It's All Over But The Crying - (The) Ink Spots - 1947 - скачать в хорошем качестве

It's All Over But The Crying - (The) Ink Spots - 1947 -

Song info: This was actually the B-side to I'll Make Up For Everything in the US (this edition) and No Orchids For My Lady in Italy, but the A-side to I Woke Up With A Teardrop In My Eye in the UK. It is a shellac 10" 78RPM record from 1947, predating vinyl. Printed by Decca. It's All Over But The Crying was written by Seger Ellis and Russ Morgan. This recording was it's first release. You may know it from Fallout 4 and Fallout 76... Though the remastered version heard in Diamond City Radio and Appalachia Radio plays too fast and is thus pitched up. This is pretty common in the FO series unfortunately, but no mistake of the developers per se. As the original transcription discs handed out to TV and radio stations in the 1930/40s were often already printed from a fast playing version, we accordingly also got higher pitched remasters later. I understand that there has been a bit of a 432hz craze in particular over the past few years, linking all kinds of esoteric conspiracies to the frequency. Matter of fact is that 440hz only became our standard concert pitch relatively recently in the latter half of the 20th century. So many artists tuned to 432hz before that, that we could argue it too once was a sort of standard. But then again, others tuned a little higher or even lower, too. This results in the tuning sounding a bit lower than what modern tuners or forks are calibrated to. Since a whole tone is equal to 200 cents, a half to 100 and a quarter to 50, we cannot adjust the tuning by tones. There are 4ct in 1 hz, making the 8hz difference 32ct and thus practically microtonal! We can instead tune down to 432hz proper, or keep the tuner in 440 but intentionally tune 32ct flat. Either way - The true pitch also becomes most important in the transcribing process, which I have been commiting to this year on the acoustic guitar. This digitization will accompany my notation and lesson. Band trivia: The group was at times listed as The Ink Spots, other times as Ink Spots. Posters also advertized them as The Four Ink Spots. The members at the time of this recording were Bill Kenny as lead tenor, Herb Kenny as bass voice and bass player, Charlie Fuqua as baritone voice and guitar player and Billy Bowen as second tenor, though he apparently also played the guitar at times. The piano player would almost always be the given arranger of the time, such as Harold Francis in this case. Other prominent ones were Bill Doggett, Ace Harris, Bob Benson, Ray Tunia, Fletcher Smith and Ken Bryan. Mort Howard at least once wrote arrangements, if not also serving as the pianist. The earliest iteration of the band featured Deek Watson as second tenor and tenor guitar player, while Charlie too played a tenor guitar, Hoppy played a restrung cello in the manner of an upright bass and Jerry Daniels was the lead tenor, ukulele and allegedly also guitar player. When Bill replaced Jerry, the band moved away from the Mills Brother-esque performance uptempo Jive acts on the tenor guitar and found their own style, including their signature (six string) guitar and/or piano intro, as well as a vocal dynamic that Bill dubbed "top and bottom": The tenor(s) and baritone would croon, while the "talking bass" would recite in spooken word. Herb, who replaced Hoppy later, was Bill's twin brother. Rumor has it that he (and later bassists) did not really play the cello or bass though, and that it was all for show after Hoppy's performance became a trademark. Later temporary members would be Bernie Mackey, Huey Long, Everett Barksdale and Jimmy Cannady for baritone vocals and guitar, Cliff Givens and Adriel McDonald for bass voice and bass and Teddy Williams, Ernie Brown and Henry Braswell for second tenor. The band was considered dissolved by 1954. This was after dozens of lineup changes all centered around Bill. Afterwards, it was ruled in court that Bill was allowed to keep calling new bands (The) Ink Spots, while Charlie was to call his Charlie Fuqua's New Ink Spots. Meanwhile, Deek formed The Brown Dots, later known as The Four Tunes. Yet both Charlie and Deek kept creating different lineups and recordings under the old band name as well. Bill went on to have a solo career, often rehashing previous Ink Spots material with new arrangements and rarely advertizing the material as a solo artist, prefering to use the old band name. There also were dozens of imposters and fraudsters who would perform under this very band name without ever having been part of it, especially so after the actual (The) Ink Spots broke up.