Stereo Action Goes Hollywood - Marty Gold

Invitation

Stereo Action Goes To Hollywood
Marty Gold and His Orchestra

Arrangedments by Marty Gold

Cover Photo by David B. Hecht

Recorded at Webster Hall, New York City

Recording Engineer: Bob Simpson

Mastering: Dick Gardner
RCA LSA-2381
1961

From the sleeve: The Story Of The Album

Marty Gold quite justifiable has been called a Flying Sorcerer of Sonic Surprises – now firmly in orbit and not likely to come down to earth very soon. Marty was in attendance when RCA Victor's Stereo Action recordings technique was developed and was one of the first to recognize its potential as an existing new medium of recorded entertainment. He was a prime mover in bringing it into reality – as anyone who has heard his album It's Magic (LSA-2290) will attest and a lot of people have already purchased this initial Stereo Action release.

In Stereo Action Goes Hollywood Marty has taken some of the film capital's best and most popular soundtrack themes and has bien then a compelling new sense of movement and dimension that never could have been attained by any of the various 3-D see screen films that were shown on motion picture screens. Where each selection was originally underscored to enhance the movie's motion through sight, Marty Gold has found music with natural affinity for Stereo Action's unique sound-in-motions. Even without a scenario to guide him, Marty found that each one practically arranged itself; it was just a matter of selecting the material with the widest range of musical content, tonal color, motion and emotion.

To capture every facet of the Stereo Action potential, Marty has utilized three different instrumental groups. One features a full string ensemble (of violins, violas and cellos), three reeds doubling on everything from piccolo down to bassoon, French horn, harp, accordion, two guitars, bass, drums, celesta and chromatic bells. Another has violins, soprano voice, four trombones, French horn, four reeds, harpsichord, two guitars, rhythm drums and percussion. The third group presents four trumpets, four trombones, three reeds, harpsichord, two guitars, accordion bass, rhythm drums and percussion.

Engineer Bob Simpson seated the musicians in the studio for the best possible spatial effect. Though the musicians changed positions from selection to selection, the close microphoning on the instruments never changed. Separate RCA 77DXs were used on the French horn, guitars, bass, harp and percussion instruments. The accordion, harpsichord, toy piano, celesta and chromatic bells were each picked up by RCA 10,001 microphones. An RCA BK5 was used on the rhythm drums and the reeds were picked up by an RCA 44BX. Trumpets and trombones were recorded by separate Telefunken U49 condenser mikes while U47s were used oil the soporano voice, violins, violas andcellis. For distant brass pickup as well as for added stereo depth, two Telefunken KM56 condenser microphones were placed about fifteen feet apart in the back of Webster Hall, where this album was cut.

From Billboard - May 29, 1961: In a brief period of several months, RCA Victor has successfully established its line of Stereo Action albums. It is known that each of the first four packages which were released during February and March sold about 35,000. – The Stereo Action line was RCA Victor's concept of Music In Motion and entails a deliberate effort to move the sound of instruments or voices from speaker to speaker to suspend the sound between speakers, etc. The packaging is deluxe, with detailed notes on studio equipment and a track by track breakdown of the music. – I recently debuted lines based on a concept of sound, it has been customary for the manufacturer to establish a monaural counterpart of the stereo version. RCA Victor has decided not to do this with Stereo Action.

Around The World
The Children's Marching Song
Song Of The Barefoot Contessa
Song From Moulin Rouge
The 3rd Man Theme
Gigi
Coloney Bogey
Moonglow and Theme From Picnic
The High And The Mighty
Tara's Theme
Baby, It's Cold Outside
Invitation

I Shall Be Released - Freddie Scott

With A Little Help From My Friends

Freddie Scott
I Shall Be Released
Produced by Freddie Scott and Tommy Kaye

Cover Photos & Design: Jim Cummins
Command/Probe ABC Records
CPLP-4517-S
1970

From the back cover: Freddie Scott, holder of two gold records ("Hey Girl" and "Are You Lonely For Me Baby?"), sat in my office on a sunny Spring afternoon, explaining his reasons for re- turning to the record business – a world he had given up for two years - almost forever.

Freddie's always been heavily into composing and producing.

"This record is the kind of music I'd like to do", Freddie said, speaking softly, "the kind of artist I'd like to be. I think it's important today to have something to say, and that's what I'm trying and that's what I want to do.

"I've been writing message songs long before this whole movement started. I was told at that time we could never release a record like: people get together now - get your heads together. The message on this album is about love – strictly about love. It's not a planned album – it just fell into place."

In co-producing the album with Tommy Kaye, Freddie took special care to make sure it would truly be a reflection of his feelings, his art:

"The way I do everything is to go into the studio with two or three pieces. Everything else is overdubbed. This is the only way that the true art can come out – if there really is any art there at all. You don't clash with all the other instruments."

While trying to put music and art into words is a risky business at best, Freddie spoke with great enthusiasm about several of the songs on the album.

"It's hard to pass up a song like 'I Shall Be Released'. I like the song – melody and lyric. I think Dylan's just one of the heaviest people around as a writer. He's gotten right down to the crux of reality.

"I think it's time for people to hear a song of the caliber 'If Tomorrow Never Comes'. It may ease some of the ten- sions of today.

"I recorded 'Don't Let Me Fall' because it reminded me of things I did two and three years ago.

"And 'Girl I Love You' was inspired by seeing a young couple walking in the park."

One of Freddie Scott's most unique qualities as an artist is his ability to touch you with his message of love and truth. Listen to his message – all of it – as he reaches out and touches you. – Sue Clark

If Tomorrow Never Comes

I Shall Be Released

Girl I Love You

I'll Be Leaving Her Tomorrow

Learin' How To Fly

With A Little Help From My Friends

Don't Let Me Fall

Out Of My Mind

The Guitar Ramblers - Jack Marshall

Malibu Caravan

Happy, Youthful New Sounds Of The Guitar Ramblers
Under the Direction of Jack Marshall
Produced by Jim Harbert
Columbia Special Products
Special Archives Series
CSRP 8867
1963

Malibu Caravan
El Torito
Alley Cat
After You've Gone
Wildwood Flower
Midnight In Madrid
Surf Beat
Walk Right In
Bugle Call Rag
Pick Now, Pay Later
Mother, Please! Let Me Do It Myself!
It's A Man's World

The Keys And I - Eddie Heywood

Caravan In The Night

The Keys And I
Eddie Heywood
With Joe Reisman And His Orchestra

Conducted and Produced by Joe Reisman

Recording Engineer: Ray Hall

Supervised by Hugo Winterhalter

Recorded in New York, September and October, 1958

RCA LPM-1900
1959

Witchcraft, All The Way, The Piccolino and Land Of Dreams arranged by Eddie Heywood. Hurricane arranged by Sid Ramin. St. Louis Blues, Virgin Isle Vamp and Rendezvous arranged by Joe Reisman. Caravan In The Night, Cappuccino and Pom-Pom arranged by Jimmy Mundy. 

From the back cover: The sly and crafty fingers of Eddie Heywood, which have drawn from the keys of innumerable pianos a variety of music, take us on a versatile musical excursion in these selections. To give each piece its most appropriate frame, Eddie has used a multitude of imaginative backgrounds in this album. Weaving in and out of the various instrumentations are Eddie and the piano keys that have formed such a rewarding partnership over the years.

The tunes Eddie has chosen for this collection reflect the diverse paths that he has followed since the day he became the piano soloist in a theater band in Atlanta, Georgia, at the age of 14. Heywood first gained fame as a jazz pianist, a period which he recalls in W. C. Handy's St. Louis Blues and more specifically in Pom-Pom, which was written by the great jazz saxophonist and trumpeter, Benny Carter. Irving Berlin's The Piccolino is a tune that Eddie featured with great success in the Forties when he was broadening his base from jazz to a wider audience, and his inclusion of such recent popular hits as All the Way and Witchcraft show how he has sustained that early talent for bringing his own personal touch the inimitable Heywood sound – to songs of every period.

More recently Eddie has had great success in exploring the more exotic side of music, a side which he shows off in the insistent eeriness of Caravan in the Night, the soulful Rendezvous, and two suggestions of foreign lands, Madeira and Cappuccino. And, of course, since he wrote Canadian Sunset Eddie Heywood has been counted among the most melodic of popular composers. So, to provide the complete decoration for this rounded picture of his adventures with the keys, he has included three strikingly different samples of his compositions – Hurricane, Virgin Isle Vamp and the apt closing theme, Land of Dreams.

One key to Eddie's popularity is the multiple facets of his talent, but there are 88 other keys that unlock the door to his special world. Fortu- nately, they are right at his fingertips. – WATSON WYLIE

St. Louis Blues
Hurricane
Witchcraft
Virgin Isle Vamp
All The Way
Caravan In The Night
Rendezvous
The Piccolino
Maderia
Cappuccino
Pom Pom
Land Of Dreams

Strange Interlude - Lew Davis And His Orchestra

Old Devil Moon

Strange Interlude
Lew Davis And His Orchestra
Originated and produced by Enoch Light
Arrangements by Lew Davies
Associate Producer: Julie Klages
Recording Engineer: Robert Fine
Mastering: George Piros
Art Direction by Charles E. Murphy
Cover Art & Design by S. Neil Fujita
Command RS 829 SD
Grand Awards Record Co, Inc.
1961

Personnel:
Bass: Jack Lesberg & Bob Hagars
Reed: Stanley Webb, Phil Bodner, Ezelle Watson & Al Klink
Drums: Phil Kraus & George Devens
Ondioline: Sy Mann
Trombones: Bobby Byrne, Urbie Green & Dick Hixon
French Horn: Tony Miranda & Paul Faulise
Guitar: Tony Mottola
Theremin: Walter Sear & Paul Lippman
Cymbalum: Michael Szittai

Riders In The Sky
Strange Interlude
In A Mist
Gone With The Wind
Wild Goose
Intermezzo
Old Devil Moon
Ebb Tide
The Riddle Song
The Witching Hour
Laura
Spellbound

On The Beach - Frank Chacksfield

On The Beach

On The Beach
Frank Chacksfield And His Orchestra
London PS-203
1959

From the back cover:  ABOUT FRANK CHACKSFIELD - Born in Sussex, England, Frank Chacksfield's first public appearance was at the age of 14 as a church organist seven miles from his home. After a brief period in a law office, Frank achieved his real ambition and formed a dance band, securing a number of local dates. However, before the band could play the first date, England was shocked by the death of George V and all "entertainments" were cancelled. Later, after a few successful appearances, war was declared and Frank, along with many members of his band, enlisted in the Royal Army Service Corps.

While he was recuperating in a Scottish hospital he made his first BBC broadcast, playing and singing popular favorites from the piano. Later, stationed in Southern England, he was appointed staff arranger for the Army review "Stars In Battledress" which was the British equivalent of our own "This Is The Army." One of his first jobs after the war was arranging the music for the show's popular civilian version.

He made his first record in 1948, and has directed the accompaniment for a number of the leading singers of radio and records. Among many very fine recordings, his versions of Ebbtide and Limelight (featured in this album) became best sellers.

The success story continues. . . this present collection presents the very best of Chacksfield. and features a great arrangement of the title song, "On The Beach."

On The Beach

April Love

Love Is A Many Splendored Thing 

I Loves You Porgy

Oklahoma

High Noon

Limelight

Three Coins In The Fountain

Night And Day

Laura

The Student Price

Friendly Persuasion

Happy Strings Of Zacharias

Sgt. Pepper's Lonely Hearts Club Band

Happy Strings Of (Helmut) Zacharias
Sonderfertigung der Electrola
SHZE 227
1968

These Boots Are Made For Walking
Ode To Billie Joe
I Was Kaiser Bills Batman
The Girls In Paris
Release Me
Mexico Calling
Somethin' Stupid
Sgt. Pepper's Lonely Hearts Club Band
Spanish Flea
The Last Waltz

Masque d'Afreique

Masque d'Afreique

Masque d'Afreique

Girl voices, Behana: Elsa Nilsson. Male voice, Wakusi: Earl Burton. Clarinet, Zeneku. Bob Keene. Drums of Africa: Earl Burton.

Art Direction: Ed Almond

Color Photography: Phil Howard
Del-Fi Records
DFLP 1203
1959

Here's one of the more inventive "exotica" period albums that I've unearthed. I would call this a concept album. Bob Keene composed and directed the music. Keene blended what seems to me to be African and "Voodoo" pop influences that were emerging in music during the late 50s along with jazz, some Yma Sumac sound-alike voices and what I might term a "beat" feel which may account for the repetitive and hypnotic effect of the entire record.

Side One

1. Night Rain. The animals are hidden in their shelters, the natives safe in their huts. The forest lies helpless and frightened under the relentless pounding of the rain. More savage than beast or man, the rain itself is king of the jungle.

2. Anticipation. The rain is gone. The sun comes up over the dripping jungle. The wildlife emerges from its cover. A young native girl, Behana, glides into the clearing, sheds her simple garment and slips into the clear waters of a small pool. As she bathes she sings the joy of life, and her song grows more vibrant at the approach of her lover, Wakusi. She does not hear the haunting clarion call of Zeneku, the spirit of the outside world, who lustfully watches as the water of the pool caresses her lean young body. Her lover joins her in the pool, and their love- making is like a game of children.

3. The Spell. The love-play of Behana and Wakusi becomes more fervent, then suddenly stops. Behana has felt the presence of Zeneku, and a troubling sense of promise pervades her as he casts his spell. Bewitched by Zeneku's enticing call, she is no longer even aware that Wakusi is there.

4. Council. Night and uneasiness cloak the village. Wakusi, troubled by Behana's detachment, has told the tribal elders that an alien spirit has cast its spell upon the girl. The chief and his court urge Behana to remember that she is a part of ancient Africa; she must stay with her people and her heritage. But the tribe knows the power of Zeneku, and their concern is displayed in their voices and in the music of the dancers.

5. The Tryst. In daylight again, Behana walks deeper and deeper into the forest, lured by Zeneku's enticing visions of the dazzling world outside her own.

6. Seduction. Behana hears Wakusi's voice in the distance, calling her name as he searches for her. Helpless under the spell of Zeneku, she is unable to answer him. The soul of the very jungle itself is heard, protesting and importuning her, through the omnipresent rhythm o the drums.

7. Persuasion. Behana, in Zeneku's arms, seems satisfied that in Zeneku's world she will find the answer to the strange yearnings she has felt. Again she hears Wakusi's voice calling as he searches for her. Her fear of the unknown returns to her, only to be overcome again by Zeneku's persuasions.

8. Return. Zeneku's enticements continue as he leads her through the jungle, farther and farther away from her village. They stop to embrace. Wakusi comes upon them, tears Behana from the tempter's arms, and drags her through the jungle toward the village. Zeneku calls out after her, but she cannot break away from her lover. Soon she and Wakusi are lost to view in the thick foliage of the jungle.

Side 2

1. The Voice of Africa. It is night again, and the drums are at work, spreading the tale of Behana and the sinister enchantments of Zeneku. Restlessness and anger creep through the jungle as the natives awake to the danger of Zeneku's influence.

2. The Muster. The native chiefs call on their people to fight against the power of Zeneku. Un- rest and excitement stir the jungle, and the tempo of the drums increases. Zeneku appears. He pleads for Behana and for his alien way of life.

3. Uprising. The people, cherishing their own traditions, refuse to listen to Zeneku. They summon up all the mystic powers of Africa to fight the intruder, to preserve their heritage and their free- dom. They rise up against Zeneku's threat.

4. Impasse. The drums continue to beat out their message: stand firm, cherish the mask of Africa. The conflict continues. But Behana cannot forget Zeneku. And, as she remembers, she wonders...

Jorgen Ingmann Plays El Condor Pasa

El Condor Pasa

El Condor Pasa

Jorgen Ingmann

Instrumental Guitar Music for The Connoisseur

Produced by Jorgen Ingmann

Supervision and String Arrangements: Leif Pederson

Engineer: Phillip Foss

Art Direction: Woody Woodward

Design and Illustration: Ron Wolin

Recorded at Metronome Records, Denmark
United Artists Records
UAS-6785
1970

From the back cover: The famous "Ingmann sound"is a specific technique. Jorgen gets the exact sound he wants by playing all guitar parts himself, overdubbing as many as ten different tracks.

El Condor Pasa
Boink
Regntunga Skyar
Opus Five
Lisa
Wishin' & Hopin'
The Sea Is My Soul
It Might As Well Be Spring
Summer Wind
This Guy's In Love With You
How Can I Be Sure

Maria Elena - Los Quatro Tiajuanas

Maria Elena

Maria Elena
Los Quatro Tiajuanas
Embajador Dicos 6009

This record was apparently pressed by Synthetic Plastics Co., Newark, N.J. for export. The jacket is graphically bold and appealing but I didn't expect much from the tracks. The music, no surprise, seems to have been cobbled together from a variety of sources by the budget label. The cover of Maria Elena is very nice, but the vibe is quite a bit different than the more tradition sound of the rest of the album.

Bongo Cha Cha Cha - Jack Costanzo

Silencio

Bongo Cha Cha Cha
Jack Costanzo
Golden Tone C4061
1960

From Billboard - October 17, 1960: Here's a clean, crisp, brassy exposition of that favorite of the Latin rhythms, the cha cha. There's a lot of the blaring trumpet and trombone sound here along with some neat percussion effects. Eight offerings are all of an authentic nature and rack men can probably pick up some sales with the set.

Mira Como Los Pollos
Jarochito
Ramo E Mula
Silencio
Que Dichoso Es
Nana Secre
Quiere
Atu