But in spite of the unique arrangement and the unfamiliar instruments, there is
considerable charm in the music, for we recognize old favorites in new dress. Even
without the titles we could almost guess the subject.

Side 1

1. Reflections in the Water. An especially apt arrangement in which we see the
smooth surface of a brook rippled with thoughts and memories - some pleasant,
some sad. Reverberation is used as a dissolve between moods.

2. Ti-Pi-Tin. Mexican in spirit, this reminds us of a marimba in a Tia Juana cafe - warm
and lively and bright, and played by four deadpan natives with player-piano precision.

3. Blues in the Night. In the mood of the South, with the melody coming to us over the
water in the cypress swamps. We hear bullfrogs and strange birds and the wind
stirring the moss in the trees.

4. In the Still of the Night. More conventional, with the principal melody from the
electric guitar, aided, augmented, and abetted by artificial reverberation.

5. Makin' Whoopee. Dissonant at the start, already living up to the title, then bright and
gay, each phrase ending with a smile - yet the whole finishes with a musical
representation of a hangover.

6. Lonely Guitar. An equally lonely cowboy trudging down the trail at twilight on his
pinto, accompanying his ever-present guitar with a whistled melody as he goes off
into the distance.

Side 2

1. Stella by Starlight. A new Stella - older perhaps, and richer in experience, full of
many moods from sadness to gaiety, sometimes even with the sparkle of
champagne.

2. You're the Top. A kaleidoscope of tone colors, well fitting its complimentury title.

3. Whistle While You Work. This is one you can feel all the way - including the work.

4. A Foggy Day. Right for the mood, with the foghorn in the background, an
occasional bell buoy, and outlines of familiar objects faintly visible through the swirling
mists.

5. Mood Indigo. Here we have a canvas that's mainly in indigo, yet brightened up with
lighter shades, slashes of electric blue, a few bold spots of scarlet, and with gold
threads woven all through it.

6. A Blues Serenade. Now the guitar is played in a large, high-walled courtyard with
little to dim the reverberation - a fitting and restful finale.

MARTIN GOLD, a native New Yorker, won recitals in Town Hall when only 12 and has
been in music ever since. As arranger, he has worked with such bands as Ben
Bernie's and Charlie Barnet's, and he became associated with the Three Suns as far
back as 1948; he is well known as conductor of many current recording sessions for
the major labels, including such names as the Four Aces, Sarah Vaughan, Georgia
Gibbs, Patti Page,Vaughn Monroe, and others. Among his compositions are Give Me
the Right, It's Dawn Again, Tell Me Why, Bright Red Convertible, and other popular
tunes. Marty has teamed with Sid Ramin before on all of the Three Suns and
Orchestra albums.