Billy Randolph & The High-Hatters - Roaring 20's mp3 flac download

Tracklist

A1	Goody Goody
A2	Rings On Her Fingers
A3	Give My Regards To Broadway
A4	East Side West Side
A5	The Bowery
B1	Ma He's Making Eyes At Me
B2	Varsity Rag
B3	Dixie
B4	Bedelia
B5	Deep River

Notes

CST105
“THE ROARING TWENTIES”
BILLY RANDOLPH & THE HIGH-HATTERS

"The Roaring 20’s” . . . the most hysterical and frantic era of American life came right after the stern and cruel years of World War I. The crisis was over ... we had won . . . and instead of rebuilding the country and the economy . . . America went on a-10 year binge.

The whole pattern of the times was that of a gigantic playground, reaching its aesthetic peak in 1929. Spurred on by Prohibition — the last gasp of the dying order — Americans went on a 10-year “bat”, Sex was rediscovered, and the nation reacted between the rhythms of the “Charleston” and the “Black Bottom”. In between outs it staggered to the window to cheer Al Capone, Charles A. Lindbergh, Peach.es Browning, Gertrude Ederle, Herbert Hoover and Aimee Semple McPherson.

Americans in the thousands surged into the cabarets . . . and from there to the speakeasies, joints and dives. The legitimate theatre and even the all-powerful vaudeville, watched the patrons pass them by for headier entertainment. But the legit theatre soon sensed the trend and spiced up its offerings . . . however, vaudeville was soon almost devoured by what had been, up to now, a laughable medium . . . the motion pictures.

Radio came into its own . . . and had it not been for the “talking pictures” . . . radio might have forced Hollywood off its pinnacle.

This was the mad era of American life. Prices started to climb upwards and upwards. And in the early 20’s many started to get their feet wet in the stock market. There were some who warned of over-inflation . . . but the brakes were off and nobody wanted to listen. Between 1924 and 1927 Americans were dazzled to learn that the crop of millionaires had increased from only 75 to 293. Show business was ulging [sic] at the seams. There were 21,897 theatres, museums and concert halls; 190 circuses, and 8.876 other types of exhibitions. A 1925 issue of The Saturday Evening Post carried 249 pages of ads that cost $1,400,000. William Jennings Bryan lectured in Florida on the advantages of buying land . . . and for an encore, Gilda Gray did her shimmy dance.
The bubble began to burst in 1926, and collapsed with a roar in September of that year when a hurricane reared out of the Caribbean to swamp the Miami boom area.

March 24, 1928 marked the beginning of the “Bull Market” on Wall Street which swirled the nation to the top of its financial razzle-dazzle. Everybody from bootlback [sic] to steeplejack plunged into the market for a nip at the Golden Apple. But in October of 1929 . . . the entire facade fell with a crashing sound that was heard around the world. The grey skies over Wall Street seemed light compared with the ashen faces of those who saw their entire life go roaring by.

The financial bankruptcy of 1929 was the logical follow-up to an era that began in 1919 with a spiritual bankruptcy.

The feminine fashions of the 20 s seem to be recreating themselves in the late 1950’s . . . but with the hope that the fashions don’t foreshadow the same financial deluge

But what of the music of this frantic and frentic [sic] era? The songs were those of the flapper . . . the one with the stockings rolled “below” the knee. The hipflask . . . and long cigarette-holder (for women had just started to smoke in public). The songs of the era were bright and slightly fragile. The melodies that depicted wild life on the campuses of America. The songs from the smoke-filled cabarets of the major cities. The spots where for a price, the most beautiful dancer in the show would bathe in a bowl of champagne . . . for the exotic enjoyment of the elite. An era running full-speed towards destruction. Not knowing it. But laughing and singing as they went. An era that is represented many times over in ether ages past.

So this . . . the music of the roaring 20’s. Gay! Light-hearted! Not subtle! Just music for a good time . . . and never mind about tomorrow. Typical of the Roaring 20’s.

THIS IS STEREO
Just as the old 78 RPM gave way to the ‘45’s’ and the 33/s long playing ... so the next step in the realization of ‘true’ sound is here . . . in the stereophonic sound that is contained in this record.

Here is not only the quality of the performer, but also the tremendous skill needed in cutting the vastly complex stereo disc groove. The usual groove that you know from your monaural long-playing records sort of wiggles from side to side . . . but both sides are exact replicas. However, in stereo, the two sides of the groove are not the same, and here is where the big difference lies. For in stereo the groove goes both from side-to-side (as in monaural sound) but also goes up-and-down at the same time. This enables your stereo-pick-up head, (which is actually two pick-up heads combined into one) to react to both the side-to-side movement as well as the up-and-down motion of the groove. And from this duplicate motion you can hear stereophonic sound.

If this is your first experience with stereo, you have a great thrill in store for you. First of all, with two tracks in each groove, and two pick-ups you must have two amplifiers and two speakers. In stereo the sound doesn't just come at you from one speaker . . . and not only comes at you from two speakers ... for this can be done monaurally. But in stereophonic sound each speaker brings you a different part of the total tonal sound. And because of this . . . and if your speakers are placed properly . . . you seem to actually be in the middle of the orchestra, or whatever it is you are playing on your stereo pick-up. The sound surrounds [sic] you ... and you become almost a part of it. In fact you could say that you are a part of the music, in that it is your selection of stereo-discs and your control of the speakers and the various controls of your amplifiers that creates the musical picture.

The response on your stereo-discs is about that usually found in good-quality monaural discs ... in other words from about 15 CPS on the bottom to about 25,000 CPS on the top. And since very few people are able to hear either of these two extremes, the sound is comparable with the more-than-average listener.

It has been found that it is possible (but not advisable) to play a stereo disc with a regular monaural pick-up. The sound will be of the highest fidelity, but it will not produce the effect of stereophonic sound. And ir might also be remembered that many old-style LP pickups, though adequate for their usual job, may not be compatible, though they may sound alright on monaural discs. Therefore we recommend that you play this stereo recording only with stereo pickups.

TECHNICAL DATA
This disc was recorded on an Ampex stereophonic tape recorder and transferred to disc using a variable pitch Scully lathe plus a Westrex 3A cutting head with heated stylus and utilizes the ‘RIAA’ playback curve which is the industry standard. The disc was pressed from the finest virgin vinyl available, in a single pressing process that tends to remove any surface noise or distortion. A microgroove-stereophonic pickup with a .0007 tip radius ± .0001 is recommended for finest results; and with a stylus weight of not more than 4 grams. Also handle this disc with great care, being sure to keep it away from dust and heat, and avoiding any touching of the playing surface. To clean this stereo-disc use a damp, soft cloth and gently wipe until all dust and grease is gore. Store in this sleeve’ in a moderate temperature. With the proper care this high-fidelity stereophonic disc should last indefinitely.

It is possible in playing this disc you will find that one speaker seems to have less volume than the other. (In all instances it will be the speaker that is on your left as you face the speakers.) This has been done on purpose so as to enable you, in controlling the volume of both speakers, to reach a true balance of sound. You will also find that the effect will vary with the placement of your two speakers . . . and the location of the listener. With a little experimentation you will find the exact locations that you find most pleasing and that will utilize the stereophonic qualities of this disc to its fullest extent.

Cover Assembly: HOBCO ARTS
CROWN STEREO ALBUMS AVAILABLE
CST 101 AROUND THE WORLD IN 80 DAYS Music Comp, by Victor Young; Hans Hagan Cond.
CST 102 THE MUSIC MAN Broadway's Hit Musical Complete Cast
CST 103 GIGI Bernie Anders Cond. With Words and Music
CST 104 A TOAST TO TOMMY & JIMMY DORSEY By members of the Dorsey Band
CST 105 ROARING 20's Billy Randolph & His High Hatters
CST 106 OKLAHOMA Complete Cast with Hans Hagan conducting
CST 107 MY FAIR LADY - Complete cast Arranged & Cond. by Tom Davis and Hans Hagan
CST 108 PARIS NITE LIFE Pierre Legendre conducting The Paris Intl. Orch.
CST 109 GAY 90’s Johnny 0’Tooie & His Naughty Naughty Band
CST 110 PAL JOEY Duke Hazlett, Thos. M. Davis and Hans Hagan Cond.
CST 111 SOUTH PACIFIC Comp, cast, Orch. & Chorus under dir. of H. Hagan
CST 112 THE GOLD RECORD AWARD — VOL. I Million Record Sellers
CST 113 ALOHA Hawaii — The Polynesians
CST 114 THE GOLD RECORD AWARD - VOL. II Million Record Sellers
CST 115 A TRIBUTE TO GLENN MILLER Members of the Miller Orch.

CROWN RECORDS 9317 w. washington blvd., culver city, california
ULTRA HIGH F I D E L I T Y / M A D E IN HOLLYWOOD, U.S.A.

Other versions

Category	Artist	Title (Format)	Label	Category	Country	Year
CLP 5070	Billy Randolph & The High-Hatters	Roaring 20's ‎(LP, Album)	Crown Records	CLP 5070	US	Unknown

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