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  1. Sleepy Night Records

    Sleepy Night Records Member Thread Starter

    Yes that is the idea.
    Would like to thank everone that has helped me over the past week, keep any ideas and info coming!
    Rudy likes this.
  2. Are the multi-track masters 8-track (1-inch) or 16-track (2-inch) tapes? -- assuming that they can be located, at all!

    By the early '70s, 2" 16-track was taking over 1" as the multi-track reel-to-reel tape format for recording most music.

    My guess is that the next album, Pais was done on 16-track 2" tape.
    The record industry hasn't embraced any multi-track distribution format for the consumer market, alas. (There are multi-channel formats like 5.1, and 7.1 surround.)
    Sleepy Night Records likes this.
  3. TulitaPepsi

    TulitaPepsi Member

    I'm extremely excited by this. Like Mike, STILLNESS is my favorite Brasil '66 album. I can listen to it all the way through - Unlike most of other B'66 Sergio's lead vocal cuts, "Sometimes In Winter" is beautiful, and Lani's vocals are especially tender and haunting.

    The (superior IMHO) 45 version of "For What It's Worth" is always worth a re-post:
    Last edited: Mar 14, 2018
  4. [​IMG]
    Found it at a flea market for $2. I'd never heard this album of theirs before then...but: it's been (now) one of my top three B'66 albums (behind Equinox and ahead of Look Around!).
    It was such a radical departure from the usual, lounge/Bossa Nova style (almost like Sergio went "all Topanga Canyon" suddenly!); however, that shakeup makes it fascinating. I loved the groove of "Righteous Life" the moment it started (the way Lani changes inflections so effortlessly -from girlish cuteness to sultry jazz- is the best testament to her vocal talent...like she can affect the persona of different singers all at once).

  5. ... or is that, more "Laurel Canyon." (You probably know better than me.) Most of those folk-rock singer-songwriters were in Laurel Canyon in the early '70s, right? (I'll do some googling now. : )

    Lani had mentioned having liked some folk (or, she called it "Folk-Rock") music in the mid-1960s. She wasn't just into Jazz.
    In a way, the folk elements (acoustic 12-string guitar) on this last album that she did with Sergio segues (serves as a nice bridge into) into the choice of songs that she did on her first solo albums.
  6. Trevor

    Trevor Member

    Here is a question for whomever... Why was "Stillness" and "Righteous Life" a different band? The album credits other people as the backup. . .
  7. Another point: "Righteous Life" and "Lost in Paradise" have that boxy-sounding, infamous CSG processing (like the 45 they're on). The album may not be marked identifying it...but the playback difference certainly sticks out from the rest!
  8. ^On the LP and CD, the sound is all properly in phase. No CSG.
    Rudy likes this.
  9. Well, firstly, I beg to differ. Of course, not all tracks on STILLNESS do have it --- but: aside from playing it on an above average system and through speakers...where it would immediately seem "different" (and they do). Why, by 1971, would there have been the effort made to use a separate source tape for the 45 -if(?)- 1. there was no longer the need for a dedicated mono mix and, 2. the CSG-encoded master was being used anyway to duplicate EVERY format of the album (even if it -mainly, tape- was irrelevant to the process)?
  10. You may beg to differ - but I maintain my stance.

    There is an easy test for CSG. Use any OOPS method of your choice - it could be through software - a karaoke setting on a computer - crossing wires on your stereo system - pulling headphones out of the jack partway - there are many methods of accomplishing Out Of Phase Stereo. The purpose of it is to eliminate the center channel of a recording through the act of phasing it out - by inverting the sound of one channel and beating it against the other, you'll effectively eliminate the center channel information, typically a singer or lead instrumentalist.

    The CSG system was invented to TOTALLY AND COMPLETELY circumvent that eventuality. Record companies DID NOT WANT their records to played on the myriad of radio stations out there, only to have some of them eliminate their artists by having crossed wires in their engineering chain. It happened. I worked in radio then and saw it firsthand.

    Playing the tracks from STILNESS using an OOPS setup, you'll hear the center channel vocalists eliminated in all tracks (well, "Celebration Of The Sunrise" has the two female vocalists sort of divided in the stereo, so they won't cancel out).

    Now, do the same with Sergio's FOOL ON THE HILL or YE-ME-LE, and you'll not hear the same result. The vocalists - already turned slightly out of phase by the CSG remain strong since they do not cancel out.

    45's were mastered under completely different methods. Many used CSG so that radio stations would not screw the sound up. There are many Carpenters 45s that used CSG well into the 70s, but their albums did not. I mentioned FOOL ON THE HILL. I've heard that Sergio himself is disappointed that his great album was subjected to that crappy CSG processing, yet I've learned that one track for sure managed to escape it - on a 45. In an odd reversal, A&M issued a stereo 45 of the "Fool On The Hill" single that does NOT include the CSG processing. Most of the singles of this track are on mono 45s, but they made a few in stereo for FM stations, and this one escaped the CSG processor.

    If you're hearing a "boxy" sound on any track on STILLNESS, I would suggest that it's from something other than CSG.
    Rhymes with Music likes this.
  11. By the way, "Righteous Life" is a good test with OOPS. The first main verse has a solo singer, probably Lani, in the center channel, and she's largely eliminated with OOPS turned on. In the second section, she's joined by Karen Philipp, who's placed slightly right in the stereo mix, so with OOPS turned on, Lani is eliminated and you can hear Karen mostly by herself.
    Rhymes with Music likes this.
  12. Mike Blakesley

    Mike Blakesley Well-Known Member Moderator

    My guess is, with "Righteous Life" they were aiming for a "hit single" the same way it happened with Carpenters -- by bringing in the Wrecking Crew musicians (who had also played on Carpenters big breakthrough, "Close To You") and going for a more polished pop sound. Unfortunately, chart success didn't happen. Imagine how different Sergio's followup albums could have been if the tactic had worked!

    With "Stillness," they just brought in a guest musician (Tom Scott) to play the bass flute - that happened a lot, in fact Scott was even more of a presence on the next album, Pais Tropical.
    Last edited: Jun 29, 2018
    Rhymes with Music likes this.
  13. JMK

    JMK Well-Known Member Contributor

    Paula Stone insisted to me (online, I think on MySpace, believe it or not) it was Sergio and the "regular" band on Righteous Life, she said she was at the recording session. Claudio Slon insisted to me (via a bunch of emails) the Wrecking Crew was hired to play that date for the reasons Mike mentions above. Alternative facts, ladies and germs.

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