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 Post subject: Earworm Thursday (Catchy Songs that will Stick in Your Ear)
PostPosted: Oct Thu 11, 2018 4:00 pm 

Joined: Feb Mon 06, 2012 7:24 pm
Posts: 2434
Location: Gold Country, (Stanislaus National Forest) California 95235
Earworm Thursday - Songs Guaranteed to Stick in Your Head at Least for the Day.

This week's selection is pure bubblegum from the Summer of `66 - smack in the middle of the heyday of the genre.

Eight years before the Carpenters brought overdub recording of love ballads such as Close to You to the forefront, Niagara Falls brother and sister team Carole and Antonino LoTempio escaped the snow and cold, changed their names to Nino Tempo and April Stevens and landed in Hollywood with a splash after their single Deep Purple hit #1 and won the 1963 Grammy for Best Song.

For the next five years the duo's career floundered until producers Ted Feigin and Lee Lasseff at White Whale Records were looking for acts to supplement The Turtles.

This was the first song recorded - intended to be the B-side to who-knows-what as their contract had yet to be signed.

Lasseff told the duo `We'll see what you can do with some `filler' material and then if that flies, we'll see about a singles deal.

The rest of the album Hey Baby was recorded but the only track to make any noise Bubbled Under at #27 (#127) on the Billboard Hot 100.

Wings of Love however took on a life of its' own, becoming the bed to a number of commercials and other such uses.

Like Herb Alpert argued for the Carpenters to Jerry Moss after Ticket to Ride only made it to #54, Feigin argued to Lasseff that the duo should be given another chance, and the result was one of the best Phil Spector-inspired productions of the era.

The reason the stereo version of the track is only the mono master given a little reverb and panned from left to right is because of the way the recording stages were laid down. With the sheer number of overdubs going on in these early productions, the only way any kind of stereo could have been made out of that would have been to have the backup tracks (bah-dum) the band and the waves in the middle, the leads on the left and the harmonies on the right.

To be able to do anything else, they would have had to either record on 35MM magnetic film or have a sync track, which on a 3 track recorder would only leave you two with which to work. Both of these options would have been prohibitively expensive in 1966 in the days when 90% of acts got ONE WEEK to track an ENTIRE LP worth of songs (12-14 plus a couple extras to `keep in the can' in case one of the other ones didn't work out).

But once they changed the original recording format, the rest of the White Whale tracks were able to be remixed into a very nice stereo.

#4 below was a major influence to the aforementioned Carpenters arrangements of the early 70s.

1. Mono as we all heard it on the radio
2. Stereo from the LP
3. All Strung Out
4. I Can't Go On Livin' Baby (Without You)

2 kinds of men/tape. Low Noise/Wide Range.
LN=kind. WR=abrasive. Engineers=same thing.

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