Sammy Marshall and the Teen Notes on Crescendo Records

Here is a record that has been sitting on my "consider using these" pile for at least six months, possibly a lot longer. And I'm not sure why I've left it sitting there, as it is quite good. Also, I've barely featured Sammy Marshall this year, so that's another reason to grab it right now and plop it onto my site. 

This is early Sammy Marshall (identified on this record as being backed by "The Teen Notes", for the first and likely only time). This is an early entry from the Globe song-poem factory, before they threw up their hands and started making every record sound lifeless and very much just the same. It's one of a handful of records that Globe released on their Crescendo imprint (not to be confused with the LA label GNP Crescendo, which was a legit outfit and had hits with both 45s and albums).

I have only heard a few Crescendo records (there only are a few), but most of those I've heard are much better than the average song-poem at sounding like what was being released by the "real" record companies of the day - they consistently sound like something which could have been legitimately produced for, and targeted at, the teen market in the early 1960's. Maybe not the best effort in the world, but there is nothing here to indicate that amateurs or scammers were involved. 

The only other Crescendo record I've featured here - 14 years ago - is the most excellent "Picture in the Fire", which you can hear here. 

If you play a Halmark, Film City or Noval record for a music buff who is unfamiliar with song-poems, that person is going to wonder what the hell produced such an odd, weird or perhaps awful record. If you play this record for the same music fan, the response is likely to be that it was a failed attempt at a hit. 

The A side is "Tinsel and Tin", and it has a loping beat, an effective piano part, winning backing vocalists, a memorable and catchy melody, and a first rate vocal from our man Sam. 

Download: Sammy Marshall and the Teen Notes - Tinsel and Tin

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The flip side is called "Outside of That", and I would say that most of what I said about "Tinsel and Tin" applies here. In fact, the lyrics here are pretty damn effect and fit quite well into what one might have heard on what Billboard would have called a "Rock-a-Ballad" in 1961, which is when this record was released. In a somewhat different arrangement, I could absolutely hear Gene Pitney (a favorite of mine) singing this song and these lyrics. 

Download: Sammy Marshall and the Teen Notes - Outside of That

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George and Kay! Who Are They?

Today we visit the land of MSR Records. As long time readers of this site may recall, I'm not much of a fan of this label, or really of anything that the "MSR" crew was doing from the early 1970's (at this label and others, such as Cinema). That puts me at odds with the powers that were behind the song-poem boom and CD releases of 25-30 years ago, who actually named their series after the label. Perhaps it puts me at odds with my readership, too - I dunno. I just find their material far more frequently sterile and boring than other labels. Plus, the early '70's to the mid '80's are simply not my favorite era, and those are the sounds they were aping. For what it's worth, I like the sound of the Columbine label (which operated in the same eras) even less than MSR, and for the same reasons. 

But I do like to throw out an MSR track every now and then, if for no other reason than to provide a more full picture of the song-poem world. And at those times, I also try to offer something interesting. 

To that end, today I have a record for which both sides were written by song-poet Fred L. Chitester. Mr. Chistester was a prolific song-poet, and apparently had enough money to throw around to have nearly two dozen documented releases of his handiwork on the MSR label - and those are just the records discovered before the song-poem archives website was mothballed. He submitted a handful of songs to the label around 1974-75, and then at least a dozen during 1979-80. This includes a couple of albums in that period which each featured five Chitester songs. 

The song that intrigues me here is "George and Kay", sung by the always incompetent Bill Joy. Bill Joy was the dominant male singer during the last days of MSR, starting in 1976 or so, and, by 1980, was singing all but a handful of the male vocals on the label until its demise in the mid 1980's. And he was awful. The first time song-poems were explained to me (by Dr. Demento), the song used to demonstrate the genre was a Bill Joy special, "How Long Are You Staying?" (I had heard song-poems before that, but hadn't known their provenance.) 

"George and Kay" intrigues me because of its lyrics. It seems to be about a famous couple - or at least locally famous, somewhere. They are seen every day, but what the song-poet appreciates about them is how they always do right, and are always bright, smiling and happy, and in particular, how they make a point of not ever telling anyone else to do. Mayhap I am spacing on a couple who were famous in 1980, but I have no idea who he is singing about. The music is vapid, particularly that awful synthesizer which is omnipresent on MSR releases of this area, and Bill Joy provides his typical supper-club awfulness. 

Anyone know who he's singing about? 

Download: Bill Joy - George and Kay

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The real horror here is the flip side, "When You Are Low and Feeling Blue", in which the solution for clinical depression is to "Change Your Ways", or perhaps move somewhere where you can pretend to be upbeat and "no one will know" that you're depressed. 

Have I mentioned my 35 years working in behavioral health? This is an infuriating lyric - because I know there is a certain subset of people out there who think like this. God help 'em if they developed a behavioral health condition. 

Download: Bill Joy - When You Are Low and Feeling Blue

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First Person Christianity

In the notes to the fourth song-poem compilation album, "I'm Just the Other Woman", there was a section in which was pointed out an uncommon aspect of the song "The Will of God", that being that it was sung from the perspective of the singer being Jesus Christ. And I agree that such a conceit is a fairly unusual one. 

Here we have another one, from the waning days of the once-great Sterling label. Sterling's greatness came from one man - Norm Burns, a singularly great singer - with a large assist from one other man - Lew Tobin, the arranger and frequent composer who set the song-poems to music. Well, Norm died in 1974, and was followed by a series of much-lesser lights, and Lew's name - which showed up as a bandleader and/or co-composer on the vast majority of Sterling records releases into the mid-1970's, disappeared from the credits, never to return, right around the time this record was made. 

The singer on this side is Mel Moore, heard here with "The Starlets", who was the dominant performer for Sterling from around 1977 until their demise around 1984. I have a few Mel Moore 45's, but had never featured him before, largely because Sterling records after the departure of Norm and Lew are often deadly dull. 

But I do get a kick out of this one. Jesus is singing the song, you see, exhorting his listener to "Walk On" and "Stand Tall", those being the two parts of the title of the song. Jesus doesn't actually get around to identifying himself until nearly half way through, by which point he's clearly irritated at not being asked "Dude, who are you anyway", and gives away his secret. I can commiserate with him there - it seems like that might be a conversation you'd have with some random stranger who was telling you how to live, somewhat earlier in your interaction. 

For all I said about the suckiness of late era Sterling records, this one is actually bouncy and even sort of swings, with a Johnny Cash, "I Walk the Line" beat on the drums, a really nice interplay between the piano and the guitar, and an equally nice give and take between the lead singer and the backing gals. It's a sweet sounding track. 

Download: Mel Moore and the Starlets - Walk On - Stand Tall

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Shelley Stuart (whose name I now see I have misspelled on more than one occasion here) is the singer on the flip side, another religious number from the same song-poet. Shelley shows up on a few of the earliest tracks on Sterling, and then made well over a dozen records for the label during the period just before Norm Burns' death, but this is a later release for her on the label that I can find reference to online, exactly one hundred label numbers later than her previously known last release. For a label that seems to have released only 40 or 50 records a year, that's a significant gap of time between recordings. 

Anyway, Shelley's song, "Live For Jesus" is awful. It goes on for about 17 days, or at least it seems to. The folks at Sterling did do an effective job of creating the sort of dashed-off gospel/inspirational sound that could have been heard on a dozen religious fund-raising TV shows or cheapo Christian albums of the time. It's not a good sound, but they did a good job capturing it. 

Download: Shelley Stuart and the Starlets - Live For Jesus

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A Texas Two-Fer

Today, we make another visit to the waning days of the great Film City label. This is number 4035 on the label, that label having started at #1000 and going to around # 4140, so this is late indeed. It's two releases up from Rod Rogers' great "Little Rug Bug", so there is quite the chance that Rodd Keith is also the Chamberlin master herein. And like several other releases in this numbering sequence, this record appeared on goldish-yellow vinyl. 

The singer is Jim Wheeler, about whom the less said the better, and the songs - both about Texas - represent a fairly rare occurrence in the land of song-poems, and that is, submissions by a songwriting team. Both of these song-poems were written by the same two-man team. Does that mean they wrote the words AND music (making this more of a vanity number), or just that they both wrote the "song-poem" lyrics. There's no way to know for sure, but these melodies and chords sound so traditionally "Film City-ish", that I'm betting these were traditional song-poem, with music by the Film City crew, and not a full submission of completed songs. 

The better of the two by a wide margin - better being very much a relative term here - is "Remember the Alamo". It is peppy, with a creative backing arrangement, a nicely structured "string section" solo and a lilting melody. And best of all, it doesn't wear out its welcome, ending in well under two minutes. 

But please, while everyone is remembering the Alamo, let's not forget that those fighting for America were on the wrong side of history: The battle at that time and place was really about trying to control Texas in order to allow those living there to have slaves, a practice that Mexico had outlawed. 

Download: Jim Wheeler and the "Swinging Strings" - Remember the Alamo

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I can muster up no enthusiasm for the flip side of this record. "The Beautiful Texas Waltz" goes on for roughly five days, or at least seems like it (it is actually just under twice the length of "Alamo". The word "dreary" comes to mind, which is unfortunate, as the song tells a happy story, and seems to have been designed to be a counterpoint to "The Tennessee Waltz", a song with a positive outcome. 

I'd also like to point out that both of these songs contain the weird feature - mentioned here from time to time - of songs which have a fade out, but then end before the face out is completed. Why fade a record out if you ended on a full stop? 

Download: Jim Wheeler and the 'Swinging Strings' - The Beautiful Texas Waltz

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Hitting On the Nurse

We're featuring Gene Marshall and his lovely voice today. The song has the promising title "Patient and His Nurse". Perhaps Song-Poet Harry Fineburg was writing from personal experience, perhaps he'd been watching a few soap operas, or perhaps he was just letting his imagination run wild. I say this because, to me at least, these lyrics seem to indicate the patient - who is heard in first person in the lyrics - is quite enamored of, and seems to be at least passively hitting on, his favorite nurse. 

Perhaps there is another explanation. Feel free to chime in. 

Download: Gene Marshall - Patient and His Nurse

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"All That Remains" on the flip side, is a wisp of a song and lyric. Both sides of this record are padded out to an acceptable length (for a 45) by having the chirpy background singers go on at length (as well as short periods of instrumental vamping by the band), and then having Gene sing a verse he'd already sung. This is egregious even in "Patient and His Nurse", in which we have heard all of the available lyrics at the 70 second mark. In "All That Remains", we've heard every written lyric by the 49 second point, and even WITH the padding, the record is STILL only 110 seconds long. 

Download: Gene Marshall - All That Remains

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His Body Don't Rest Easy

I prepared this post about five days ago, and then didn't post it. I didn't realize it until this morning. Sheesh. 

I had the following question from an anonymous poster regarding the Tin Pan Alley label: 

Was the Tin Pan Alley label exclusively a song poem label 

or did they also do vanity press records and bootleg reissues?

Thanks for an interesting question! Any answer I would give would rely heavily on the piece about TPA that Phil Milstein wrote more than 25 years ago at the AS/PMA website, which you can find here. 

In a bit of a summary, TPA certainly started off with more a "legit" feel than the other labels, using established groups and behind the scenes musicians who would go on to bigger and better things, and charged much more than the other labels, while turning out material several levels more "legit" sounding than many of their peers in the early to mid 1950's, but soon enough (certainly by around 1958), they dumbed things down, simplified their work and started turning out many of the weird records I've featured here. The label seems to have started with record 100 - by early in the 200 series, the silliness had already set in.  

A few of their pre-downgrade records (from the 100 series) fetch hundreds of dollars. This has definitely led to repro and bootlegs of those specific releases (I just sold one of those repros on eBay - even the repros are collectable!), but I have no information indicating that TPA re-released those themselves. I suspect the repro game became hot well after TPA ceased to exist. But this is little more the speculation on my part. 

I have not personally seen anything on TPA that is clearly a vanity release (i.e. written by the same person who is performing the song, which was frequently the case at another 1950's label, Fable). TPA tended to have a couple of singers in their stable at a time, and nearly everything during... whatever period you are looking at... .features those same singers again and again, rather than some outlier singing his or her own material. 

There is, however, one exception on that TPA discography website, one which is sung by the writer of the song, and one which has a completely different numbering system than the rest of the documented releases: 

PA 1101: Elmer S. Galloway -- Your Voice Is Like A Song / Take A Cup Of Kindness (both wr. Elmer S. Galloway)

So there's that!

And speaking of Tin Pan Alley: 

If anyone represents the idea that TPA stuck with the same singer(s) at length, it's Mike Thomas. Obviously, the song-poem website is mothballed, and having been updated in some 20 years, but for those records captured on the TPA page of that website, Mike Thomas' run of releases starts at # 538 (and I recently discovered he did a few, before that, under what I assume is his real name, Mike Yantorno), and then proceeds to be the named artist on every single then-identified TPA release until # 914. And at that point, a group called "The Melodiers" take over the next several releases. The lead singer of "The Melodiers" being, quite obviously, Mike Thomas. 

Anyway, here's Mike Thomas and the small, energetic TPA combo, with a song called "My Body Don't Rest Easy". I really enjoy the energy on some of these upbeat performances by this admittedly limited, but very peppy group. 

Download: Mike Thomas - My Body Don't Rest Easy

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The first thing I have to say about "The Flowers Came to Late" is that the band should have stopped and started over again after the guitarist got his instrument in tune. Aside from that, as in general, these guys are less interesting in mid-tempo numbers (especially when the song-poetry starts to get recited as it does here). I still enjoy the interplay of the organ and guitar here, in spots, especially on those lovely 7th chords transitioning the melody into another section, as well as the little solo at the end. And at this speed, they were still better than they were on the dirges that they sometimes had to perform. 

Download: Mike Thomas - The Flowers Came Too Late

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A 1960 Wolf-Tex / Globe EP

I've only shared two posts this month, but I made both of them EP's, to make up for that low number of posts. Today's offering is from the Wolf-Tex label, a somewhat schizophrenic outfit that seemed to sometimes serve as the outlet for the song-poems of Carrie Biggs and Stanley Herron, among others, while also releasing rockabilly and country records by a few acts, including one Harold Montgomery, the father of John Michael Montgomery, as well as another which fetches over $400 on the rockabilly market. And yet... some of those records may have also been song-poems. 

Their record number system also went through a few revisions, with records sporting three digit, four digit and even five digit label numbers across what were a small number of releases. The song poems on Wolf-Tex seem to have all (or nearly all) come from the Globe song-poem factory. I get much of this information from the Wolf-Tex page at the AS/PMA website, where you can also view a photo of the delightful Carrie Biggs, although I also own several records on the label not reflected on that page, and there are multiple YouTube videos of records on the label - although not this one.

Three of the four songs on this EP are listed as being sung by Kris Arlen and John Hurley. "Kris Arlen" is most certainly the singer variously identified elsewhere on song-poem records as Kris Arden, Joan Auburn and Damita. I have identified her as Kris Arden in the tags, as the Arlen name seems to have been limited to Wolf-Tex releases. Who John Hurley is/was, I have no clue.  

Two of the three songs are most definitely songs sung from a male perspective towards/about a female, and the main vocalist is John Hurley, yet Kris Arlen is listed first for all three, even on our first track, "Be the Little Girl I Used to Know", where she is barely present aside from a few harmonies and wordless backing vocals. 

More curious still: The three Arlen/Hurley tracks are listed as featuring the "MG Orchestra". MG appears to have been a vanity label with no direct link to Wolf-Tex, aside from the common link to Globe, and what's more, the label appears to have only ever issued one album, and it has no songs written by those song-poets whose name appear and recur on Wolf-Tex releases. The mysteries of the song poem world.  

Download: Kris Arlen and John Hurley, MG Orchestra - Be the Little Girl I Used to Know

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The second song on side one is "Little Nobody (Somebody Loves)", and if anything, first-billed Kris Arlen is even less featured on this track, providing multi-tracked harmony backing vocals and not sharing the lead with John Hurley at all.  

Download: Kris Arlen and John Hurley, MG Orchestra - Little Nobody (Somebody Loves)

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~~

The Globe factory's MVP, Sammy Marshall, shows up for one song on this record, curiously also assigned an orchestra, rather than a singing credit, and assigned not to MG, but to the parent company, Globe. The song is "If You Forget Me, I'll Die". Interestingly, this lyric (but not, technically, this song) is available on YouTube, in a version on a Wolf-Tex single (not an EP) and also sung by Sammy Marshall, but that version is completely different - and superior, I'd say - to this one. It's got a different melody, chord structure, rhythm, everything!

Download: Sammy Marshall Orchestra - If You Forget Me, I'll Die

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The record finishes with another "duet" featuring Kris and John, but really mostly John (again). At least on "Miss Belle of the Blue", they due sing in harmony here and there. This song is about a beauty contest in Kentucky. You'll be glad to know that the first two qualities upon which the winner is chosen is her figure and how she does her hair. And as with the previous Sammy Marshall track, this one is ALSO available on another, at least somewhat better Wolf-Tex 45, which is somehow identified on YouTube as Bluegrass (??), and which can be heard here. 

Download: Kris Arlen and John Hurley, MG Orchestra - Miss Belle of the Blue

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A Quartet of Dreamy Love Songs from Cara Stewart

Howdy, 

It's been nearly three weeks - events at home continue to leave me with little time for fun and games. Hopefully, that will change soon. But for now, I will pretty much slap up some stuff worth hearing without significant comment. 

I do, however, want to share that Sammy Reed, who knows his Bobbi Blake far better than me - maybe better than anyone - has cast doubt on my supposition in my last post that the singer of those songs was Ms. Blake. I have changed the text on that post and the tags accordingly. Thanks, Sammy!

~~

As I said, nothing much to say today. Here are four love songs, from and Air Records label EP. They are all more or less in the same dreamy style, and all written by the same song-poet, sung by my favorite female song-poem singer, Cara Stewart. 

The songs are "Once Again, Once Again", "Heart Flame", "Worn Out Words" and "Do You?". 

The only comment I have is that "Once Again, Once Again" (would that be Twice Again?) comes pretty darn close, at times, to infringing on the copyright for "The Tennessee Waltz". At least to my ears. 

Here they are:  

Download: Cara Stewart - Once Again, Once Again

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Download: Cara Stewart - Heart Flame

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Download: Cara Stewart - Worn Out Words

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Download: Cara Stewart - Do You? 

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Linda Dahrling's Greatest Hits

Right off the bat, let me point y'all to Sammy Reed's page, where he has just posted a fairly ridiculous song-poem album. 

And now: 

Today, I have a bit of an oddball release - this preview release appears to be the only record ever credited under the oddly named spelling "Linda Dahrling". It's been suggested to me that this is Bobbi Blake, and I initially identified her as such, but Sammy Reed, who knows his Bobbi Blake perhaps better than anyone in the world, says that's not the case, and suggests that it might be the singer identified elsewhere as Joan Merrill. I have no idea, so I am leaving her identified as Linda Dahrling in the tags. 

This is clearly, to my ears, a Rodd Keith production, and I'm fairly certain that's Rodd singing in the background, too. It's not one of his best - both songs sound very much alike to me and the level of creativity is far below what he was capable of. But... it's a relatively early Preview release with Rodd's involvement and for those reasons alone, good enough to share. 

The first song is "Poor Little Sparrow", in which the song-poet minimizes the future problems of a bird suffering from a broken wing (she seems to think it will heal itself - I don't think it works that way) when compared to her life, given that her man is in Vietnam and might not come back. 

Download: Linda Darhling - Poor Little Sparrow 

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The flip side, "God Bless You" is standard issue "thanks for loving me" paean to a woman's lover. 

Download: Linda Darhling - God Bless You 

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Blazing Hoofs and Impeachment, Too! - Another Ridiculous Record from Gary Roberts

Hi, everyone, 

Well, I said things might slow down here and they sure enough have. I want to explain that an immediate family member has received a serious diagnosis and has had two surgeries since my last post. Depending on the news coming in the next week or so, I might return to having the same amount of time to post here as in the recent past, or... I might not. I hope you will continue to visit and view, read and listen whenever I do post. 

But I do have something today, a record I pretty much literally JUMPED at the chance to buy on eBay, just based on a awesomely weird titles, and the fact that the songs attached to those titles were such by the ridiculous Gary Roberts. 

"Blazing Hoofs". Okay. I had to look that up, and it appears that, in addition to "Hooves", "Hoofs" is an acceptable plural of "Hoof". Who knew? It still looks goofy to me. And of course, who better to sing a western outlaw ballad than Gary Roberts. I know, almost anyone would be better. After a faux Flamenco guitar introduction, the band settles in to a "Western" gallop which is about as authentic as one might have heard at the time in a skit on a local kiddie TV show. 

The lyrics are a compendium of genre clichés (although I did web search for the phrase "My Pinto's Going Dry" and it literally came up with no hits - an absolutely original, if genuinely stupid, set of four words). The words of the lyrics are manipulated into phrases that just don't work, all for the sake of rhymes. My favorite example, in which a rhyme for "sleep" was needed: 

The girl I left behind / yes the girl who says she's mine

Whom I kissed before I left / began to weep

The whole thing is over in barely two minutes. I found myself wondering what Halmark would have done with this material. 

Download: Gary Roberts - Blazing Hoofs

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Based on Sterling's numbering system, it would appear that his record came out at the end of 1974 or, more likely, in 1975. And that would line up nicely with the title of the flip side, "Impeachment of Love", as well as with the wah-wah sound and beat (such as it is) heard on the track. 

It is, as you might guess, a song of a cheating lover being discovered. We're off to a fun start in the two lines, in which "love" is rhymed with, um, "love". And then, when the protagonist discovers his lover's indiscretion, he appears to have witnessed - "Hiding like a clown" (another line shoehorned in to create a rhyme) - an unusual lover's embrace, to be sure: 

I saw you kissing, embracing and strangled in strangled in strange arms.

Gary gives his all to try to sound outraged, hurt and enraged, but it's just beyond his abilities. Just picture what Gene Marshall, for example, could have done while singing that last verse. 

Download: Gary Roberts - Impeachment of Love

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All in all, money very well spent. 

Rocket To the Moon

As I alluded to in my last post, I have precious little time right now, so I will not have much to say. I do want to share a vintage song-poem ad sent to me by longtime reader/listener/commenter Tommy. Here it is: 

Thanks, Tommy!

~~

Today we have the always entertaining and barely competent Billy Grey, on the Tin Pan Alley label. The song is "Rocket to the Moon", the conceit here being that, apparently, going into outer space is the latest move to make when one is pursuing romance (?). My favorite line, a complete non-sequitur, is "Let's Not Be Different" - I can't figure out what that means, in OR out of context. 

Download: Billy Grey - Rocket to the Moon

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On the flip side, with virtually the same tempo and feel, is the sad lyric of a man who has learned his gal is moving on. He is nice enough to tell her "you're free to go", which is mighty sporty, but he'd really like her to stay, even redundantly saying "Please darling, please change your mind". 

Actually, the best things about this track, by far, are the guitarist and drummer, who are clearly in a better record than the singer, particular in the last 20 seconds, when the drummer, in particular, seems to think he's playing with a hard rock band. 

Download: Billy Grey - Darling, Please Change Your Mind

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An Easter Egg For You - A Rare Rodd Keith Album from Australia - COMPLETE!

First, let me just say that there are some things going on in my personal life which may - or may not - impact just how much time I have to give to sharing and writing here for the next month or more. If there are fewer posts, I hope it is only for this month and next. 

But TODAY, I have something ultra rare and exciting: An entire album that Rodd Keith produced, under the Film City umbrella but clearly with more money and options, for a song-writer in Australia, and released in Australia on a legitimate Australian label - W & G records. 

The existence of this album has long been known, and its contents are duly related on the Film City page of the song-poem website - although that listing shows that the album was released domestically by Film City. But I can't find that its contents have ever been shared online. My copy is the Australian release, obtained from a friendly Australian record dealer named Michael. Thanks a million, Michael!

The album is called "Island Songs of the Great Barrier Reef", and indeed, all twelve songs are about Hayman Island and the surrounding areas. 

I am fairly certain that this entire album is a song-poem/vanity hybrid album, and that these are songs written - music and words - by the listed songwriters: Reg Hudson for the first song, and John Ashe for all the others. The tunes are quite pedestrian, for the most part, although some have a nice, and appropriate, South Pacific type of lilt. But none of them have the sort of tune-writing excellence I would associate with Rodd Keith. 

What they DO have, though, is embellishment. This is Rodd Keith working with at least a somewhat larger budget than he usually had, particularly at Film City, where he was usually a one-man band. Not only is there a female singer heard nearly throughout the album - heard, in fact, virtually as much as Rodd himself - as well as both a female chorus and a mixed chorus on other songs. There are also horns playing here and there - a sax solo on the first, song, for example, and a veritable Dixieland combo playing on the fourth song on side two, South Molle Memories. In addition, there is clearly a "real" piano being played over the Chamberlin backing on a few tracks. 

And despite the bland nature of the tunes, Rodd's musicianship, vocal chops and particularly, genius for arrangement, shine through over and over again. 

Below are files containing each of the two sides, with no attempt made to separate the tracks, followed by photos of the album and the labels. 

I have NOT listened to the files I made of this album - I listened to it first before making the files, and as I said, I'm a bit busy just now. If there are any glitches, let me know and I will fix them. 

I hope you receive this with as much excitement and enthusiasm as I had in receiving it. 

Download: Rod Rogers with the Tropic Island Serenaders - Island Songs of the Great Barrier Reef, Side One

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Download: Rod Rogers with the Tropic Island Serenaders - Island Songs of the Great Barrier Reef, Side Two

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