main
images
links
about


t























The Three Suns - Movin' 'N' Groovin'
enlarge (100k)

RCA Victor LSA-2532

April Showers
Caravan
Autumn Leaves
Dancing with Tears in My Eyes
Jungle Drums
Movin' 'n' Groovin'

Anniversary Song
Beyond the Sea
Some of These Days
Danny's Inferno
The Vagabond King Waltz
Stumbling


Sound, Dimension and Movement find the Three Suns once again Movin' 'N' Groovin'.
Add to this—Performance brilliante, Blend aromatique, Taste magnifique—and we
sit down to a Suns-Stopper.

The imaginative artistry of producer Al Nevins is again combined with the magic of
arranger-composer Charles Albertine and, for the first time on records, that talented
team—which gave NBC-TV its theme music for Midnight Movie (Alone with the Blues)
and Movie Four (Night Theme) —paints a picture for us in true depth of focus.
Albertine has extended his musical thinking into fresh and unexplored worlds with his
exciting arrangements for this stimulating new medium, Stereo Action. A very special
bow to Alan Lorber (one of America's youngest arrangers) for his help musically in
making this album possible.

The musical core of the Three Suns—the familiar guitar, accordion and organ—has
been here augmented by an extraordinary assortment of instruments, including jaw
bone, wind bells, chains, tapping shoes, harpsichord, ad infinitum—all gliding and
sliding in a whirlwind of pattern and a maelstrom of motion, sometimes subtly and
variously violent, but always Movin' 'N' Groovin'.

Recorded in RCA Victor's Studio A, New York City. Recording Engineer: Ray Hall.
Mastering: Dick Gardner.

THE STORY OF STEREO ACTION

Stereo Action is a revolutionary new concept of stereo recording in which
instruments, singers, whole sections, and even full orchestras are placed into
movement so that the listener has, literally, music his eyes can follow.

Stereo Action is a conscious and deliberate effort to set music in motion by utilizing
actual movement of instruments and sounds from one speaker to the other, and even,
at times, suspending an instrument or sound between speakers. It is a pioneering
concept in stereo listening, and resulted from years of extensive experiments and
remarkable technical break-throughs by the RCA Victor corps of engineers.

Stereo Action requires a wholly new approach to recording. Musical motion is first
conceived by the composer and arranger. Every note of the music to be recorded
must be scored with Stereo Action in mind, as if it were a new and dominating
musical instrument or voice. An elaborate system of charting each and every
instrument for proper stereo placement guides the actual scoring. In addition to the
musical annotation, a companion series of non-musical diagrams for the studio
work is developed.

This wedding of musical artistry and electronic creativity produces Stereo Action—
literally, the sound your eyes can follow.

Side 1

APRIL SHOWERS In this evergreen, the accordion is surrounded by solo and bass
guitar sliding from side to side. There is a brief duet between the melody organ,
with an obbligato, and a second organ, and the arrangement moves into a
double-tempo bridge. The accordion and organ carry the melody, while the guitar,
harpsichord and marimba move in syncopated figures from speaker to speaker.
(ASCAP 2:51)

CARAVAN Against a Far Eastern backdrop of rhythm, guitar and chromatic
bongos, the melody is introduced by the high-pitched nasal organ. A living caravan
of sound passes the "listening" eye, beginning with the Jew's-harp and chromatic
cowbells, followed by the koto guitars and tambourine, and, finally, tuned temple
blocks, twisting and turning through a very real procession. The feel of the number
shifts with a humorous swing guitar solo and moving chromatic bongos. The
second chorus is a ping-pong effect of organs and accordion swinging from side
to side in mimicry of the swinging camel gait. The number ends with a return to the
original caravan sound. (ASCAP 2:49)

AUTUMN LEAVES The falling leaves whirl around and through the speakers in
startling clarity and movement, with two marimbas and harpsichord serving as
dramatic background for a beautifully executed accordion solo. The guitar takes
the melody for a while, and the second chorus is introduced with bass accordion
playing melody and two new guitars added to the delicate background. (ASCAP
3:11)

DANCING WITH TEARS IN MY EYES In this number we have a tap dancer, with
the solo guitar as dancing partner. The organ takes the melody for a while, is
briefly interrupted by a swinging staccato accordion, and then goes into a
ping-pong routine with the guitar. The tap dancer (a pair of real tap shoes handled
by a percussionist) closes the number with some fancy footwork from speaker to
speaker. (ASCAP 2:06)

JUNGLE DRUMS The hot, exotic feel is created by chromatic bongos, timbales
and Spanish guitar, while the bass accordion takes the melody, and the bamboo
drum and log drums move through a very real jungle. A solo melody guitar takes
over with the Flamenco guitar playing a rhythmic backdrop, accentuated by wood
blocks, marimba and harpsichord combination in constant motion. After a brief
interlude by organ and blending bass guitar, the number ends with the original
jungle sounds. (BMI 3:52)

MOVIN' 'N' GROOVIN' Charles Albertine specially created this number as a
sprightly vehicle to demonstrate the full mobility of Stereo Action used to the
nth degree. (BMI 2:54)

Side 2

ANNIVERSARY SONG This side features movements from left to right and right
to left, etc., with two marimbas and harpsichord playing cascading figures in the
background and a highly stylized accordion playing melody in the center. The organ
joins the pattern in the second chorus, playing the melody in unison with the
accordion, while a second organ ad libs figures from speaker to speaker. In the
next chorus, the organ takes over the melody while two new guitars—a fourth
higher, in "F"—play double-time figures in the background. The side ends with a
return to the cascading figure pattern. (ASCAP 3:13)

BEYOND THE SEA A moving background of bamboo wind bells, jaw bone,
kettledrums and organ rolling from side to side faithfully reproduces the sounds of
sea and surf behind the centered melody, carried first by the bass accordion and
then by the regular accordion, with chromatic bongo punctuation. In the release, the
guitar carries the melody line, with percussive overtones from the chromatic wood
blocks and chromatic bongos. The arrangement returns to the opening effect, with
the addition of a marimba in the background and a dry organ taking over the melody
for a while. The release is repeated, with a harpsichord melody complemented by a
twangy bass guitar. Finally we return to the original mood in closing. (ASCAP 3:04)

SOME OF THESE DAYS The accordion carries the melody, accentuated by a
percussive bass guitar and regular guitar swinging from side to side. Then the organ
takes over, with a happy background-guitar figure. The arrangement switches to a
honky-tonk harpsichord solo, and then returns to the original trio effect of accordion
and two guitars. (ASCAP 2:53)

DANNY'S INFERNO In this unusual adaptation by Charles Albertine, the full
depth-of-focus effect of Stereo Action is captured. The opening sounds of the
"Inferno" —African xylophone, timpani and the jaw bone of an ass—dramatically
underscore the rapid-fire ping-pong of the melody, carried by bass accordion on the
right and chromatic bongo and bass guitar on the left. The organ answers the melody,
with bass guitar punctuation, while the chains of the Damned are dragged back and
forth in an almost visual effect. The arrangement returns to the opening Inferno effect,
and then the organ breaks into a macabre jazz solo while a frightened-sounding guitar
flies back and forth from speaker to speaker. The staging ends with a reprise of the
first chorus. (BMI 2:50)

THE VAGABOND KING WALTZ This number opens with a sweeping glissando
movement on piano, xylophone and organ, in contrary motion. The solo organ takes
the melody, while the piano spins an ethereal Chopinesque web around it and the
staccato accordion joins in. An entirely new feeling is introduced as two guitars do a
Spanish waltz behind the melody accordion. The side ends with a repeat of the
opening glissando movement. (ASCAP 3:30)

STUMBLING After a short guitar introduction, the tap dancer reappears, stumbles his
way through his routine, sliding and tapping from speaker to speaker to the melody of
a syncopated accordion, accompanied by ping-ponging organs and guitars.
(ASCAP 3:04)

FAITH WHITEHILL

Copyright 1962, Radio Corporation of America























seventeen.gif (610 bytes) eighteen.gif (1159 bytes) nineteen.gif (950 bytes) twenty.gif (4788 bytes) twentyone.gif (607 bytes)