Eddy Manson - The Fi is Hi
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The Roumanian Rhapsody
Linger Awhile
I Cover the Waterfront
Pick Yourself Up
The Lone Prairie

Night Beat
Too Marvelous and Theme For Strings
Melancholy Baby
Boy on a Carousel
The New Grey Mare

The reasons why this album appeals at once to the average listener may be legion,
but to those audiophiles addicted to material specifically recorded to test the best of
high fidelity equipment there are several main points to consider.

First, it features Eddy Manson and such all star harmonicists as Charles Leighton,
Alan "Blackie" Shackner, Alan Pogson, and Michael Chimes, using instruments
which produce strange phenomena in sound.

Second, there are no "gimicks" employed, no hocus-pocus used, or "sound effects"
as an end in themselves, but rather there is a natural definition of solo and
concerted instruments set in most attractive musical arrangements. And, since the
aim of high fidelity engineering efforts should be the reproduction of good music—
let it be said that Eddy Manson, who appears here as conductor, arranger and
performer, has created some of the most inventive and picturesque musical settings
available to audiophiles. An indication of his artistic imagination can be found in the
colorful, yet individual treatment of each selection in the album.

The Roumanian Rhapsody:
This is the only virtuoso harmonica solo in the album,
used frequently by Eddy in personal appearances.

Linger Awhile:
Brass and rhythm instruments back up Eddy and the all star
harmonicists in a beguiling fashion while the percussion section plays some fancy

Originally written for a "Tortilla Flat" sequence in a show called "The Best
of Steinbeck," the California Paisano who is part Italian, part Mexican, and part
Portuguese, but mostly himself, is described by harmonicas, electric mandolin and
mounted castanets.

I Cover the Water front:
The Manson arranger's pencil portrays the fog, a ship's
bell and loneliness in a haze of instrumentation.

Pick Yourself Up:
Borrowing from the French "pointillistic" technique, Manson's
arrangement alternates sound "color" rapidly by varying instruments, and develops
a petite fugue on the opening theme. The result is hi-fi fun.

The Lone Prairie:
With the aid of a wind machine, a guitar and harmonica create a
truly pictorial adaptation of the title.

Night Beat:
Here is a Manson original done in a blend of rock and roll and
progressive jazz.

Too Marvelous
and Theme for Strings: A standard woos an original!

Originally composed for "Studio One" on TV, Manson uses the steel
drum, tympani and bongos for some erotic effects.

Melancholy Baby:
Eddy and the all star harmonicists do a "sober" version of the
tune usually requested in the wee hours by some lonely inebriated soul.

Boy on a Carousel:
The composer's son, David "Butch" Manson, and his penchant
for amusement parks inspired this setting of calliope sounds.

The New Grey Mare:
Here's a lively "tongue-in-cheek" rock and roll!

Eddy Manson
fully deserves his title of President of American Society of Music
Arrangers. Although his parents hoped he'd study to be a doctor, Eddy directed
his efforts towards becoming the first harmonicist to graduate from the Juilliard
School of Music and later he was responsible for the recognition of the
harmonica by the Musicians' Union. Well known as a soloist, this album betrays
his genius for composing and arranging which has resulted in scores for such
films as "The Little Fugitive" and "Lovers and Lollipops" as well as many major
television shows. 


Copyright 1958, Radio Corporation of America

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