Vol. 1: Heat Wave/The Man I Love/I’ve Got A Crush On You/All The Way/My Romance/You Do Something To Me/ Zing Went The Strings Of My Heart/Someone To Watch Over Me/Love For Sale/I’ll See You Again/I See Your Face Before Me/With A Song In My Heart Vol. 2: I Want To Be Happy/The Gypsy In My Soul/In A Little Spanish Town/September Song/I Still Get A Thrill/Digga Digga Doo/Of Thee I Sing/Deep Purple/Just One Of Those Things/The Very Thought Of You/Do It Again/The Thrill Is Gone
Music arranger Enoch Light turns his attention to movie tunes which receive his innovative audiophile stereo techniques. Stereo 35mm reached No. 1, and Volume Two No. 8, on the US album chart.
“Offers fully orchestrated instrumental versions of schmaltzy movie songs like My Romance and Zing Went The Strings Of My Heart recorded at Carnegie Hall. I really like this album, seriously lovely lush strings here.”
“Groovy easy listening pioneer Enoch Light's 1961 album, the show tunes-centric Stereo 35MM, is a foray into space age bachelor pad music. Coming off the enormous success of his Persuasive Percussion series, Light's orchestra utilizes stereo field recording techniques that were pretty mind-blowing for the early '60s.”
“These tracks were stunners of the time and contained some marvellous music. Sound is now a bit dated, but more than adequate.” “Enoch Light & The Light Brigade were pioneers in the field of electronic instrumentation and stereo sound. The clear channel separation with one track leading to the other and back is still simply amazing.”
“I have been a fan of Enoch Light from the early 60s. Great to listen and dance to."
“Enoch Light continued to experiment with techniques, becoming one of the first to use 35mm film to record instead of magnetic tape. One big advantage of film over tape was that distortions due to the drag of the original tape across the recording head ('wow' and 'flutter') were reduced dramatically.”
“He is credited with being one of the first musicians to go to extreme lengths to create high-quality recordings that took full advantage of the technical capabilities of home audio equipment of the late 1950s and early 1960s, particularly stereo effects that bounced the sounds between the right and left channels.”
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