August 27, 2018

20,000 Vinyl LPs 146: The Odd Couple ~ Neil Simon

Art Direction – Christopher Whorf


Neil Simon died yesterday. He was an American playwright, screenwriter and author. He wrote more than 30 plays and nearly the same number of movie screenplays, mostly adaptations of his plays. Of all of them, my favorite was The Odd Couple (1965), for which he won a Tony Award. In 1968 the play was adapted into a film. The roles of misfits Felix Ungar and Oscar Madison were brilliantly cast with Jack Lemmon and Walter Matthau. What a fantastic team they made. 

The score for the film was written by Neal Hefti who wrote scores for many other films and television shows.      

Neil Simon was born on the fourth of July in 1927, in New York City. He began writing comedy scripts in the 50's for radio and some popular early television shows. Among them were the Sid Caesar Your Show of Shows from 1950 (where he worked alongside other young writers including Carl Reiner, Mel Brooks and Selma Diamond) and The Phil Silvers Show, which ran from 1955 to 1959 (link below).   

He wrote his first play,  Come Blow Your Horn, in 1961. It ran for 678 performances at the Brooks Atkinson Theatre.    

During 1966, Simon had four shows playing at Broadway theatres simultaneously: Sweet Charity, The Star-Spangled Girl, The Odd Couple and Barefoot in the Park.     

For most of his career Simon's work has received mixed reviews, with many critics admiring his comedy skills, much of it a blend of "humor and pathos". Other critics were less complimentary, noting that much of his dramatic structure was weak and sometimes relied too heavily on gags and one-liners. As a result, notes Kopince, "literary scholars had generally ignored Simon's early work, regarding him as a commercially successful playwright rather than a serious dramatist. Clive Barnes, theater critic for The New York Times, wrote that like his British counterpart Noël Coward, Simon was "destined to spend most of his career underestimated", but nonetheless very "popular". He received more combined Oscar and Tony nominations than any other writer.     

Simon died on August 26, 2018, after being on life-support while hospitalized for renal failure. He also had Alzheimer's disease. He was 91. The cause of death was complications with pneumonia, according to his publicist, Bill Evans. Simon died around 1 a.m. Sunday at New York-Presbyterian Hospital in New York City.       
         
         
       
Viewfinder links:         
          
Neal Hefti         
Jack Lemmon         
         
Net links:         
           
Neil Simon ~            
        Theatre     
        Screenplays    
        Television         
Steyn At Sea ~ 
          
YouTube links:         
          
The Odd Couple - movie trailer          
Remembering Playwright Neil Simon         
Johnny Carson ~ Neil Simon interview         
Charlie Rose ~ Neil Simon interview on "Rewrites" (1996)         
         
            


The Odd Couple soundtrack


Credits:       

    Arranged By, Conductor, Composed By – Neal Hefti
    Art Direction – Christopher Whorf
    Engineer – Bob Doherty
    Liner Notes – Howard W. Koch
    Producer – Tom Mack

Neal Hefti ‎– The Odd Couple (Music From The Original Motion Picture Score)Label: Dot Records ‎– DLP 25862, Dot Records ‎– DLP 25,862
Format: Vinyl, LP, Album, Stereo, Indianapolis
Country: US
Released: 1968
Genre: Non-Music, Pop, Stage & Screen
Style: Soundtrack, Dialogue, Easy Listening, Lounge



      
            
             
           
Styrous® ~ Monday, August 27, 2018        
         
          






Neal Hefti articles/mentions

~   
Neal Paul Hefti (October 29, 1922 – October 11, 2008) was an American jazz trumpeter, composer, and arranger. He wrote music for The Odd Couple movie and TV series and for the Batman TV series.      

Viewfinder links:   

Batman, Adam West & the Whole Gang 
The Odd Couple ~ Neil Simon     
    
    
    
    
    
    
    
Neal HeftiNew York, December 1946 
photo by William P. Gottlieb  
    
    
    
  















Jack Lemmon articles/mentions

~   
   
Some Like It Hot     
The Odd Couple ~ Neil Simon   
   
       
   
   
   
   
       
   
phtographer unknown
   
   
       









August 25, 2018

20,000 Vinyl LPs 145: Leonard Bernstein ~ Trouble In Tahiti

~






August 25, 1918
~
 October 14, 1990





Leonard Bernstein was born one hundred years ago on August 25, 1918. As it is the centennial of his birth, there will be thousands of memorials to him; this is one of them.

He was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."

 Bernstein conducting a rehearsal in one of the Tanglewood barns, ca 1971 
(Photograph by Heinz Weissenstein, Whitestone Photo, BSO Archives)


For my tribute to Bernstein, I've selected a beautiful, very small and almost unknown gem of an opera he wrote in 1952, his first, Trouble in Tahiti. I have loved it since I first heard this 1953 recording in the late fifties. It is a one-act opera in seven scenes composed by Bernstein with an English libretto by him; he dedicated the opera to Marc Blitzstein. There is a superb video of a complete performance of the opera by the English group, Opera North, on YouTube (link below) that is well worth the time (51 minutes) to watch.   


vinyl LP, back cover detail
detail photo by Styrous®


Tihiti is the darkest of his "musicals", and the only one for which he wrote the words as well as the music. The opera received its first performance on June 12, 1952 at the Bernstein Festival of the Creative Arts on the campus of Brandeis University in Waltham, Massachusetts to an audience of nearly 3,000 people.           




During the post–World War II economic expansion of the late 1940s and the 1950s, many persons from rural and urban backgrounds moved to single-family detached homes in the suburbs or in "horizontally developed cities".


Aerial view of Levittown, Pennsylvania
 photographer unknown

The early to middle fifties was a time when it was dawning on people that Suburbia and the suburban "Leave It To Beaver" existence was not what it was all cracked up to be. It was a time of transition from a major world power and prestige to something a bit less that lead to the disillusionment of the sixties.       

vinyl LP, front cover detail
detail photo by Styrous®


Trouble predates the 1956 book by John Keats, The Crack In the Picture Window. It was not uncommon for some of these homes to have a picture window, in contrast to the smaller sash windows typical of urban and rural housing; although many of these new suburban homes did not necessarily have picture windows, Keats in his title used the term to characterize this new housing in general, and by extension the new social forms arising from this change in how people housed themselves (as well as other social changes of the time).    

It also predates the song by Malvina Reynolds, Little Boxes, which was a big hit for Pete Seeger in 1963. The song is a political satire about the development of suburbia, and associated conformist middle-class attitudes. The effectiveness of the satire was attested to by a university professor quoted in 1964 in Time magazine as saying, "I've been lecturing my classes about middle-class conformity for a whole semester. Here's a song that says it all in 1½ minutes." However, according to Christopher Hitchens, satirist Tom Lehrer described Little Boxes as "the most sanctimonious song ever written".  
Trouble in Tahiti is the story of a disintegrating middle-class suburban marriage and it was startling that it appeared at that prosperous time in the history of the US.    

The opera is performed with minimal scenery (although Bernstein gave detailed instructions for drops and props) and very simple costumes. There are only two soloists, a married couple named Sam (baritone) David Atkinson,  and Dinah (mezzo-soprano), Beverly Wolff. Their son, Junior, is referred to but is never seen or heard (however, the video version I've linked to below does have a "Junior"). Other characters are addressed in certain scenes but also are never seen or heard: Sam's client Mr Partridge (on the telephone); his friend Bill (present and interacting with Sam but intended to be invisible); his secretary Miss Brown (present but intended to be invisible); Dinah's psychoanalyst ("invisible"); her milliner ("imaginary").       
The plot is of one day in the life of these desperately unhappy, though married people, lonely, longing for love, and unable to communicate. It is is about emotional isolation in the suburbs. This is a couple that has everything they could ever need; but they have lost themselves and one another.

A trio, two men and a woman, perform the function of the "Greek Chorus" throughout the opera, happily but cynically extolling the virtues of Suberbia and Sam, the hopeless frustration of Dinah and helps propel the action. They open with: Daa/Daa, Day, a delightful, bouncing diddy that blissfully extolls the joys of suburban life with the innocence of the above mentioned Leave It To Beaver but there is an underlying current with a bite to it (link to lyrics & music below).

We're taken to Sam's day at the bank in his office where we see his shallow dealings with his clients; the trio sings of his "marvelous/generous" handling of them.    

In one scene, Dinah tells her psychiatrist about a dream she had, There Is a Garden (13 minutes into the complete version below). In the dream, she is in a dead garden but a voice tells her there is another one filled with "love, harmony, and grace." She tries to find the voice, but every step she takes is filled with terror and horrible things. Finally, she finds the owner of the voice, but when she touches his hand, he vanishes and she wakes. The aria is one of the most brilliant works in modern opera as it fluctuates between moments of agonizing emotional turmoil and incredibly beautiful melody (link below). To me it is the highlight of the opera. It is magnificent!     

After her appointment, Sam and Dinah accidentally encounter each other on the street, Well, of all people Duet (link Below), a variation on the Garden motif, but end up walking off in opposite directions. It is a sad and grim encounter.         


vinyl LP, front cover detail
detail photo by Styrous®

At the gym, Sam sings about the natural superiority of some men, There's a Law, and how they "always will win" while the rest are just losers; he, of course, is one of the winners. He sings about physical superiority but you know he is referring to superiority on other levels (link below).   
    
Dinah goes to see a movie, Trouble in Tahiti, from which the title of the opera is derived, and is a metaphor for what is happening in her life but she does not acknowledge this. Afterwards, at the milliner, Dinah sings about the sillyness of the film, What a Movie; it is a rollicking, silly and delightful segement but at the end in her heart she must know it strikes too close to home (link below).    

At the end of the opera, Sam and Dinah show a willingness to sacrifice for each other, out of commitment to the marriage, but there seems to be no joy in it.       

The theme of modern familial disillusionment was revisited by Bernstein years later in 1983 with his sequal to Trouble, A Quiet Place (link below), with a libretto by Stephen Wadsworth. It tells the story of a contemporary American family struggling to connect, forgive, and accept one another's differences.  



vinyl LP, side 1
photo by Styrous®



vinyl LP, side 2
photo by Styrous®
 

     
Tracklist:

Side 1:

A1     Prelude    
A2     Scene I    
A3     Scene II    
A4     Scene III    
A5     Scene IV    

Side 2:

B1     Interlude    
B2     Scene V    
B3     Scene VI    
B4     Scene VII    

Credits:

    Composed By – Leonard Bernstein
    Conductor – Arthur Winograd
    Orchestra – The M-G-M Orchestra*
    Vocals [Dinah, A Suburban Wife In Her Early Thirties] – Beverly Wolff
    Vocals [Sam, Her Husband, Same Age] – David Atkinson
    Vocals [The Trio, A Greek Chorus Born Of The Radio Commercial] – Earl Rogers, Miriam Workman, Robert Bollinger

Beverly Wolff, David Atkinson, The M-G-M Orchestra*, Arthur Winograd, Miriam Workman, Robert Bollinger, Earl Rogers ‎– Leonard Bernstein's Trouble In Tahiti (An Opera In Seven Scenes)
Label: MGM Records ‎– E3646
Format: vinyl LP
Country: US
Released: 1953
Genre: Classical, Stage & Screen
Style: Opera, Musical

      
       
Viewfinder links:        
            
Trouble in Tahiti lyrics          
           
Net links:        
            
Leonard Berstein ~ Trouble In Tahiti          
NYTimes ~ Bernstein's Trouble in Tahiti           
A Quiet Place               
Opera North Grand Theatre        
           
YouTube links:        
            
Trouble In Tahiti (complete - 51:04)          
       - Prelude ("Doa--Daa--Day--Day"), Scene 1 and 2
       - There Is a Garden (9:04)   
       - Well, of all people Duet      
       - Gym scene - There's a law
       - Scene 6 ("What a Movie!...Island Magic")       
       - Final scene              
The Girl Choir of South Florida ~ There Is a Garden     
Trouble in Tahiti ~ Quirijn de Lang interview     
Leonard Bernstein on A Quiet Place         
            

     
   
         
Leonard Bernstein - 1950s
date & photographer unknown


            
           
Styrous® ~ Saturday, August 25, 2018        
         
          
          
            





August 24, 2018

Leonard Bernstein ~ Trouble in Tahiti lyrics

~
Prelude
From "Trouble in Tahiti"
Music & Lyrics by Leonard Bernstein

Daa/Daa, Day, Day
Mornin' sun kisses the windows, kisses the walls
Of the little white house;
Kisses the door-knob, kisses the roof,
Kisses the door-knob and pretty red roof
Of the little white house in Scarsdale.


Friendly sun opens the eyelids, opens the eyes
Of the husband and wife;
Kindles their faces, kindles their love,
Kindles their faces with greetings of love
In the little white house in Wellesley Hills.
Suburbia!


Our little spot, out of the hubbub,
Less than an hour by train.
Suburbia! Sweet in the Spring,
Healthful in Winter,
Saves us the bother of summers in Maine.

Mornin' sun kisses the driveway, kisses the lawn
Kisses the flagstones on the front lawn
Of the little white house,
Kisses the paper at the front door,
Kisses the roses around the front door
Of the little white house in Ozone Park.


Ratty Boo. Sofa so far so, Automobee, Ought to be Moby.
Sofa so far. Ever over debout. Ever tin over.
Skid a lit day. Skid a lit Ada A barbanel: who
But a barbanel buys a visa
Vic.
Suburbia!

Parks for the kids, neighborly butchers,
Less than an hour by train!
That mornin' sun says a good mornin'.
Have a good day. Have a good morning',
Have a good day in the city today.


Joy to your labors until you return
To the little white house in Highland Park
In shaker Heights
In Michigan Falls
In Beverly Hills.
Skid a lit day; skid a lit day... Ratty boo.




~ ~ ~



There Is a Garden

I was standing in a garden,
a garden gone to seed
Choked with every kind of weed.

There were twisted trees around me
All black against the sky,
black and bare and dead and dry.

My father called,
"Come out of this place!"
I wanted to go, but there was no way,
no sign, no path, to show me the way.

Then another voice was calling
It barely could be heard.
I remember every word.

"There is a garden,
"come with me, come with me.
"A shining garden,
"come and see, come and see.

"There love will teach us
"Harmony and grace,
"harmony and grace.

"Then love will lead us
"to a quiet place."

Then I ran to find the singer
I longed to see his face
He could free me from this place.

Every step I took was terror
The ground beneath me burned
Stones were everywhere I turned.

And worst of all,
there was the noise,
Angry shouts, furious cries,
and a roar
like the roar of millions of flies!

Through it all his voice was calling
But now it seemed quite near
Soft and warm and strong and clear

"There is a garden,
"come with me..."
"Come with me."

Then desire took hold inside me
To touch his saving hand
Just to touch his tender hand

And I knew what he would look like.
So handsome, so serene,
just my age, just seventeen.

I saw him then, I saw his face,
I ran to him,
He vanished like smoke.

I reached, I called and I awoke.

"There love will teach us,
"harmony and grace,
"harmony and grace.
"Then love will lead us
"To a quiet place, to a quiet place."


~ ~ ~



 Trouble in Tahiti!

 Opening Recitative
What a movie!
What a terrible, awful movie!
It’s a crime what they put
on the screen!
I can hardly believe what I’ve seen!

Do they think we’re a lot of children?
It would bore any four year old!
What drivel! What nonsense!
What escapist Technicolor twaddle!
“Trouble in Tahiti,” indeed!
“Trouble in Tahiti,” imagine!
There she is in her inch or two of sarong
Floating, floating, floating, all among the
floating flowers.
Then she sees him, the handsome American.
(I must say he’s really a man,
Six feet tall, and each foot just incredible!)
Well, they’re madly in love,
But there’s trouble ahead;
There’s a legend:
“If a princess marry white man, and rain fall that day,
Then the white man shall be sacrifice without delay.”
Sure enough, on the night of their wedding day,
There’s a storm like nothing on earth;
Tidal waves and siroccos and hurricanes;
And to top it all off,
The volcano erupts
As the natives sing: Ah! Ah! Ah! Olé!
They go crazy with the drumming and the chanting and ritual dance,
While the lovers sing a ballad of South Seas romance.
It’s so lovely, I wish I could think of it;
Da da dee da da…
It was called “Island Magic,”
I think it was.
Oh, a beautiful song!
I remember it now:
“Island Magic, where the midnight breezes caress us,
And the stars above
seem to bless us,
That’s Island Magic, Island Magic.”
Well, in any case, the hero is tied to a tree.
(Did I tell you he’s a flyer
who got lost at sea?)
Anyway, all the natives are crazy now,
Running wild with lances and knives;
Then they pile up the wood for the sacrifice,
And the witch doctor comes,
And he sets it on fire.
As the natives sing: Ah! Ah! Ah! Olé!
But at this point, comes the good old U.S. Navy,
A-singin’ a song.
They come swarming down in parachutes a thousand strong!
Everything now is cleared up and wonderful:
Everyone is happy as pie;
And they all do a great rumba version of “Island Magic” of course!
It’s a dazzling sight;
With the sleek brown native women dancing with the U.S. Navy boys,
And a hundred-piece symphony orchestra:
Island Magic! Where the palm trees whisper together,
And it’s always warm summer weather,
That’s Island Magic,
Island Magic! With the one I love very near;
Island Magic, Whispering native words in my ear.
Island Magic,
Only you, my darling, could weave it,
And I never ever will leave it,
And I simply cannot believe
It really is mine!
Island Magic!
Island Ma…”
[4:23-End] Dinah suddenly regains focus and jumps back to the opening recitative:
What a terrible, awful movie!!!
How long have I been standing here chattering?
If I don’t get going this minute, there won’t be any dinner
When Sam comes home!

      

Viewfinder link:             
      
Leonard Bernstein ~ Trouble In Tahiti     



Styrous® ~ Friday, August 24, 2018    


     






Rita Moreno articles/mentions

~



West Side Story ~ Maria, Tony, Bimbo's, Etc.  
The Wizard of Oz         
     
   
      
       
   
     
     
Rita Moreno - 1954       
photo by Loomis Dean        

  
 
  













August 22, 2018

Wollensak 3M 8050A ~ 8-Track recorder

photos by
 Styrous®  



In the sixties I listened to music on 8-track tape, commonly known as Stereo 8, the eight-track cartridge, eight-track tape, or simply eight-track). What I loved about this format was it was an endless loop tape cartridge; you could set the player to repeat and it would play the tape over and over, forever.    

The endless loop tape cartridge was first designed in 1952 by Bernard Cousino. George Eash invented a cartridge design in 1953, called the Fidelipac cartridge. The cartridges (nicknamed "carts" by DJs and radio engineers) were used by many radio stations for commercials, jingles, and other short items.       

Fidelipac cartridge interior


The Lear Jet Stereo 8 track cartridge, a consumer version, was designed by Richard Kraus while working under Bill Lear and for his Lear Jet Corporation in 1963. The major change was to incorporate a neoprene rubber and nylon pinch roller into the cartridge itself, rather than to make the pinch roller a part of the tape player, reducing mechanical complexity. Lear also eliminated some of the internal parts of the Eash cartridge, such as the tape-tensioning mechanism and an interlock that prevented tape spillage. By doubling the number of tracks from 4 to 8, the recording length doubled to 80 minutes.        

Lear Jet Stereo 8 interior 


In 1965 the 8-track tape player for the automobile was introduced and now you were not stuck with only what the radio provided, you could have the music YOU wanted to hear on the go (link below).    

It seems, just like vinyl LP, the 8-track tape is making a comeback (link below). It is absolutely amazing?      
Blondie ~ Parallel Lines 8-Track tape


The original 8-track, tape recorder introduced at the end of 1971. was essentially identical to a model by Sanyo introduced six months earlier. It featured an ill-conceived "power" switch and "track" switch that was either on or off (not capable of ejecting after one or four tracks, just ejecting or not); a surprising design mistake that was corrected less than a year later.     

When home 8-track tape recorders were introduced, of course I had to have one. Of the brands available, I chose the Wollensak 3M 8050A recorder.        


 Wollensak 3M 8050A recorder 


Wollensak Model 8050A

The Wollensak division of The 3M Company marketed an outstanding line of 8-track recorders, manufactured for them by Sanyo, from 1971 to 1975. 3M Engineers designed the units; Sanyo manufactured them for themselves and 3M. Sanyo at the time was primarily a "for-hire" manufacturer, so the Sanyo- branded machines were never as available as the Wollensak versions. All feature very intelligent design, robust mechanical construction, and superior electronics. Along with Roberts/Akai probably the best 8 track units ever.


 


 





 




 








 







      
8-Track Deck Information:    

Wollensak 8-Track recorder model 3M 8050. From 1971. 
Features, pause, fast wind, 
eject power - on - auto/off, track - all/one, arl - on/off, 
both right/left mic inputs, 
stereo phones output for headphones, 
both right/left recording level sliders, 
both right/left VU meters.              
       
       
       
Viewfinder links:      
        
Audio equipment       
Debbie Harry aka Blondie       
        
Net links:      
        
Do you remember? ~ This Technology Was Ahead Of It’s Time!      
Dead Media Archive ~ 8-track Tape          
Flashbak ~ The 8-Track Miracle: 8 Reasons It Failed          
Best Classic Bands ~ 1965: Music Goes Mobile with 8-Track Tapes  
What Hi-Fi? ~ 8-track cartridge enjoys an unlikely resurgence       
       
     
       
       
Styrous® ~ Wednesday, August 22, 2018        
      
     
       
      








August 21, 2018

20,000 Vinyl LPs 144: Dirty Dancing @ 41

vinyl LP front cover
album cover photo by Adger Cowans
photo of album cover by Styrous®

       
Dirty Dancing was released on August 21, 1987. It is an American romantic drama dance film written by Eleanor Bergstein, directed by Emile Ardolino and starring Patrick Swayze and Jennifer Grey in the lead roles, and featuring Cynthia Rhodes and Jerry Orbach. According to Huffpost, Swayze and Grey hated each other (link below).        

The film used moves exactly like those I used in the "Love Act" I performed when I was dancing at the Hungy i in '77 - '78 (link below). I've wondered if perhaps someone saw my act and used the moves ten years later for this film.      


vinyl LP back cover
album phsoto by Adger Cowans
photo of album cover back by Styrous® 


It was a fun film and the cast was young, beautiful and exciting but the music used in the soundtrack was the standout for me; in particular the old songs from the 50's & 60's.    


vinyl LP back cover detail
detail photo of album cover back by Styrous®


It has some of my very favorites songs from the 50's: Love Is Strange performed by Mickey & Sylvia, that wonderful doo-wop song written by Fred Parris, In the Still of the Night dreamily sung by The Five Satins. Oh, how I loved this song!  (links below)  


vinyl LP sleeve
sleeve photos by Adger Cowans
photo of record sleeve by Styrous®


The 60's were represented by the sensual Stay by Maurice Williams and the Zodiacs, Be My Baby by The Ronettes and Hey! Baby sung by Bruce Channel (links below).     


vinyl LP sleeve detail
sleeve photos by Adger Cowans
detail photo of record sleeve by Styrous®


My favorite modern song for the film is Hungry Eyes (link below), which was written in 1984 by John DeNicola and Franke Previte, whose father was an opera singer. It was performed by Eric Carmen. What a great dance song. It peaked at #4 on the Billboard Hot 100 chart and #3 on the Cash Box Top 100 in 1988.    
        


vinyl LP sleeve detail
sleeve photos by Adger Cowans
detail photo of record sleeve by Styrous®


The album became a huge commercial success. It went on to sell 32 million copies worldwide and is one of the best-selling albums of all time. In the United States the album spent 18 weeks at #1 on the Billboard 200 album sales charts and went multi-platinum.              



vinyl LP sleeve
sleeve photos by Adger Cowans
photo of record sleeve by Styrous®


Originally a low-budget film by a new studio, Vestron Pictures, Dirty Dancing became a box office hit. As of 2009, it has earned over $214 million worldwide. It was the first film to sell more than a million copies on home video, and the Dirty Dancing soundtrack created by Jimmy Ienner generated two multi-platinum albums and multiple singles, including (I've Had) The Time of My Life, which won both the Golden Globe and Academy Award for Best Original Song, and a Grammy Award for best duet.        

 
vinyl LP, side 1
photo of record by Styrous®


vinyl LP label, side 1
photo of record by Styrous®



vinyl LP, side 2
photo of record by Styrous®
 

vinyl LP label, side 2
photo of record by Styrous®

     
     
                       
Tracklist:

Side 1:

1 – Bill Medley And Jennifer Warnes - (I’ve Had) The Time Of My Life, Arranged By Gene Page, Arranged By [Additional Arrangements By John D'Andrea, Arranged By [Additional Arrangements] – Michael Lloyd, Engineer – Carmine Rubino, Engineer [1st Assistant] – Dan Nebenzal, Engineer [2nd Assistant] Jeff DeMorris, Producer – Michael Lloyd, Remix – Carmine Rubino, Dan Nebenzal, Jimmy Ienner, Michael Lloyd, written by Donald Markowitz, Franke Previte, John DeNicola - 4:47

2 – The Ronettes - Be My Baby, Producer – Phil Spector, written by E. Greenwich*, J. Barry*, P. Spector* - 2:37

3 – Patrick Swayze - She's Like The Wind, Engineer – Carmine Rubino, Engineer [Assisted By] – Dan Nebenzal, Featuring – Wendy Fraser, Orchestrated By [Additional Orchestrations By] John D'Andrea, Producer – Michael Lloyd, written by Patrick Swayze, Stacey Widelitz - 3:51

4 – Eric Carmen - Hungry Eyes, Engineer – Jim DeMain, Engineer [Remix Engineer] George Sipl, Jim DeMain, Producer – Eric Carmen, written by Franke Previte, John DeNicola - 4:06

5 – Maurice Williams And The Zodiacs* - Stay, written by M. Williams* - 1:34

6 – Merry Clayton - Yes, Arranged By Gene Page, Engineer – Carmine Rubino, Engineer [Assistant] Jimmy Hoysan*, Producer – Michael Lloyd, written by Neal Cavanaugh, Terry Fryer, Tom Graf - 3:15

Side 2:

7 – The Blow Monkeys - You Don't Own Me, Engineer – Ben Kape, Producer – Peter Wilson, written by D. White*, J. Madara* - 3:00

8 – Bruce Channel- Hey Baby, written by B. Channel*, M. Cobb* - 2:21

9 – Zappacosta     Overload, Engineer – Jeff McCulloch, Engineer [Assist.] – Andy Koyama, Walter Soeczak*, Producer – Alfie Zappacosta*, written by Marko Luciani*, Alfie Zappacosta* - 3:39

10 – Mickey And Sylvia* - Love Is Strange, written by E. Smith*, M. Baker*, S. Robinson* - 2:52

11 – Tom Johnston - Where Are You Tonight?, Engineer – Gene Foster, Music Consultant – Inside Track, Inc.Producer – Leon Medica*, written by Mark Scola - 3:59

12 – The Five Satins - In The Still Of The Night, written by F. Parris*
 - 3:03

Companies, etc.

    Manufactured By – BMG Music
    Distributed By – BMG Music
    Mastered At – Fullersound
    Phonographic Copyright (p) – Vestron Music Inc.

Credits:

    A&R [A & R Direction] – Bob Feiden
    Art Direction [Soundtrack Art Direction] – Pam Rodi
    Design [Mechanical Design] – The Hub Graphics Corp.
    Executive-Producer [Soundtrack] – Jimmy Ienner
    Mastered By – Mike Fuller
    Other [Theatrical Campaign] – Sharon Streger / Seiniger Advertising
    Photography By – Adger Cowans*

Notes:

Mastered at Fullersound in Miami, Florida.

Booklet comes with lyrics and information on where each track was recorded.

Packaging: Jewel Case
Total Playing Time: 39 mins, 32 secs

Made in U.S.A.
Barcode and Other Identifiers

    Barcode (Text): 7863-56408-2
    Barcode (Scanned): 078635640823
    Matrix / Runout: W.O. # 8058-11 64082R
    ASIN (com): B007SAT2SG
    ASIN (com): B000002W9Q

      

  
Viewfinder links:      
          
Jerry Orbach   
Leatherneck, Pillow, a Hungry i         
       
Net links:      
          
Lion's Gate ~ Dirty Dancing        
The Guardian ~ Why Dirty Dancing would never be made today 
NY Times ~ Dirty Dancing: Where Kellerman’s Came to Life 
Huffpost ~ 5 Things You Didn’t Know About Dirty Dancing
       
YouTube links:      
          
Dirty Dancing ~ "Dirty Dancing" Clip        
Eric Carmen - Hungry Eyes
The Ronettes - Be My Baby         
Maurice Williams And The Zodiacs - Stay   
Bruce Channel - Hey Baby        
Mickey And Sylvia - Love Is Strange   
The Five Satins - In The Still Of The Night     
Patrick Swayze Talks About Working With Jennifer Grey       
Jennifer Grey Reveals Dirty Dancing Secrets   
Rogerebert ~ review       
       
        

     
Styrous® ~ Tuesday, August 21, 2018