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The Swingin’ 60s
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Start
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Name | Artist | Album | Year | Comments |
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| At The Sign Of The Swingin’ Cymbals | Louis Mordish | From The Archives [Excelsior cassette LM1] | 4-16 Wurlitzer, Gaumont State Theatre, Kilburn, London | ||
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2:54
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Crazy | Rob Richards | Rob! [OSP CD] | 4-46 Wurlitzer, Organ Stop Pizza, Mesa, AZ | |
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6:22
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It’s A Raggy Waltz | Barry Baker | For The Very First Time | 1995 | 4-36 Wurlitzer, Ronald Wehmeier Residence, Cincinnati, OH |
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9:29
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Alley Cat | Charlie Balogh | Desert Duo [OSP CD] | 4-74 Wurlitzer, Organ Stop Pizza, Mesa, AZ | |
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12:53
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A Swingin’ Safari | Bill Vlasak | Encore | 2007 | 4-42 Wurlitzer, Roaring 20s Pizza and Pipes, Ellenton, FL |
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15:57
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Meditation | Tony Wilson | At the Organ Loft | 5-34 Wurlitzer, Organ Loft, Salt Lake City, UT | |
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19:05
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I Love You (And Don’t Forget It) | Doreen Chadwick | Princess of the Theatre Organ [Doric DO 1415] | 1976 | 4-14 Christie, Regal Theatre, Edmonton, London |
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21:32
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Downtown | Martin Ellis | Martin on the Morton | 4-26 Robert Morton, Van der Molen Residence, Wheaton, IL | |
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24:27
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Up Cherry Street | Tony Fenelon | Embraceable You [Crystal LP] | 1968 | 4-19 Wurlitzer, Hoyt’s Regent Theatre, Melbourne; ex-Ambassador Theatre, Perth (as 3-15) |
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26:55
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Day Tripper | Len Rawle | At The Riverside | 3-12 Wurlitzer plus grand piano, Musical Museum, Brentford, Middx; ex-Regal, Kingston-upon-Thames (2445 seats) | |
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29:52
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Here, There and Everywhere | David Shepherd | The Entertainer [Tonawanda Sound TWs 1002] | 1974 | 3-12 Compton plus Melotone, Plough Public House, Great Munden, Herts, England; ex-Gaumont, Finchley, London |
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32:28
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Workin’ My Way Back To You | Brett Valliant | Voulez Vous | 2007 | Walker Digital RTO 3-35; Residence of Bucky Reddish and James Thrower, Atlanta, GA |
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36:55
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Love Is Blue | Johnny Seng | Johnny [Concert Recording CR-0057-T] | 4-19 Howell-Wurlitzer, St. Mary of the Lake Seminary, Mundelein, IL | |
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40:11
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Alfie | Mark Laflin | A Handful Of Keys | 2012 | 3-9 Wurlitzer, Neuadd Pendre, Tywyn, Wales; ex-Granada Cinema, Woolwich (1937), plus Orchestral Oboe |
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43:56
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Music To Watch Girls By | Ashley Miller | ATOS 1967 Detroit | 1967 | 4-34 Wurlitzer, Senate Theatre, Detroit MI |
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47:02
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Can’t Take My Eyes Off You | George Wright | Concert: Vollum 1968 | 1968 | 4-42 Wurlitzer, Howard Vollum Organ House, Portland, Oregon; ex 4/21 Granada (later Paramount) Theatre, San Francisco; now Regent Theatre, Melbourne – (With apologies for some slight distortion in the louder passages) |
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51:37
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Up, Up and Away | Tom Sheen | Live! In Concert! Oriental Theatre [DSP Cassette] | 1969 | 4-20 Wurlitzer, Oriental Theatre, Chicago |
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54:01
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Hey Jude | Carol Williams | Hey! Wurlitzer [Melcot MCT CD 016] | 2002 | 5-80 Wurlitzer, Sanfilippo Residence, Barrington Hills, IL |
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56:48
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Build Me Up Buttercup | Brett Valliant | Voulez Vous | 2007 | Walker Digital RTO 3-35; Residence of Bucky Reddish and James Thrower, Atlanta, GA |
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60:37
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Gimme Dat Ding | Martin Ellis | Martin on the Morton | 4-26 Robert Morton, Van der Molen Residence, Wheaton, IL |
Hi Steve
I really enjoyed this show and often wonder why more 60’s music isn’t played on the theatre organ. Things like Build me Up Buttercup and Swinging Safari are catchy tunes that most theatre organ concert goers would know and I really don’t think the theatre organ concert repetoire has, in the main, done justice for a lot of 60’s music. I can’t recall hearing the above mentioned pieces ever in over 40 years of concerts here in Adelaide.
Steve, this is a refreshing collection of tracks, bringing the listener to the modern era. Organists at times seem stuck in the 1930s and 1940s, and one would hope for improvisations on more modern melodies. Stylistically, this group is a pleasure to hear, building upon the interpretations introduced by George Wright. It is unfortunate that those guiding the development of younger organists too often seem to represent the older approach. If theatre organs are to survive, it will be in no small thanks to the imagination and talent of a younger generation.
Robert, I’m in two minds about ‘modern’ music – and let’s face it, the 1960s were 50 years ago. It gets increasingly difficult to programme music from subsequent decades as it becomes increasingly dependent on the vocal. But yes, there were some popular hits that were sufficiently melodic to transcribe to a keyboard instrument such as an organ. The rhythms also become increasingly complex, with multi-layering that would make any single instrument baulk at reproducing the music with any authenticity.
There’s no doubt in my mind that jazz-era music is, in general, way more appropriate for theatre pipes, which are the product of that very era. But I do agree that artists could, and should, be more adventurous in their repertoire. I can’t help but feel, though, that audiences are equally to blame: they like what they know and are often reluctant to move forward.