Analogue Productions – AAPP 1866 – 200 Gram Virgin Vinyl
Mastered By Ryan Smith at Sterling Sound
AAA 100% Analogue – Limited Edition – Pressed at QRP Quality Record Pressings
The Absolute Sound Super Disc List 2016
TAS Harry Pearson Super LP List
“I’m not exaggerating about the sound quality: It’s amazing nor am I overstating the ‘pure novelty’ aspect of the arrangements. This is not ‘serious’ music but it is serious fun and so 1950’s kitschy that as time passes it becomes more treasured as a ‘moment in time’ never to be repeated. I have original and Classic Records reissues but more recently Analogue Productions has reissued this cut from the three-track original tape by Ryan K. Smith at Sterling Sound. Originals still go for well over a hundred dollars (I snagged one years ago at Record Surplus, Las Vegas for three bucks) so the new reissue, which I’m sure sounds great and is pressed on 200g vinyl at QRP, is reasonably priced.” – Michael Fremer, AnalogPlanet.com.
“Little did any of us who were involved in the planning and recording of Music for Bang, Baaroom and Harp know, back in 1958, what an impact this album would have on the record industry and how it would effect my career,” writes Dick Schory, about the audiophile instrumental classic, the first stereophonic recording in the industry to be classified a “Best Seller.”
The concept for this album is simple: Dozens of standard and exotic percussive instruments (re: manifold from a 1946 Chevrolet) were employed in original and standard tunes arranged by Schory, Bobby Christian, Mike Simpson, Willis Charkovsky and Skitch Henderson, who at the time was musical director for NBC’s “Tonight Show.” Three tracks are of particular note: the quirky “Tiddley Winks” and the exotic “Baia” and “Typee.” The jacket, depicting Schory poking out from a pile of instruments, is a classic of LP art.
The recording, utilizing RCA Victor Record’s Red Seal Classical Division’s equipment – the same used to record the Chicago, Philadelphia and Boston Symphony orchestras at the time – was recorded in Chicago’s Orchestra Hall on June 2 and 3, 1958. Two custom Ampex 300-3 half-inch 3-track tape recorders, running at 15 and 30 inches a second, captured the performances by eight percussionists together with other performers from the Chicago Symphony on piano, string bass, guitar, banjo and harp.
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