An original record album by "TED HEATH " ."THE MUSIC FATS WALLER ".LONDON

Jasmine Records (UK)

West End Records

Personnel: Fats Waller (vocals, piano, celesta, organ, vibraphone); Fats Waller (spoken vocals); James "Hal" Smith , James Smith (guitar); Benny Morton's All Stars, Benny Morton (trombone); Harry Dial's Blusicians, Harry Dial (vibraphone, drums); Elizabeth Handy (vocals); Albert Casey (guitar); Rudy Powell (clarinet, alto saxophone); Gene Sedric (clarinet, tenor saxophone); Emmett Matthews (soprano saxophone); Bob Carroll (tenor saxophone); Herman Autrey, Bill Coleman (trumpet); Hank Duncan (piano); Arnold Boling, Slick Jones, Yank Porter (drums); Charles Turner.Audio Remasterer: Ted Kendall.Recording information: Camden, NJ (11/16/1934-08/01/1936); New York, NY (11/16/1934-08/01/1936).Author: Ted Kendall.Arrangers: Don Donaldson; Alex Hill .The third volume in JSP's massive library of Fats Waller's Complete Recorded Works brings together all of the commercial studio recordings he made between November 16, 1934, and August 1, 1936. The first four tracks ("African Ripples, " "Clothes Line Ballet, " "Alligator Cr

Hep (UK)

Capitol/EMI Records

Each song on the sprawling double album {^The Beatles} is an entity to itself, as the band touches on anything and everything it can.

Like Hallmark's 1996 Fats Waller "best-of" collection, this label's Ain't Misbehavin' is a jumbled mass of Waller material, although tune for tune the selections are slightly stronger than on the earlier release. These recordings, made between 1929 and 1940, include solo essays on piano and pipe organ, two gutsy little jams from 1929 featuring the first band to make records as Fats Waller & His Buddies, and a rowdy rendition of Slim Gaillard's "Flat Foot Floogie" recorded in London by Fats Waller & His Continental Rhythm in 1938. Tossing Waller's Buddies' recording of "Harlem Fuss" into the middle of a batch of songs whipped off by his Rhythm band during the 1930s rather muddies the palette and smears the distinction between the Prohibition-era intensity of the hastily assembled Buddies and the more routine proceedings of Waller's Rhythm, a group that settled into a pattern of Bluebird record production that would only cease with the union-imposed recording ban of 1942. This is a good album to have around unl

Capitol/EMI Records

The classic original Beatles studio albums have been re-mastered by a dedicated team of engineers at Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the Beatles catalogue has seen since its original release. Within each CD's new packaging, booklets include detailed historical notes along with informative recording notes. For a limited period, each CD will also be embedded with a brief documentary film about the album. The newly produced mini-documentaries on the making of each album, directed by Bob Smeaton, are included as QuickTime files on each album. The documentaries contain archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere.

This 1995 release is a slightly scaled-back, budget-priced version of the original London cast recording of The Music Man, released 23 years after Stanyan Records brought out an American LP release of the album, originally issued in the U.K. on RCA Victor Records in 1961. It took more than three years for Great Britain to get its own version of the 1957 Broadway hit when the London production of The Music Man opened for the first of 395 performances on March 16, 1961. The chief draw was movie star Van Johnson in the starring role of the con man, Professor Harold Hill, who convinces the residents of River City, IA, that there's trouble in their town and they need a boys' band. British audiences may have been baffled by the show's distinctly American tone, but they flocked to see Johnson; the production closed down shortly after he left. Still, he is no competition for Broadway's Robert Preston, having difficulty getting all those words out of his mouth in the rapid-fire manner required, and the part really cal