Wes Hensel] Kate [Arr. Say it with Music [Arr. I used to be Color Blind [Arr. Bill Holman] Let's have another Cup of Coffe [Arr. Better luck next Time [Arr. They say it's wonderful [Arr. This Year's Kisses [Arr. He ain't got Rhythm [Arr. Shorty Rogers]. Take me in your Arms Your're getting to be a Habit with Me Out of this World I can't love you anymore Look out for me Baby!
I love you Anita Time after Time Golden Earrings You really do get around Tangerine [Arr. Med Flory] Delilah [Arr. Paul Moer] Sweet Sue [Arr. Dinah [Arr. Coquette [Arr. Georgia on my Mind [Arr. Miss Anabelle Lee [Arr. Liza [Arr. Cleone [Arr. Jill [Arr. Margot [Arr. Smokey [Arr. Med Flory]. Juke Box Dream It could happen to You Bluebeard Reasonably Ugly Chick Outer Space Get out of Town Lovable in the Dark Only Thirty-Three When You're Cheatin' on Your Baby Twice as Nice Music City - Russel Garcia Orchestra Ben Blew - Warne Marsh Quintet Joanies Jump - Med Flory Orchestra Caribe - John T.
Williams Quartet Time Square - Marty Paich Orchestra Plain Jane Snavely Spring is here - John T. Time's Up - Warne Marsh Quintet Fish Tail - Russel Garcia Orchestra Angel - Billy Usselton Sextet [Arr. Earful - Warner Marsh Quintet Wonderful You - Med Flory Orchestra Anything Goes - John T. Blooz - Billy Usselton Sextet [Arr. Smoggy Day - Russel Garcia Orchestra Lonely Time - Marty Paich Orchestra Aunt Orsavella - John T. Black Jack - Warne Marsh Quintet Number Four - Russell Garcia Orchestra.
You don't know what Love is I hadn't anyone till you Lover Man oh where can you be? I could have told you You taught me to love again You're mine you! Real Love Old Main in April Weather I must have you When I go I go all the Way A Stranger in Town Tip-Toe Through the Tulips My Heart belongs to Daddy How long has this been going on? Give me something to remember you by Bye bye Blackbird Love is here to stay Day in Day out Fine and Dandy I know he's mine Painting the Town with the Blues It's Monday Every Day It's the Talk of the Town But not for Me In a sentimental Mood Mean to Me I Got it Bad I Don't want to cry anymore The Wrong Blues He Leadeth Me I Am Thine O Lord Blessed Assurance Take the Name of Jesus with You What a Friend we have in Jesus Nearer My God to Thee Rock of Ages Let the Lower Lights be Burning I Love to Tell the Story God will take Care of You Saviour like a Shepherd leads Us Just a-sittin' and a-rockin' Hurry-Hurr Tess's Torch Song I had ad Man Nocturne for the Blues Undecided Easy Living Do you know what it means to miss New Orleans Never do Now you know Sometimes I feel like a motherless Child I wanna be a Friend of yours.
Love is a simple Thing S'posin You won't be satisfied Moonglow Hooray for Love Ev'ry Time You couldn't be cuter Mean to me Blue Room Here I am in love again I like the likes of you Chicken Hawk How Long Blues Whole World in His Hands Rock and Roll Shoes When the Saints Come Marchin' In The Hogwash Junction Function Basin Street Blues Search My Heart Lazy Man Overture On Fairfax Avenue Professor Billy Gray Why can't the Yankees teach the English how to Speak Still, by the mids, such movies were growing stale with younger viewers as a new generation of filmmakers specialized in the kind of gory tales that would have been deemed unreleasable even a few years before.
The production of "Madhouse" represents the last desperate gasp of the type of horror film that had grown so popular over the previous decade.
It stars two genuine legends, Vincent Price and Peter Cushing, who heretofore had been denied sharing the screen together despite having jointly appeared in anthology horror flicks. Robert Quarry, who was being groomed as their heir apparent by American International on the basis of his portrayal of Count Yorga, also had a prominent role in "Madhouse". The production, however, was far from a joyous swansong for the film that marked Price's final association with American International.
In fact, the entire movie was deemed such a mess by those involved that it's a testament to their talents that it was even completed. The film was a joint venture between A. There was tension from day one and the film went into production with a hastily cobbled together script that no one found satisfactory.
Indeed, having received the script on Friday, the actors were expected to begin shooting on Monday. Robert Quarry was so disgusted by the lame dialogue that he took it upon himself to ghost write major portions of the script, an act that was looked upon favorably by his co-stars who asked him to do the same for their characters..
Jim Clark, who is primarily known as a talented editor for many esteemed films, was assigned the thankless task of bringing this mess-in-the-making to the screen. He was hobbled by a disgruntled and dispirited cast as well as quarreling executives.
Death", a much more appropriate title. Toombs has become a star largely based on his recurring role as Dr. Death, a hideous murderer who stalks his victim in a distinctive skull-like mask. Disgusted by this revelation, Toombs publicly chastises Ellen and the two storm off upstairs.
Minutes later, Ellen is decapitated by someone in a Dr. Death costume. The prime suspect is Toombs, who is blamed for the murder and who suffers from a convenient bout of amnesia that leads him to believe he must have been guilty of the crime. He is committed to a mental institution for years.
When he is released, he is convinced by his best friend and favorite screenwriter Herbert Flay Peter Cushing that he should accept an offer to revive the Dr. Death character for television. Ironically the show is being produced by Oliver Quayle, who is now a reputable figure in the industry. Toombs initially spawns the offer, partly out of revulsion for Quayle but primarily because he fears that playing Dr. Death again might inspire him to commit more violent crimes.
Nevertheless, Herbert, who is now also an aspiring actor, convinces Toombs that he is up to the challenge. As the show goes into production, a series of high profile murders occurs with the victims turning out to be people who have come into contact with Toombs. They include an opportunistic young actress Linda Hayden , who tries to seduce and blackmail him and her equally opportunistic step parents.
As the body count rises everyone suspects that Toombs is the killer but Scotland Yard can't pin the crimes on him. It's apparent to the viewer, however, that Toombs is the victim, not the killer. This is typical for protagonists played by Price. At times it plays like "Gaslight" on steroids. You would also have to be the least adept sleuth since Inspector Clouseau if you can't spot who the real villain is practically from frame one.
Phibes movies and his acclaimed hit "Theatre of Blood" which had been released the previous year. The key component is a sense of campiness, though in "Madhouse" the actors play it straight and don't give overly broad comedic interpretations of their roles. Price actually has an interesting character to play, as Toombs is a multi-faceted man with a painful past and present to contend with.
He does yeoman work, giving one of his finest late career performances he even gets to croon a love song that is played on old Victrolas! Cushing is largely underutilized until the climax when the two stars share a terrific scene. Stuck between these two legends, Robert Quarry doesn't have much to do other than sip cocktails and make snarky remarks. Still, having these three stars on screen together makes for a delightful experience even if the material is often predictable.
In fact, it's the sheer predictability of the script that makes the movie so enjoyable. This is the kind of horror flick in which nubile and defenseless young woman walk through dark houses to see what went bump in the night.
It's gory and bloody in keeping up with the times, but somehow the gore is never as repugnant as it is in slasher and "dead teenager" flicks that would come to redefine the horror genre. It should also be pointed out that Price's Dr. Death makeup effects are truly impressive, as is the gimmick employed throughout the film of having clips from Price's old collaborations with Roger Corman shown as examples of Paul Toombs's career highlights.
A nice touch is acknowledging the late great Boris Karloff and Basil Rathbone, who appear in these sequences, in the opening credits of "Madhouse". Kino Lorber's Blu-ray release is outstanding on all levels. It features a commentary track by horror film historian David Del Valle that is both entertaining and informative.
Del Valle personally knew many of the people involved in the production and his track is like a master class in horror filmmaking. There is also a short but very good retrospective documentary about the making of the film in which Del Valle is interviewed along with another esteemed horror film scholar, C.
Courtney Joyner. Both of them provide plenty of fascinating facts about the troubled making of the movie, which was renamed "Madhouse" at the eleventh hour by A. It also represents the type of movie of which it can be said, "They don't make 'em like that any more". I only wish they did. Legendary comedian and actor Bill Cosby has been formally charged with sexually assaulting a woman who said she considered him a friend and mentor.
The incident is said to have occurred in At the time, prosecutors chose not to file charges. Cosby has been accused of sexual assault over the decades by many women whose stories are quite similar. They state that Cosby lured them into a trusting relationship, then used drugs to immobilize them. He then allegedly sexually assaulted them. Cosby has denied committing any illegal acts and has brought a lawsuit against on of the women, model and actress Beverly Johnson, claiming that she have slandered his reputation.
He has admitted in a deposition that he had obtained prescriptions for Quaaludes and would give the pills to women with the expectation of having sex with them. However he never clarified whether the women knew that was his intent and if the sex was consensual following their ingesting of the pills. Allegations of sexual abuse have dogged Cosby since the s when he burst onto the scene as one of America's brightest young stand-up comics.
In he co-starred with Robert Culp in the TV series "I Spy" which earned him Emmy awards and respect for breaking down racial barriers as the first African American actor to star in a dramatic TV series. In the ensuing decades Cosby has become an iconic presence in American pop culture.
His s sitcom series became a smash hit and ran for many years, defining the epitome of "Must See TV". Some of Cosby's alleged victims have claimed that his iconic status and powerful connections discouraged law enforcement officials from aggressively pursuing their claims. Ironically, the statute of limitations in Pennsylvania for the crime Cosby is charged with would have expired in Cosby was arraigned in court today.
Long time Shannara fans have reason to rejoice. Cast with some terrific young actors it's a good bet to be a hit with MTV fans who know nothing of Brooks' novels. Shot on location in New Zealand, it has beautiful scenery, breathtaking cinematography and an impressively talented and good looking cast. Elves are supposed to be beautiful, no? The set design is spectacular; wait until you see the Sacred Garden and the Ellcrys.
They should whet your appetite for more. A long time to come, on a post-apocalyptic Earth, a magical tree, the Ellcrys, stands in the Elven city of Arborlon. For thousands of years it has protected the Four Lands from demon invasion.
As long as the Ellcrys lives, the demons remain banished in the Forbidding. But the Ellcrys is dying. For the first time in its history the Ellcrys is shedding leaves and with each leaf that falls another demon is released into the world. The demons are coming Since its planting the tree has been protected by The Order of the Chosen.
Each year young elves vie for one of the seven places in the Order, giving a year's service tending to the tree. This year, against tradition, the first female elf has earned a spot in the Order.
Misinterpreting one of the Ellcrys' messages, she runs away in an attempt to protect someone she cares about. In Shady Vale, Wil Ohmsford Austin Butler - The Carrie Diaries, Arrow , a young man who is half-elf, half-human, is dealing with the death of his mother, a gift she gives him on her death-bed and a mission she imparts; "Find the Druid.
The gift pertains to the magical elfstones once wielded by Wil's father, Shea Ohmsford. Wil leaves Shady Vale intent on going to Storlock to study healing to make up for the helplessness he feels being unable to save his mother. Instead of finding Alanon it is the druid who finds Wil but not before Wil has been relieved of the elfstones by a beautiful Rover girl read: thief , Eretria Ivana Baquero - Pan's Labyrinth.
Alanon has been called by the Ellcrys and with Wil in tow they head to Arborlon. Meanwhile, a Changeling demon prowls Arborlon doing the Dagda Mor's bidding. The first leaf lost by the Ellcrys released the Dagda Mor, a powerful Elven Druid corrupted thousands of years earlier by the Illdatch, a book of dark magic.
The Changeling's mission is to kill all the members of the Order of the Chosen. In this way, as only a member of the Chosen possesses the ability to revive the Ellcrys, a demon invasion will be assured…. It's almost too good to be true. After long, complex negotiations the cable channel Antenna TV has closed a deal to begin showing full length vintage episodes of "The Tonight Show Starring Johnny Carson" beginning January 1.
The shows will provide a fascinating time capsule that extends over Carson's thirty years hosting of the iconic NBC late night program. Full one hour episodes will air on weeknights while earlier 90 minute episodes will be telecast on weekends. In today's age of basically crass, dumbed-down interview shows, Carson's "Tonight" episodes will probably resonate better than ever.
The show would present an astonishing array of guests that represented everyone from legendary actors and singers to literary figures and politicians. For a generation that grew up on the show it will be great to hear Ed McMahon once again bellow, "Heeerrreee's Johnny! Alfred Hitchcock loathed having to abide by the Puritanical "Hayes Code" that, in effect, acted as a de facto censorship board for American films.
Hitch devised numerous clever ways to introduce adult sexual situations into his films in a manner that made it difficult, if not impossible, for the prudes to order scenes trimmed or deleted. Hitch lost a few battles ironically one them based on a non-sex scene involving the flushing of a toilet! Click here for an article from The Richest web site that examines some his tactics for including sex in his movies although the article fails to examine "Marnie", perhaps the most sexually driven of all Hitchcock's films.
Following its popular exhibition at Madame Tussauds in London, the six James Bond wax figures are now on display in the Hollywood branch of famed museum. Lazenby's agreement to do a sitting last February made completion of the exhibit possible.
The other five actors had previously had likenesses of them on display at various time periods at the museum. For more, including a link to buy tickets, click here.
The band Radiohead confirmed that they had indeed been asked to write a theme song for the blockbuster James Bond film "Spectre".
Nevertheless, Radiohead was very pleased with their effort and just made it available for fans to experience. The Cold War is over and a former CIA agent is called out of retirement to exchange an imprisoned Russian agent for a captured American pilot.
The movie was released in just as the Soviet Union ceased to exist and the Russian Federation was born. Sam is called out of retirement to exchange Pyotr for the American being held by the Russians.
Glasnost and perestroika indeed, or so it would appear. Sam escorts Pyotr to the recently reunited Germany along with a case filled with a million dollars when he realizes they are being tricked by the Russians. It turns out the exchange is a fake and they are involved in an elaborate double cross and money laundering scheme involving the Russians and Americans.
Hot on their trail are the American and Russian agents attempting to get the money back and to kill Sam and Pyotr who form an alliance and make their way through Germany and on to Paris. The main problem is that the story was obviously meant to be a typical Cold War thriller. What do you do with a Cold War thriller after the Soviet Union ceases to exist? It was an unfortunate time to produce such a movie. The movie is trying to be a kind of comic buddy movie, but it never quite works out.
The central plot is too full of holes and none of it really makes any sense. Why not just keep the cash and hide somewhere in luxury? Instead Sam and Pyotr keep exposing themselves by meeting with old friends and known associates in cities filled to the brim with spies. The night-time street scenes in Germany are very nicely shot and the movie is an easy going 98 minutes. The disc contains a featurette with interviews by a very bored Hackman as well as out-takes, sound bites and the trailer.
Interestingly, the trailer attempts to sell the film as a buddy comedy and features a scene not in the movie with the leads living in retirement on a tropical island. Smith, an acclaimed jazz musician, reminisces in part one of this recent interview. Click here to read and to view a fascinating deleted scene from "Diamonds Are Forever". Frank Capra was a superstar Hollywood director in the s. Capra was also one of the developers of the screwball comedy, in which mismatched couples, usually from different social classes, fall in and out and back in love.
Kaufman and Moss Hart, which was still playing in New York when the film opened. Grandpa is the only holdout in the area and refuses to sell. Socialite Mrs. Kirby Mary Forbes disapproves with such viciousness that she practically becomes the real villain of the piece.
Thus, the Capra ingredients are all there—odd and funny characters, a conflict between upper and lower classes, and a screwball romance. The performances are first rate all around although Byington received the only Oscar nomination, for Supporting Actress , and the adaptation by Robert Riskin is superb despite radical changes to the third act of the play.
There are some very funny moments, such as when the Kirbys come to the Vanderhof home for dinner on the wrong night, causing the nutty household to spring into action to accommodate them. Familiar-face Harry Davenport has a wonderful comic turn as a night court judge when everyone is thrown into the drunk tank for disorderly conduct and illegal manufacture of fireworks.
The film was fully restored and mastered in 4K p high definition and looks marvelous. Supplements include an audio commentary by Frank Capra, Jr.
The original theatrical trailer is included, and the hard-case inner booklet features a comprehensive and studious essay by film historian Jeremy Arnold. Enjoy it It has developed a bit of a cult following among retro movie lovers who will be delighted that the film has come to DVD through the Warner Archive. The movie was designed to capitalize on the notorious Boston Strangler murders that were in the news at the time.
However, what sets the movie apart from other cheap thrills productions is the fact that it is intelligently scripted and presents its villain as a highly complex character, filled with nuances and psychological tortures.
Victor Buono, who had made a sensational film debut the previous year in "Whatever Happened to Baby Jane? He's Leo Kroll, a meek, obese young man who barely makes a living as a lab assistant in big city hospital. He's quiet, unassuming and superficially friendly even though he has no real friends in his life. Our first glimpse of Leo is rather startling.
We see him inside the apartment of an attractive young woman who is undressing, not knowing that she has a stalker on the premises. Leo suddenly emerges and strangles her with her own stockings. We learn that Leo is behind similar serial murders of young women in the area but the police are at a dead end.
Leo's private life is pure hell. He lives with his aging mother Ellen Corby who controls virtually every aspect of his life. She even ensures that their apartment is a shrine to herself, adorned with numerous photos of her. When the film opens, she is confined to a hospital room and expects Leo to visit her every night right after work. When he takes a night off to indulge in his murderous past time, his mother's abrasive accusations of neglect seem to bother him more than the heinous crimes he has committed.
He clearly hates and resents his mother. She never fails to remind him that he is a loser: overweight, homely and friendless. She tells him that she is the only person he can rely on and trust. She also warns him against getting involved with women, saying that any girl who would date him had to be after his money. Leo also has a peculiar fetish- he likes to leave dolls at the scene of his murderS, each representing the woman he has just killed. He obtains them by winning a game of chance at a local arcade where his skill at the game seems to impress the girls behind the counter, one of whom, Tally Davey Davison , he clearly has a crush on, which inevitably puts her on Leo's endangered species list.
There weren't many diverse roles that Buono could play in his career. Generally, the baby-faced actor was stuck portraying varying incarnations of a "man child". Buono, who died young at age 42 in , arguably gives the best performance of his career in "The Strangler", making a man who commits despicable acts seem almost sympathetic. When he finally asks a woman he barely knows to marry him, her rejection of him is truly a heartbreaking scene.
Leo ends up on the short list of police suspects but manages to elude arrest. He even demands to take a lie detector test, which he passes due to the fact that he has no feelings of guilt whatsoever. His motive for murder isn't even to alleviate the sexual repression he feels.
It's simply his way of dealing with mommy issues. Each woman he slays is a stand-in for the mother he deplores. Under the highly competent direction of Burt Topper, "The Strangler" boasts some impressive performances by a largely unknown cast. The police sequences, which highlight David McLean as the over-worked cop assigned to crack the case, ring with authenticity.
Yet it is Buono who dominates the production with a performance that would have won critical raves if it were seen in an "A" list production. The film is consistently entertaining and at times highly suspenseful. The Warner Archive release is top-notch but lacks any extras. A commentary track on this title would be most welcome for a future edition.
In the early s director John Frankenheimer emerged as one of Hollywood's most exciting talents. Consider the remarkably diverse films he made in a four year period between and "Birdman of Alcatraz", a somewhat fictionalized but extremely compelling prison drama with an Oscar nominated performance by Burt Lancaster; the classic thriller "The Manchurian Candidate" which perfectly analyzed the type of paranoia that still defines American politics today; "Seven Days in May", yet another classic political thriller that also retains its relevance; "The Train", a superb WWII film about the French Resistance attempting to thwart a Nazi's theft of priceless national treasures, "Seconds", Frankenheimer's brilliant and underrated "Twilight Zone"-like chiller and "Grand Prix", the big budget, star-packed racing extravaganza that was unlike any of his previous films it was in color, for one.
For a while, it seemed Frankenheimer could do no wrong. However, by the late s, he began to stumble. His forthy comedy "The Extraordinary Seaman" was, by any rational evaluation, a complete disaster and was deemed largely unreleasable by MGM. His next major effort, "The Gypsy Moths" reunited him with Burt Lancaster, star of some of his greatest successes.
However, despite having many merits, the film failed to click with audiences and critics. Suddenly, Frankenheimer was no longer the "Golden Boy" who represented the new age of daring young American directors. In the mids, he got two more bites at the apple with "French Connection II" and the terrorist thriller "Black Sunday". He delivered the goods artistically but both films did not amass the anticipated grosses and Frankenheimer was increasingly relegated to helming middling films in return for a quick pay check.
He later confessed that some of his problems were self-imposed due to his dependency on alcohol. As his feature film career deteriorated, Frankenheimer found salvation through directing acclaimed, high profile TV movies that saw him win four Emmy Awards.
He did have one late career theatrical hit with the spy thriller "Ronin" in He passed away in , having had the satisfaction of seeing his work re-evaluated by a new generation of critics with "Seconds", in particular, finally winning the type of praise that had eluded reviewers when initially released in The movie went into production at the very end of the Cold War. By the time it was released in , the Soviet Union was on the verge of collapse, which is probably why the audience is informed that the story takes place in Although the film is set up to be a grudge match between two military tough guys on opposite sides of the political spectrum, the central character is Col.
Jack Knowles Roy Scheider , a spit-and-polish veteran U. Knowles is a complete hard ass with Patton-like disciplinary measures he doesn't hesitate to enact for any soldier who doesn't abide by his rules. But we learn later that Knowles is a bit of a hypocrite. Seems he has a reputation for being a loose cannon who consistently defies orders and regulations in order to carry out procedures his own way. He's been booted from several commands and this is his last chance.
It's an opportunity that has been afforded him by his Vietnam War buddy Gen. Hackworth Harry Dean Stanton , whose life Knowles saved back in the day. Knowles shows his gratitude by immediately violating orders and taking a small patrol past the "no go" boundary that abuts the Czech border.
By happenstance, the group witnesses a disturbing sight: a dissident is racing toward the West German border over snow covered fields with Soviet soldiers relentlessly hunting him down on horseback.
SajaJ The Monkees —Then And Now. The Best Of The Monkees. Arista Whitney Houston— Whitney Houston. Greatest Love Of All; etc. Dire Straits- Brothers In Arms.
A 1 album! Money For Nothing; others. Neil Diamond's 12 Greatest Hits, Vol. Columbia Greatest hits. Fantasy Van Halen- Branford Marsalis— Romance for Saxophone.
Top 10! English Chamber Orchestra. Yankee Rose; Gain Crazy; more. Rampal, Boiling. Philharmonic Orchestra. Digital-CBS Masterworks Tilson Thomos, Los Angeles Phil. Bruce Springsteen— Born In the U. Somewhere; Something's Coming; more. You simply agree to buy 2 more CDs at regular Club prices in the next year— and you may then cancel your membership anytime after doing so. How the Club works. About every four weeks 13 times a year you'll receive the Club's music magazine, which describes the Selection of the Month for your musical interest.
In addition, up to six times a year, you may re- ceive offers of Special Selections, usually at a discount off regular Club prices, for a total of up to 19 buying opportunities. If you wish to receive the Selection of the Month, you need do nothing— it will be shipped automatically. If you prefer an alter- nate selection, or none at all, fill in the response card always provided and mail it by the date specified.
Joined by Al Jarreau, others. Featuring Linda Ronstadt. Lonn Maazel, Vienna Phil. Bach: Goldberg Variations. Glenn Gould. Eagles-Their Greatest Hits Top 10 Album. What About Love; Never; etc. Capitol Lorin Maazel, Vienna Phil.
Phil Collins-No Jacket Required. Album of the Year! The Toronto Chamber Orchestra. If you ever receive any Selection without having 10 days to decide, you may return it at our expense. Multiple-unit sets may be somewhat higher. After completing your enrollment agreement you may cancel membership at any time,- if you decide to continue as a member, you'll be eligible for our money-saving bonus plan.
If you are not satisfied for any reason whatsoever, just return everything within 10 days and you will have no further obligation. It's a chance to get a fourth selection at a super low price!
Fruitridge RO. Box , Terre Haute, Indiana Please accept my membership application under the terms outlined in this advertisement. I agree to buy two more selections at regular Club prices in the coming year— and may cancel my membership at any time after doing so.
Miss il First Nome Address -Apt.. Check one. Selections with two numbers contain 2 CDs and count as 2— so write in both numbers. Alaska, Hawaii, Puerto Rco; Please wrie lor details of alternative offer.
Designed to hold not only CDs and hi-fi components, but liquor, wine glasses and, of course, your rear projection TV, the five-cabinet system can be configured in a variety of ways, and optional pieces may be added. The mir- ror-like black finish is made so by several coats of hand- rubbed polyurethane. And if you're wondering where to put your speakers, CWD also offers handsome hardwood and hardwood-veneer stands in three heights: 9" for large floor-standing speakers; 15" for smaller floor-standing or bookshelf speakers; and 30" pedestals for mini-speakers.
Bedford, IL Circle 88 on reader service card. CWD's high-gloss black Entertainment Center integrates a rear projection TV, liquor cabinet, and just about everything except the kitchen sink. Analog Lives! Studer— the professional arm of the company— has announced an all-new track analog studio recorder, the A Studer's first entirely new multichannel machine in more than eight years, the A is fully convertible between 1- and 2-inch tape widths, offers three recording speeds, and can be configured with 8-, , and track headblocks.
But wait a minute— the real news on this analog recorder is digital. The A uses digital electronics at nearly every phase of its operation, via programmable transport operation, digital automatic audio alignment of all 24 tracks simultaneously! Studer intends the machine to compete with the best of to- day's digital multitrack studio equipment, in large part thanks to Dolby Laboratories' new SR Spectral Recording] noise re- duction system.
Studer maintains that with SR, the A does more than just compete with digital; it "may offer the best sound reproduc- tion available from any recorder— analog or digital. But Studer has been at the root of many of our best recordings for so long that we think their commitment to analog recording deserves an open mind, at the least.
Worth a Look Japanese Ceramics: Out of the Museum and into the Listening Room Kyocera, the Japanese audio component purvey- or, has long emphasized the importance of acoustic isolation, and not just for turntables playing old- fashioned LPs. Now, as isolation's importance for CD players is becoming more generally recognized, Kyocera has introduced the latest in a line of players employing modern ceramic technology to help dampen unwanted vibration.
Ceramic" spacers in its chassis to isolate key com- ponents from vibration. A full Kyocera International, Inc. A func- tion wireless remote controller is included, and the new player Circle 91 on reader service card. Two new units— the PD-M60 and PD-Moffer digital filtering, anti-vibration designs, and improved random play features. As many as 80 tracks can be programmed on the PD-M70, which also features a remote controller that incor- porates an LCD screen to facilitate programming.
Pioneer's second generation of multi-play CD players bring jukebox-like programmability into your living room. So you can spend less time searching for CDs and more time hearing them. Four friction-fit brass-coated pegs can be adjusted to separate music categories, further speeding search time. Up to three cabinets can be stacked on each other to hold a collection of discs.
Columbia Records is proud to introduce the first releases in a documenting the historical importance of these classic recordings - continuing series of landmark jazz albums digitally remastered for are based on both original material and new research. Compact Disc, LP and Cassette. Columbia Jazz Masterpieces.
In fact, you're probably sitting in it right now. A little attention to the space where you listen to music can pay real dividends in sound. And it sounded great. But you read my January column and I persuaded you to buy a new amplifi- er.
Then you read my February column and I persuaded you to buy new loudspeakers. This month, let's take the final plunge into good listening: hire a con- tractor to bulldoze your living room and build a perfect listening room from scratch. While you're at it, you might want to line up a good divorce lawyer. You may not be prepared to take such extreme measures, but the sad fact is that your listening room is the final link in the music repro- duction chain.
Its sonic behavior- somewhat akin to that of an acoustic musical instrument— can have a profound effect on the sound of your hi-fi system. Your room's size, geometry, con- struction, and acoustical treatment all influence the quality of the final play- back. In addition, the placement of your loudspeakers in the room— and to a lesser degree, the interconnection of the components comprising the stereo system— can be positive or neg- ative influences. Unfortunately, much of the scien- tific preci- sion and careful design incorporated in modern audio components is lost in many listening rooms.
The number, complexity, and interrelationships of variables affect- ing room sound including the type of music to be reproduced make each listening situation unique, and pro- hibit sweeping rules of practice. In- stead, let's take a look at the salient principles in setting up a listening room, with particular attention to acoustical considerations and loud- speaker placement. Space, Time, and Sound In the absence of boundaries such as walls, the behavior of sound is relatively simple. In a free field- outdoors, for example— sound contin- ues to radiate outward symmetrically from its source, much like ripples on a pond.
In an enclosure such as a room, some sound energy is ab- sorbed at the boundaries, and some is reflected back, creating the ambient information we hear as echoes and reverberation. This reflected energy in a room influences our perception of any acoustical signal. Room boundaries act as sound "mirrors," reproducing a series of de- layed images of the original sound.
When excessive, this conflicting in- formation can inhibit the car's ability to localize sounds— that is, to deter- mine their apparent placement on the stereo soundstage. On the other hand, when prop- erly controlled, the effect not only adds considerably to our enjoyment of music, it is indis- pensable to it. An anaechoic cham- ber a room specially engineered to absorb all sounds is a fine place to measure loudspeakers and micro- phones, because the behavior of the audio device can be observed independently from that of the room.
But for listening to music, such a chamber is worse than use- less because the ear doesn't hear anything approaching a "normal" acoustic space. One environment in which absorp- tion and reflection are carefully con- sidered and manipulated to advan- tage is the concert hall. Suppose a violinist plays a note; the sound em- anates in all directions.
Nowhere do they play Smetana's "My Country" like they play it in Smetana's country. And no one performs Dvorak like his fellow-countrymen. For memorable performances, remember "Supraphon. Suk vln , V HybS Orch. Circle on reader service card. Youll find the most helpful shopping infor- mation in the page Crutchfield catalog. I City State Zip If you plan to move. Dept DA. VA Fig. Their fundamental is determined by the speed of sound 1 feet per second divided by twice the length.
In this graph, the important factor is not so much the amplitude of the response peaks, but rather their proximity to one another. Above about Hz, the effect of standing waves is essen- tially nil because they are so close as to result in smooth response. The sound you hear first is the di- rect sound coming from the violin.
Next, 50 to milleseconds msec. Sound from side walls or ceil- ing comes next, perhaps another 50 to msec, later, from above or the sides. From behind comes sound from the back wall, as well as second-order reflections— sound of the note that has undergone two reflections. These later reflections can arrive up to a half-second later, or more. At this point, only the most careful analysis can differentiate the various sounds of the original note; you are bombarded by a thicket of lower or- der reflections arriving closely togeth- er, from all directions.
As the sound bounces around, it loses energy, and its amplitude slowly dies out. The result is a complicated set of related information including direct sound, early reflections, and reverberation, as shown in Figure 2. Of course, the brain makes no attempt to process each individual component. It simply amalgamates them all— without any conscious effort on our part— and tells us what kind of space we are in, even when we're blindfolded.
In addition, every enclosure— be it an ocarina or the Taj Mahal— has a resonant frequency. In the same way that a bottle will sound a resonant tone when you blow into it, any room will naturally augment certain fre- quencies. Sound waves from a source such as a loudspeaker combine with room reflections, reinforcing each other in some locations in the room, and partially canceling themselves in others.
These reinforcing and reduc- ing modes follow immutable laws of physics and exist according to a room's dimensions and geometry. They produce what are known as "standing waves"— sound waves with stationary high and low pressure regions at specific places in the room, as shown in Figure 3.
In other words, room frequency re- sponse particularly at low frequen- cies, where standing waves are most pronounced is a function of the lis- tener's location in a room.
For exam- ple, bass response is augmented around the edges of a room. Comin' Out! In short, loudspeaker and listener placement in a room can profoundly influence the tonal balance of the mu- sic you ultimately hear. The dimensions of a room establish a set of "room modes" in which sound levels are increased and de- creased over the room's area. For ex- ample, Figure 4 shows the frequency response of a rectangular room 23 feet by 13 feet by 8 feet tall. Clearly, the room's frequency response is far from flat.
The problem introduced by room modes is particularly acute for low frequencies; as frequency increases, the room modes occur more closely together, and a smoother response from point to point usually results. A Room of One's Own? Room modes can never be entirely eliminated. Moreover, few audio- philes— digital or otherwise— have the luxury of designing their listening rooms from the ground up.
At best, most of us can try to avoid the worst situations by steering clear of rooms with identical dimensions, for exam- ple. A room the shape of a perfect cube will have the most severe room mode problems.
Another easily attainable goal can be achieved by avoiding placing loudspeakers in the room's corners. While boosting some perceived bass sounds, this serves to accentuate the undesirable effects of the room modes.
Other considerations in listening room design include room size and geometry. Again, while most of us have little choice, at least we can know what to wish for. A listening room should be fairly large; this lowers the frequency of the room modes and yields a better sense of ambience.
If possible, a listening room should have a volume of at least cubic feet. Although difficult, avoid parallel walls. They can create a flutter echo in which sound is slapped back and forth producing distinct, regular echoes.
Splayed angled walls are much better. So are angled ceilings. If by a happy coincidence you are plan- ning a new suspended ceiling for your listening room, try to have it installed so that one end is a foot or two higher than the other.
Your ceiling contrac- tor will hate you: It goes against ev- erything he's been taught. Also avoid room geometries that might tend to focus the sound, such as a concave wall shape.
The result would be uneven amplitude distribu- tion through the room, yielding both acoustical hot spots and dead spots. No matter what the size, shape, and geometry of a room, it can usually be improved with some thoughtful acoustical treatment.
A balance of sound reflectors and absorbers can help problems such as resonance and flutter echo. They will also help to create a smooth reverberation charac- teristic. Room irregularities and fur- nishings serve to reflect the sound and diffuse it, breaking up hot spots and echoes.
For example, a flutter echo between two walls can be partly dis- persed with reflectors like shelves or absorbers such as wall hangings. Sound absorbers work in another way to control sound; they absorb sound energy. Carpeting and heavy drapes will help absorb mid and high frequencies. Wood paneling mounted on firring strips and frame construc- tion absorb low frequencies.
When properly balanced in a listening room, absorbers should provide a smooth re- verberation decay— the length of time for the last echoes to die out— of about a half-second. Finally, a good listening room should have adequate sound isolation to prevent unwanted sounds to you from entering, and unwanted sounds to others from leaving. Absorbers have relatively little isolation effect. Rather, solid construction is required, such as double-studded or concrete walls.
Obviously, it helps if the listen- ing room is physically separated from noisy rooms such as garages, and qui- et ones like bedrooms. But back to reality. If you are like most audiophiles, you are lucky to have a room— any room- to call your own. Furthermore, it is probably also a living room, bedroom, or even a dormitory room, so extensive compromises are usual- ly required. With a little effort and a lot of trial and error, most rooms can be made to sound pretty good, or at least substan- tially better, depending on how the sound system— particularly the loud- speakers—are installed.
Speaker placement is dictated by the loudspeakers and the room itself. Concerto for Orchestra, Hungarian State Orch. Ferencsik, Cond. Thomas Fulton, Cond. Qualiton Imports Ltd. A few general tips, however, can provide a good point of departure. In a rectangular room, loudspeakers should be placed along the short di- mension.
This will aid in cre- ating the proper stereo per- spective. Position the loudspeakers equidistant from your listening area, and in accordance to the manufacturer's suggestions.
Depending on the de- sign, that might mean on the floor, off the floor on a stand, on a bookshelf, against the wall, away from the wall, or some other combination. At the same time, don't be afraid to try non- standard placements.
You can't possi- bly hurt anything unless you drop a speaker from your stepladder and oc- casionally surprising synergies can be discovered. The distance between loudspeakers should be determined by your dis- tance from them. In general, the loud- speakers and your listening position should form a rough isosceles trian- gle, with angles of about 60 degrees all around, as shown in Figure 7.
Al- though room geometry and usage might unavoidably dictate otherwise, try to place both loudspeakers in simi- lar types of locations. For example, put both along a flat wall, or away from the wall. If possible, the tweet- ers should be at ear level. A home computer and a spreadsheet program are handy for this kind of thing. If you don't have one of those, find a tenth-grader to help you out.
Don't be afraid to try some- thing different— you can always put it back the way it was. If at First You Don't Succeed Once an approximate position is determined, power up the system and do some careful listening to de- termine your final loudspeaker placement.
By crossing them on one loudspeaker while having them correctly attached on the other, phase distortion will result. Deficient bass response is one symptom. Also check for correct absolute phase. This means making sure that the positive amplifier terminals are connected to the actual positive loud- speaker terminals, rather than vice versa on both sides. Studies have shown that incorrect absolute phase, which results in the attacks of sounds Wired for Better Sound Now check for standing wave problems that estab- lish areas of loud and soft bass response throughout the room.
Crank up your bass control, play a pink noise source through your sys- tem—use a special noise generator or use the hissing noise found in be- tween FM radio stations— and walk around the room listening for changes in bass level. Now move your loud- speakers a foot or two and listen again.
Your Room Numbers There is no solution to the problem of room modes, but the effect can be minimized by choosing a room's relative dimensions so as to distri- bute the modes as evenly as possible.
While I'm not seriously suggest- ing you move your walls, you might find a bit of study enlightening— and even helpful— in optimizing your system. Those of you who bought a home computer and a spreadsheet program to "get control of your home budget" a year ago, but never got around to it sound familiar?
This kind of calculation is what spread- sheets are made for. They are trivial to solve that way, and a bit tedious to work with paper and pencil.
For rectangular rooms, the equation in Figure 5 can be used to calculate your room modes. The variables p, q, and r are integers; they specify the mode of vibration to be calculated. Similarly the room's first width axial mode is 0,1,0 and the first height axial mode is 0,0,1. The sec- ond length axial mode second har- monic over the length is 2,0,0 , etc. The sample calculations in Figure 6 illustrate the room modes comprising the response of our 23' x 13' x 8' room.
Many researchers have attempted to find relative room dimensions that minimize mode problems and thus yield good acoustical response.
Some of their proposals include height-to- width-to-length ratios of The debate on the ideal room size and ratios will probably go on forever. You may find it fun to calculate your room's numbers and compare them to some of these proposals.
Few singers can use their voices so expressively. It's edge-of-the-chair playing. It's a powerful record. If your loudspeakers are somewhat bass-shy you can compensate— to a degree— by putting them in the cor- ners. This way your woofers are cou- pling to three boundaries, both walls and floor. So bass will have a tenden- cy to make a better transmission from the speaker into the room, and you'll get increased low end.
However, cor- ner placement is a double-edged sword. It will intensify room mode problems and the bass will become boomier because instead of occuring in a linear manner, the bass reinforce- ment you get will follow the room modes. And more bass is not necessarily better bass. If loudspeakers are bass heavy, move them away from room boundaries including the floor by putting them on a loudspeaker stand.
Another tool at your disposal may be tweeter or midrange balance controls on the back of your speakers, and even the tone controls on your amp or receiver. In especially difficult situa- tions, using a separate equalizer to achieve uniform frequency response may help matters. While listening to music, shift the speakers closer to the walls, farther from them, to the left and right.
Listen for smooth frequency response. If you have reflective floors, a rug placed near the loudspeakers will help ab- sorb troublesome early reflections from the floor that can really play hav- oc with stereo imaging and clarity. Listen and make subtle placement ad- justments accordingly.
Sometimes a very small shift will cause the image to fall into place. Listen for good stereo placement; there should be a strong center image of the soloist that was recorded there, yet you should still have a good, spa- cious sense of the left and right chan- nels. With the speakers placed too far apart, the stereo image is exaggerated, thus weakening the center image. Of- ten, clarity is enhanced when loud- speakers are pulled away from the wall.
The reason is that rear reflec- tions from a nearby hard surface can create interference. As an alternative, you might try placing sound ab- sorbers on the rear wall. Now that the loudspeakers have been placed, we can finalize the hook- up of the sound system. Speaker wire can make a difference. Don't use stan- dard zip-cord speaker wire of the lighter gauges 18 or 16 gauge cable. Its high resistance wastes amplifier power, and over longer runs it can add capacitance to the load that may make your amp unhappy.
The lower the gauge number, the lower the resis- tance. Try fat 12 or 14 gauge cable. Of course, specialty speaker cables are excellent low resistence connectors, and usually incorporate special low- capacitance design. Campus Pop Source Lalo Schifrin - c. Tiger Source Lalo Schifrin - e. Tiger Source - Continued Lalo Schifrin - f. Check Your Queen Lalo Schifrin - g. Radio Source No. Miss Smith's Apartment Source No.
Is He Gone? Fame Recording Studios: c. April The Osmonds vcl with others unknown. Note: "Radio Source No. Issues: a-r on FSM Vol. Producer: Lukas Kendall a-r. Rick Hall q-r. Notes: Jeff Bond and Alexander Kaplan. Lalo Schifrin cond. Metamorphosis Lalo Schifrin - e. The Termite World Lalo Schifrin - f. Issues: a-j on Aleph [CD]. Producer: Lalo Schifrin and Nick Redman. Hollywood, California: May 19, same or similar. Issues: a-i on Verve V, Verve Ger Harry's Hot Dog Lalo Schifrin - The Cross Lalo Schifrin - i.
The Stadium Grounds Lalo Schifrin - k. Floodlights Lalo Schifrin - l. Dawn Discovery Lalo Schifrin - m. Off Duty Lalo Schifrin - n. The School Bus Lalo Schifrin - r. Floodlights Take 1 Lalo Schifrin - t. City Hall Alternate Lalo Schifrin - u. Producer: Nick Redman and Lalo Schifrin. Executive Producer: Donna Schifrin. Notes: Nick Redman. Hollywood, California: Lalo Schifrin comp with others unknown.
What Have You Done? Tense Agony Lalo Schifrin - m. No Weapons Lalo Schifrin - n. Issues: a-n on FSM Vol. Issues: None National General Pictures.
Note: Originally broadcast on TV on January 30, Mascaras Masks Lalo Schifrin - b. San Rafael de los Mineros Lalo Schifrin - h. Nacho Lalo Schifrin - i. Jurado Lalo Schifrin - j. Mojada Lalo Schifrin - k. Dolores Lalo Schifrin - l. Plegaria Prayer Lalo Schifrin - m. El Emisario Lalo Schifrin - s.
Campanas Lalo Schifrin - v. Mojada pre-recording Lalo Schifrin - w. However, due to conflicts about rewrites, the show was never presented. Schifrin's theme was never used for this Gary Collins series about paranormal and occult occurrences. The show's producer's eventually commissioned an original theme from Billy Goldenberg. Los Angeles, California: prob. Bruno - d. Los Angeles, California: unknown, poss.
December 13, poss. Benny Velarde and poss. Lalo Schifrin with unknown tp,p,org,el-g,el-b,d,perc,vcl; John D'Andrea arr. NOTE: 1 All above dates are uncertain and have been listed elsewhere in a variety of ways.
For example, the October 9 date comes from the musician's union documentation, although Michel Ruppli's MGM discography places the first two titles at October 4 and, from Ruppli's Verve discography, the last title at December Producer: Tony Bruno Verve V I Walk In Space Narrator b. Dark Rock on Flint on Stone c.
We Search and Find Narrator d. The Rocket Bursts In Space e. A Million Meteors Narrator f. We Drift, We Fly Duet g. Is Space Not Curved? Narrator h. Lynndianne Beene, narrator. Special thanks to Jane Ellen.
Confrontation Lalo Schifrin. The Cop Lalo Schifrin - 2: 2 1 c. Harry's Ostinato Lalo Schifrin - d. Magnum Force Lalo Schifrin - e. Stakeout aka Stake-out Lalo Schifrin - f. The Crooks Lalo Schifrin - g. Harry's New Friend Lalo Schifrin - h. The Pimp Lalo Schifrin - i. Rogue Gun Lalo Schifrin - j. Recreation Lalo Schifrin - k. Warm Enough? Lalo Schifrin - l.
Palancio Lalo Schifrin - m. The Faceless Assassin Lalo Schifrin - o. Potrero Hill Lalo Schifrin - p. The Bullet Lalo Schifrin - q. Execution Squad Lalo Schifrin - r. Mailbox Lalo Schifrin - s. Early Is Late Lalo Schifrin - t. Briggs Lalo Schifrin - u. Confrontation Lalo Schifrin - v. Finale Lalo Schifrin - Note: The second half of "Harry's Ostinato" c , the beginning of "Stakeout" d , "Harry's New Friend" g , "Recreation" j ; the extended take of "Palancio" l , "Potrero Hill" o , the first part of "The Bullet" p and the beginning of "Confrontation" u unused in the film.
Samplers: a on Viva , Warner Bros. Producer: Nick Redman. Theme From Hit! Lalo Schifrin b. Theme from Enter the Dragon Lalo Schifrin - edit of b d. The Monk Lalo Schifrin edit of d f. Sampans Lalo Schifrin - edit of f h. The Banquet Lalo Schifrin - i. Headset Jazz Lalo Schifrin - j. The Gentle Softness Lalo Schifrin - k.
Into The Night Lalo Schifrin - l. Goodbye Oharra Lalo Schifrin - m. Bamboo Bird Cage Lalo Schifrin - n. Han's Cruelty Lalo Schifrin - o. The Human Fly Lalo Schifrin - edit of o q. The Big Battle Lalo Schifrin - edit of q s. Han's Island Lalo Schifrin - t. Broken Mirrors Lalo Schifrin - edit of t v. End Titles Lalo Schifrin - w.7" Single on 45cat: Jerry Fielding And His Orchestra - Swingin' In Hi-Fi - Rock 'n Roll Matriculater Part 2 - Decca - USA.