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Marty Gold - Wired for Sound
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Vik LX-1054

Reflections in the Water
Ti-Pi-Tin
Blues in the Night
In the Still of the Night
Makin' Whoopee
Lonely Guitar

Stella by Starlight
You're the Top
Whistle While You Work
A Foggy Day
Mood Indigo
A Blues Serenade


There is little likelihood that many of us have ever heard these selections played in this
form - nor anything else, for that matter. There are violins, drums, saxophones,
trombones, and some other conventional instruments, but there are also many unusual
sound-producing devices. Some resemble the instruments we know, but appear to be
one or two octaves out of place, others are quite strange. Some parts sound as
though they might have been saved from bygone days of the theater organ, for they
have the tones we identify as the Tibia and the Kinura and the English Post Horn.
Heretofore the organ attempted to imitate the orchestra - this might be just the reverse.
Then, too, there is reverberation, an artificial echo produced electronically and
completely under the control of the recording engineer.

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.

SID RAMIN began life in Boston, and was started on a musical career with the help
of Leonard Bernstein. He has arranged for Les Brown, Lawrence Welk, Harry James,
Ray Anthony, Camarata, Les Baxter, and other bands, and for the Milton Berle TV
show for eight years. Versatile, he has Broadway credits for work on "Wonderful
Town" and "Hazel Flagg"; symphony credits for adaptations of Gershwin preludes for
the St. Louis and Kingsway orchestras, and for a Portrait of "Fats" Waller for the New
York Philharmonic.

C.G. McProud
Editor and Publisher, Audio magazine


by Radio Corporation of America, 1956