Friday, June 03, 2016

Musical Interlude

     Spanky (Elaine) McFarlane and Our Gang, from way back in the wayback:
     Years ago -- in a different century -- I worked with a guy who'd put together his own edit of this.  There are two versions of the song on the original LP, many tracks apart.  When you put them together, one after the other, it's even better.  Um, good luck with that; it worked fine with mono audiotape and razor blades, with an angled cut to help it blend.


Old NFO said...

An oldie but a goody! :-)

B said...

I remember editing tapes that way.....of course, most of mine were stereo.

Countglockula said...

Ah yes, back in the day I made up party mixes that way, laboriously cutting and taping. Radio Shack even sold an inexpensive device for splicing.

These days it's a hell of a lot simpler, the result being that my 'personal favorites' mixes tend to be days in length...


CGHill said...

I attribute this to production-style differences. Jerry Ross, a reliable old-school guy, produced the first Spanky LP, and he stuck to the basics.

Bob Dorough and Stu Scharf did the knob-twiddling on Like to Get to Know You, and they were decidedly more experimental; it explains at least some of the differences between the mono and stereo mixes on that set of tracks. "Sunday Mornin'" was released as a single, three minutes flat, with some weird pseudo-psychedelic noises before the vocal coda; on the LP, the noises are deleted and the song runs out to 3:54. On the subsequent Greatest Hit(s) [sic] set, it runs out past six minutes.

No mono copies were shipped of the third album, Anything You Choose b/w Without Rhyme or Reason, which is just as well, since "Leopard Skin Phones" makes no sense in mono.