Andy Williams Discography ^HOT^
Andy Williams' extensive discography began with the release of the 1948 single "Jubilee" as a member of the Williams Brothers alongside Kay Thompson. He recorded his first solo album, Andy Williams Sings Steve Allen, eight years later, and remained active in the music industry for the next 56 years, completing 43 studio albums, alongside compilation albums and more.
Andy Williams Discography
Cadence started releasing singles in early 1953, with Julius LaRosa's "Anywhere I Wander." ArchieBleyer, the owner of the record label, used LaRosa's birth date (January 2, 1930) as the record number(1230) for his first issue. For almost the first year, all the Cadence singles were by LaRosa, and Bleyereven used the same series to put out a couple of Julius LaRosa's EPs. When it finally came time torelease a non-Julius LaRosa single in October, 1953, Bleyer started a new series with 1420, and issued"Foolish Waltz"/"Inca Dance" by harmonica virtuoso John Sebastian, whose son would found the Lovin'Spoonful a dozen years later. The 1320 series became the main series for singles, and the 1420 series was only used sporadically forthree singles over the next three years. In fact, by the time the 1320 series had reached 1420, the earlierissues were forgotten or ignored, and new singles with those numbers were issued. Bleyer later started a separate series for EP issues, the CEP-100 series, which lasted from 1957to 1961. The extended play 45 rpm (EP) was popular only from about 1955 to about 1961, and in someways was a passing fad, replaced by Jukebox 33 "little LPs" in the early 1960s. Cadence issued at leastthree of these jukebox 33s, but apparently passed up another of the late '50s-early '60s fads, the 45 rpmstereo single. They did issue a few stereo 33 singles, however.As far as stereo recordings were concerned, there was no single date that Cadence switched to stereorecordings, primarily because Bleyer recorded in a variety of studios in several cities, each with its ownequipment capabilities. We have tried to indicate with an asterisk (*) those single sides that have beenissued elsewhere -- mostly on LPs -- in true stereo. For a listing of where these songs have appeared instereo, please see the Cadence Album Discography. The first Cadence singles label was a red-orange with black print, with "Cadence..." at the top. This labelstarted with the first single, 1230, but by 1232, Bleyer had designed a new maroon label (see below).Not one to waste money, the label blank for the first label was used occasionally even after themaroon label was designed, and is known to have been used at least as late as the early pressings of"Hernando's Hideaway" on Cadence 1241. Early promotional versions of this first label (at right, above)were on white labels with black print. By the third single, 1232, Bleyer switched to a new label design. The early 78s were red with silver print,but the 45s were a maroon with silver print, both with "Cadence" on the bottom around theedge of the label. After 1232, the Cadence labels no longer had the drawing of Julius LaRosa at the top, even for LaRosa'ssingles. Instead, the artists' name was in large letters at the top of the label, and "Cadence" in very smallletters at the bottom. This design, maroon with silver print, was used for both 78s and 45s, andpromotional copies were issued with black print on a white label stock. This label continued to be useduntil some time between 1241 and 1247, when Cadence switched to the well-known "metronome label"described below. The third label was the "metronome label," featuring a silver top of the label with ametronome with the word "cadence" in maroon print. The bottom of the label was maroon with silverprint. From the start in 1953, Cadence issued both 78 rpm and 45 rpm singles. They issued 78s at leastuntil early 1959, as the Everly Brothers' "Take A Message To Mary"/"Poor Jenny" (Cadence 1364) isknown to exist on 78. Cadence used a variety of labels for disc jockey release. There was a black-and-white version of themetronome label, but that was only used some of the time. Even more plentiful are "Advance Disc-Jockey Pressings" of various sorts, even some using typed labels such as shown at left. Surprisingly, thedisc with the typed label is not an acetate, as is usually the case with typed labels, but an actual vinylpressing of the record. Two other variations are shown at left. There were several others. Actually, there are so many variationsof the "advance pressing" labels that Cadence may have had them designed and printed up individually,using a plain white label blank. Different pressing plants also resulted in slightly different fonts and label copy positioning for labels. Boththe copies at left are originals. Note the different placing of the record number, for instance. Cadence was not known for colored vinyl pressings (except for the Andy Williams LP noted on theCadence Albums Discography page). At left, the first 45 is a regular issue, while the blue vinyl 45 at rightis a counterfeit. A close examination of the blue vinyl 45 shows a fuzzy label with too much red color,poor silver coloring, the logo cut off by the center hole (something we have not seen to this extent withlegitimate issues), and shoddy vinyl with bumps and pits. If anything, Archie's issues were on qualityvinyl. Even the (legitimate) red vinyl Andy Williams album To You Sweetheart Aloha was pressedon top quality vinyl. Cadence issued a two-EP set called 8 Top Hits in 1955 using a blue and silver label. The labelincluded the notation that this was the "Blue Label Series." There was also a 12" LP and a 10" LP withthe blue label, but none of the regular 45s are known to us to have used the blue label. In mid-1961,somewhere between issues 1402 (maroon label) and 1404 (red label), the regular Cadence labelswitched from the maroonmetronome label to a red label with black print and a black band around the edge with "CADENCERECORDS" written three times. Cadence also issued several stereo 33s in a promotional package for the stereo juke boxes in 1961.The package at left was a kraft-colored bag with five stereo-33 singles, a card showing the cover of thenew LP Never on Sunday, and a sheet of juke box strips. This package was issued in 1961 justbefore the changeover to the red label. Cadence also issued several "Little LP" 33s, each with six or seven tracks, again for juke box use, butthese were mono. Like the juke box package shown above, the first "Little LP" 33s were also issued in1961, but after the regular labels had changed from the metronome label to the red label. The first sixLittle LPs used a gold color variation of the red Cadence label. By late 1962, the label used on the LittleLP issue of The First Family was the regular Cadence red label. Cadence had a special paper sleeve for their 45s, as did many other labels. They also issued picturesleeves from time to time, such as the black-and-white sleeve used with Cadence 1337. Chordettes black-and-white picture sleeve featured group member Janet Ertel's daughter Jackie andJeff Kron. This is from Cadence 1366. Cadence started using color sleeves at about 1349. Shown are the sleeves for 1349 and 1374. Cadence was not above issuing the same photo on both sides of two different picture sleeves. Here arethe sleeves for 1369 and 1376. Johnny Tillotson picture sleeves for 1377 and 1391. Small hole on Cadence CEP-1003 may indicate a non-US series. Late in the life of the label, Cadencebegan a reissue 45 series, using a gold counterpart to the red label, and using the 1600 catalog series.There were twelve singles issued in the Cadence Gold series, all released in November, 1961.One commonly-asked question is, "Who was that singing with Andy Williams on I Like Your Kind ofLove? [Cadence 1323]. The label says that Andy's girlfriend is played by Peggy Powers, but I'venever heard of her before or since. What's up with that?" A recent posting on the web notes that PeggyPowers was a stage name for a private voice teacher in New York whose real name was CarmenMontoya. Archie Bleyer was famous for having all kinds of extra people in the studio, experimenting withpeople doing sound effects, male, female, or mixed backing vocal groups, and in this case, a femaleduet partner for Andy. From the absence of further recordings on the label (or any other, as far as wecan tell), Ms. Powers was apparently hired as a studio singer for this one session.We would appreciate any additions or corrections to this discography. Just send them to us via e-mail. Both Sides NowPublications is an information web page. We are not a catalog, nor can we provide the records listedbelow. We have no association with Cadence Records, which is currently owned by Barnaby Records.Should you be interested in acquiring records listed in this discography (which are all out of print), wesuggest you see our Frequently Asked Questionspage and follow the instructions found there. This story and discography are copyright 1999, 2011 byMike Callahan.
ANDY WILLIAMS An Evening With Andy Williams (1973 Japanese promotional sample 32-track Quadraphonic double LP recorded live in Japan, fully compatible with regular stereo setups, housed in a unique & deluxe gatefold picture sleeve with companydiscography insert & obi strip. The packaging is Excellent with light shelf wear & the vinyl is Near Mint with few signs of play SOPL207-208) more... Last copy in stock. Order now for shipping on Friday 10th February
ANDY WILLIAMS An Evening With Andy Williams (1973 Japanese Quadraphonic 32-track double LP, gatefold sleeve with company discography insert and obi strip. The sleeve and contents show almost no wear and the vinyl looks unplayed - a superb copySOPL207-208) more... Currently Unavailable - You can request the next copy of this item