THEM/The Original Torquays
LOST TAPES FOUND ! ! !

Sometimes when we played, if possible, we'd try to record the gig.

It was the '60s, pre-digital anything, and the idea of a mixer into a PA was only a dream due to too few dollars, too little time* for set-up (what's a "sound-check"), already over-crammed cars (what's an SUV?), and lack of a "soundman" to run the audio.

Worst, as Hertz accurately puts it from his 50+ years in the music profession as artist, writer, producer, agent, technician and more, "My experienced philosophy is don't casually record live shows and expect quality, unless you are capable of professional quantitative and qualitative evaluation. Listening to casually recorded acts, especially one's own, causes bubble bursting, breaking things, fixing broken things, loss of confidence, craziness, temporary insanity and diarrhea." (GAM comment: Only reactions missed were wretching and puking.)

The gig recordings we made were through a mono mic into a decent "hi-fi" mono recorder-player. We found a number of those recordings and are working to find what's not just "noise" but presentable after running through Adobe Audition, Audacity and some other apps. For initial recovery from the 50-year old analog 1/4" tapes, they are being run on a Magnecord 1024 professional tape deck, into a dbx-3BX noise reduction/removal 3-band Dynamic Range Expander, into a simple Behringer U-PHONO UFO202 audio-source to computer USB port, input to Audacity open-source Version 2.1.0 free software onto an iMAC 27, converted to mp3 files with the Sample Rate set at 44,100 Hz and the Sample Format set at 32-bit float. Considering the equipment and conditions at the time of original recording, if there's any "oomph" to give these tracks, it will come from finishing them with Adobe Audition.

But, since Hertz has a vivid memory of one particular found tape of an outdoor summer party performance, it most likely will return to its previous "50-year lost" status.

In addition to our own gig recording efforts, we also uncovered a reel with songs THEM performed as the house band for WCPO-TV's "Between Time," a 13-week wonder, broadcast once a week as one of Cincinnati's efforts to emulate the highly successful national "Shindig," "Hullabaloo" and "Dick Clark Everythings" on national networks.

The following audio tracks are from audio tapes of the original Between Time program, video-taped each Sunday and aired each Monday evening on WCPO-TV... for 13-weeks (no more, no less). Final post-production of these audio files from .wav into mp3 format is by Stan Hertzman. Paul Simons and George Makrauer contributed to this effort, which was accomplished cooperatively, because none of the three made any smart-alec political cracks.

Lead vocals were performed by Stan Hertzman, Paul Simons and Eugene Katona, depending on the song; all three sang back-up and harmonies, as required. (George Makrauer didn't sing; he typed, pre-digital days.) For our Between Time performances, Hertz carried rhythm guitar, Euge a busy driving bass line, Si delivered spectacular lead guitar solos, and George just pounded away.

The program producer's audio objective was to meld the musicians' performance with the audience and dancers' reaction and participation, such as hand-clapping. Open studio mics over the audience captured their "contributions." The result is a fairly "echoey" overall ambiance, not merely adding, for example, reverb effects to the vocals and/or instruments.

JUST A CAUTION: BEFORE CLICKING ON THE "PLAY" CONTROL,
please slide the volume control LEFT to a mid-point position
from it's default "new page" full-right position
... for reasons which will become obvious, if you don't.

Audio Engineering for Between Time (50 years ago, fergawdsake) faced the challenges of a small studio that crammed the band and everyone else together, general mic-ing for the entire band instrumentation (instead of today's individual instrument mic-ing or direct connections), emcee and guest mics not too far from the band, the presence of open audience/ambiance mics... oh... and the band was loud. ALL these tracks are "live on tape;" there was no "audio pre-recording with post-production effects and mixing for program on-camera lip-syncing."

At the start of a couple of the following tracks, you'll hear adjustments in volume being applied by the audio engineer in a mad-rush to not blow out speakers in the TV's of the (relatively small) audience of viewers at their homes.

SONG TITLE	AUDIO CONTROL	SONG HISTORY, MOSTLY FROM WIKIPEDIA
GOOD LOVIN'	Lead Vocal - Stan Hertzman	"Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a number one hit single for The Young Rascals in 1966.
JOHNNY B. GOODE	Lead Vocal - Paul Simons	"Johnny B. Goode" is a 1958 rock and roll song written and originally performed by Chuck Berry. The song was a major hit among both black and white audiences peaking at #2 on Billboard magazine's Hot R&B Sides chart and #8 on the Billboard Hot 100.
REELIN' AND ROCKIN'	Lead Vocal - Stan Hertzman	Written by Chuck Berry. First Played in Concert January 16, 1963 by Cliff Richard & The Shadows at St. Georges Cricket Ground, Port Elizabeth, South Africa. Most Recently Played August 19, 2015 by Tom Jones at Bratislava Castle, Bratislava, Slovakia.
ROCK 'N' ROLL MUSIC	Lead Vocal - Stan Hertzman	"Rock and Roll Music" is a 1957 hit single written and recorded by rock and roll icon Chuck Berry. The song has been widely covered, and is recognized as one of Berry's most popular and enduring compositions. In the fall of 1957, the song reached #6 on Billboard magazine's R&B Singles chart and #8 on the Hot 100 chart.
SHAKE A TAILFEATHER	Lead Vocal - Stan Hertzman	"Shake a Tail Feather" (Otha Hayes, Verlie Rice, and Andre Williams) is a song originally recorded in 1963 by the Chicago-based group The Five Du-Tones.
SLOW DOWN	Lead Vocals - Stan Hertzman & Euge Katona	"Slow Down" is a 24-bar blues written and performed by Larry Williams. Released as a single in 1958, it was a rhythm and blues hit that influenced the growing Rock & Roll movement of the time. It was released as a 7" single (45RPM). The A-Side was "Dizzy Miss Lizzy" and the B-Side was "Slow Down", which were both covered by The Beatles in 1964 and 1965, respectively.
TELL HER NO	Lead Vocal - Eugene Katona	"Tell Her No" is a hit single by British rock band The Zombies in 1965, featured on their debut album The Zombies. It peaked at No. 6 on the Billboard Hot 100 chart in the United States in March 1965 and was one of three big American hits by The Zombies (the others being "She's Not There", in 1964, and "Time of the Season", in 1969).
WATERMELON MAN (INSTRUMENTAL)	Lead Guitar - Paul Simons	"Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962). First version was released as a grooving hard bop and featured improvisations by Freddie Hubbard and Dexter Gordon] A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998.
TONIGHT I'M GONNA FALL IN LOVE AGAIN Teardrops' Hit Single Live instrumental back-up of Teardrops by THEM	For The Teardrops guest performance of their top hit, THEM provided back-up instrumental for this live-on-tape appearance. That was much to the disappointment and irritation of their band, which showed up at the studio with the singers. But, since possession is nine-tenths of the law -- especially when what's possessed is a small stage from which THEM's members were not of a mind to de-possess THEMselves -- and THEM had practiced to play the Teardrops' hit, we sat still and asked the singers if they wanted to do a run-through. We did one run-through with the singers; no changes requested. When that show's taping was over and the girls were leaving, THEM's drummer said to one of the girls, "You sounded great, and we really enjoyed backing you up... hope you liked it." She replied -- reading their band's displeasure in not playing -- "You guys did a great job," and she gave a wink for the four of us, which was the real compliment, not wanting to say more that her band could have heard.	The Teardrops were an American girl group popular during the 1960s. The Teardrops were formed around 1961 by two friends, Dorothy Dyer and Linda Schroeder, (both girls were 14 years of age at the time) in Cincinnati, Ohio. They later recruited ... friend Pat Strunk as the third voice. During 1962-63 the trio (was) performing at local teen venues in Cincinnati until ... spotted by musician/arranger George Bud Reneau (and) his partner, songwriter, Paul Trefzger. The trio signed with Bud and Paul's Saxony Records in 1964; along with the deal came fourth member, Wanda Sheriff. The now quartet recorded "Tonight I'm Gonna Fall In Love" / "That's Why I'll Get By" in the fall of 1964. It received local airplay in Cincinnati and other cities across the US. The Teardrop's local success had them opening for The Beach Boys and Sonny and Cher.