Teasing the Korean

You would need to use a stereo cartridge for this technique to work. Your assessment of how it works is correct. Yes, a loud pop that is in the center will not be removed. This technique basically works best on mono records that are in reasonably good shape. As far as what is lost, you are removing only left-right anomalies such as small ticks and pops, stylus travel noise, and inner groove distortion. You should not be removing any of the music, because the music on a mono record is by default centered. Let me know how things continue to go!

Now I wonder if Apaka's Decca contract allowed him to appear on Hawaii Calls albums, and if the Capitol Apaka albums were simply compilations of his tracks from Hawaii Calls.

That was precisely what I was thinking when I was typing my response! Did record labels do trades like baseball teams?

He was on both but I was never clear on the chronology. His Wiki page does not include a discography. During the Great Vinyl Purge, I stumbled across more Decca titles than Capitol. In addition to the Capitol albums under his name, he also appears on some of the Capitol Webley Edwards Hawaii Calls albums.

Remember when Three Sounds albums used to be everywhere for a dollar? I can't imagine paying more than a dollar for a Three Sounds album.

If the Google Machine can be trusted, there has not been a single mention of the great Alfred Apaka on this website. This post will correct this.

Thank you! Would you have contact info for Terry Vosbein? EDIT: Just sent him a FB message.

Thanks. If the Kenton chart exists, it would be possible to confirm.

"Captain Bacardi" by Jobim, the CTI/A&M version, uses this hit.

Is that the same idiot who designed the diabolical Billie Holiday on Verve? A lunchbox with hideous artwork, and the discs fold out accordion style.

I bought a London/Decca film music LP box set because of a rarity: It contained the Bernard Herrmann The Day the Earth Stood Still suite, but with two cues that were deleted from the suite on The Fantasy Film Worlds of Bernard Herrmann. One of the two cues was the classic "Klaatu," which was also used frequently in Lost in Space. The problem was that the Decca/London version was played poorly, which is probably the reason it got cut from The Fantasy Film Worlds. So, in other words, I bought a box set for two tracks, and they were duds. At least I didn't pay much for it.

It would probably be easier to combine various chunks of the tracks in question, for example, the first 32 bars from one record, the solos from another etc. Of course, it depends on both the condition of the LPs and the degree to which you want to drive yourself crazy seeking perfection. Welcome to the forum!

Apparently, there was one more track written for Cuban Fire that did not make it the album, "Alma Pecadora." It was apparently recorded but rejected. Curiously, Richards' masterpiece The Rites of Diablo includes a track called "La Pecadora." Is there any evidence that these are the same tune?

Yes, Raymond Chandler. Not sure if Man with the Golden Arm qualifies as noir. As far as jazz, maybe an example of late noir, like Touch of Evil?

Anyone hear him interviewed on Princeton's station in the 1990s?

Anyone hear him interviewed on Princeton's station in the 1990s?

Thanks all SO MUCH for this!!!

This is interesting. I have Nitty Gritty cleaning solution that I similarly mixed with distilled water. I've had it for quite a while. I looked at it when I saw this thread and it was fine. I haven't kept it in direct sunlight, but I haven't hidden it in the dark either.

Any jazz albums recorded at classic places like Grossinger's? I know of the Tito Puente Grossinger's album on RCA. Looking more for jazz or pseudo-jazz, rather than comedy. There must be a million comedy albums, but if you know of them, feel free to mention them.

Yes! And the zebra pattern. Is the record worth spinning?

You may be right, but I haven't heard it on many Brazilian bossa/MPB records that I have. Maybe luck of the draw. Thank you! I love that sound!

Here it is in "Watch What Happens."

There is a very distinctive device used on Brasil '66 records that I have rarely heard in other Brazilian music. As an 8- or 16-bar phrase is concluding, where another drummer would do a fill, the Brasil '66 drummer hits the snare rim on the 3 and the kick drum on the 4. Some of the tracks start with this device. It is very similar to the 3-4 timbale hit in Afro Cuban music, right before the full timbale rhythm kicks in. Because I have rarely heard this other Brazilian music, I have wondered if Sergio picked this up from Afro-Cuban music, and asked the drummer to do this as a signature sound. You can hear it at around 1:15 and 1:43.

Ooh, me wants!

I'll take the originals of both.