- Incredible sound for this original RCA Living Stereo pressing with both sides earning Shootout Winning Triple Plus (A+++) grades or close to them
- This copy was just plain bigger, richer, and more Tubey Magical than every other copy we played; the energy level is off the charts and the bottom end is right on the money
- “These albums aren’t quite as wild as Esquivel’s, but they’re worth looking for if you like music with a big zing, zang, zoom in it.” – spaceagepop.com
This vintage Living Stereo pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What amazing sides such as these have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1962
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We Listen For on Doo Wacka Doo
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Yes Sir, That’s My Baby
12th Street Rag
Red Hot Mamma
When You Wore A Tulip (And I Wore A Big Red Rose)
Ain’t She Sweet
Toot, Toot, Tootsie! Goodbye
Bye Bye Blackbird
Five Foot Two, Eyes Of Blue
Doo Wacka Doo
Space Age Pop Music
Marty Gold worked as a pianist with several sweet bands in the 1930s, but his first brush with fame came as a member of a comic band known as the Korn Kobblers. Gold played with and did the arrangements for the Kobblers, which brought his work to the attention of Guy Lombardo and other bandleaders. Preferring the sanity of the studio to nightly antics on stage, he returned to New York and settled down as a freelance arranger and composer.
He began recording under his own name in the early 1950s, mainly for Decca, but then switched to RCA and its affiliates Vik and X. He arranged and played on a number of the Three Suns’ mid-50s albums. Gold composed as well, co-authoring “Tell Me Why,” a #2 hit for the Four Aces.
Gold was one of the workhorses of RCA Victor’s arranging staff through most of the 1950s and 1960s. He worked on hundreds of albums, backing acts ranging from Rafael Hernandez to Peter Nero. A versatile stylist, he supplied whatever the setting called for: syrupy strings for a singer, rocking walls of sound for Top Ten covers, hale and hearty vocal choruses for his Kapp albums of college songs.
In some ways, he was like the East Coast version of Billy May. He worked fast, covered a wide territory, and never put himself “above” his material. So, like May, you can find his contributions showing up on kids’ records, too, and more than a few of them. He provided the background music for dramatizations of Dr Seuss’ books and, in the late 1960s and 1970s, recorded numerous albums for the Peter Pan label. Some of these featured a cloying chorus of kids singing covers of such pop hits as “These Boots are Made for Walking.”
But his best work can be heard on hi fi and stereo showcase albums he recorded for RCA and its subsidiary, Vik. On these Gold’s style is to use every bit of the orchestra, including the kitchen sink. A typical arrangement will have at least five different major instrument types playing part of the melody in as little as eight bars. These albums aren’t quite as wild as Esquivel’s, but they’re worth looking for if you like music with a big zing, zang, zoom in it.