Showing posts with label spoken word records. Show all posts
Showing posts with label spoken word records. Show all posts

Tuesday, May 7, 2019

Spoken Word Mythology and Folklore Recordings

I still have the open-reel tape on which I dubbed this LP, borrowed from the Enfield Public Library, ca. 1974. We didn't yet have a cassette deck in the then-current stereo system.
I genuinely loved the mythology and folklore (as well as fiction/poetry-reading) spoken word (and sometimes music) albums I could find when very young, from such labels mentioned in the not-great but legible OCR'd NY Times article at the link. More of these should be available still than are...from such labels as Caedmon, Spoken Arts, CMS, Folkways, Miller-Brody Productions (which did the Newbery Award Records), and others cited. And certainly read the books by Harold Courlander and others as I found them...this NYT article being from 1977 so that cheerful references to "the Mysterious East" were still "A-OK"...


ARCHIVES | 1977

Spinning Around the World On Recorded Folk Tales


Folk tales have apparently existed ever since there were people to tell them to each other—”tales or stories,” as the dictionary puts it, “handed down by word of mouth, by the common people.” All literature has its roots in these oral origins, and it is surprising in how many guises and in different cultures the same basic situations turn up. Talking tortoises and frogs abound on every continent; Cinderella surfaces in Africa as Umusha Mwaice; the heron and crab who run their race along a Melanesian shore are surely distant relatives of Aesop's hare and tortoise. The foolish folk in the South American story who believe that the moon has drowned in local lake and must be fished out have their counterparts in Ireland's Hudden and Dudden, who leap into Brown Lake to retrieve the reflections of their lost sheep and cattle. The stock of plots is limited. Bruno Bettelheim has said that such stories are best conveyed to children in live readings, or better still recounted spontaneously by parents or patient uncles in their own words. That is not always possible, so the hundreds of, recordings available on tapes and disks would seem to be the next best thing, and the performances are likely to be a good deal more absorbing. Beginning our recorded journey close to home with America's own tall tales, we meet up with Paul Bunyan and his Southern counterpart Tony Beaver spinning hyperbolic yarns of their prodigious feats. The reader is Ennis Rees, the drawl echt Southern (The Song of Paul Bunyan and Tony Beaver, Spoken Arts SA 954). The late Ed Begley is a droll delight as he speaks gruffly and straightfacedly of the weeping Squonk, the enormous Moskittos that buzzed around Bunyan's lumber camp and the square eggs laid by the Gillygaloo bird, in two volumes of tall‐tale animal stories as set down by Adrien Stoutenberg (American Tall‐Tale Animal, Vol. 1 & 2, Caedmon TC 1317/8, cassette CDL 5137/8). J. Frank Dobie's tales of the Southwest get bucolic readings from their author (Southwestern Folk Tales, Spoken Arts SA 722, cassettes SAC 6127/8). Diane Wolkstein, in her level, honest, earnest way, reads California tales, some with Spanish roots, in prose supplied by Monica Sharon (Spoken Arts SA 1107, cassettes SAC Really native American folklore, of course, belongs to American Indians. They are well represented through bird tales recounted around their hogan fires by the Navajos, in legends that transform the sun into a youth at dawn and crimson swan at dusk, in numerous anecdotes about the cleverness of the coyote. Here Caedmon favors real Indian performers‐actor Arthur Junaluska, himself a full‐blooded Cherokee, reading Clah Chee's Navajo Bird Tales (TC 1375, cassette CDL 51375); Swift Eagle, a Pueblo Indian chief, telling the legends of Kuo‐Haya and other stories of his people in The Pueblo Indians (TC 1451, cassette CDL 51327); Jay Silverheels, another Indian actor, dealing authentically with The Fire Plume and other legends of the American Indians (TC 1451, cassette CDL 51451). • On Folkways, an Indian Princess named Nowedonah, born on a Shinnecock Indian reservation in Southampton, Long Island, reads a legend about the island in the days when its name was Paumanok, but the voice is nasal and dubbed‐in piano music doesn't help (The Enchanted Spring, Folkways FC 7753). Spoken Arts fares better with Diane Wolkstein, in tales that deal with an Indian boy's efforts to get hold of a hunting dog, Now the coyote learned his crying song and how he lost out to the rooster as official sunrise‐greeter in Tales of the Hopi Indians from Harold Courlander's collection (SA 1106, cassettes SAC 6121/2).


More at this link...







Friday, August 31, 2018

FFR: THE ZOO STORY by Edward Albee, performed by William Daniels and Mark Richman (Spoken Arts Records 1964?); NO EXIT by Jean-Paul Sartre (as translated by Paul Bowles), performed by Donald Pleasance, Anna Massey and Glenda Jackson (Caedmon Records 1968); LUV by Murray Schisgal, performed by Alan Arkin, Anne Jackson and Eli Wallach (Columbia Masterworks 1967?); JUST SO STORIES, Volume II by Rudyard Kipling, read by Sterling Holloway; music by Tutti Camarata (Disneyland Records 1965)

I've noted before on the blog that storytelling albums, such as a Smothers Brothers item I was given as a very young child (Aesop's Fables, the Smothers Brothers Way) and a very few other comedy albums my parents bought (SmoBro, Firesign Theater) helped bend the twig, along with such inputs as an audio dramatization of Dracula I borrowed on cassette from my elementary school library (and my very young brother managed to record over) and a wider range of audio materials I found at the public library from about age 9 onward, have left me a lifelong fan of the audio drama and the well-performed reading. 

So, this week, revisiting some of the items of my past in this regard, which have become kind of remotely accessible when sought after at all...and certainly not on display for loan from public libraries or new purchase as they once were.


The Spoken Arts recording of The Zoo Story was probably the last of these I caught up with, in this week's set, and it was almost certainly not the first encounter I had with William Daniels in those days of the 1970s, but this was before I first saw the film of 1776, or of course his turn in St. Elsewhere or other, later television work...though I suspect I'd already seen him as the officious villain of the likes of The Rockford Files episodes. His name didn't mean much to me, if anything, though, any more than Mark Richman's did, though his voice seemed instantly familiar. Albee I'd heard of, mostly for Who's Afraid, but it was much more fun dealing with this bit of unprovoked parody, where (as you probably know) a somewhat fussy publishing executive is bothered while sitting, eating his lunch on a park bench, by a random stranger with a rather less settled life, and an outlook to match. Richman's bluff, somewhat reflective but arrogant swagger seemed even better-fitted to his role than Daniels's growing vexation...the role didn't allow him his later patented rage against whatever small irritants were bedeviling him. This was all but the Original Cast recording (apparently, the first US production had featured George Maharis in the Richman role, for about a week, before Richman took over), and it was an excellent introduction.

The Caedmon recording of No Exit, on the other hand, was among the first of the adult plays in the LP set format I listened to, given the horror-related theme of the work in question...and the production and performances struck me as excellent, as well as the play compelling (I don't think I was introduced to the concept of lesbianism by the play, but it wasn't too long after I learned the word, I'm sure...might've been as old as ten when I first heard this one). I was mildly aware of Donald Pleasance before the production, in much the way I was mildly aware of Sartre (I had read descriptions of his play, this Monty Python thing had a few jokes about him), but I was very impressed by this set...the recording below is slightly scratched up, but listenable:
No Exit


Now, by the time I tried this recording of Luv, Murray Schisgal's hit black comedy about suicidal and scheming NYC intellectuals in the then-present day (mid '60s), I was already a veteran of a number of plays on vinyl, and this one looked promising, even if doomed triangles (see above) were not a novel concept in my listening; I was already an Alan Arkin fan, from such films as Wait Until Dark, and was broadly aware of Jackson and Wallach...though the broad performances at the beginning of the play as recorded were a bit more offputting than I had hoped (I still haven't seen the little-loved film version, though as a stone Elaine May fan, I'll have to eventually...Nichols directed this version, and May takes the woman's role in the film, though as far as I know neither was involved with thought of the other in either version).  Another YouTube transcription of a scratchy but listenable copy (I have Never loved surface noise and worse damage on vinyl).
Luv, side 1

Luv, side 2

Luv, side 3

Luv, side 4























And while such labels as Spoken Arts, Caedmon, Argo and to a lesser extent more generalized labels such as CBS and RCA (or the little jazz label Prestige) would do spoken word recordings of often high caliber, one item that was actually purchased for my younger brother when he was only a year or so past recording over library tapes caught my ear, from the slightly improbable source of Disneyland Records...but Sterling Holloway's recording of Rudyard Kipling's fables was work that could and can stand alongside the fine work in folklore and youth-accessible literature the other spoken-word labels were offering...and the music, usually not missed in the other labels' recordings, was often not too shabby in at least such recordings as this. I don't think my parents ever got around to finding Vol. I for Eric, and I'm not sure I sought it out, but I did enjoy hearing this one with him.
"How the Rhinoceros Got His Skin"


For more purely literary contributions this week (except usually from Gerard Saylor, if he's contributing), please see Patti Abbott's blog.

Saturday, July 16, 2016

A Theodore Sturgeon Discography







Honorable Mentions:
In comments, below, SteveHL draws our attention to a streaming archive of the first episode of NBC Radio's Anthology, a 1954-55 series about poetry, which features a good interview with Sturgeon (and Helen Hayes reading Julia Ward Howe, among other bits and pieces). 

The flipside of this Radiola release is the Beyond Tomorrow (CBS Radio, 1950) adaptation of Sturgeon's "Incident at Switchpath"



Tuesday, November 3, 2015

Vincent Price: dramatic readings, audio documentary (of several sorts), and narration....spoken word recordings (and a little singing).

Among the Caedmon covers by Leo and Diane Dillon
I had included links to a couple of the Caedmon recordings in last week's Overlooked A/V...but Horror List member Jeff Swindoll pointing to The Sound of Vincent Price site on Monday, sadly with a number of its links dead or less complete than those below, made traveling down this rabbit hole almost inevitable...that and how much I enjoyed listening to Price's recordings previously linked...another, newer catalog page is at The Vincent Price Exhibit.

Samples of radio drama and cast recordings:

The Adventures of the Saint (CBS, Mutual/MBS, NBC Radio, 1945-51) starring Price as Simon Templar
Escape (repeat performance): "Three Skeleton Key" (CBS Radio 1950 originally)(recorded again in 1956 as an episode of Suspense)



Capitol Custom Records, 1962. Seattle World's Fair speculation on the next century, full of typical gosh-wow boosterism, and Alexander Laszlo's score. Selections audible here, at The Sound of Vincent Price (note blue vinyl).

from Darling of the Day (Original Cast Recording): "He's a Genius" (RCA, 1968) (Price speak-sings; Broadway production which flopped quickly despite major talent involved--co-star Patricia Routledge won a Tony for it.)


Side 1, Track 1: "PTA"
Side 1, Track 5: "The Joke"

(Cadet Records, 1970; sketch comedy featuring Price and a good cast generally.)



























The Price of Fear:  the complete series on the Internet Archive

The Price of Fear: "Specialty of the House" (ep. 11; adapting the Stanley Ellin story; BBC Radio 4, 1973)


In 1979, Price was the Wednesday night host for the mystery, suspense and horror episodes of The Sears Radio Theater. I'm not sure if he acted in any episode. (Five nights a week, slotted on CBS Radio with The CBS Radio Mystery Theater, also stripped, with Sears offering westerns (with Lorne Greene) on Monday, humorous drama (with Andy Griffith) on Tuesday, Cicely Tyson hosting romantic drama on Thursdays; Richard Widmark adventure drama on Fridays. Sears at 8p, Mystery at 9p in Honolulu. I don't remember at this point if KHVH-AM chose to continue clearing the Sears series after it went into repeats for a second season, moving to the Mutual Radio network, as the Mutual Radio Theatre...but it was a "faithful" CBS affiliate, and I'm not sure who was running MBS programming in Honolulu in that period (not that missing Paul Harvey broke my spirit in any way).

Spoken Word Records:
























Poems of Shelley (Caedmon Records, 1956)

"With a Guitar, To Jane" (and several more at adjoining links)

Co-Star: The Acting Game: Vincent Price (Co-Star Records, 195?)
--part of a series of Co-Star albums with actors playing scenes that took the Music Minus One concept to drama...you're acting, with script provided, the scenes with the actor in the album at hand. Albert Brooks must've had some of these...: "The Governor's Son"


America the Beautiful: The Heart of America in Poetry (Columbia Records, 1961) 


Tales of Witches, Ghosts and Goblins (Caedmon Records, 1972)
X

A Coven of Witches' Tales (Caedmon Records, 1973) 



























A Graveyard of Ghost Tales (Caedmon Records, 1974) "The Lavender Evening Dress"


The Gold Bug by E. A. Poe [not my favorite of his most revered tales], Caedmon 1974

















Edgar Allan Poe: The Imp of the Perverse and Other Stories (Caedmon Records, 1975)  "Morella"

"Berenice"

A Hornbook for Witches (Caedmon Records, 1976) 


Edgar Allan Poe: Ligeia (Caedmon Records, 1977) 


The Goblins at the Bathhouse and [The] Calamander Chest (Caedmon Records, 1978) Part 1 of the Ruth Manning Sanders story

Part 2
Part 1 of the Joseph Payne Brennan story
Part 2

Fancies and Goodnights: The Stories of John Collier (Caedmon Records, 1980)
"The Touch of Nutmeg Makes It" (rather quiet transcriptions at time of linkage)







HarperAudio, which bought the Caedmon catalog, has reissued some of these recordings in various compilations, and licensed a few others to other labels.






Audio/multimedia documents:









Panorama: A ColorSlide Tour of  the Cleveland Museum of Art, Cleveland, Ohio (Harry Abrams/Columbia Record Club 1960) a book with slide cards (one presumably was provided with a custom projector when one subscribed to Panorama)  and a 7" 33rpm disc, as with several others narrated by Price (at not quite double-time to cram it all in 16 minutes, in this case) among other hosts--I had a secondhand couple of the books in the Panorama series when I was young, with the slide cards but no projector and no records still with them.
















Witchcraft--Magic: An Adventure in Demonology (Capitol Records, 1969)
--an attempt at "nonfictional" documentary in a double-album set



Price had also done a fair amount of recording (or endorsing, as in the case of Gallery) about cooking and wine, and audio documentaries about Christian matters, including the double-album His Son, and an earlier LP devoted to musical impressions of artworks Price appreciated, Gallery.

Monday, September 28, 2015

Alternate World Recordings and Analog Records: Spoken-Word and Audio Drama devoted to fantastic fiction

Alternate World Recordings first issued an LP, by actor and professional reader Ugo Toppo, of Robert Howard's work as From the Hells Beneath the Hells in 1975,  which had sold out by the point in 1977  when the ad below was put together, offering the balance of the recordings they would release. Analog Records was a short-lived flier taken by the staff of the magazine to see if there was much of a market that AWR and the more established spoken-word labels (Caedmon, Spoken Arts, et al.) was perhaps not saturating...the dramatized Nightfall (with a brief conversation between Asimov and Analog editor Ben Bova appended) was their only release, though if there had been a second it was apparently set to feature Gordon Dickson's Dorsai stories and at least one or two of the songs he had written to go along with them. AWR's Shelley Levinson, in the '70s married as Shelley Torgeson, went on to co-found the Harlan Ellison Recording Collection among other work; her short film "Violet" won an Oscar in 1982.

Theodore Sturgeon also recorded excerpts from More Than Human for Caedmon, and the Library of America has some on-line here.
From UnEarth: The Magazine of Science Fiction Discoveries, Winter 1978; courtesy Jesse Willis at SFFaudio.
 Includes "When It Changed", "The Great Happiness Contest", "Gleepsite" & "Man, One Assumes, Is The Proper Study Of Mankind". 


























Featuring the painting Ed Emshwiller did for the Sturgeon issue of F&SF































































As reissued by the HERC (note logo at bottom right)


Courtesy Evan Lewis, who has the sound files up at his blog.


Further images of Nightfall:




Further images of Frankenstein Unbound:





Further images of Blood!