Meet Me in Seattle (At The Fair) (1:39)
Seattle, 1962: The last successful World's Fair held in the United States is taking place, and organizers need music to spread the word. The call goes out to Joy and the Boys, and Meet Me in Seattle is born.
There's a reason why you can't write music that appeals to everyone, unless you're the odd genius who can pen an "Mmm...Bop" or "Macarena." When you try, you wind up watering things down to the point where they're meaningless. That's one of two problems with this song. It says nothing about the fair itself, instead serving up a "Take Me Out to the Ballgame" great-date theme, minus the baseball love or love for much of anything. To their credit, ...
Meet Me in Seattle (At The Fair) (1:39)
Seattle, 1962: The last successful World's Fair held in the United States is taking place, and organizers need music to spread the word. The call goes out to Joy and the Boys, and Meet Me in Seattle is born.
There's a reason why you can't write music that appeals to everyone, unless you're the odd genius who can pen an "Mmm...Bop" or "Macarena." When you try, you wind up watering things down to the point where they're meaningless. That's one of two problems with this song. It says nothing about the fair itself, instead serving up a "Take Me Out to the Ballgame" great-date theme, minus the baseball love or love for much of anything. To their credit, ...
Meet Me in Seattle (At The Fair) (1:39)
Seattle, 1962: The last successful World's Fair held in the United States is taking place, and organizers need music to spread the word. The call goes out to Joy and the Boys, and Meet Me in Seattle is born.
There's a reason why you can't write music that appeals to everyone, unless you're the odd genius who can pen an "Mmm...Bop" or "Macarena." When you try, you wind up watering things down to the point where they're meaningless. That's one of two problems with this song. It says nothing about the fair itself, instead serving up a "Take Me Out to the Ballgame" great-date theme, minus the baseball love or love for much of anything. To their credit, ...
Meet Me in Seattle (At The Fair) (1:39)
Seattle, 1962: The last successful World's Fair held in the United States is taking place, and organizers need music to spread the word. The call goes out to Joy and the Boys, and Meet Me in Seattle is born.
There's a reason why you can't write music that appeals to everyone, unless you're the odd genius who can pen an "Mmm...Bop" or "Macarena." When you try, you wind up watering things down to the point where they're meaningless. That's one of two problems with this song. It says nothing about the fair itself, instead serving up a "Take Me Out to the Ballgame" great-date theme, minus the baseball love or love for much of anything. To their credit, ...
1. Narrated Bermuda Tour (3:00)
2. Bermuda Holiday (2:25)
This is a gem of a souvenir record from a local Bermuda tour operator. We're not talking about one of those huge tour ships with casinos, endless drinking and an above-average chance of contracting a norovirus, but those little charter yachts that ferry people around the islands.
The first track offers perhaps the briefest narrated tour of the islands ever recorded, although they make time for some needless stereo panning at the start and two mentions of the "famous Rum Swizzle Party." At least you don't have too far to fall from the boat when the rum kicks in. It also serves up the immortal line, "If you have this recording, you have probably enjoyed a ...
An Evolution of Man in Motion (4:17)
I've posted previously about the psychedelic flavor of quadraphonic promos, as opposed to the genteel, family-centered tone of many 1950s stereo demos. Here's another example, in the form of a sound-effect montage tracking humankind's ascension from biped to interstellar traveler.
This is the opening cut from Ovation's 1973 quad sampler, the rest of which is filled with the sort of eclectic jazz cuts that made up most of Ovation's catalog. During the 1970s, the label made a name for itself with quadraphonic sound effects and records, even signing Judas Priest for quad releases.
There's no narrative to this track, apart from the one you supply with your mind. Listen in your car for the full quad effect. Please don't ...
An Evolution of Man in Motion (4:17)
I've posted previously about the psychedelic flavor of quadraphonic promos, as opposed to the genteel, family-centered tone of many 1950s stereo demos. Here's another example, in the form of a sound-effect montage tracking humankind's ascension from biped to interstellar traveler.
This is the opening cut from Ovation's 1973 quad sampler, the rest of which is filled with the sort of eclectic jazz cuts that made up most of Ovation's catalog. During the 1970s, the label made a name for itself with quadraphonic sound effects and records, even signing Judas Priest for quad releases.
There's no narrative to this track, apart from the one you supply with your mind. Listen in your car for the full quad effect. Please don't ...
An Evolution of Man in Motion (4:17)
I've posted previously about the psychedelic flavor of quadraphonic promos, as opposed to the genteel, family-centered tone of many 1950s stereo demos. Here's another example, in the form of a sound-effect montage tracking humankind's ascension from biped to interstellar traveler.
This is the opening cut from Ovation's 1973 quad sampler, the rest of which is filled with the sort of eclectic jazz cuts that made up most of Ovation's catalog. During the 1970s, the label made a name for itself with quadraphonic sound effects and records, even signing Judas Priest for quad releases.
There's no narrative to this track, apart from the one you supply with your mind. Listen in your car for the full quad effect. Please don't ...
An Evolution of Man in Motion (4:17)
I've posted previously about the psychedelic flavor of quadraphonic promos, as opposed to the genteel, family-centered tone of many 1950s stereo demos. Here's another example, in the form of a sound-effect montage tracking humankind's ascension from biped to interstellar traveler.
This is the opening cut from Ovation's 1973 quad sampler, the rest of which is filled with the sort of eclectic jazz cuts that made up most of Ovation's catalog. During the 1970s, the label made a name for itself with quadraphonic sound effects and records, even signing Judas Priest for quad releases.
There's no narrative to this track, apart from the one you supply with your mind. Listen in your car for the full quad effect. Please don't ...
An Evolution of Man in Motion (4:17)
I've posted previously about the psychedelic flavor of quadraphonic promos, as opposed to the genteel, family-centered tone of many 1950s stereo demos. Here's another example, in the form of a sound-effect montage tracking humankind's ascension from biped to interstellar traveler.
This is the opening cut from Ovation's 1973 quad sampler, the rest of which is filled with the sort of eclectic jazz cuts that made up most of Ovation's catalog. During the 1970s, the label made a name for itself with quadraphonic sound effects and records, even signing Judas Priest for quad releases.
There's no narrative to this track, apart from the one you supply with your mind. Listen in your car for the full quad effect. Please don't ...
