Teasing the Korean

Then some of the creative minds who recorded "Blow Up" that day were not particularly creative during that one brief second. Or, it was simply human error.

Except that this particular tune is essentially all changes/groove with hardly any melody. Compare the Hutcherson version to the film and album versions. The A phrase, which is 12 bars long, has melody primarily only on the first five bars, and even that is fluid. After the melody peters out, Hutcherson plays the vamp along with the piano. I think the musicians weren't 100% percent sure it the return to E after the A7 sus. to G7 sus. marked the beginning of a new phrase or not.

Wishing you positive vibes, Allen, and congrats on winning best artist!

The bass line is based on open strings. The uncertainty occurs around 1:24, with regard to the first chord shift in the second chorus. I think that some players weren't sure where the first chorus left off and second began. Anyway, these kind of moments, which musicians tend to dislike, make the recordings human for me.

Listening now. Didn't know or didn't remember that this is in stereo!

I started a thread on this track years ago. It is incredibly hypnotic. I wonder why it was not released at the time. I love the part where they are unsure about going to the next change. I think it is near the beginning of the second chorus, before the solos start. I burned a custom "Blow Up" CD and closed with the Hutcherson version. I am obsessed with this track. I have played it at parties, and people will always ask me what it is.

Ms. TTK gave me this for Valentine's Day. I married well!

Great album. The stereo is slathered in reverb. I have always wondered if there are still mono tapes without the reverb added. The mono is much better for this reason. The second Peter Gunn album overall is not as good, but there are a few amazing tracks, notably "Blue Steel."

I was there. I remember.

I thought this was interesting, from his autobiography Did They Mention the Music: “The albums were made up of the most melodic material from the films. A lot of the dramatic music – which is what I really loved to do and really thought I had a feeling for – was left out … I used the source music that was the common denominator for my record-buying audience. It may have hurt my reputation as a writer of serious film music. To this day, I would love to have an album of some of those scores as they were heard in the film. The albums gave me a reputation, even among producers, as a writer of light comedy and light suspense, and at that time it was not easy for them to think of me for the more dramatic assignments. I did that to myself.”

I would love to travel back in time to August 1969...and hang out with the hippies' parents in their mid-century moderne homes, sipping scotch and listening to Sinatra.

My knowledge of Tommy Vig is restricted to his time with Martin Denny.

The first version of "Solitary Man" was on Bang, and then he rerecorded it for Uni. Elton John was on Uni too, as was my 45 of "The Israelites" by Desmond Dekker.

Neil Diamond may be the only major artist to take the hippie/antiestablishment sensitive bard aesthetic and combine it with Las Vegas schlockmeister. I associate him with MCA. I guess Capitol is part of Universal now, so it's one big happy cluster of a family.

Thank the algorithm that played it after I listened to a 1950s gumshoe track! Otherwise, I never would have heard it!

Yeah, I stopped going to those kinds of theaters a long time ago.

Yeah, I was in the next room when it started, and I had no idea what I was hearing. It was only at the end that I realized it involved an absurd amount of overdubbing with every wind/reed instrument on the planet!

Yes, but I imagine some may be quasi-functioning labels, while others are merely legacy imprints.

Active as functioning, autonomous labels, or active as imprints of global conglomerates?

In 1972, when Capitol was only 30 years old, I considered 1942 to be medieval times. In 2022, 50 years later, 1942 doesn't seem like all that long ago!

Produced by the guy who released SOMETHING/ ANYTHING which just turned 50!

Yes, and I think that this merged with Angel after the EMI acquisition.

Sometimes I will watch an InterTubez video, walk away from the computer, and something will randomly come on. That happened here. I don't know Doug Webb or "El Cerdo Gordo," but it completely resonated with me. I thought I would share.

Correct. EMI bought a controlling share of Capitol sometime around 1955. This led to Capitol's massive and impressive "Capitol of the World" series, which must have been the first time that a US label devoted a substantial amount of plastic to what would later be called "world music."

We can split hairs over what would have been considered "jazz" in 1942.