Last time, I showed you what happens when classical music gets tangled up in rock 'n' roll. This time, the classics have a tryst with the "Now" sound.
The front cover's pretty much the same, minus the track listing.
What we have here, according to the liners, is music "utilizing modern instrumentation, tone colors, and the kind of rhythmic support to which our ears have become widely accustomed." Basically, it's classical rearranged for the modern ear. It's noted that "only rigid purists are likely to find anything but enjoyment, and a measure of discovery, in listening" to these pieces.
Speaking of discovery, the liners also reveal that many classical composers did the same thing Walter Raim did here: they rearranged and rewrote their own pieces according to purpose and the availability of musicians. In this case, Raim rewrote these pieces for the 65-piece 21st Century Orchestra commissioned for this album.
Divshare's been down for a few days, but when it comes back up, I'll have a couple tracks for you. I think you'll like them.
What have they done to my song, ma? And don't get me started on the price tag stuck on this cover!
Now for a 180 of sorts from the last post. Here's that rock 'n' roll feel of the 1950s...applied to music from the 1750s. Or thereabouts.
101 Strings' Back Beat Symphony was famous for trying to meld the rock 'n' roll sound to classical music. This album, J. Gaines's Rockin' The Classics Suite, was not quite as famous for doing the same thing, but it does have a more interesting backstory.
Rockin' The Classics Suite was on Golden Crest Records, a Long Island label known mainly for its classical releases. But one major exception to that was a high-school-age group that Golden Crest's owner discovered on a trip to Washington state. The group was The Fabulous Wailers, and their hit Tall Cool One made rock 'n' roll history after the group drove cross-country to record it. If not for The Kingsmen, many say The Fabulous Wailers probably would have been the ones that made Louie Louie a hit.
The pieces here on Rockin' The Classic Suite were hits a couple hundred years before The Wailers. In fact, this album was released a couple years before The Wailers got their first national exposure. This 1957 Billboard blurb calls the album "very amusing," and if you're into stylistic mashups like this, it is. The liner notes (written by "Punk Cadenza") play the rock bit to the hilt. The last paragraph: "The guys on this date are some of the greatest. They really are. On one of the playbacks one of 'em thought he heard a funny whirring noise comin' outa the speaker. At first they couldn't figure out where it was comin' from - then one of them pinned it down. He said it must be the noise of these composers rockin' in their graves!"
J. Gaines gets the credit for this album, but the supporting players are lost to history since they went under names like Serge Sputnik and Mose Ligature.
As for Golden Crest, they're still around. Music historian and author John Broven married the founder's daughter and has great info on his site. Much of Golden Crest's back catalog is still available, but this album doesn't seem to be part of it.
Here's Liebestraum:
You might recognize this one from Allan Sherman's Hello Muddah:
I apologize. I was away this week and preparations for the trip kept me from being as timely as I'd have liked with this post. But as it turns out, being away had a benefit. You'll see why soon.
The World's Fair. A showcase of the best that the present and the future had to offer. The Eiffel Tower was unveiled at the 1889 fair in Paris. The 1898 fair in Chicago introduced us to the Ferris wheel. 1939's fair in New York gave us television. The Space Needle stands as a lasting reminder of the 1962 World's Fair in Seattle.
And then there was the 1964/65 World's Fair. Flushing Meadows Park in Queens, NY played host, just as it did for the fair 25 years earlier. Only this time...it wasn't a real world's fair.
Robert Moses, New York's City's Master Builder, helmed the corporation in charge of the fair. He realized that the 1939 World's Fair lost serious money and he hoped to remedy that for 1964. In doing so, he charged the exhibitors rent - a huge no-no per the sanctioning body of the fair, the Bureau of International Expositions. Moses also made the decision to run the fair for two six-month seasons instead of just one, based on calculations that 70 million visitors would be required for the fair to be profitable. Strike two. Not to mention, the BIE had a rule that there could only be one universal exhibition in a 10-year period. With Montreal's Expo 67 already set to open, the New York World's Fair was not it. The BIE refused to recognize this fair and formally requested nations not to attend. The UK, Canada and Australia were among many who took the BIE's advice and sat out. Despite it all, Moses plowed ahead and opened the fair on April 21, 1964.
The visitors, all 51 million of them, got a tantalizing taste of tomorrow. AT&T (aka The Bell System) showed their Videophone. GE exhibited the Carousel Of Progress, a rotating display of America's technological progress imagineered by Disney. Speaking of Disney, they also did the work on Ford's Wonder Rotunda and Magic Skyway, which by all accounts was at least as good as GM's competing Futurama exhibit. And US Steel showed off the symbol of the fair, the Unishphere: the 120-foot, 700,000-pound marvel of engineering made entirely of stainless steel.
No doubt there were pleny of souvenirs. Among them: this album. The 1964/65 World's Fair may not have been official, but it did have an official album. Supposedly. For such a forward-looking fair, this album sure sounds old-timey. It really doesn't have a lot to do with the fair, either. The Little Old New Yorkers, with backing help from The Phil Romano Orchestra, look back to the past with staples like Give My Regards To Broadway, Lullaby Of Broadway and Chinatown My Chinatown. But there are these two originals, done "in the marching band style of the twenties combined with the modern."
Here's the title track, Take Me To New York, Take Me To The Fair:
And the closer, Queen Of The New York World's Fair:
Wild Bill Davison plays cornet...and record label owner. The album's on his Davison Records label. Al Davis, Jr. narrates...and as you'll hear on the first track, not all that well.
A better known (and probably much more official) World's Fair album is this one, which I discovered a sealed copy of while I was away:
Ferde Grofe was commissioned by Robert Moses to compose an official symphony. As Grofe said in the liner notes, It was a challenge: "Here was steel and concrete, nation after nation, a whole constellation of industries, entertainment as well as education - patterns upon patterns. Where to start?...the challenge appeared to be a big one!"
As with the fair itself, the World's Fair Suite is divided into five parts: Unisphere; International, with the Western nations represented by major chords and Eastern nations by minor chords; Fun At The Fair, a lighthearted musical frolic; Pavilions Of Industry, an ode to "both the productivity and promise of a better man-made world;" and National, which reprises the fanfare of Unisphere and its echo of the Fair's message of Peace Through Understanding.
The Suite made its debut at the opening of the Fair with Paul Lavalle as conductor. He's conductor on this album as well. Here's the first movement, Unishpere:
I didn't quite get to AES in time to get to the story of the Peggy Lee album, but I did get to the story of 35mm film recording. And I learned a lot. For example:
- Classical music can be good. I liked an excerpt of a Mahler piece (Symphony No. 9 in D Minor) I heard during the demonstration.
- Queens may not be the cultural center of the world, but there was some fine music recorded there.
- I have to be more careful with what records I get rid of. One of the albums in the presentation was one I used to have.
The presentation was given by Tom Fine, whose parents both played significant roles in the history of 35mm recording: father Robert was an engineer who bought Everest's studio after Everest disbanded; mother Wilma worked for Mercury Records and oversaw its Living Presence series of classical albums from conception to its digital remastering in the '90s.
Cliffs Notes on 35mm sound: it started in the late '50s at Everest Records, a small label in Bayside, Queens. Its founders believed 35mm film was better because it was wider and thicker than standard audio tape of the day, and it ran faster (faster speeds = higher quality). It was also less prone to noise, like tape hiss.
Unfortunately, film was ridicuoulsly expensive, so Everest, which specialized in classical recordings, went under after only a few years. But bigger, better-resourced Mercury carried the torch for a few more years...and it blazed pretty brightly. Mercury's Living Presence albums were a marvel not only technically, but artistically.
On the heels of Mercury's success came 35mm albums from labels like Command, from the always-technically-forward Enoch Light, and Philadelphia-based Cameo/Parkway. Towards the end of the '60s, a turbulent time in general, things changed for 35mm..not the least of which was public taste. And the change in taste actually helped hammer the coffin shut for 35mm. The classical recordings typically done on 35mm, with their 3 microphones (or sometimes just one) over the orchestra, didn't need the editing, overdubbing or special tricks rock music did. Plus, improved tape formulations and the advent of technology like Dolby noise reduction rendered the advantages of 35mm moot.
But 35mm still lives on - barely. Time has not been kind to the reels of film recorded by Everest, Mercury, Command and Cameo-Parkway. Indeed, some have been lost forever, mainly due to improper storage conditions. There has been success in restoring Mercury's 35mm recordings. There are two sets of them now available on CD. The first might be out of print - it's now hideously expensive, but there's a second one available for a decent price, considering it contains about 50 CDs. But if you want it, you'd better act on it before the price goes up like it did with the first one. A few of the Living Presence albums have also been reissued on vinyl as well.
