Music Effects

[uncredited artists] - Music Effects

released on LP in 1982

This is one of those LPs that is full of music cues for use in film, television or other types of productions. These could also possibly used for samples too. The tracks are grouped under categories such as moods, textures, tempos, etc. The track names are self-descriptive. I can't come up with anything else to say, so enjoy.

Tracklisting:

Side 1

OPENS AND ENDS

1.  Open with Cymbal Crash  {0:10}

2.  Open: Building Chords  {0:12}

3.  Open Same: Drums Only  {0:12}

4.  Open Same: Bass and Piano Only  {0:12}

5.  Drum Roll and Fade  {0:09}

6.  Big Show Opening  {0:07}

7.  Easy Ending with Bass, Piano, Drums  {0:09}

8.  Same with Horns  {0:09}

9.  Up Tempo Ending  {0:07}

10. Open: Scary or Weird  {0:17}

11. End: Scary or Weird  {0:20}

STINGS

12. Bass and Drums  {0:07}

13. Up Tempo  {0:05}

TEXTURES

14. Ominous  {0:30}

15. Cue 14: Bass and Horns Only  {0:24}

16. City Syncopated  {0:27}

17. City Syncopated with Bass and Horns Only  {0:26}

18. City Chase  {0:22}

19. Action Pattern: Drums Only  {0:27}

20. Action Pattern: Drums and Bass  {0:26}

21. Movement  {0:25}

22. Movement with Horns  {0:25}

23. City Life: Version 1  {0:37}

24. City Life: Version 2  {0:25}

25. City Life: Version 3  {0:26}

SOLO HORNS

26. Wah-Wah Horns  {0:26}

27. Wah-Wah Horns (underwater)  {0:26}

28. Start of Horse Race  {0:16}

29. Horn with Mute  {0:21}

30. Fanfare  {0:10}

TEMPOS

31. Samba  {0:22}

32. Disco  {0:48}

33. Disco: Drums Only  {0:47}

34. Waltz  {0:57}

35. Syncopation  {0:32}

36. Tango  {0:37}

37. Tango with Horns  {1:10}

38. Hora  {1:01}

39. Rhumba  {0:56}

40. March  {0:48}

41. Polka  {0:30}

Side 2

MOODS

1.  Cocktail Bar  {0:44}

2.  Cocktail Bar: Drums and Bass Only  {0:42}

3.  Swing  {0:28}

4.  Dread  {1:05}

5.  Bright Activity  {0:26}

6.  Oriental  {1:08}

7.  Oriental #2  {0:39}

8.  Lullaby  {0:27}

9.  Lullaby: Electric Piano Only  {0:25}

10. Silent Movie Pursuit  {0:52}

11. Jazz Moods: Rag  {1:13}

12. Jazz Moods: Boogie  {0:56}

13. Jazz Moods: Boogie Bass and Drums  {0:54}

14. Jazz Moods: Swing  {0:30}

15. Jazz Moods: Bebop  {0:27}

16. Jazz Moods: Progressive  {0:58}

17. Military  {0:33}

BASS AND DRUMS

18. Walking  {0:54}

19. Up Tempo  {0:51}

20. Slow  {1:08}

ELECTRIC PIANO

21. Runs Up the Scale (twice)  {0:13}

22. Run Up the Scale (slower)  {0:13}

BRIDGES

23. Trumpet and Sax (alto) Blues Riff  {0:21}

24. Jazz Bridge #1  {0:17}

25. Cue 19 with Drums and Bass Only  {0:16}

26. Jazz Bridge #2  {0:32}

27. Cue 21 with Drums and Bass Only  {0:31}

28. Horns: Sultry Trumpet, Mute/Sax  {0:40}

29. Cue 23: Full Group  {0:39}

Rod McKuen - Life Is

Rod McKuen - Life Is

released on LP

Ah, Rod McKuen. That sensitive sentimental poet mired in love and heartbreak. Just about everyone had a Rod McKuen album back in the day. His albums sold billions of copies which means that copies of his albums are often seen in thrift stores almost as much as Herb Alpert and those Firestone Christmas albums. Interestingly his material does not get any airplay on any oldies radio station or any radio station as a matter of fact. So, I first heard about Rod McKuen or actually seen anything about the man at some thrift store having seen a few of his albums such as The Sea, The Sky and a few others. This was when I first started seriously browsing in thrift stores in the first half of the 2000s. My parents may have been among the few people not into Rod McKuen as there wasn't anything by him in their collections (or they hid his albums very well from my nosey fingers and prying eyes). The former is highly likely as I never heard them speak his name to this day. And yes, they are into mainstream music not any of the weird stuff I like.

Anyway, this brings me to the album in this post. As already mentioned, many people know Rod McKuen as a sentimental romantic poet. However, Rod McKuen once had an edgier persona that his devoted fans may not have known about or care to know about. Life Is is a reissue of the album Beatsville which was released in 1959. Life Is was reissued in the late 1960s. The material on Life Is/Beatsville was written and recorded when Rod McKuen was a young man trying to be cool especially a beatnik. Most of the poems are a depiction of the beatnik or San Francisco bohemian lifestyle. The liner notes mention that many of these poems were first read at The Cellar, probably the coolest happenin place in San Francisco and America overall. Along with poetry about living the bohemian lifestyle there are episodes of sex and violence, two staples that usually make art worthwhile. Rod McKuen does demonstrate that he is struggling to be cool as in the poem, "No Pictures, Please". Eventually Rod McKuen ends up being rich and famous and beloved for being an uncool romantic sentimental sap; in other words being himself. He doesn't need worry about trivial things such as growing a beard, wearing turtleneck sweaters or assembling a collection of Lenny Bruce records in his pad (that means someone's home for you squares out there). The masses wanted love poems and Rod McKuen could deliver with ease.

There was another reissue of Beatsville called Rod McKuen Takes a San Francisco Hippie Trip aimed at you guessed it, the then-trendy hippie crowd. For some reason, the salacious material and language was edited out of this particular reissue.

The music accompanying McKuen's readings was arranged by McKuen himself. The liner notes credit Howard Heitmayer on guitar, Buddy Colette on flute and Paul Gray on string bass.

Come take a trip through the cool part of mid-20th century culture with all of the salicious material and language included courtesy of one of the least coolest people in existence.

Tracklisting:  (link will be back soon)

Side 1

1. Co-Existence Bagel Shop Blues {1:01}

2. Bearded Ladies {3:16}

3. Haiku Poems {1:53}

4. No Pictures, Please {2:19}

5. Back to Sausalito {1:24}

6. Three Songs for "S" {2:43}

7. RSVP {1:20}

8. Joue {0:19}

9. Reflections on a Plane Trip Home {1:04}

Side 2

1. Life Is {0:44}

2. The Elegant Prison Downstairs {2:14}

3. The Bird Boy {2:05}

4. Grant Avenue Square Dance {0:19}

5. A Gallery of Assorted Beats {3:58}

6. Get the Hell Out of My World {3:18}

7. Like {0:39}

8. What is a Fabian? {3:41}

Ed Summerlin and Roger Ortmayer - Liturgical Jazz

Ed Summerlin and Roger Ortmayer - Liturgical Jazz

This LP is a recording of a church service of morning prayer set to jazz music. This most likely was recorded and released sometime during the early 1960s.

Personnel:

Ed Summerlin - conductor and tenor sax
Bob Thomas - alto sax
Earle Dhus - tenor sax
Morgan Powell - trombone
Bob Foutz - lead trumpet
Tom Wirtel - trumpet and flugel horn
Gene Gandy - piano
Rich O'Donnell - drums
Don Ratterree - bass

On the two hymns Marvin Stamm replaces Bob Foutz and Dee Barton replaces Morgan Powell. Tom Wirtel plays the trumpet solos and Ed Summerlin plays the tenor solos.

Reading by Roger Ortmeyer

Some comments from the liner notes by Roger Ortmeyer:

There seems to be consternation in some ecclesiastical circles when a jazz liturgy is proposed. Among jazz enthusiasts the reaction is nearly parallel; perhaps more of bewilderment and unease than of consternation.
Both need to be dealt with, and both need to be enlightened.
The liturgist is convinced that into his hands has been given a sacred treasure and he must struggle against those who would weaken its vigor. He tends to have a somewhat dogmatic sense of what is "proper." Jazz seems too frivolous, too immature and too much identified with unsavory aspects of the world for it to accompany the ancient liturgical patterns of the Church. The traditional, stately and the acceptable has been the liturgical accompaniment he recalls and he is usually determined to keep it that way.
...
The liturgy, supporting which this composition has been written, is an order designed for regular Sunday morning services of a local parish. It was contained in a book sent by John Wesley, the founder of Methodism, to the organizing Conference of American Methodists in 1784. It's title was The Sunday Service of the Methodists in North America. His advice was that all the preachers should use it each Lord's day, feeling that it was the most "rational and scriptural way of feeding and guiding those poor sheep in the wilderness."
It will be noted by many that the service is essentially the order contained in The Book of Common Prayer. This is natural inasmuch as Wesley was a priest of the Church of England and was convinced to the day of his death that the liturgy of the Church was the best possible for the prayers of the people.
For most Christians, this basic pattern is the proper form of worship. It is a rehearsal of what they believe God has done for them, and their participation in the drama.
The rational of the liturgy is quite simple: 1) A representation of what the Christian believes God has done and continues to do through Jesus Christ, and 2) an enactment by each participant of this drama of salvation.
...
The music for the liturgy is a fine example of the coming of age of the jazz idiom. It explores in exciting fashion many of the features of contemporary "classical" composition while maintaining the necessary improvisation of jazz.
...
The conjunction of jazz with the spoken word forces the members of the congregation and the clerical leader to come to terms with the words of the liturgy. There is no lagging and day dreaming in this service. The worshipper is forced to shout his praises and, struck with trembling at his condemnation, rejoices in his absolution and in confidence makes offering of himself. Could anything more be asked of the music of the Church?
 
Tracklisting:

Side One

1. Prelude {5:10}

2. Collect for Purity of Heart {0:25}

3. Hymn of Praise: Love Devine {2:33}

4. Service of Confession {3:00}

5. Service of the Word {4:37}

Side Two

1. Te Deum {1:49}

2. New Testament Lesson (II Peter 1 3-11) {1:33}

3. Benedictus {1:21}

4. The Apostles' Creed {0:43}

5. Witness to the Word: Sermon {0:44}

6. Service of Offering {6:45}

7. After-Service {3:01}

8. Postlude {2:39}