I value the record. That’s where most episodes start getting written, from the information on the discogs page dedicated to the record I have chosen.
 
For most of the first three years, artist bios were re-written from Wikipedia pages, or an artist’s website, or even an obituary. Sometimes I would find a great blog post or take information from that Wikipedia page to form an idea for these interesting side notes.
 
Now I find myself writing prompts for ChatGPT and Perplexity in order to better summarize an artist’s life. I have to be careful when I ask AI for help with these side notes, because I caught ChatGPT making up a story once about Jonah Jones.
 
I even now use voice to text when transcribing liner notes to the script. I used to do it the old fashion way and that was to read it while typing the words I was reading. Before that I was just reading right from the album cover during the episode, but I hated wearing glasses to see them.
 
So, I thought it was interesting how drastically the technology used to prepare and write my shows has changed not only from my early radio days to now, but even during the four and a half years of Spinning My Dad’s Vinyl.
 
 
Next up. When I first saw the title of this song, I thought of a big dog and a guy named Steve.
 
 
[Music: Blue Blues]
 
 
Blue Blues
written by Nick Mulder
 
Well, I hope you enjoyed this episode as much as I enjoyed bringing it to you.
 
This was a great recording session captured on this album. What a bunch of savvy veterans in the jazz music business we got to hear. Too bad I couldn’t find more about this session. It was almost like it was secretive or something.
 
And you knew my dad had to have an album simply titled Dixieland somewhere in his collection.
 
I don’t remember this album cover from my growing up days in the house.
 
It’s a hard-to-describe circular pattern in faded reds, dim whites, and dark blues. Sort of some abstract artwork, which would make sense for the mid-1960s. In black all capital western style font is the word Dixieland with an exclamation point. Omega is in smaller print on the bottom.
 
The top row on the white back cover says Dixieland but without the exclamation point. The seven songs on the album are separated into side A and B.
 
Under that is a row of names of other records you will find on the Omega label. And below that is a small row that spells out information about The World’s Finest Quality Stereophonic Record.
 
Budget labels never talk about the music or the artist the cover holds.
 
OK…to finish this off. I think you know this one.
 
 
[Music: When The Saints Go Marching In]
 
 
When The Saints Go Marching In
A Traditional Song
 
And there you have the entire album of mystery musicians who are no longer a mystery.
 
So thanks for tuning into Volume 239: Unknown Dixieland
 
however you did. If you want more information about this SHOW, head over to spinning my dad’s vinyl dot com.
 
I’ll be back next week with all my skips, scratches, and pops 
 
FOR Volume 240: A Singing Satchmo
 
Until then,
Go with the flow my friends.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Volume 238: Maynard’s Horn

Volume 238: Maynard’s Horn

Liner Notes

Maynard Ferguson’s Hot Trumpet

 
We now get to feature the second of two albums my dad had of MY favorite trumpet player. In fact, I haven’t seen a rock band more times than I’ve seen Maynard Ferguson and his big band.
 
This musician was known for his energetic charts, youthful big band members, soaring high notes, and most importantly his music education at the high school level.
 
So, let’s crank this up to a double high C and give Maynard the blazing, brass-heavy tribute he deserves in Volume 238: Maynard’s Horn.

Video Intro

Listen here or on my PodBean Podcast Episode page:

You can check out the video version here or on YouTube:

Go Directly to Any Song or Break on YouTube:

00:00 – Season’s Show Intro
00:49 – Episode Introduction
01:40 – Mrs. Pitlack Regrets
04:49 – First Break: Why I chose this record for this episode
08:08 – Never You Mind
11:34 – Second Break: More information about the record, its marketplace value and what condition my dad’s vinyl is in.
15:36
– Ain’t Life Grand
18:47 – Third Break: Artist Bio
21:24 – Open Sesame
24:33 – Fourth Break: this episode’s Interesting Side Note.
26:59 – C’est La Blues
30:55 – Fifth Break: Final Words
34:16 – Wildman
37:27 – Close

Credits and Copyrights:

Maynard Ferguson – Around The Horn With Maynard Ferguson
Label: Emarcy – MG 36076
Format: Vinyl, LP, Album
Released: 1956
Genre: Jazz
Style: Cool Jazz
 
We will hear 6 of the 12 songs on this album.
 
All of the music on this album was written by Bill Holman.
 
Mrs. Pitlack Regrets
Never You Mind
Ain’t Life Grand
Open Sesame
C’est La Blues
Wildman
 
I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.
 
#maynardferguson #bigbandjazz #trumpetsrule #musichistory #vinylcollecting #vinylrecords #musicalmemories

Here is the Episode Script!

Thanks sweetie and thank YOU for tuning into episode 238 of Spinning My Dad’s Vinyl.
 
We now get to feature the second of two albums my dad had of MY favorite trumpet player. In fact, I haven’t seen a rock band more times than I’ve seen Maynard Ferguson and his big band.
 
This musician was known for his energetic charts, youthful big band members, soaring high notes, and most importantly his music education at the high school level.
 
So, let’s crank this up to a double high C and give Maynard the blazing, brass-heavy tribute he deserves in Volume 238: Maynard’s Horn.
 
 
[Music: Mrs. Pitlack Regrets]
 
 
Maynard Ferguson backed by a west coast studio big band, who we’ll meet eventually performing Mrs. Pitlack Regrets.
All of the music on this album was written by Bill Holman.
 
Ok…Why this record for this episode?
 
Well, I actually wanted to play this album sooner, but when I went to grab it from my dad’s collection it was missing. It was more than a year later I found it. It was in MY collection.
 
While I had seen the Cleveland Orchestra at Blossom Music Center several times with my parents when I was young, the Maynard Ferguson concert I went to at Mentor High School in 1977 was my first true concert. And I went without my parents. I just recently lost track of the ticket I kept from that show. I’m getting ready to move, so I’m sure it’s in a box somewhere.
 
I was a sophomore in high school and I didn’t know what to expect. What I was greeted with was a wall of sound powered by brass, sax, a driving rhythm section and one monstrous lead horn.
 
I was hooked.
 
I saw him four more times in concert.
 
A year and a half later at E.J. Thomas Performing Arts Center on the campus of Akron University. I still have the T-shirt from that concert.
 
In 1982, he was at the original Cleveland Agora. That was the most intimate setting I got to see him in.
 
In October of 1983, I had the privilege of meeting and introducing my idol at Perry High School with my dad in attendance.
 
Then there was a 19 year gap until I saw him for the final time in 2002 at Edgewood High School in Ashtabula, Ohio. I still have that concert tee.
 
Those are ALL tremendous memories.
 
Now, I own 11 of my own Maynard Ferguson albums, which bring back memories of those times being completely wrapped up in the music while listening to them.
 
High Voltage, Live From San Francisco, Storm, Hollywood, Hot, New Vintage, Conquistador, Primal Scream, MF Horn 4 & 5, Live at Jimmy’s, Jam Session Featuring Maynard Ferguson, which is an EP, and the one that got away, The Best of Maynard Ferguson.
 
What do I mean by that? In 1983, I brought just the album cover for Maynard to sign before that show in Perry. Someone backstage stole it while I was on stage introducing the band. The record itself is still around somewhere, but sans cover.
 
So maybe this episode is more for me??
 
But never you mind.
 
 
[Music: Never You Mind]
 
 
Never You Mind
 
Now let me tell you about my dad’s vinyl I am spinning for this episode.
 
Maynard Ferguson – Around The Horn With Maynard Ferguson
Label: EmArcy – MG 36076
Format: Vinyl, LP, Album
Released: 1956
Genre: Jazz
Style: Cool Jazz
 
Recorded November 7 & 10, 1955 and May 7 & 12, 1956.
 
We will hear 6 of the 12 songs on this album.
 
There’s a good amount of liner notes, so I’ll just pick out a generous few.
 
It has often been the Good Fortune of a jazz musician, or the misfortune, depending upon which way you look at it, to flash like a comet into the musical sky with a startlingly distinct and original style. The advantage of this kind of arrival, obviously, is that it makes an immediate name for the artist, establishing for him enough prestige and firm identification to last him for years. The handicap, however, is less immediately evident; it tends to type cast the musician and thus, in effect, circumscribes the area of his activities by providing the public with a preconceived notion of what to expect from him at all times.
 
This is the way it went with Maynard Ferguson. Only 20 years old when he hit the American Jazz scene in 1948 as a side man with Boyd Rayburn and Jimmy Dorsey (he had previously led his own band in Canada), Ferguson enjoyed such immediate and tremendous impact through his records with Charlie Barnett and Stan Kenton during the following couple of years that is fantastic technique and amazing ability to reach into the stratospheric register of the trumpet tended to obscure every other aspect of his work.
 
Fortunately, during the last year or two, since he began recording for EmArcy, Maynard has been able to better Express his musical aims and to reveal himself not merely as a flashy showman but as a fine all around musician with sound, solid ideas of the kind of the band he should have around him.
 
To sum it up, this was a session rich in solo work by some of the West Coast’s outstanding figures, but above all, it shows Maynard Ferguson in every mood: open and muted, piano and forte, high and low. It is perhaps the most impressive demonstration yet of the extent to which this amazing young man knows his way around the horn.
 
Let’s see what prices this record is being sold at on discogs dot com.
 
$8.13 High
$1.16 Low
 
$3.95 Average
$3.66 Median
 
Last sold on May 13, 2025 for $6
 
My dad’s record is in fair to poor condition depending which track you’re listening to. There is lots of crackling especially at the beginning of each side and in between tracks. But it is pretty clean for the most part otherwise.
 
The surface of side A has a physically nasty looking scratch, but doesn’t seem to affect the sound that much. Side B is much cleaner.
 
The cover is in poor condition. The color has definitely faded. The flimsy plastic laminate has started to peel back near the opening. The back cover is a little on the grungy side. There are none of the usual markings on the back and no address label on the front.
 
So I’ll value my dad’s vinyl at 75 cents.
 
Next up…the title of this song is the attitude I think my dad always had.
 
 
[Music: Ain’t Life Grand]
 
 
Ain’t Life Grand
 
And speaking of life, let’s learn a little about screaming trumpet player.
 
When Maynard Ferguson hit the stage, he didn’t just play the trumpet — he *launched it into orbit.* Born in Montreal on May 4, 1928, he was already turning heads as a teen prodigy, blasting trumpet solos with the Montreal Symphony before most kids his age could drive. But the real liftoff came when he landed in the U.S. and joined Stan Kenton’s orchestra, redefining what “lead trumpet” even *meant.* His sound? A rocket-fueled scream of brass, soaring so high it made the angels take notes. From Hollywood sound stages to jazz clubs packed wall-to-wall, Maynard brought power, range, and sheer audacity to everything he touched.
 
But he wasn’t just a high-note machine — Maynard was a fearless bandleader, an ambassador of jazz fusion, and a tireless educator. In the ’70s, just when everyone thought big bands were fading out, he flipped the script and came roaring back with *Chameleon*, *MacArthur Park*, and *Gonna Fly Now* — the “Rocky” theme that hit the Billboard charts and introduced a new generation to the sound of a trumpet catching fire. His band became a launching pad for future stars, always filled with young, hungry musicians who had to *bring it* every night just to keep up with the man in the Nehru jacket and aviator shades.
 
For those of us who grew up with Maynard’s records spinning like jet turbines, this wasn’t just music — it was a *mission.* His live shows felt like spiritual revivals with brass. The way he held that trumpet high, pushed the laws of physics, and dared us all to aim higher — it was pure joy, pure adrenaline, pure Maynard. And even long after that final encore, his sound still echoes — loud, fearless, impossible to ignore. Maynard didn’t just blow the horn. He blew open the sky.
 
He died August 23, 2006 in Ventura, CA. Maynard Ferguson was 78 years old.
 
OK…We know one thing. There weren’t many doors he couldn’t open with that talent. All he had to say is the title of this next song.
 
 
[Music: Open Sesame]
 
 
Open Sesame
 
Time now for this episode’s interesting side note and it has to do with the song that he had a knockout hit with.
 
Let’s rewind to 1977 — disco’s on the rise, punk’s throwing elbows, and jazz? Well, jazz is getting squeezed. But not in Maynard Ferguson’s world. That year, the man with the golden embouchure pulled off something no one saw coming: he took the theme from Rocky — yes, that Rocky — and turned it into a screaming, brass-driven anthem that punched its way onto the Billboard Hot 100. Maynard’s version of “Gonna Fly Now” wasn’t just a cover — it was a statement. That a jazz trumpeter, leading a big band of young bloods, could compete with pop stars and rock gods on the charts? That was unheard of. But Maynard didn’t care what was “in.” He made radio make room.
 
Now here’s the kicker: this wasn’t some industry-engineered crossover. Maynard caught the vibe of the film’s underdog story — a fighter rising from nothing, fueled by grit, sweat, and belief — and said, that’s me. His band was a bunch of unknowns, most of them just out of college, hungry, raw, and ready to swing for the fences. They hit the stage every night with the kind of energy you’d bottle if you could — and that tune became their battle cry. Suddenly, Maynard was on talk shows, in living rooms, and pumping out that heroic trumpet line in front of audiences who didn’t even know they liked jazz. But they knew they liked that sound.
 
And that’s what made Maynard a legend, not just a virtuoso. He didn’t sit in a smoky corner, sipping brandy and reminiscing. He charged into every musical era, kicked open the doors, and let the trumpet scream. The “Rocky” moment wasn’t just chart success — it was Maynard showing the world that jazz wasn’t dead, it was doing push-ups in the alley, waiting for its shot. And when it came? It hit with a high note that still echoes to this day.
 
I love what ChatGPT can do with the right prompts.
 
And everybody loved what Maynard could do with his  horn.
 
 
[Music: C’est La Blues]
 
 
C’est La Blues
 
Well, I hope you enjoyed this episode as much as I enjoyed bringing it to you.
 
It’s cool to think my dad was into the same musician I was when we were both in our high school and young adult years. Maynard’s first album came out in 1954 my dad’s junior year in high school. I was introduced to him in 1977, my sophomore year in high school.
 
I still pull out Maynard’s music when I’m in the mood for some of the high energy big band jazz. I have many of his albums in my digital library now.
 
I also wanted to introduce the other musicians you heard on this record.
 
Alto Saxophone – Herb Geller
Baritone Saxophone – Bud Shank
Bass – Buddy Clark for the first two tracks, Ray Brown for the other four on this episode.
Drums – Alvin Stoller
Piano – Lorraine Geller
Tenor Saxophone – Bill Holman, Georgie Auld
Trombone – Bobby Burgess, Milt Bernhart
Trumpet – Buddy Childers, Ray Linn
 
I don’t remember this album cover from my growing up days in the house. Because you know it would have been on my turntable…and maybe even hiding in my collection much sooner.
 
I’ll describe the back first this time. You’ll understand why in a moment.
 
It’s not fancy or artistic at all. On a white background in large serif all capital letters it reads Around the Horn with Maynard Ferguson.
 
In the left column covering a third of the width is the list of songs. The other two-thirds is covered with the liner notes I read.
 
The same words are on the front, but his name is more stylistic and the letters reach from bottom left to top right.
 
The words are over a photo of Maynard sitting cross legged on the photo studio floor. He’s wearing what I think looks like a Venetian gondolier outfit. Bright red pants, a white open collared shirt showing off a red, white, and blue horizontally striped shirt underneath. By the way, his white socks are pulled up all the way to mid-shin.
 
He’s got his left hand up to his cheek and he’s laughing at something off camera.
 
His trumpet is in pieces in front of him. And that reminded me of a story.
 
It’s about how he played his horn after taking out the valves during one of those concerts I was in attendance.
 
EJ Thomas Hall.
 
(story)
 
But no matter what era you listened to him, his concerts were always a Wild time.
 
 
[Music: Wildman]
 
 
Wildman
 
And there you have selections from my favorite trumpet player who, initially,  I had no idea was in my dad’s collection.
 
So thanks for tuning into Volume 238: Maynard’s Horn
 
however you did. If you want more information about this SHOW, head over to spinning my dad’s vinyl dot com.
 
I’ll be back next week with all my skips, scratches, and pops
 
FOR Volume 239: Unknown Dixieland
 
Until then,
Go with the flow my friends.
 
 

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Volume 237: A TV Page

Volume 237: A TV Page

Liner Notes

Patti Page’s popular voice

Here’s a voice we’ve heard before. It was during a 78 RPM Sunday when we had plenty of her shellac to fill a show. This singer went on to have her own TV show where she sang many of the pop hits from that time.
 
In fact, the tunes that made it on this album were among the most requested from her show.
 
So, get ready to hear an artist known as the Singin’ Rage in Volume 237: A TV Page.

Video Intro

Listen here or on my PodBean Podcast Episode page:

You can check out the video version here or on YouTube:

Go Directly to Any Song or Break on YouTube:

00:00 – Season’s Show Intro
00:49 – Episode Introduction
01:32 – It’s A Good Day
03:19 – First Break: Why I chose this record for this episode
04:37 – (I Wanna Go Where You Go, Do What You Do) Then I’ll Be Happy
06:22 – Second Break: More information about the record, its marketplace value and what condition my dad’s vinyl is in.
09:40 – Darling, Je Vous Aime Beaucoup
12:39 – Sometimes I’m Happy
14:12 – Third Break: Artist Bio
17:17 – Crazy Rhythm
19:28 – Fourth Break: this episode’s Interesting Side Note.
22:11 – Gypsy
24:56 – Gypsy In My Soul
26:19 – Fifth Break: Final Words
27:48 – Happy Days Are Here Again
30:25 – Close

Credits and Copyrights:

Patti Page – On Camera…Patti Page…Favorites From TV
Label: Mercury – MG 20398
Format: Vinyl, LP, Album, Mono
Released: 1959
Genre: Jazz
Style: Easy Listening
 
We will hear 8 of the 12 songs on this album.
 
It’s A Good Day
written by Peggy Lee, Dave Barbour
 
(I Wanna Go Where You Go, Do What You Do) Then I’ll Be Happy
written by Cliff Friend, Lew Brown, Sidney Clare
 
Sometimes I’m Happy
written by Vincent Youmans, Irving Caesar, Clifford Grey
 
Crazy Rhythm
written by Roger Wolfe Kahn, Joseph Meyer, Irving Caesar
 
Darling, Je Vous Aime Beaucoup
written by Anna Sosenko
 
Gypsy
written by Billy Reid
 
Gypsy In My Soul
written by Clay Boland, Moe Jaffe
 
Happy Days Are Here Again
written by Milton Ager, Jack Yellen
 
I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.
 
#pattiepage #musichistory #vinylcollecting #vinylrecords #musicalmemories

Here is the Episode Script!

Thanks sweetie and thank YOU for tuning into episode 237 of Spinning My Dad’s Vinyl. 
 
Here’s a voice we’ve heard before. It was during a 78 RPM Sunday when we had plenty of her shellac to fill a show. This singer went on to have her own TV show where she sang many of the pop hits from that time.
 
In fact, the tunes that made it on this album were among the most requested from her show.
 
So, get ready to hear an artist known as the Singin’ Rage in Volume 237: A TV Page
 
 
[Music: It’s A Good Day]
 
 
Patti Page with It’s A Good Day
written by Peggy Lee, Dave Barbour
 
Ok…Why this record for this episode?
 
I loved the cover photo on this album. Of course I’ll describe it in more detail later, but as someone who used to work in video production, it just struck me.
 
And the music on this album is terrific.
 
The Patti Page Show was an American television series which aired from 1955 to 1956. It aired in a 15-minute time-slot, with two commercial breaks for sponsor Oldsmobile. In the series, Patti Page lip-synced pop songs, mostly standards, with additional songs by the Page Five singers, a vocal group of three men and two women. The series aired in first-run syndication produced by Screen Gems. There were 78 quarter-hour episodes, which around 1958 were edited into 31 half-hour episodes.
 
And we’ll talk about that in an upcoming segment.
 
Next up…Patti sounds attached to someone.
 
 
[Music: (I Wanna Go Where You Go, Do What You Do) Then I’ll Be Happy]
 
 
(I Wanna Go Where You Go, Do What You Do) Then I’ll Be Happy
written by Cliff Friend, Lew Brown, Sidney Clare
 
Now let me tell you about my dad’s vinyl I am spinning for this episode.
 
Patti Page – On Camera…Patti Page…Favorites From TV
Label: Mercury – MG 20398
Format: Vinyl, LP, Album, Mono
Released: 1959
Genre: Jazz
Style: Easy Listening
 
We will hear 8 of the 12 songs on this album. They are very short tunes.
 
The liner notes are extremely short, so I will read them all.
 
After more than 2 years of topping her own TV show weekly, Patti Page and her manager, Jack rail, along with a core of clerical help, have come up with statistics, tabulated from mail received, indicating that the most requested Tunes from TV viewers during the 24 months…are followed by the list of songs on this album.
 
Which is followed by the line: And, to keep the format strictly video, these are the very same arrangements by the very same Oklahoma lassie, as beamed out over millions of Television screens weekly. 
 
Let’s see what prices this record is being sold at on discogs dot com.
 
$35.00 High
$0.60 Low
 
$7.27 Average
$3.50 Median
 
Last sold on Mar 07, 2025 a dollar seventy five euro. or $2.06 US
 
My dad’s record is in pretty good condition. Very little hissing or popping. Even just a normal sound at the needle drop point.
 
The surface is really clean. One of the cleanest I’ve seen in my dad’s collection, even though I can tell he had it for a while. Only a couple of regular wear marks.
 
The cover is in really good condition. Among the best I’ve seen. There is a bit of a circular wear mark indicating the outline of the record.
 
There’s a green magic marker streak and the word posted stamped on the back.
 
There are two address labels on top of one another which is what told me he had this one in his collection from very early on.
 
So I’ll value my dad’s vinyl at $1.50.
 
Next up. Every once in a while I’ll make a Hogan’s Heroes connection to this show. Here’s one of them. This song was sung by the character Kumasa played by Barbara McNair in Season 3 Episode 11, Is General Hammerschlag Burning?
 
This episode is notable for featuring a musical performance as part of the plot, with the song serving as a cover for the character’s espionage activities 
 
 
[Music: Darling, Je Vous Aime Beaucoup]
[Music: Sometimes I’m Happy]
 
 
There was Sometimes I’m Happy
written by Vincent Youmans, Irving Caesar, Clifford Grey
 
Before that we heard Darling, Je Vous Aime Beaucoup
written by Anna Sosenko
 
Let’s now learn a little about this great singer.
 
Patti Page, born Clara Ann Fowler on November 8, 1927, in Claremore, Oklahoma, grew up in a modest family during the Great Depression. As the youngest of eleven children, she found joy and comfort in music from an early age, especially gospel and country tunes heard on the radio. She began singing professionally in her teens, performing on a Tulsa radio station where she was billed as “Patti Page,” a name borrowed from the sponsor of the program, the Page Milk Company. Her warm, pitch-perfect voice and down-to-earth charm quickly made her a favorite with local audiences.
 
Musically, Patti Page was shaped by her Oklahoma roots, drawing on country and folk influences that colored her signature sound. She also absorbed jazz and swing styles, performing with big bands such as Benny Goodman’s in Chicago in the late 1940s
 
Page’s big break came in the late 1940s when she signed with Mercury Records, becoming one of the first pop singers to use overdubbing—layering her own voice to create rich vocal harmonies, thanks to new recording technology. This technique was featured on her 1950 hit “With My Eyes Wide Open, I’m Dreaming,” but it was the 1950 classic “Tennessee Waltz” that truly launched her into stardom. That single sold over 10 million copies and became one of the best-selling songs of the 20th century. Patti Page’s smooth, clear voice helped her cross genres, blending pop with country influences at a time when that was rare, and helped define the “Nashville Sound” long before it had a name.
 
Over her career, Patti Page recorded more than 1,000 songs and charted over 100 hits, including “Old Cape Cod,” “(How Much Is) That Doggie in the Window?” and “Allegheny Moon.” Beyond her music, she was also known for her appearances on radio and television, hosting her own shows like *The Patti Page Show* in the 1950s and appeared in films such as Elmer Gantry and Boys’ Night Out. She became one of the most successful female singers of the pre-rock ‘n’ roll era, and in 2013—shortly after her passing—she was honored with a posthumous Grammy Lifetime Achievement Award. Page’s blend of wholesome charm and vocal precision earned her the nickname “The Singing Rage,” and she remains a beloved figure in American popular music history.
 
She died January 21, 2013. Patti Page was 85 years old.
 
Next is one of the most up tempo tunes on the album.
 
 
[Music: Crazy Rhythm]
 
 
Crazy Rhythm
written by Roger Wolfe Kahn, Joseph Meyer, Irving Caesar
 
Time now for this episode’s interesting side note and it has to do with the 15-minute TV show.
 
When I read that the Patti Page show was just 15 minutes, I thought that was odd, and did a little digging. It’s not as odd as you think it is.
In the early years of American television, the 15-minute show format was not only common—it was a broadcasting standard. This structure, heavily influenced by radio programming, was economical, practical, and a perfect fit for the technical limitations of the time. From news to music, soap operas to variety shows, many programs comfortably lived within a quarter-hour slot. One such show was The Patti Page Show, a musical variety series that aired in this concise format during the mid-1950s. Far from being a children’s show quirk, the 15-minute format was a staple across multiple genres.
Many well-known programs embraced this format in the early television era. The Dinah Shore Show and The Perry Como Show both began as 15-minute musical showcases. Network news programs like CBS’s Television News with Douglas Edwards and NBC’s Camel News Caravan delivered the day’s headlines in just 15 minutes. Daytime dramas like Search for Tomorrow and Guiding Light also started in this shorter structure before expanding in later years. For the networks and sponsors, these bite-sized shows allowed for flexible scheduling and lower production costs while still reaching broad audiences.
But by the early 1960s, the era of the 15-minute show was coming to a close. Audiences began to expect more in-depth storytelling and entertainment, and sponsors favored longer, more immersive blocks of airtime. In 1963, both NBC and CBS expanded their nightly newscasts to 30 minutes, signaling a broader industry shift. Though the 15-minute format may seem quaint by today’s standards, it played a crucial role in shaping television’s formative years—and provided a launchpad for some of music and television’s most enduring stars.
Now our attention spans are about 15 seconds.
 
OK…A Gypsy double shot.
 
 
[Music: Gypsy]
[Music: Gypsy In My Soul]
 
 
Gypsy In My Soul
written by Clay Boland, Moe Jaffe
 
Before that was
Gypsy
written by Billy Reid
 
Well, I hope you enjoyed this episode as much as I enjoyed bringing it to you.
 
Patti definitely sang that care free fun music we heard around the house all the time.
 
I think I remember this album cover from my growing up days in the house.
 
Like I said, it’s very striking, especially if you’re into things you see in a TV studio.
 
The cover is mostly a photo of Patti dreamingly looking off into the distance while leaning up against a ladder in front of five powerful television lights. Each one is slightly higher than the one to its left.
 
Patti Page is written in all caps in a stenciled white font with first and last name in separate boxes with different fill colors.
 
In cursive are the words On camera dot dot dot before her first name and dot dot dot favorites from TV following her last name.
 
Below her photo is a blue bar with Custom High Fidelity in two different fonts.
 
The back cover includes three black and white photos of Patti, the liner notes I read and the list of songs on the album.
 
And it’s still quite glossy.
 
And to finish us up it sounds like we’re at the end of a winning political campaign.
 
 
[Music: Happy Days Are Here Again]
 
 
Happy Days Are Here Again
written by Milton Ager, Jack Yellen
 
And there you have selections from Patti’s most popular requested tunes.
 
So thanks for tuning into Volume 237: A TV Page
 
however you did. If you want more information about this SHOW, head over to spinning my dad’s vinyl dot com.
 
I’ll be back next week with all my skips, scratches, and pops 
 
FOR Volume 238: Maynard’s Horn
 
Until then,
Go with the flow my friends.
 
 

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Volume 236: Tennessee Tons

Volume 236: Tennessee Tons

Liner Notes

One of the great low voices

We are going to have a ton of fun with this episode. Well 16 tons. Ah. That was too easy. 
 
This is the only album my dad has of this great singer. But, it’s obviously the most important one from his releases.
 
This artist was really a radio personality at heart, but when producers discovered that deep voice of his, well, the rest is history.
 
So get ready to hear one of the truly great voices of pop music from the mid 20th century in Volume 236: Tennessee Tons.

Video Intro

Listen here or on my PodBean Podcast Episode page:

You can check out the video version here or on YouTube:

Go Directly to Any Song or Break on YouTube:

00:00 – Season’s Show Intro
00:49 – Episode Introduction
01:39 – Sixteen Tons
04:13 – First Break: Why I chose this record for this episode
05:16 – First Born
07:24 – Second Break: More information about the record, its marketplace value and what condition my dad’s vinyl is in.
12:16 – One Suit
14:17 – Third Break: Artist Bio
17:10 – Call Me Darling, Call Me Sweetheart, Call Me Dear
19:40 – Fourth Break: this episode’s Interesting Side Note.
22:50 – The Watermelon Song
24:58 – Fifth Break: Final Words
26:26 – That’s All
29:11 – Close

Credits and Copyrights:

Tennessee Ernie Ford – Sixteen Tons
Label: Pickwick/33 Records – SPC-3268
Format: Vinyl, LP, Compilation, Reissue, Stereo
Released:
Genre: Folk, World, & Country
Style: Country
 
This is an abridged reissue of Tennessee Ernie Ford – Favorites
 
We will hear 6 of the 9 songs on this album.
 
Sixteen Tons
Written-By – Merle Travis
 
First Born
Written-By – Johnny Lehman
 
One Suit
Written-By – Charles Singleton and Larry Coleman
 
Call Me Darling, Call Me Sweetheart, Call Me Dear
Written-By – Bert Reisfield, Dorothy Dick, Mart Fryberg, and Rolf Marbot
 
The Watermelon Song
Written-By – Bill (Roy) Eustrom
 
That’s All
Written-By – Merle Travis
 
I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.
 
#tennesseeernieford #musichistory #vinylcollecting #vinylrecords #musicalmemories

Here is the Episode Script!

Thanks sweetie and thank YOU for tuning into episode 236 of Spinning My Dad’s Vinyl. 
 
We are going to have a ton of fun with this episode. Well 16 tons. Ah. That was too easy. 
 
This is the only album my dad has of this great singer. But, it’s obviously the most important one from his releases.
 
This artist was really a radio personality at heart, but when producers discovered that deep voice of his, well, the rest is history.
 
So get ready to hear one of the truly great voices of pop music from the mid 20th century in Volume 236: Tennessee Tons. 
 
 
[Music: Sixteen Tons]
 
 
Tennessee Ernie Ford with the title track of this album and his biggest hit, Sixteen Tons.
He was backed by Jack Fascinato And His Orchestra.
Written-By – Merle Travis who first released it in 1947.
 
Ok…Why this record for this episode?
 
The song you just heard is one of those that I will belt out whenever I hear it, especially when nobody else is around. Nobody would want to be around to hear that anyway.
 
It’s one of the tunes I played on a regular basis at the first radio station I worked for.
 
And as I listened to the rest of the music on this album, I came to really appreciate Tennessee Ernie’s voice. Yes, more than I already had.
 
However, I don’t remember my dad playing this much around the house.
 
This next tune is not one I’m familiar with. What I AM familiar with is being the title of this tune.
 
 
[Music: First Born]
 
 
What a touching song…First Born (Yes, I’m the oldest of four.)
Written-By – Johnny Lehman
 
Now let me tell you about my dad’s vinyl I am spinning for this episode.
 
Tennessee Ernie Ford – Sixteen Tons
Label: Pickwick/33 Records – SPC-3268
Format: Vinyl, LP, Compilation, Reissue, Stereo
I’m not sure what year this was released. Common for Pickwick Records.
But according to the liner notes I’ll be reading, it looks like the late 1960s.
Genre: Folk, World, & Country
Style: Country
 
This is an abridged reissue of Tennessee Ernie Ford – Favorites, which was released in 1957.
 
And when I say abridged, they only cut off one tune. Typical budget label strategy.
 
We will hear 6 of the 9 songs on this album.
 
The liner notes aren’t really long, but I am going to read all of them. I think they’re important to understand what kind of a song the title track really was. These were written by Robert Angus, the Editor of HiFi magazine.
 
When Merle Travis penned 16 tons back in 1955, he thought he had a winner.
 
But little did he guess that it would make a star of another singer, find its way into American folklore, become a best seller during the anti-communist McCarthy era and a favorite of the people McCarthy had been going after. For 16 tons was one of those rare things, a song of protest which didn’t really make anybody mad. In fact, because it struck such a responsive cord with so many people, a young singer named Tennessee Ernie Ford had very little trouble pushing it to the top of the best seller charts late in 1955 and early in 1956.
 
At the time, Travis, a native of Appalachia, who knew the poverty of the coal fields intimately was known as a country singer who had written a few songs for other people. Tennessee Ernie was virtually unknown. Both of them recorded 16 tons, Travis with all the company store and shortweighted at the coal company scales. But Ford took the same words and melody, leaving out the bitterness, and converted the tune into every man’s complaint against life in general.
 
 In these days of protest and songs dealing with pot and peace it’s difficult to recreate the atmosphere of 1955, a cross which 16 tons blew like a breath of fresh air. The late Joseph McCarthy and his  followers had purged Hollywood and Tin Pan Alley of anything which might be interpreted as controversial. Controversy was out on the radio and television networks. Yet what could be more controversial than this song with its pro-union sentiment? Against a Hit Parade which included Mitch Miller’s Yellow Rose of Texas and Roger Williams’s Autumn leaves, it stood out like a  sore thumb.
 
Somehow, Tennessee Ernie’s personality, his treatment of the song, his voice and musicianship turned away the Wrath of the critics. Somehow the tune found its way onto the morning disc jockey shows, and Tennessee Ernie was on his way to becoming a show business great. 
 
Let’s see what prices this record is being sold at on discogs dot com.
 
$23.53 High
$1.46 Low
 
$5.39 Average
$4.38 Median
 
Last sold on Feb 24, 2025 for three dollars.
 
My dad’s record is in fair condition. Definitely a big cue burn at the needle drop point on both sides. But other than that not much crackling between the tracks. 
 
The surface is in really good condition. Only a few marks that proved it was probably played regularly at one point.
 
The cover is in fair condition. Just some wear along the bottom seam.
 
There’s a green magic marker streak on the back and some penciled in time notations. There is NO address label on the front.
 
So I’ll value my dad’s vinyl at $2
 
This next song sounds a little like Sixteen Tons.
 
 
[Music: One Suit]
 
 
One Suit
Written-By – Charles Singleton and Larry Coleman
 
OK, let’s learn just a little about this great singer.
 
Tennessee Ernie Ford, born **Ernest Jennings Ford on February 13, 1919, in Bristol, Tennessee**, grew up surrounded by the sounds of country and western music. His early years were steeped in the rural traditions of East Tennessee, where he sang in his local Methodist church choir and played trombone in his school band. Ford’s fascination with radio began as a teenager, leading him to his first job as an announcer at WOPI in Bristol in 1937. In 1939, he left to study classical voice at the Cincinnati Conservatory of Music, but his path soon led him back to radio and, eventually, to a remarkable career in music and entertainment.
 
Ford’s musical upbringing was shaped by both **country roots and classical training**, but his influences expanded as he began performing on radio shows in California after World War II. To stand out, he created the persona of “Tennessee Ernie,” an exaggerated, comedic hillbilly character that quickly caught on with audiences. His big break came when **Cliffie Stone**, a talent scout for Capitol Records, discovered him and brought him onto the popular “Hometown Jamboree” TV show]. Ford’s early recordings, especially his energetic “country boogies” like “The Shotgun Boogie” and “Smokey Mountain Boogie,” showcased his deep bass-baritone and helped bridge country with emerging rock and roll styles. He was influenced by the musicians around him, including pedal steel guitarist Speedy West and pianist Moon Mullican, whose styles helped shape Ford’s sound.
 
Ford’s popularity soared in the 1950s, particularly after the release of “Sixteen Tons” in 1955, which became a massive crossover hit, topping both the country and pop charts for weeks. Over his career, he recorded **83 singles and more than 100 albums** spanning country, pop, and gospel genres. Beyond his music, Ford became a beloved television host, most notably with “The Ford Show,” and made memorable appearances on programs like “I Love Lucy”. He received numerous honors, including the Presidential Medal of Freedom and three stars on the Hollywood Walk of Fame, cementing his legacy as one of America’s most versatile and influential entertainers.
 
He died: October 17, 1991. Tennessee Ernie Ford was 72 years old.
 
Now…this next song starts so softly and then ends powerfully.
 
 
[Music: Call Me Darling, Call Me Sweetheart, Call Me Dear]
 
 
Call Me Darling, Call Me Sweetheart, Call Me Dear
Written-By – Bert Reisfield, Dorothy Dick, Mart Fryberg, and Rolf Marbot
 
Time now for this episode’s interesting side note and it has to do with Ford’s radio career.
 
As a teenager in Bristol, Tennessee, young Ernie Ford was already drawn to the airwaves. In 1937, at just 19 years old, he landed a job as a radio announcer at WOPI, earning a modest ten dollars a week. A year later, Ford left to pursue classical music training at the Cincinnati Conservatory, refining his rich bass-baritone voice. But the pull of radio brought him back, and by 1939, he was once again behind the mic — this time in cities ranging from Atlanta to Knoxville. When World War II broke out, Ford served as a first lieutenant in the U.S. Army Air Corps. He trained as a bombardier for a B-29 Superfortress, though the war ended before he saw combat. He spent the remainder of his service as a bombing instructor in Victorville, California.
 
After the war, Ford stayed in California and jumped back into broadcasting, hosting an early morning country music show called *Bar Nothin’ Ranch Time* on KFXM in San Bernardino. To stand out, he created the larger-than-life persona of “Tennessee Ernie” — a fast-talking, good-natured hillbilly character that quickly became a hit with local audiences. His popularity grew, and soon he was hired by Pasadena’s KXLA, where he not only kept his radio gig but joined *Dinner Bell Roundup*, a live country music show hosted by Cliffie Stone. Stone, who also scouted talent for Capitol Records, recognized Ford’s star potential and helped him land a record deal in 1949. Around that time, Ford also began touring, often with the Mayfield Brothers from Texas as his opening act.
 
By the early 1950s, Ford was becoming a household name. He starred in Cliffie Stone’s TV program *Hometown Jamboree* and even recorded a syndicated national radio show, *The Tennessee Ernie Show*, which aired on hundreds of stations. Then came his big break into mainstream pop culture: his unforgettable appearances on *I Love Lucy* as the lovable “Cousin Ernie.” His character featured in three fan-favorite episodes between 1954 and 1955, bringing his country charm to living rooms across America. That same year, he also stepped into the TV spotlight as host of *The College of Musical Knowledge*, taking over from big band leader Kay Kyser. By this point, Tennessee Ernie Ford wasn’t just a radio or country star — he was an American icon in the making.
 
Next up is a song about my favorite summer fruit, But hear me out. A seedless watermelon is not truly seedless.
 
 
[Music: The Watermelon Song]
 
 
The Watermelon Song 
Written-By – Bill (Roy) Eustrom
 
Well, I hope you enjoyed this episode as much as I enjoyed bringing it to you.
 
Not only do I always enjoy hearing this artist sing the title track of this album, but I learned more about him and some of the songs he sang on it.
 
I think I remember this album cover from my growing up days in the house.
 
It’s easy to recognize. Staring from a square color photo with two and a half inch black margins all around is a smiling Tennessee Ernie Ford looking directly at the camera. In large white sans serif font above the photo is the singer’s name and below is the title of the album Sixteen Tons. In smaller font there’s a list of tunes in the bottom right corner.
 
The back is divided in two columns. The left column is a black and white photo of Ford leaning against the back of chair holding a pipe. He’s wearing a tweed jacket and a black collarless shirt.
 
The right column lists the titles of the songs along with the length and publishing company. Below that is the liner notes.
 
There is a short row along the bottom promoting Pickwick 33’s Commitment to Excellence.
 
And…now…to finish up, just remember, the only rule for life is “do unto others” and that’s all.
 
 
[Music: That’s All]
 
 
That’s All
Written-By – Merle Travis
 
And there you have selections from one of the deepest voices from the annals of music history.
 
So thanks for tuning into Volume 236: Tennessee Tons
 
however you did. If you want more information about this SHOW, head over to spinning my dad’s vinyl dot com.
 
I’ll be back next week with all my skips, scratches, and pops 
 
FOR Volume 237: A TV Page
 
Until then,
Go with the flow my friends.
 
 

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Listen to each episode

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