101 STRINGS
MILLION SELLER HIT SONGS OF THE 60’S
Original 1964 album liner notes
BIGGEST HITS OF A DECADE
Side one
1. I LEFT MY HEART IN SAN FRANCISCO
(Corer-Cross)
2. WONDERLAND BY NIGHT
(Chase-Newman)
3. I CAN’T STOP LOVING YOU
(Don Gibson)
4. THE HAPPY HOBO
(R.W. Lowden)
5. THEME FROM A SUMMER PLACE
(Discant-Steiner)
6. EXODUS
(Ernest Gold)
Side two
1. MOON RIVER
(Mancini-Mercer)
2. STRANGER ON THE SHORE
(Mellin-Bilk)
3. DAYS OF WINE AND ROSES
(Mancini)
4. CALCUTTA
(Gaze-Vance-Pockniss)
5. MY VALLEY
(R.W. Lowden)
6. WHAT KIND OF FOOL AM I
(Bricusse-Newley)
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GOLDEN HIT SONGS OF A DECADE
The musical 1960’s have been swamped with a torrent of rock and roll drivel. However, in spite of this din, there have been songs penned of such quality and magical form that it is possible that we shall maintain sanity in popular music after all. These melodies of rare staying quality will become “evergreens” on their own merit. Film music by Johnny Mercer and Henry Mancini, who have given us Days of Wine and Roses and Moon River; the wide screen pathos of Exodus; Ferrante and Teicher’s haunting recording of Theme From a Summer Place – all rank with any melodies to come from the sound stages of Hollywood in any decade. The soul artistry of Ray Charles’ I Can’t Stop Loving You; the brilliant theatre of Anthony Newley’s What Kind of Fool Am I – all worthy of awards. The staccato color of Lawrence Welk’s waxing of Calcutta and Tony Bennett’s #1 seller I Left My Heart in San Francisco are a musical redemption for a generally song barren era. Robert Lowden’s arrangements of these twelve tunes embody the flavor of the original hits and are enhanced by the richness of the world’s largest string orchestra recorded in a breathtaking dimension.
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101 Strings
The lush magnificence and high-fidelity depth of “101” Strings is due to a combination of factors. First, in importance, is the concept of scoring for the strings. The necessity of using 101 string instruments is to utilize various harmonies and voicing and not weaken the dynamics or quality of any one line when playing counter lines. This is particularly important with the violins and violas, and creates a wonderful rich channel separation for high-fidelity recording. The listener will note that at times the melody line is in full presence, and possibly a full and lovely counter line is being played, without sacrificing the full dynamic value of either. Secondly, the original performances have been recorded under the most exacting audio engineering standards with specially designed microphones with characteristics to compensate for any possible distortion from the tremendous bass frequency response in cello and string bass. Third, and of extreme importance, are the players themselves. They represent the finest musicians in Europe today. There are, in fact, eleven concertmeisters in the first chairs. This album was recorded under the direction of D.L. Miller.
AUDIO: DR E. BEURMANN – DR W. WILLE
RECORDING DIRECTION: D.L. MILLER
COVER ART: CHIC LAGANELLA
REPRODUCED IN THE DYNA-COUSTIC PROCESS
The DYNA-COUSTIC process is the most advanced principle of recording in the audio sciences. By pre-determining levels and optimum frequency responses of each section of the orchestra, microphones are placed and set at a fixed volume during the performance. The result is a natural dynamic response from the hall or studio thereby retaining the pure acoustical resonances heard at actual performance rather than an electronic audio illusion that is emotionally disappointing in normal recording.
HI-FIDELITY
SOMERSET
MONAURAL
Manufactured by Miller International Co., Runnemede, N.J., U.S.A.
AU 506
ALBUM P-21300
