Riverside

Specialty #800 (12”)   

RLP12-821~850

RLP 12-821
The REGINA MUSIC BOX in HIGH FIDELITY

Side 1 

1. Green Grow the Rahes, O 

2. O Whistle and Ill Come to Ye, My Lad 

3. For the Sake o’ Somebody 

4. Scots, Wha Hae 

5. Corn Rigs 

6. Sodger Laddie 

7. My Dowry’s the Jewel 

8. I’m O’er Young to Marry Yet 

9. Flow Gently, Sweet Alton 

Side 2 

1. Is There for Honest Poverty 

2. Braw Lads o’ Galla Water 

3. John Anderson My Jo 

4. Wandering Willlie 

5. A Highland Lad My Love Was Born 

6. The Susty Miller 

7. The Highland Widow’s Lament 

8. We’re A’ Noddin 

Notes written by Kenny S. Goldstein and John Greenway/

Cover designed by Paul Bacon and illustration by courtesy New York Public Library.

RIVERSIDE RECORDS are released by BILL GRAUER PRODUCTIONS 

553 West 51st Street New York City 19, New York  

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RLP 12-824
STANLEY HOLLOWAY’S Convert Party 

Sung by Stanley Holloway; arranged, conducted and piano accompaniment by Arthur Lief; vocal accompaniment by the Concert Party Four

New York; November, 1957

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　　　It is absolute nonsense to call any collection of folksongs “Absolute Nonsense.”  The incisive work of Sigmund Freud, the literary output of James Joyce, and such psychological techniques as the Rohrschach Ink Blot Test have demonstrated that everything means something to somebody.  And the ancient Greek philosopher, Gorgias, anticipated modern semanticists by averring that nothing means the same thing to everybody. 

　　　Having ridiculed our title and cast the grey shadow of suspicion upon our whole project, we turn to an analysis of the songs herein contained.  These have been chosen for two important reasons.  Firstly, I know them all by heart. Secondly, I love them all by heart.  Thirdly, they are of interest to the buyer of this record. 

　　　Like the preceding paragraph, some of the songs are “spoofs,” a recently-invented term which merges the already existing “sport” and “poof.”  Many of the songs began life as fine, upstanding, understandable refrains.  But folksingers with short memories have distorted them into pitiful objects of corn.  In at least one song it would be too easy to evoke tears instead of laughter with a slight change of rhythmic emphasis.  But, as I have just said, it would be too easy. 

SIDE 1 

1. A HORSE NAMED BILL: although originally titled Crazy Song to the Tune of “Dixie,” it is not really crazy.  A man who will name a horse “Bill” must not be surprised if the horse becomes a misanthrope and bites a barber.  And a whale that leaves the open sea to take up residence in San Francisco Bay has to eat whatever comes his way – whether it be nursemaids or ice cream sodas.  This is not a joke, but a problem for municipal authorities.  As the homily has it, “Go fight City Hall.” 

2. FOOBA-WOOBA JOHN: This song stands as a tribute to the courage of the lower orders.  For a rat to kick a cat requires intestinal fortitude of the bravest, and considerable bad judgment.  As for Mr. John’s first two names, we assume they were given him for rhythmic purposes.  We could change his name to “Itsy Bitsy John,” or even “Foxy Loxy John,” but this might involve intricate legal proceedings. 

3. MIDNIGHT ON THE OCEAN: This is one of the many folksongs which says one thing in the first line and contradicts it in the second.  Although the song probably was made up in the ‘90s, orators have been using the technique since pre-history.  For example, it is customary in the United States to elect a President with specific regional ties and personal convictions, and to elect with him the complete contradiction known as the Vice-President. 

4. THE DERBY RAM: The Derby Ram is a horse of a different color.  Experts believe that the song was once part of the ritual of some ancient witch cult.  Idolizing animals was popular with the pagans.  One verse maintains that “the butcher that killed the ram, sir, was drowned in the blood,” which brings to mind ancient tales of sadism and sacrifice, if you have that sort of mind. 

5. GOOD PEANUTS: I first heard this song in Canada, but prefer the Alabama version herein recorded.  Its principle is similar to that of the limerick: “There was a young poet of Japan, whose poetry never would scan; When asked about it, he said, “I don’t doubt it, Because I always try to get as many syllables in the last line as I possibly can.” 

6. ANNE BOLEYN: The artistes of British vaudeville have include Botany Bay, ‘Round Her Neck, and Anne Bleyn.  I first heard it sung by vaudevillian Stanley Holloway (who can himself be heard on Riverside 12-824: “Stanley Holloway’s concert Party” – advt.) in the ‘30s and it purported to be a song extant in the days when “women went around with low-cut heads.” 

7. BUFFALO GALS: A minstrel with the preposterous name of “Cool White” wrote a song which he named Lubly Fan.  In an incredibly short time it was in the repertory of every other minstrel – royalty free.  In Buffalo someone discovered that the girls would blush and the men would cheer if the song was presented as Buffalo Gals.  In New York City, for my radio theme, I sing it as New York Gals, I have tried to introduce the song in Upper Sakatchewan with little success. 

8. THE OLD WOMAN AND THE PEDLAR: The search for one’s identity is the core of many philosophical treaties and some rather dull novels.  The pursuit of self is the real theme in this 18th century story of an old lady so unsure of her “I” that she let a dog act as the final authority.  As the last verse reveals, a dog is man’s best friend, but where a woman is concerned, cave canem. 

9. SHOOT THE BUFFALO: This old frontier play-party song is just a spirited game.  Here and there rhymed dance call is inserted and the listener is expected to follow the instructions.  Sometimes, the listener makes the mistake of following the nonsense part of the song which may result in ostracism and chilblains. 

SIDE 2 

1. ALASKA: I first heard this as a recitation with gestures.  I added a simple melody and sang it at parties and underground meetings.  One day I heard it sung by a rival who used my manufactured tune.  I was informed that it had been in his family for centuries.  Outfaced, I retired, but I am now willing to reveal his name.  It is Legion. 

2. THE FROZEN LOGGER: “Once upon a time there was a logger who was so tall he had to climb a ladder to shave himself.”  Out of such stuff as this, the Paul Bunyan legends were made.  Then James Stevens wrote some additional stories.  One day, with Stewart Holbrook and H. L. Davis, he even wrote a song.  He called it The Frozen Logger and sang it to the tune of My Mother Was A Lady.  I heard it at tenth-hand and re-worked the last verse (in accordance with established traditional practices). 

3. TALKING BLUES: This is the perfect presentational form for people who can’t sing.  It’s not really a “blues,” but is more closely related to the ancient British “chant.”  Old chronicles state that, during the American Revolution, the troops were inspired by chants – though this may be an obsolete spelling of “chance.”  Or, perhaps, “obsolete” is a misprinting of “absolute.”  Either is acceptable. 

4. THE BOLD FISHERNA:  Like Peter Gray and Springfield Mountain, this is a beautiful story which has been distorted by shallow folksingers. Music authorities have tried to trace the last song of the dying fisherman, Twinkiedoodleum, Twinkiedoodleum, but in vain.  If it is found before our next album, we promise to include it. 

5. IN THE VINTER: without doubt this turn-of-the-century roundelay was one of those relying upon dialect for its humor.  The vaudeville stage produced many Irish, Jewish, Italian, Swedish, and German caricatures, and this was probably one of the latter.  However, it has burst the narrow confines of ridicule and become a comedy gem in its own right, with such crystal-clear visual humor as “velocipedes in the vestibule.” 

6. KAFOOZALUM: Someone out there wrote this song.  The real Kafozalum is a bawdy ballad which cannot be sung.  This Kafozalum is a preposterous imposter, or, to portmanteau a word, “a preposter.”  I hope this accusation shames the writer of the lines sung in this album into remaining anonymous.  Otherwise, he may demand royalties. 

7. BUNCH OF ROSES: In this old sea shanty, nonsense is used for its satiric values.  For the shantyman to call the ship’s captain a devil required little imagination.  But to insist that he had horns and a forked tail was inspirational.  This motif has appeared in so many shanties that authorities believe there may have actually been a horned, be-tailed captain at one time.  This theory is known as “The Child Hypothesis,” after the scholar who first thought of it.  He was three years old. 

8. THE LADY WHO LOVED A PIG: Modern psychiatry is fast discovering that animal fixations are more common than was generally believed.  This ancient British-American song may even be a paraphrase hiding the identity of some king or noble under the title of “swine.”  The “lady” may even represent the clergy or Oliver Cromwell or something.  A completely different approach has been suggested by researchers at Stamford based on the possible misreading of “pig” for “fig.”

9. AIN’T GONNA RAIN NO MORE:  This song is not, as some aver, based on legends surrounding Noah’s landing on Mount Ararat.  It is just another indigenous dance song with endless verses.  In the thirties, it returned to the folk as a pop song.  But it wasn’t accepted in the schools until it was recently re-titled It Isn’t Going To Rain Any More.” 

Notes by OSCAR BRAND

About the Performers

　　　Born in Winnepeg, Canada, OSCAR BRAND travelled with his family to New York where he grew to six feet.  From 1942 to 1945 he spent most of his life in the American Army and won the war.  In 1945 he became Director of Folkmusic for New York City’s municipal station, WNYC, broadcasting every Sunday at 6 P.M., whether he needs it or not.  Many of the songs in this album are in his book, “singing Holidays,” published by Alfred Kopf, and on sale at al successful bookstores.  He has made more than forty documentary motion pictures for wealthy and tolerant corporations, and he has written many successful popular songs stolen from old ballads and from other less aggressive composers. 

　　　DAVE SEAR is a young New Yorker who has worked with Oscar Brand since the age of fifteen, so he has no one to blame but himself.  A fine singer and banjoist, he has performed on concert stages throughout the country, to the delight of his audience, and to Mr. Brand’s dismay.  His fine arrangements for this album reveal his great artistry and his ability to maintain a high degree of musicianship against almost overwhelming odds. 

　　　Brand is also featured on – 

American Drinking Songs: OSCAR BRAND, with Eric Darling (RLP 12-630)

G.I. – American Army Songs: OSCAR BRAND, with Fred Hellerman (RLP 12-639)

Riddle Me This:  OSCAR BRAND and Jean Ritchie (RLP 12-646)

A HIGH FIDELITY Recording (Audio Compensation: RIAA Curve)

Produced by KENNETH S. GOLDSTEIN

Cover by PAUL WELLER (photography) and PAUL BACON (design)

Recorded by Ritter and Lerner; New York City; October, 1957

RIVERSIDE RECORDS are released by BILL GRAUER PRODUCITONS, Inc.

553 West 51st Street New York 19, New York

​

SIDE 1 

1. Buenas Noches (1:50) 

2. I Know Where I’m Going (1:52) 

3. Quand le Roi (2:55) 

4. Las Mananitas (2:58) 

5. Cascabel (1:07) 

6. Johnny, I Hardly Kew Ye (4:47) 

7. Two Turkish Songs: (1:57) Dan Dini / Hansiyi Koydum

8. Go Way from My Window (2:27) 

SIDE 2

1. La Molinera (2:22) 

2. Palmero (2:00) 

3. Farewell to Cold Winter (1:33) 

4. I Saw a Lady (1:22) 

5. Mon Amour (2:13) 

6. I Gave My Love a Cherry (2:08) 

7. Cielito Lindo (2:52) 

8. Cori Coruzzu (2:47) 

9. All Through the Night (1:54) 

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　　　These songs are about love – many kinds of love and in many moods – sung in the languages and dialects of many peoples.  For CYNTHIA GOODING is an artist of rare taste and range of musical interest who has chosen to draw her repertoire from (almost literally) the whole world around her. 

It is not necessarily unusual for a singer to make use of other languages on occasion, perhaps learning by rote some standard French or Spanish item that can be dropped into a performance here or there for a calculated unexpected change of pace. 
　　　But it is decidedly – and fascinatingly – unusual to come upon a singer who truly and deeply knows the musical knows the musical heritage of many lands, who is capable of valid and sensitive interpretation of so rich a variety of material as Cynthia Gooding calls upon in this album.  And when you do come upon such an artist, it should not take any particularly lengthy pounding home of the facts to make the difference clear …

　　　One other kind of distinction, however, ought to be clarified here.  People who sing other than current or ‘popular’ material, and particularly those who deal with the songs of other lands and languages, tend to be lumped together into a single unwieldy category and jointly called “folk singers.”  Now this is an honorable term, and has been one for centuries.  But by now it has managed to acquire a few conflicting, tenacious stereotypes that ride its back like the old man of the sea – and that manage to get in the way of basic essentials like being able to enjoy music on its own terms. 

　　　On the one hand, the term “folk singer” is apt to conjure up visions of enthusiastic performers in Greenwich Village cellars (or attics), performing lustily but very often without a degree of talent anything like the equal of that enthusiasm.  On the other hand, there can also be a mental picture of the scholarly researcher, digging into musty lore to unearth long-forgotten songs with odd and unsingable melodies, of no real interest to anyone except other scholarly researchers … Someplace far away from both these stereotypes lies the present truth of the matter – so far away that it is probably best to do without the somewhat tainted “folk” label altogether, and consider an artist such as Cynthia Gooding as nothing more or less than a singer. 

　　　Quite specifically, of course, she is a singer who has drawn her material from “folk” sources.  But there has been nothing self-conscious or artsy-crafty about this process; these are simply the kinds of songs that she has come to love the most, that have the most meaning for her – because music such as this has at different times been a very real part of her life, because friends and people among whom she has lived have sung them and taught them to her. 

　　　Born in Rochester, Minnesota, Cynthia was never moved to do anything with her vocal talents until the mid-1940s.  Then, during two years in which she lived in Mexico, she almost inadvertently began building a repertoire from songs that she heard around her, added a scattering of “American songs I liked,” and found herself paying serious attention to singing.  Later in the ‘40s, she began singing in New York clubs and at converts, accompanying herself on guitar.  To her original basic repertoire were gradually added Italian and Turkish material learned from friends; more recently, during a trip to France, some songs in French (a language she had “always spoken”) joined them; and in similar ways material of other origins has become part of the body of music she commands.  Some are familiar, some rare – but it is safe to say that none were casually acquired or are casually or half-heartedly used. 

　　　Previous Cynthia Gooding albums have (probably because of her ability to work in depth in so many tongues) been mostly concerned with one or another specific land or language.  But for her first Riverside LP, she has cut across such lines to select a varied program.  The unifying theme is “love” – but this is itself a word of extremely varied meanings, ranging from the Welsh lullaby, All through the Night (learned from her grandmother), through several differing aspects of romantic love all the way to the bitter lament of an Irish wife whose man was pressed into service in the British colonial wars, Johnny, I hardly Knew Ye.  This stark ballad, one of the singer’s personal favorites, was taught to her in New York by Tom Clancy, a young Irish actor and singer. 

The album opens, fittingly, with a popular Mexican song, Buenas Noches (“good evening, ladies and gentlemen … and a special salute to all those who truly love.”)  Among other Mexican selections included are a courting song, Cascabel, learned from a street singer in Mexico City; Las Mananitas, a West Coast morning song (“Awake, awake my love; the sun is rising, the moon is setting.”); and a version of one of the most beautiful and widely known of Mexican songs, Ceilito Lindo (“All the illusions of love are like the spray on the waves, and they disappear just as rapidly.”) 

　　　In French there is Quand le Roi, a classic ballad concerned with a classic theme: a king’s designs on a nobleman’s wife; and Mon Amour, which may have originated in the Caribbean (“My love is gone far beyond the ocean … If he should be sick, who would take care of him?”).  La Molinera was learned in New York from a Basque (“Ever since the day of the wedding, sweet miller girl, you have wept.  And weeping so, you will die of sorrow,”)  Palmero was acquired in Barcelona from Yvonne Perez, a singer-guitarist who believed the song came from Malloca (“Climb the palm and tell my love to come to the window …  The Canary Islands are like volcanos: all snow outside and all fire within.”  Of the twp brief Turkish selections, Dandini is a lullaby and Hansiyi Koydum a students’ drinking song from Istanbul.  Cori Coruzzu, another of the melancholy songs of thwarted love, is Sicilian. 

　　　The English-language material is from many different sources.  There are unhackneyed approaches to such standard songs as I Gave My Love a Cherry (The Riddle Song), Go Way From My Window, and I Know Where I’m Going – an Irish love song which Cynthia’s mother taught her.  Passing By is probably of Elizabethan origin (Cynthia recalls that she “learned it from an English lady who sang it in a very lady-like voice”), while the mocking Farewell to Cold Winter, which may derive from the Irish maid of a United Nations delegate from Ireland. 

　　　VIC MESER, whose guitar provides notable support on more than half these selections, is a skilled performer who has worked with, among others, Harry Belafonte. 

　　　There is a wide variety of unusual and outstanding vocal music on HIGH FIDELITY Riverside albums, including: 

BOB GIBSON: I Come for to Sing (RLP 12-806) 

BOB GIBSON: There’s a Meetin’ Here Tonight (RLP 12-830)

ED McCURDY: Songs of a Bold Balladeer (RLP 12-828) 

HILLEL and AVIVA: Land of Milk and Honey (RLP 12-803) 

SHANNON BOLIN: Songs for Patricia, and other songs of Alec Wilder (RLP 12-805) 

Have You Met INEZ JONES? with Oscar Moore (RLP 12-819) 

ABBEY LINCOLN, with the Riverside Jazz Stars (RLP 12-251) 

MARIAN BRUCE: Halfway to Dawn (RLP 12-826) 

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A HIGH FIDELITY Recording – Riverside-Reeves SPECTROSONIC High Fidelity Engineering 

(Audio Compensation: RIAA Curve)

Produced by ORRIN KEEPNEWS

Cover designed by PAUL BACON; cover photograph: HUGH BELL

Recorded in New York City; April , 1958

Engineer: JACK HIGGINS (Reeves Sound Studios)

RIVERSIDE RECORDS are released by BILL GRAUER PRODUCTIONS, INC.

553 West 51st Street New York 19, New York

​

SIDE 1

1. Sevillanas (2:31) (1) 

2. Pena, Tengo, Pena (3:39) 

3. Jota (1:48) 

4. Anda Jaleo (2:29) (1) 

5. Tarantas (3:57) 

6. Malaguena (2:25) 

SIDE 2

1. Lerele (2:16) 

2. El Tran-Tran (3:30) (1) (2) 

3. Asturias (2:50) 

4. Zambrilla (2:22) 

5. Eres Alta y Delgda (2:50) 

6. Fandangos (3:30) (1) (2) 

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　　　FLAMENCO!  For many people, the word alone creates images of romance and mystery, of exotic settings in Spanish caves, of Latin passion and Gypsy ritual.  And it is all of these … and none of them, for Flamenco is as varied and as contradictory as the diverse peoples who perform it, and the even more diverse people who enjoy its performances.  It is sad … and it is happy.  It is an expression of erotic symbolism … and of religious spiritualism.  There is neither a beginning or an end.  There is only Flamenco, an all encompassing term referring to one of the most highly developed of folk art forms, yet retaining as its essence a flexible improvisational core which reaches its greatest peak in the hands of self-trained performers of tremendously imaginative and inspired genius. 

　　　In recent years, Flamenco has achieved a status of esteem and popularity which is surpassed by no other folk or art form of comparable nature. 　The folk dancers and musicians of many lands – Bali, Russia, Yugoslavia, Japan – have made successful tours through the United States, only to be forgotten shortly after they have left our shores.  Calypso has gained and lost popularity in cycles.  But Flamenco has remained the most popular imported musical expression in America for more than two decades, with no signs of abatement in interest.  Largely, this has been due to the continuing tours of its finest and most genuine interpreters: Antonia Merce, Carlos Montoya, Vincente Escudero, Sabicas, Carmen Amaya, ad various Spanish ‘ballet’ companies. 

　　　Flamenco is as contradictory as the Andalucian Gypsies who are its foremost exponents.  So, when one thinks of Flamenco … one thinks of gypsies.  How, then, can one be expected to listen to the interpretations of this gypsy art form when it is performed by a non-Gypsy?  Sill, in ANITA SHEER, Riverside has found that most sublime of all contradictions: the non-Gypsy interpreter of Flamenco who is so much the master (or mistress?) of her material that she is not only accepted by authentic Gypsy performers, but is given their greatest secrets, utilizing them to become the outstanding American interpreter of this vital gypsy lore. 

　　　For many years, Carlos Montoya, the master gypsy guitarist of them all, refused to teach Flamenco guitar to the numerous Americans who beseeched him to pass on to them his great talent.  Montoya maintained that no non-gypsy could ever learn his art-form.  Nevertheless, he consented to allow Miss Sheer to study with him, realizing in her the very contradiction of his thesis, for here was a gifted American with an amazing predilection for the music of his people.  So impressed was he with her talent ad interpretive genius, that he later turned over to her the task of notating for publication his own compositions and arrangements of gypsy guitar music. 

　　　Nor has this acceptance by gypsy artists been an isolated case.   Wishing to supplement her guitar virtuosity with the vocal art of Flamenco, she approached the renowned Nino Pavon for instruction.  Pavon was astounded that an America should want to learn Flamenco singing, but accepted the challenge.  Today, Anita Sheer is one of the proudest examples of his singing and instructional talents.  Miss sheer also acquired from Pavon a large repertory of Flamenco songs, to which she has continually added by learning from other Spanish gypsy performers, both in this country and in Spain, who saw in her the same genius noted by Montoya and Pavon.  Miss Sheer has since appeared in concert with her great teacher, Montoya – no small honor – and in addition has performed frequently on radio, television and concerts in New York, London and Madrid, and has toured the United States in a highly successful series of night club performances. 

　　　For this recording, Miss Sheer has prepared an exciting and richly varied program.  On most of the selections she sings, accompanying herself on guitar.  Two numbers (Zambrilla and Tarantas) are guitar solos.  An don four songs, in addition to her voice and guitar, there are the brilliant heels and castanets of Teresita LaTana (with dancer Osvaldo Baez also added on two other numbers) to help create a vivid and realistic portrait of the fundamental unity of Flamenco singing, guitar and dance. 

About the Music – 

　　　Sevillanas: The most popular song and dance form of the proud and romantic city of Seville, its origins dating back into the 16th century.  During her many fiestas, Seville echoes to the gay and vivacious (but never noisy) ring of her most genuine art form and greatest contribution to Flamenco: the Sevillanas.  This is one of the selections on which the talent of Teresita LaTana (plus the hand-clapping and audible enthusiasm of friends who were spectators at the recording session) add an additional dynamic quality. 

　　　Pena, Tengo, Pena: This is performed in the very old Tientos rhythm, first established as a popular song style by El Marruro and Manuel Torres.  In recent years, its greatest exponent has been the world-famous La Nina de los Peines. 

Jota: Second in popularity only to the Fandango among the folk-dance and song forms of Spain, the Jota originated in the Aragon region.  The song concerns angels in heaven, appropriately enough, “guitarricas” instead of the conventional harps. 

　　　Anda Jaleo: A fp;l,e;pdu set tp a Bulerias rhythm, which originated in the Jerez area of Andalucia, this song is typical of the gypsy treatment of Flamenco dance, which is characterized by extremely fast and intricate improvised variations of the melodic theme.  Again, Teresita La Tana offers vibrant assistance. 

　　　Tarantas: Born in the rugged mining regions of the Levante, the Tarantas are the ancient tragic laments expressing the sorrows and hard life of the laborers who firsr created them.  An outstanding example of the Hondo, or “deep” song.  Presented here in instrumental form. 

Malaguena: From the ancient and romantic city of Malaga, this song combines both Latin and Arab influences.  Its tale of love and rejection is universal one (similar, for example, to the American folk-blues, Careless Love), but its deeply emotional lines communicate a sorrow found only in the burning “heart-songs” of the people of Malaga. 

　　　Lerele: Here, as in so much of Spanish music, a Moorish strain predominates, producing a fascinating mixture of contradictory and complementary Eastern, European and gypsy elements. 

　　　El Tran-Tran: A Farruca dance rhythm in 4/4 time, this is a song without real words, its effectiveness stemming from its extreme vitality and an overwhelming impression of rhythm and force.  Farruca is the first dance that gypsy children learn, for it embodies the technique of all other Flamenco dances.  The dancing of Miss LaTana and Oscaldo Baez adds greatly to the powerful impact. 

　　　Asturias: Typical of many songs found throughout Spain which extol the virtues of local region or community – in this case, Asturia. 

Zambrilla: A second instrumental solo, and a particularly effective showcase for Miss Sheer’s talents as guitarist.  For the Zampbrilla involves numerous complex counter-rhythms, being a more complicated form of the Zambra, a couple dance of the Andalucian Moors which is one of the most beautiful of all Spanish dances. 

　　　Eres Alta y Delgada: IN sharp contrast to the fiery exoticism of the love songs of southern Spain, this love song from Montana, in the north, embodies the restraint so typical of the Castillian people. 

　　　Fandangos: A fitting climax to the record, Fandangos is probably the most popular of all Spanish folk forms.  It has a very ancient history, tracing back to the popular songs of the Moors, and in various provinces it has taken on varied and distinct special characteristics.  Here, Miss Sheer (again working jointly with the two dancers) demonstrates that most typical of gypsy traits, a sudden transition from sadness to joy, as she shifts swiftly from the characteristically slow Fandango to the spirited Fandaogos de Huelva. 

　　　(The notes on the selections prepared from data provided by Anita Sheer.) 

NOTE: RLP12-829 reissued as Washington WLP-742 “Anita Sheer: Flamenco” 

RLP12-829 (small blue)   

RIVERSIDE RECORDS are released by BILL GRAUER PRODUCTIONS 

553 West 51st Street New York City 19, New York 

​

A HIGH FIDELITY Recording  - Riverside-Reeves SPECTROSONIC High Fidelity Engineering (Audio Compensation: RIAA Curve)

Produced by ORRIN KEEPNEWS

Notes by KENNETH S. GOLDSTEIN

Cover photograph: JACK MANNING

Cover designed by PAUL BACON

Engineer: JACK HIGGINS (Reeves Sound Studios)

RIVERSIDE RECORDS are released by BILL GRAUER PRODUCTIONS, Inc.

553 West 51st Street New York 19, New York 

​

RLP12-830
BOB GIBSON: THERE’S A MEETIN’ HERE TONIGHT 

Bob Gibson (vcl, bj, 12 string g)  acc by Earl Backus (g, tambourine)  John Frigo (b) 

Universal Recording Studios, Chicago; June 11, 12, 13, 1958 

RLP12-833
PETER USTINOV: THE GRAND PRIX OF GIBRALTAR 

SIDE 1 

　Prologue 

　　Interview with:

von Grips; Altbauer; Orgini; Fantango; Foss; Dill; Russian Observer 

　　Drivers’ Meeting 

SIDE2 

　Governor’s Speech 

　Le Mans Start 

　The Arrival of the Duke 

　The Race: Fanfani pit stop;

Wildfowl pit stop; Orgini pit stop; Fanfani pit stop; Halfway report; 

Russiann Observer; Schnorcedes pit stop; Pifall pit stop 

　Epilogue