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Notes: Please review picture for fading or quality
Originally priced $2.95, 48 Page.
CONTENTS:
AND THE GRASS WON'T PAY NO MIND ........ 9
BROTHER LOVE'S TRAVELING SALVATION SHOW 12
COLDWATER MORNING ................. 16
CRACKLIN' ROSIE ..................... 18
EVERYTHING IS BEAUTIFUL .............. 20
GLORY ROAD ........................ 23
HOLLY HOLY ........................ 26
IF I NEVER KNEW YOUR NAME ............ 30
JEAN ............................. 32
RAINDROPS KEEP FALLIN'ON MY HEAD ...... 2
RAINY NIGHT IN GEORGIA ............... 36
SONG FROM M*A*S*H .................. 39
SOOLAIMON ......................... 42
SWEET CAROLINE ..................... 46
THEME FROM LOVE STORY ............... 6
Dark, diffident, and deceptively soft-spoken, Al de Lory nevertheless has a way of making people listen to him — not always an easy feat to perform in today's nervous and noisy music world. As a matter of fact, people have been listening to Al for some time. Intently. It's very simple that talent talks
The son of a Warner Brothers studio musician, Al seriously began studying piano at the age of nine. By the time he emerged from adolescence he was thoroughly familiar with the classics and with classical composition and was a music major at Los Angeles City College. It took the good old toe-tapping U. S. Army, however, to give him his first experience as a musical arranger when he was sent cheerful "greetings!" and was asked to carry a gun for his country and a baton for the Army service band.
It was during this time that a special sound began to catch Al's inquisitive and sensitive ear: country-pop. Since he had already started writing songs, it was only natural that he should try to create his own brand of this intriguing music. So he did. And after several honorable tries (and an equally honorable and welcome discharge from the Army), he came up with "Mr. Custer," his first hit. Following in his father's musical footsteps, Al at this time was playing the piano in Hollywood studio orchestras and doubling in various Los Angeles clubs. He also made the Vegas scene for a while, finding it lucrative but nerve-wrackingly hectic.
Eventually he became associated with the Beach Boys, Phil Spector, and Jan and Dean. This led to a position on the musical staff of television's "Shindig" for six months. "These were my formative years," says Al. "1 was learning direction and self-discipline. I knew what I wanted to do; it was merely a matter of getting into a position where I could do it." That "position" turned out to be a producer's post at Capitol Records, where he has carved his own individual and distinctive niche. Working with Wayne Newton on two singles and two albums brought Al in touch with country-pop to a degree, but it wasn't until** M he began producing for Glen Campbell that it came completely into focus. "It was something I always wanted to do. I can't tell you how Glen helped me. His knowledge of country-pop was a revelation." Capitol seems to think the two artists help each other, and judging by the album charts it must be true. Al and Glen have had ten gold albums, including "Wichita Lineman", "Gentle On My Mind", "By The Time 1 Get To Phoenix" and "Galveston". In addition, they have had countless top-chart singles, equal achievements by both men, for not
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