“The Sound Of Sight” by Ray Martin - album review

features in: Album Chart of 1963Album Chart of the Decade: 1960s

TJR says

The U.S. got the scoop on this one, with London Records able to get their issue into the shops in time for the Christmas market, a couple of months ahead of Decca in the UK. The album, painstakingly created over the course of many months in ‘63, was released by Decca/London as part of their “Phase 4” series, showcasing the “exciting stereo revolution”. “Westorama” is my favourite on the LP – there's never a dull moment in the whole 6½ minute stereophonic extravaganza. In all, there are nine extroverted orchestral compositions, playfully egging the film score creators for cartoons, westerns and sci-fi to name but three. The liner notes from the UK Decca issue promise much and, despite being a tad OTT, sum up the album very well:

“This album is an emotional experience. It creates vision for inner eye as well as being music to the ear. It is music that forms a picture, as lucidly as though it were projected on to a screen in front of you. It is indeed, literally THE SOUND OF SIGHT. Sight as well as sound creates emotions in us. Were it not for this psychological truth, Hollywood’s motion picture empire would never have come to exist. It is an acknowledged fact that the vast majority of films ever made would be bland and flat without the especially created music and effects which trigger emotions and consequently reflexes, by identifying orchestral texture colours and phraseology, used so successfully ever since sound motion picture came to be. In this album we release, through music and effects, emotions and reflexes without of course actually showing a picture. However, we are certain that the listener will indeed SEE a picture nonetheless. We have taken the Pavlovian concept of reflexes a step further and applied to the inner eye. This then becomes a matter of stimulated visual imagination. Music and effects will stimulate your emotions. The emotions will stimulate reflexes upon your imagination, which in turn will create the visual picture in your mind’s eye. We believe to have created here the first DOCUMENTARY on a stereo disc. Months of patient research and study, plus thousands of feet of tape, a near scientific method of composition and arranging have gone into the making of this album, in order to produce these results in superb stereo sound, plus a psychological video-reaction upon the listener. This album also has great humour, never raucous, but always subtle and by innuendo. Some of the purposely used “cliché” phrases are poking delicious fun at their originators. However, since impersonation is the greatest form of flattery, the periodic use of these passages and colours are intended to be complimentary as well as amusing. Ray believes that an “obvious” musical passage is only “obvious” because it so damn right in the first place. We agree wholeheartedly.”

The Jukebox Rebel

A1 [03:20] 8.0.png Ray Martin - Introduction Leading Into Overture To End All Overtures (Ray Martin) Film Score / Incidental
A2 [06:34] 8.8.png Ray Martin - Westorama (Ray Martin) Film Score / Incidental
A3 [03:43] 8.7.png Ray Martin - Destination Space (Ray Martin) Film Score / Incidental
A4 [05:35] 7.2.png Ray Martin - A Whale Of A Tale (Ray Martin) Film Score / Incidental
B1 [07:49] 6.8.png Ray Martin - Egyptian Epic (Ray Martin) Film Score / Incidental
B2 [05:10] 7.5.png Ray Martin - Hoodunnit (Ray Martin) Film Score / Incidental
B3 [03:45] 5.3.png Ray Martin - Tearjerker (Ray Martin) Film Score / Incidental
B4 [03:10] 6.0.png Ray Martin - Cartoonik (Ray Martin) Film Score / Incidental
B5 [03:32] 6.7.png Ray Martin - Flagwaver (Ray Martin) Film Score / Incidental

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