Another find from yesterday's boot sale. I assumed he was a member of the legendary Carter Family but this K-Tel compilation was printed in Canada and some of the songs are about Canada which made me think otherwise. A search on the internet came up with-
"Although he is largely forgotten today outside of Canada, where his commercial career lasted far longer than it did in the United States, Wilf Carter was a unique presence in country music and cowboy music from the 1930s until the end of the 1950s. Rare is the mid-century yodeller whose background predates the start of Jimmie Rodgers' career -- Carter represented one of the longest surviving links with country music before there was a recording industry. Although Canadian by birth, he was seduced by country music and, specifically, by the wonder of the American West, and created a body of work as unique and distinctive as any singer/guitarist of his era, romantic, playful, and upbeat.
He was born Wilfred Arthur Charles Carter, one of nine children. The family was poor, and by the time he was eight or nine, Carter was helping to support them by working in the fields in the nearby Annapolis Valley. By age 12, he was working away from home. It was a traveling show and the presence of a performer known as "The Yodeling Fool" introduced him to country music and inspired him to learn to yodel. Carter worked farms in central Nova Scotia during his early teens, and when he was 16, he left home in a dispute with his father, a strict Baptist and missionary, over attending prayer services. At age 17, he came to the United States to work in Massachusetts for a time, but he later returned to Nova Scotia. He later headed to Western Canada to work the harvests out in Alberta, and he became adept at breaking horses. It was while in Western Canada that Carter began singing at local dances, and he auditioned for a spot on the radio in 1925. At the time, he usually sang and yodeled without accompaniment, or occasionally added an autoharp. "
Slim pickings at the bootsale today although I did find this oddity which is on the Toby label from early 70's I imagine judging by some of the impersonations Mr. Dee is attempting pictured on the back of the sleeve - like Tiny Tim, Rolf Harris and Frankie Vaughn. This sounds like a live show in front of an enthusiastic audience at Pontins Holiday camp as they get a name check on the back in the sleeve notes which state-
"Roger was born in Pontins - the son of a lady and gentleman - obviously a marriage of convenience. He merrily tap danced his way up the Ladder of Fame, to become the famous tap dancing window cleaner that he is today!!"
No mention of him on the internet so assume he went back to window cleaning after this record was made!
Another Brick Lane find from the 90's. Recorded on the Gramma Records label in 1989. This LP called "Granpa Story" was inspired it says on the minimal sleeve notes based on a story told to Oliver by his grandfather Elijah.
"Oliver Mtukudzi is the best-selling artist in his home country of Zimbabwe, Africa. Lovingly called "Tuku" for short, Oliver began recording in the mid-1970s as a member of Wagon Wheels, a band that also featured Thomas Mapfumo. After Wagon Wheels rolled to fame in Southern Africa, Tuku formed Black Spirits, the band that has backed him throughout his career.
Tuku has been heavily influenced by chimurenga, the genre pioneered by Mapfumo that is inspired by the hypnotic rhythms of the mbira (thumb piano). However chimurenga is just one of many styles performed by Tuku, as his music also incorporates pop influences, South African mbaqanga, the energetic Zimbabwean pop style JIT, or the traditional kateke drumming of his clan, the Korekore.
While Tuku’s music is undeniably contagious, it is his lyrics that have captured the hearts of his people. The words to his songs, performed in the Shona language of Zimbabwe as well as English, invariably deal with social and economic issues. In the face of political turmoil and a horrific AIDS epidemic that has swept the African continent, Oliver's humor and optimism creates an appeal that crosses generations."
I found this in a local charity shop recently for a few pence. A dodgy party record from the early 60's I imagine. Heres a few words I found about Rusty gleaned from the internet-
"Bawdy and risque, the comedy of Rusty Warren was daring and revolutionary; one of the few successful female performers in a business historically dominated by men, Warren pushed the envelope further by dealing explicitly with sex, a taboo topic for any mainstream comic of the 1950s and 1960s regardless of gender.
Born Ilene Goldman in New York in 1931, she was raised in Milton, Massachusetts, and after graduating from the New England Conservatory of Music in 1952, she became a teacher. On the advice of a boyfriend, Warren spent a summer performing in a piano lounge in upstate New York; she immediately fell in love with show business and never returned to academia. Her explicit style began to develop soon after, influenced by underground recordings by Sophie Tucker and Ruth Wallis.
After signing to the Jubilee label, Warren issued her debut record, Songs for Sinners, in 1959. While performing in Toledo, Ohio later that year, she introduced her trademark number, "Knockers Up," a call for women to shed their sexual inhibitions. Her next LP, also dubbed Knockers Up!, followed in 1960; the album became a surprise word-of-mouth smash, reaching the Top Ten and remaining on the charts for over three years. Overnight, Warren became a notorious figure, the queen of the party records; Sin-Sational! and Rusty Warren Bounces Back, both issued in 1961, hit the Top 40, and a fervent cult following emerged."
Discover more about Rusty Warren HERE at her website.
Found this little gem ina charity shop this morning for a couple of quid. Recorded in 1976 on the little known Red Rag Recordings label based in Teddington in Middlesex. It has the unfortunate title of "Twelve Inches Of Cocky" and you can imagine the kind of websites that appeared when trying to track info. down on this band! Needless to say I didnt find out anything atall and so will have to use what little there is on the sleeve notes. It says -" All songs played by the members of Cocky apart from Harmonica Henry who bribed us to play harp on Maggie Campbell, and Stan Arnold who didn't bribe us (tight sod!) to do a duck call on Jollity Farm. Recorded at Riverside Studios with the help of David Le-Neve Foster. Produced by Dave "Hot Licks" Peabody. Luncheon vouchers and cold coffee supplied by Stan Arnold. Pains in the arse caused and treated by Alan Robinson. Sleeve design by Mike "Toulouse" Walsh. Sleeve snapshots by Brownie 127 Studios - director D. Peabody."
It has been signed by all members of the band in lovely blue biro.
Little is known of George Van Dusen and despite extensive searches on the internet have failed to find anyone who knows anything about him except that he was a renowned yodeller held in high regard and a contemporary of Harry Torrani and Ronnie Ronalde in the 30's and 40's. His "Yodelling Chinaman" track is probably his most well known and popped up on several compilations of novelty songs over the years. These tracks are from 1937 and kindly supplied by Jim Benson who will doubtless phone me up to tell me I've got it all wrong and that infact George was a dutchman who died in 1929! I love this photo of him from the only one I could find. If anyone knows anymore about him - please do tell!
"Put simply, The Goodies was a live-action version of a typical Warner Bros cartoon, replete with speeded-up footage, film trickery and violent slapstick. The characters bore the same names as the players and were caricature exaggerations of their real selves, hence Tim was the respectable establishment figure, an effete man who grew into a manic royalist; Graeme was the scatty, back-room boffin, the inventor of all manner of weird devices; and Bill was an aggressive, earthy, hairy individual who eventually tended towards environmentalism, socialism and feminism. Each week the three climbed aboard and promptly fell off their customised bicycle for three (the 'Trandem') before remounting to pedal off to their task.
Initially there was a traditional sitcom element to the shows, the characters starting off each episode in their huge all-encompassing office suite, where they would be employed by someone to undertake a difficult task. Later, though, the format became diffused and in the show's classic period, 1973-76, it was a joyous, unrestrained, lightly satirical festival of visual humour, with models, special effects, explosions, giant props and camera tricks combining to produce a variety of fast-paced wild antics rarely seen since the heyday of the slapstick silent movies. The plots always veered towards the surreal and very often storylines lurched off-course to explore unrelated areas, just to get laughs. And most of the time it worked. Most episodes also included one or a few mock TV advertisements, which delightfully sent up the genre.
There was also a musical element to the shows, Bill Oddie providing songs or instrumental routines to fit in with the capers. This led to a long-lasting spin-off success for the team, with successful album releases and high-ranking chart entries for their singles 'The Inbetweenies', 'Funky Gibbon', 'Black Pudding Bertha', 'Nappy Love' and 'Make A Daft Noise For Christmas'. (Several such songs had first been performed by Oddie in the BBC radio sketch comedy show I'm Sorry, I'll Read That Again, in which all three Goodies appeared.) Like the Monty Python team, the Goodies also published books that re-created their style of humour in print form. Successful though they were, however, critics never accorded the Goodies the same degree of cultural standing as the Pythons, probably considering their corny jokes and blatant slapstick less worthy than the Pythons' verbal artistry. If this snub bothered the Goodies they did not show it, and in one famous sequence they even featured John Cleese in a cameo role, as a genie taunting them with the jibe 'Kids' programme!'. Such celebrity appearances were a feature of The Goodies, episodes of which often spoofed other programmes and so were tailor-made for cameos, with all manner of unlikely TV personalities turning up, including presenters Michael Aspel, Sue Lawley, Michael Barrett, Raymond Baxter, McDonald Hobley, David Dimbleby, and Terry Wogan, DJs Tony Blackburn and John Peel, soccer commentator Kenneth Wolstenholme, quizmaster Magnus Magnusson, astronomer Patrick Moore and, perhaps most memorably of all, the rugby league commentator Eddie Waring."
Found at Crewe flea market yesterday for 50p. I have fond memories of this show in the 70's and it's a shame the BBC have never seen fit to repeat the series despite endlessly repeating nearly everything else!
"Nellie Wallace was a music hall star who made her name playing comic characters and singing comic songs such as 'I was the early birdie after the early worm' and 'I've been jilted by the baker Mr White'. Nellie began performing in pantomime when she was only seven years old and added a comic fall to her tiny part in the pantomime, to get more laughs. She did attempt serious roles, but her performance in Little Willie's deathbed scene in East Lynne was received with so much laughter that Nellie was finally convinced she should not attempt to be a serious actress.
This is one of Nellie's music hall characters - a spinster with buck teeth and heavily drawn eyebrows who wore an ill-fitting tweed suit, a hat with one feather protruding at the top, and a fur which she referred to as 'me little bit of vermin'. Her exaggerated dress sense, bordering on the grotesque, made her one of the few women who appeared successfully as a pantomime dame."
"Round the Horne crackled out of the nation's wirelesses Sunday afternoons from 1965, becoming one of the most popular comedies of the era until it finished in '69.
With its ground breaking mixture of innuendo, camp comedy and word play, it netted a regular audience of more than 15million listeners and was one of the best loved programmes in radio history.
A colourfully bizarre collection of characters and memorable catch phrases burst across the airwaves from the pages of its brilliantly inventive and sometimes outrageous scripts, the majority of which were written by zany duo Barry Took and Marty Feldman.
Kenneth Horne as the straight man anchored the whole careering, seething, teaming, chaotic hullabaloo emitted from the likes of J Peasemold Gruntfuttock, Rambling Syd Rumpo, Daphne Whitethigh, Shamus Android, Binkie Huckaback and Dame Celia Molestrangler (played by Betty Marsden, Hugh Paddick, Bill Pertwee and Kenneth Williams). This mad-cap bunch mercilessly sent up the establishment via a combination of bawdy jokes and surreal literary invention acted out in a series of sketches. Kenneth Williams camped his way through the script as limp-wristed Sandy, normally introduced by Hugh Paddick's character saying "Hello I'm Julian and this is my friend Sandy", making homosexual double entendres that allowed British suburbia to laugh openly about what had been strictly taboo."
I found this a few weeks back in a charity shop. I have fond memories of this and others on Childrens Favourites on the radio in the 50's.
"The last of the great arrangers who wrote regularly for Frank Sinatra, Billy May had several varied careers in and out of jazz. His first notable gig was as an arranger/trumpeter with Charlie Barnet (1938-1940), for whom he wrote the wah-wah-ing hit arrangement of Ray Noble's "Cherokee." Later, he worked in the same capacities for Glenn Miller (1940-1942) and Les Brown (1942) before settling into staff jobs, first at NBC studios, then at Capitol Records, where he led his own studio big band from 1951 to 1954. His arrangements for Sinatra, beginning with Come Fly With Me (1957) and ending with Trilogy (1979), are often in a walloping, brassy, even taunting swing mode, generating some of the singer's most swaggering vocals. May also did extensive scoring for television, film, and commercials"
Henry Blair and cast do the voices. Narration by Verne Smith. Music by Billy May and His Orchestra.
Two boot sales this bank holiday weekend but not a single record was found at either. This luckily was from the second hand record shop at Lady Hayes Antique Centre near Frodsham who had a box of albums - 50p each or 3 for a pound. I could have had The Chipmunks Meets Dr. Dolittle but settled for this one by Hank Snow from 1963. The title track was a big hit for him back then but I only remember the Rolf Harris version!
Clarence Eugene "Hank" Snow was born on May 9th, 1914 in the sleepy fishing village of Brooklyn, Queens County, on Nova Scotia's beautiful South Shore, just down the tracks from Liverpool.
"As a boy, Hank faced many difficulties and shortcomings. He had to face the trauma of his parents' divorce at just eight years old and he was forced to stay with his grandparents. He then had to deal with an abusive grandmother who forbid him to see his mother. He regularly sneaked out at night and walked the railroad tracks to Liverpool where his mother was living. Not willing to return to his grandmother, who would often beat him for visiting his mom, he would sometimes seek shelter in Liverpool's railway station, now home of the Hank Snow Country Music Centre.
Both his parents had musical talent and Hank picked up his basic guitar-playing skills from his mother. In 1926, Hank went to sea as a 12-year-old cabin boy on fishing schooners based out of Lunenburg to escape his abusive step-father and never returned to school. With his first earned income he bought his first guitar, a T. Eaton Special for $5.95. While at sea, Hank would listen to Jimmie Rodgers on the radio and began to imitate him and entertain the crew. It wasn't long before Hank had picked up his own style."