SRP EASY LISTENING TAPE 6213 CA

Описание: SRP EASY LISTENING TAPE 6213 CA

11-Arthur's Theme - Ron Goodwin (SRP custom track)
12-Only You - Roger Williams (C)
13-Allez Vous En - SRP Orchestra (SRP custom track)
14-Misty - Hugo Winterhalter
15-Feels So Good - Johnny Douglas (BBC custom track)

21-We Just Couldn't Say Goodbye - Frank Chacksfield
22-Isle Of Capri - Franck Pourcel (C)
23-Follow Me - Alshire Singers
24-The Last Waltz - Paul Muriat
25-Smile (Charles Chaplin) - Bert Weedon

31-Behind Closed Doors - Lenny Dee
32-Lemon Tree - Percy Faith (C)
33-Friendly Persuasion - Norman Percival
34-Won't Somebody Dance With Me - Alan Tew

41-There's No Gettin' Over Me - Ronnie Aldrich
42-Goodbye - Hank Levine Chorus
43-Mean To Me - John Fox (BBC custom track)
44-Here I Am - Tony Mottola
45-Go Away Little Girl - 101 Strings

(C) Removed due to YouTube Copyright restriction.

This video is music from an SRP tape that was distributed to radio stations. WPAT was broadcasting SRP for a few years and this tape may have played on WPAT. The pictures here are of this one of the three SRP tapes I bought on Ebay in 2001 (1368 AC, 3262 CA, 6213 CA). The 10" tapes are recorded at 7.5 ips half track Stereo. WPAT request for 14" tapes at 15 ips was never honored.

The head alignment test and subsonic automation cue tones are on the tape but back in 2001 I did not record the tones, just the music. I have grouped the song list in 15 minute segments (10s, 20s, 30s and 40s) identified by the cue tones. The automation could intermix segments from tape to tape.

The following information was taken from EasyListeningHQ.com

By the late 70s, and certainly the early 80s, sources for instrumental music had virtually dried up in Europe as well as in America. Radio programmers were faced with the problem of how to keep their formats fresh with new music in order to be contemporary. While they had many versions of, say, Begin the Beguine that they could play, the perception was that the stations would be dated and unable to attract younger listeners without being able to air instrumental arrangements of current rock and pop songs.

What to do?

The answer was to hire arrangers and commission orchestras to play and record tunes that broadcasters wanted and in the styles that fit the format. According to Phil Stout, programmer extraordinaire at Schulke Radio Productions (SRP), the very first "custom" project was commissioned by SRP. Phil has provided a very interesting description of the project and a song list, which we present in a very special EasyListeningHQ.com Spotlight feature.

The next documented project was arranged and conducted by Bill Loose in 1975. Bill was largely doing commercial background and musical cue music for Capitol Records at the time. His productions for the Good Music Company were exceptional, having been recorded in Europe on multi-track tapes, mixed down to two-track and purveyed to broadcasters on vinyl records.

Visionary Jim Schlichting of Starborne Productions produced the next project on a grand scale by commissioning Frank Chacksfield to record dozens of tracks that Jim also pressed on vinyl and licensed to syndicators. While those who licensed the music from Jim squealed about the rates, they were in for severe sticker shock when they began to produced and record custom music themselves. They soon found that the musician rates in the United States were too high, and that forced most of the recordings to be done in Europe where the music could be produced more inexpensively. Hence, one finds that most of the projects were done using European arrangers.

Another factor that drove the custom music projects was an association that Jim Schulke had formed with the BBC. He was able to sign a contract that gave him exclusive broadcast rights to certain BBC material. Not to be outdone, Bonneville hitched up with Reddifusion in Europe and was able to license exclusive rights to a large amount of material from the Reddifusion background music library, identified on their service as the "Buckingham Strings."

Back in America...

Stung by their inability to get the rights to the Schulke and Bonneville material, and because those two companies together were fiercely fighting to be "King of the Mountain," the smaller companies and independent stations banded together and formed the "International Beautiful Music Association" (IBMA) and collectively put their money into a pot to record their own sessions with an agreement between them that neither Schulke nor Bonneville would be allowed to license the material.