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Re: [ARSCLIST] Riverside Race Car Records

Maybe these didn't sell a lot when they were released, but this genre is
and has been a hot item with the surf-Hot Rod-Rockabilly/Pyscobilly set
I hang with. I know a community radio host who uses a Riverside record
for his intro to his show every week. A few bands even use this style in
recordings using spoken word and motor sound intros to songs, and some
even use recorded samples at live shows between songs or even motor
sounds during songs!



Robert Wasserman
Sound Archives- Audio Specialist
Wisconsin Historical Society
816 State St. Room 438
Madison, WI 53706
Collecting, Preserving and Sharing Stories Since 1846

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:ARSCLIST@xxxxxxx] On Behalf Of Roger and Allison Kulp
Sent: Sunday, September 07, 2008 9:50 PM
To: ARSCLIST@xxxxxxxxxxxxxxxx
Subject: Re: [ARSCLIST] Riverside Race Car Records

Well Tom,as you know Estrus,Hillsdale,and a couple of other labels in
the 90s, put out records lovingly aping the designs of the
Fleetwood,Riverside racing Lps.Here's an example: 
 Sensational Sounds Of The 1995 Estrus Invitationals EP
Format: 7"
Label: Estrus
Release Date: 1996
Ref.: ESP 3233

Some of the Fleetwood Lps are out on CD:
And others have put out private issue CDs doing the same stuff,like 

So,it's not a forgotten little genre.


- On Sun, 9/7/08, Tom Fine <tflists@xxxxxxxxxxxxxxxxxxx> wrote:

> From: Tom Fine <tflists@xxxxxxxxxxxxxxxxxxx>
> Subject: Re: [ARSCLIST] Riverside Race Car Records
> To: ARSCLIST@xxxxxxxxxxxxxxxx
> Date: Sunday, September 7, 2008, 2:35 PM
> I remember that Ustinov album. We played our copy to death
> when we were kids.
> I think the whole "big world in stereo in my living
> room" genre was a bit of a money-maker in the 
> early days of stereo. Trains, planes, automobiles and
> musical effects. I always imagine the guy 
> somewhere between the old John Doormat cartoons and the
> swells of "Mad Men" using these records to 
> convince the wife to get comfortable with the second
> speaker in the living room. But the cars racing 
> around the room and jets flying left to right just
> don't do the trick. She frowns, pours another 
> drink and resigns herself to dusting one more large
> surface.
> The somewhat analog of this scene today is the guy rolling
> up on his McMansion with a 60" 
> flat-screen in the back of the SUV.
> There are plenty of good documentaries out there about auto
> racing in the 50's and 60's. It was very 
> different from the videogame-esque NASCAR scene today. Both
> road racing and drag racing and even 
> grand prix racing were more dangerous and interesting --
> for both drivers and spectators. It wasn't 
> quite a blood sport but there were plenty of injury-causing
> mishaps to be witnessed. Many of the 
> early hi-fi and stereo enthusiasts were war veterans, so
> the idea of some danger combined with large 
> machines and loud motors probably brought back some
> memories and sold some records. I like these 
> records because they are something like historical
> artifacts -- you don't hear a lot of these sounds 
> at a modern-day racing event. I've often wished Rhino
> or some other "vintage"-oriented label would 
> put together a CD box set of the best of them, maybe
> combined with some over-the-top TV and radio 
> ads from the day.
> -- Tom Fine
> ----- Original Message ----- 
> From: "David Lennick"
> <dlennick@xxxxxxxxxxxx>
> To: <ARSCLIST@xxxxxxxxxxxxxxxx>
> Sent: Sunday, September 07, 2008 3:53 PM
> Subject: Re: [ARSCLIST] Riverside Race Car Records
> > John Ross wrote:
> >> At  9/7/2008 11:39 AM, Tom Fine wrote:
> >>> Apparently, Bill Gauer, Keepnews' partner
> at Riverside, was a racing car nut and was very into 
> >>> making these "environmental audio"
> recordings.
> >>
> >> This raises a question I've always wondered
> about: Who bought all those Riverside sports car 
> >> records? They still show up in secondhand record
> bins, so SOMEBODY must have bought them new, but 
> >> did they sell enough to break even, let alone make
> money, or were they just an excuse for Grauer 
> >> to talk his way into the pits at races with his
> microphone?
> >>
> >> I suppose they didn't cost much to produce. No
> studio time, no royalties or performers' fees. 
> >> Could they have been a profitable sideline like
> the Elektra sound effects records?
> >
> > Further amazing that they had enough of a sense of
> humor to issue Peter Ustinov's hour-long parody 
> > of the whole genre, a disc which stayed in print long
> enough to be reprocessed in fake stereo 
> > (aaaaaak).
> >>
> >> There's a Riverside comedy record by a standup
> comic whose name I have forgotten in which the 
> >> comic muses about a phone call:
> >>         "Riverside Records, can I help
> you?"
> >>         "Yes, Bill Grauer please."
> >>         "I'm sorry, he's under a
> Porsche, taking a level."
> >
> > I can recall about 3 comedy albums on Riverside (aside
> from Ustinov)..Henry Morgan, "George 
> > Crater" (Ed Sherman), and Louis Nye (Heigh Ho
> Madison Avenue). Was it one of these?
> >
> > dl
> >>
> >> John Ross
> >>
> >


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