I Know How to Use Them

3209. V.A.: The Greatest Hits of the 30s 3210. V.A.: The Greatest Hits of the 50s & 60s 3211. V.A.: The Decade of the '40s 3212. V.A.: The Decade of the '50s 3213. V.A.: 20 Fabulous No 1's of the 50's 3214. V.A.: The Best of the Gold! Vol. 2 3215. V.A.: The Best of the Gold! Vol. 4 3216. V.A.: Songs for a Summer Night 3217. V.A.: One Hit Wonders of the 50's 3218. Hachidai Nakamura: Rainy Night in Tokyo 3219. V.A.: From Italy With Love 3220. V.A.: This Is Hawaiian Music 3221. Sonny Kamahele and Mel Abe: Beautiful Hawaiian Steel Guitar 3222. V.A.: Son of Tipperary: Original Songs of World War I, Volume II 3223. V.A.: Greatest Folksingers of the 'Sixties 3224. V.A.: Let's Sing About Freedom! 3225. Ling Po•Tsin Ting•Liu Yun: The Three Smiles 3226. Earle Doud and Alen Robin: "Welcome to the LBJ Ranch!" Mixworthy: "Danke Schoen," Wayne Newton, #3210; "Singing the Blues," Guy Mitchell, #3214; "Heartaches by the Number," Guy Mitchell, #3215; "Nel Blu Dipinto Di Blu (Volare)," Domenico Modungo, #3219; "You Were on My Mind," Ian & Sylvia; "Pack Up Your Sorrows," Richard and Mimi Farina; and "Violets of Dawn," Eric Andersen, #3223. The end of the pop compilations, with a couple of loose ends that are neither pop nor compilations. #3209-#3221 is a little place I like to call Squaresville, while #3222/ 3/4 amounts to a folk-gospel section I should probably be filing back with country and blues. I'm not sure what #3225 is; it looks like it might be classical, but it's not. #3226 is my comedy section--at least it was for a long time, and when I later added LPs by Bill Cosby and the Firesign Theatre into the regular alphabetical section, I never thought to move this one over. The Squaresville songs I've listed are all pret- ty great--I mistakenly listed Ray Price's cover of "Singing the Blues" earlier, rather than Guy Mitchell's original, so I need to go back and delete that. From Italy With Love is a neat double put out by Capitol that I found at the Vinyl Museum not too long before it closed down; along with familiar stuff like Dean Martin and "Nel Blu Dipin- to Di Blu," it consists of over-the-top Italian pop hits like the ones heard in Mean Streets. Songs for a Summer Night is the last album I'll be listing from those that I took out of my parents' collection: a Columbia double ("24 Great Stars - 25 Wonderful Songs") with everyone from Mitch Miller, Frankie Laine, and Patti Page to Jerry Vale, Leslie Uggams, and the Brothers Four. It must have come out in '65 or '66--there seems to be some vague acknowledgement in the Dion and (pre-Atlantic) Aretha Franklin cuts that the world might be changing, but it's an album that over the years came to repre- sent for me a symbolic dividing line between my parents' record collection and the collection I was assembling for myself. I'm glad I decided to move it out of theirs and into my own. If I'm remembering correctly, there were still copies racked on the wall in Sam's third-floor junk room right up until the late '70s. ________________________________________________________________________________ 3227. V.A.: The Tuneful Twenties 3228. V.A.: Leonard Feather Presents Encyclopedia of Jazz on Records: Vol. 1 - The Twenties/Vol. 2 - The Thirties 3229. V.A.: Leonard Feather Presents Encyclopedia of Jazz on Records: Vol. 5 3230. V.A.: Big Bands Uptown, Volume 1 (1931-1943) 3231. V.A.: The Jazz Makers 3232. V.A.: Billie, Ella, Lena, Sarah 3233. V.A.: The Best of the Big Band Singers 3234. V.A.: The Great Big Band Vocalists 3235. V.A.: The Big Bands Are Back 3236. V.A.: Bluebird Sampler '88 3237. V.A.: The Bebop Boys 3238. V.A.: A Decade of Jazz Volume Two (1949-1959) 3239. V.A.: Jazz Studio 2 from Hollywood 3240. V.A.: Jam Session 3241. V.A.: Outskirts of Town 3242. V.A.: The Manhattan Jazz Septette 3243. V.A.: Jazztime U.S.A.: The Best of Bob Thiele's Classic Jam Sessions of the 1950's 3244. V.A.: Jazz at the Philharmonic in Europe 3245. V.A.: Finger Poppin' Volume One Mixworthy: "All or Nothing at All," Frank Sinatra with Harry James and His Orchestra, and "I'm Beginning to See the Light," Kitty Kallen with Harry James and His Orchestra, #3233; "Skylark," Harry James with Helen Forest, #3234. First half of jazz compilations, same old story--I'm glad I have these records, but I'm just not the person to write anything of interest about them. The three that have gotten the most play--which would have been many years ago, and really wasn't that significant an amount--are The Great Big Band Vocalists (I was mistaken last entry: this is the last of the records that came out of my parents' collection), and #3231 and #3232, which are old Columbia pressings in very good shape. I listed Maxine Sul- livan's rendition of "Skylark" earlier, but it's a song I like enough to warrant a second version. As I was scanning track listings, I noticed that The Big Bands Are Back, a double with 20 songs, is ordered alphabetically by artist, almost certainly the only record I have like that. Dates are provided for the two Harry James songs listed above, and, reading between the lines, a story starts to emerge: the Sinatra (August 31, 1939) must be pre-Luca Brasi, the Kitty Kallen (November 14, 1944) post- Luca. ________________________________________________________________________________ 3246. V.A.: Bethlehem's Finest Volume 3 3247. V.A.: Bethlehem's Finest Volume 4 3248. V.A.: Bethlehem's Finest Volume 5 3249. V.A.: Bethlehem's Finest Volume 6 3250. V.A.: Bethlehem's Finest Volume 11 3251. V.A.: Bethlehem's Finest Volume 12 3252. V.A.: Bethlehem's Finest Volume 13 3253. V.A.: Atlantic Jazz: West Coast 3254. V.A.: Atlantic Jazz: Soul 3255. V.A.: Atlantic Jazz: The Avant-Garde 3256. V.A.: The Impulse! Collection 3257. V.A.: The Feeling of Jazz 3258. V.A.: Fire Into Music 3259. V.A.: New Music: Second Wave 3260. V.A.: New American Music 3261. V.A.: Windham Hill Records Sampler '88 3262. V.A.: Windham Hill Records Sampler '89 3263. V.A.: Piano Two 3264. V.A.: The World of Private Music Mixworthy: "Stolen Moments," Oliver Nelson, and "The Awakening," Ahmad Jamal, #3256; "The Creator Has a Master Plan (Part One)," Pharoah Sanders, #3258; "Close Cover," Wim Mertens, #3261. Another end-point of sorts: all that's left are 12-inches, classical, and box sets... I got the Bethlehems for something like $1.99 at the Yonge St. A&A's, a store I've barely mentioned in this survey. It was Toronto's second biggest retailer through the '70s and into the '80s after (and right next door to) Sam's, but it really didn't have any personality to speak of. I can't remember a single memorable purchase I made there, and even though I'd almost always duck in for a few minutes after finishing at Sam's, I'm having a hard time getting any kind of mental picture of the layout. It was at A&A's where I got my copies of the Ramones' End of the Century and R.E.M.'s Murmur autographed. Chances are I bought them next door at Sam's...Oliver Nelson's "Stolen Moments" sits just below Coltrane and Kind of Blue (and alongside Bill Evans' "Some Other Time" and not a whole lot else) as the only jazz music that I ever got lost in as deeply as my favourite pop music. I continue to play it periodically if I ever need to clear my head of all bad thoughts. Serenity now...I like Ahmad Jamal's "The Awakening" because it reminds me of Vince Guaraldi's music for A Charlie Brown Christmas, and I like Pharoah Sanders' "The Creator Has a Master Plan" because it reminds me of "A Love Supreme." The Gun Club lopped almost 12 minutes off of the lat- ter and renamed it "The Master Plan" for The Las Vegas Story, the most disrespectful transgression against a pharoah this side of Victor Buono...I'm glad I took a second to look over the two Windham Hill LPs; I'd forgotten all about "Close Cover," which I liked to play on my CIUT show. I don't know why I decided to file new age compilations at the end of jazz, rather than with classical. I want to make clear that I'm not sug- gesting any kind of a connection between the two. I know how defensive Willy Ackerman fans can get about that sort of thing.

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