Teasing the Korean

Maynard Ferguson S/T (Columbia) The one with the amazing version of "Aquarius."

Mitch is also responsible for that wonderful 30th Street studio reverb that was placed on vocalists such as Johnny Mathis, Tony Bennett, Eydie Gorme, and others. I love that sound.

Billy Eckstine - Don't Worry 'Bout Me (Mercury) iMONO!

Morgana King - I Know How it Feels to Be Lonely (Verve, stereo) Featuring "Tomorrow Never Knows," "Sunshine Superman," and other sounds of today!

Tito Puente also. Tito was planning to become a Schillinger teacher, but accidentally became a professional musician instead! 🤪

Did you ever hear George Shearing's version? This one stayed perpetually in the DJ crate back in the day.

Vernon Duke studied the Schillinger System when he came to the U.S. Gershwin also studied the Schillinger System. Here is a gorgeous Vernon Duke instrumental composition, though it is not extended.

Count Basie Swings, Joe Williams Sings - Verve iMONO!

Chris Connor - He Loves Me, He Loves Me Not (Atlantic) iMONO!

Nancy Wilson - Today - My Way (Capitol) Sarah Vaughn - No Count Sarah (Mercury) Both in iMONO!

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Hard to see the horse head, but it's there.

An accordion player left his accordion in the car while parked in a rough neighborhood. When he returned, the car was broken into, and there were two more accordions in the car.

I watched a few and didn't care for it either. Part of that may be my inherent distaste for the 1980s, but I didn't think it captured the mood or atmosphere of the original at all. Maybe if it had been titled something other than Twilight Zone, I might have received it differently.

Electric Dreams has some similarities to Black Mirror. I don't think it's quite as good, although as with any anthology series, particular episodes will be better than others. As for The Outer Limits, the first season was very good, but the second season was dumbed down. The network or production company basically cleaned house after the first season, and hired a new staff for the second.

Fans of the original Twilight Zone should check out The Black Mirror, if they haven't already. It does a great job of speaking to contemporary anxieties, just as TZ did with postwar anxieties.

Just a note to say that my opinion on the Twilight Zone music has not changed since 2008, except to say that it is among my favorite music ever, not just favorite TV music.

RiB also launched a sub-genre of film music that we may never have otherwise received. Case in point, Alfred Newman's "Street Scene." Alex North, A Streetcar Named Desire:

More or less, although there can still be major differences between mono and stereo mixes from the same multi-track master, especially in terms of how the center channel elements are balanced with elements placed left or right. Also EQ and reverb differences.

Based on the number 1464, this album post-dates the dual-miking period. By this time, everything would have been recorded two a three-track, and mixed to both stereo and mono. The catalog numbers from the dual-miking period fall between the high 800s to maybe the low 1000s.

I don't think that anyone who has taken a deep dive into the songs of Gershwin in particular or the Great American Songbook in general would take RiB over Gershwin's best songs. I certainly wouldn't. That fact that Gershwin managed to write at least one piece that gets regularly programmed on the concert stage - probably more frequently as part of pops series than masterworks - has given him over the decades a sense of notoriety that I don't think Rodgers, Arlen, Kern, Porter, et. al. quite attained. Blue-haired orchestra patrons will utter the name "Gershwin" with an air of hushed reverence reserved for those who have achieved a particular level of notoriety within "serious" music circles. I often wonder how Rodgers, Arlen, Kern, Porter, would be perceived by this crowd had they done something similar. (Slaughter on 10h Avenue?) I would personally rate all four of them above Gershwin, but in fairness, Gershwin died young, and we don't know what else he had in him. At any rate, I appreciate RiB for what it is: A pleasant piece of orchestral pop music that captured a certain mood and time. I spin it maybe once a year, sometimes twice. But I don't see the point in trashing it 100 years later. Even if it disappears from the concert stage, LPs are readily available at a thrift store near you.

Too bad Ivan Evans or whatever his name is didn't criticize An American in Paris. It has some really beautiful themes, but is way too bombastic for my taste, and seems to go on forever. Every time I play it, I think I'm in the mood for it, and then I can't wait for it to end.

Everything you wrote makes complete sense to me, except perhaps for the George Shearing reference.