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@ PRODUCT OF RADIO CORPORATION OF aMcRICa

SIDE ONE

FROM ANOTHER WORLD OLD DEVIL MOON

YOU CAME ALONG STORMY WEATHER

ILL WIND

HOW HIGH THE MOON

FROM ANOTHER WORLD

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SIDE TWO

MY BLUE HEAVEN

EAST OF THE SUN

STAR DUST

THE WORLD IS WAITING FOR THE SUNRISE CABIN IN THE SKY

BEYOND THE BLUE HORIZON

ARRANGED AND CONDUCTED BY SID BASS

Poors 6. 4.2L BLE EE?

That is, get out on the dance floor.

For while this group of selections might be considered primarily as ‘listenable’ music, it must also be considered as exceptionally dance- able, and the space-ship take-off and landing is a welcome change from the usual two piano chords that signal time to get off the floor. The same motif is carried out within many of the selections, all of which are well-known and well-liked in their original form, and the addi- tion of artificial reverberation—a completely controlled form of echo which is produced electronically—gives us music that couldn’t be played by a “live” orchestra without the aid of a tape recorder behind the scenes. And even though this is “universe-al’’ music, it Just can E be played—at least not by Earth-type musicians.

We have often heard of music composed for three tape recorders and a bass drum, or some other equally fantastic combination, but generally there is one thing missing—music. Instead, the composers have become so much involved with the gadget that they have for- gotten what it takes to make it work— they have built a robot without a soul. Here, on the other hand, the arranger has taken favorite tunes that have stood the test of time and made them sound different by invoking the familiar sounds associated with outer space—thanks to the first ingenious arranger who set the pattern for the Man from Mars type of radio and TV shows.

But aside from the pleasant gimmickry, the music remains im- portant. Even the tenuous thread by which these tunes are tied together—they are all on astronomical or meteorological subjects— does not detract from the enjoyment of just listening—even though you may not want to dance, you are likely to before long. For a real thrill, listen to this record on a top-quality hi-fi system—there’s a lot more on the record than greets the ear with the average phonograph.

This Is a “New Orthophonic” High Fidelity Recording. It is distinguished by these characteristics:

Except for piano and guitar, there are no strings in Old Devil Moon, My Blue Heaven, The World Is Wanting for the Sunrise, and Beyond the Blue Horizon. Note the brilliance of the trumpets, sometimes with the trombones in unison. Note the unusual combinations of trom- bones and baritone saxophone; try to guess some of the other com- binations that produce the sounds you will hear. The strings are used in all the other numbers, and you will note how the reverberation is used in Stormy Weather, East of the Sun, and Star Dust. The excitement of these old favorites lies in the arrangement, and then in the playing of the unusual arrangements, and finally in the many hours of work in the recording room just to add the reverberation and other effects without a single instrument being played.

Credit for the arranging and conducting goes to Sid Bass, who is also a rarity in another field—he was born in New York City. He majored in music at NYU, spent three years in the Army Air Corps where he led several musical combos from the piano, playing hospital

wards, radio shows, Officers’ Club dances, and so on. As a composer,

his work includes The Old Soft Shoe, Greatest Feeling in the World, Pine Tree Pine Over Me, and many others. He has arranged for several orchestras, and he has coached and arranged for hundreds of radio and night club acts—all giving him the background necessary to arrange and conduct these numbers so they are not only novel but

also musical. C. GC. McProup Editor and Publisher, Audio M agazine

Arranged and conducted by Sid Bass.

Recorded at Webster Hall, New York City, June 14, 20, and 27.

Recording Engineer: Fred Elsasser. Sound Effects Engineer: Donald Hoefler. Produced and directed by Herman Diaz, Jr.

Beware the Blunted Needle!

1. Complete frequency range. A blunted or chipped needle can permanently damage your most valuable e 2. Ideal dynamic range plus clarity and brilliance. records. A worn needle will impair the quality of sound reproduction you 3. Constant fidelity from outside to inside of record. hear. Make sure your needle is in good condition before you play this ‘TT

4, Improved quiet surfaces.

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record. If in doubt, have it checked by your dealer—or buy a new needle.

@ FRONTS? OF RADIO CORPORATION OF AMERICA

Printed in U.S. A.