The Lancers - A History
In June of 1963, five guys set up their equipment in the band room of Balboa High School and Junior College in the Panama Canal Zone. An engineer from the local Armed Forces radio station carefully positioned a couple of expensive mics, each one direct-wired to a single channel of a two-track Ampex recorder. As the group warmed up, the engineer listened through his headphones, moved mics, listened some more, finally arriving at an acceptable mix. There would be no re-mix after these songs were laid to tape.It was the same live-to-tape process a mop-haired, oddly named British group had used just a few months earlier when they recorded to a glorious three tracks in a world-class studio in London.
The Lancers' song list for this recording date was made up of mostly original
instrumentals in the style of the guitar group, The Ventures, whose Walk, Dont
Run had been a big hit.Bob Taylor bought his top of the line Fender Jazzmaster
because The Ventures had used it on their records.The piano you hear was an old school
upright pulled out from the wall to be played by Bob and Ed Idol, who doubled on bongos
and latin percussion.Ralph Smith's drum set was set up near the piano.Close to the back
wall, a single Gretch amp carried both rhythm and lead guitars. Near the right mic, Gene
Linfors played clarinet, sax and flute.The Lancers were a kind of surf band with a
wind player!
No vocals were recorded that day.The engineer and his EARSA Records business partner
wanted to avoid paying any royalties.But in live performance, The Lancers did plenty of
vocals, "covers" of pop songs of the day ... Chubby Checkers "Let's
Twist Again," Everly Brothers hits, heart-throb ballads (in both English and
Eds mellow Spanish), and up tempo arrangements of standards and folk tunes.
For a few more months, Dallas would remain just another hot town in Texas.The
"British Invasion" led by the Beatles wouldnt hit the charts until the
following spring, a musical renewal after the trauma of the John F. Kennedy
assassination.In that simpler world, The Lancers had been a popular weekend dance band,
and their audience wanted to hear recognizable hits, not unknown tunes by cute,
post-adolescent poets who wanted to Hold Your Hand.
The master tapes from that '63 session, spliced in order and separated by an awkward
eight to ten seconds of silence, were sent off to New York to be mastered by Capitol
Records' Custom Service Department.Using photos shot in Panama and Florida (Buddy had
already left the Canal Zone), MacMurray Press pasted up the cover art from Bobs
concept drawing.When the final LP's were delivered in the fall, three of the five Lancers
were already off to college in the States.With no band to push them, few records moved off
the shelf.
The Lancers did get together one last time.In the summer of 1964 they regrouped for a show
at the Balboa Theater ... but by then the world had changed.This time the girls screamed
when they sang covers of Beatles and Dave Clark Five tunes.The Brits had landed, and a
whole new musical landscape existed for American teens.Now, original vocals were the
thing, and a record format of just dance instrumentals would be very hard to sell to the
buying public.
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The Overdubs
As those few who bought the original album know, there was no bass
part. The electric bass you hear in this recording was not added until 1966, when Bob
used his first basement studio to overdub it in.It was something he'd wanted to do before
the record pressing, but the engineer had told him his setup couldn't handle it.Despite a
string of Les Paul and Mary Ford hits recorded 15 years earlier using sound-on-sound
overdubbing, it was not a normal process in 1963. Even The Beatles' highly acclaimed
"Sgt. Pepper's Lonely Hearts Club Band" ... a production tour de force
for the mid-60's ... was created using just a four track machine. The EARSA engineer expressed doubts that a bass
added to the Lancers record would work.
Assembling this CD, four extra overdubbed tunes were added ... all done under the front
porch of Bobs grandmother's house in Dayton, Ohio.
In the mid-60s, his day job was at a discount department store, but
his evenings were spent creating ... first the tape recorder he used to record clean
sound-on-sound with echoes, then dozens of cuts of ever more complex layered music. Some of the finished tunes had as many as 15 parts
in the final mix -- multiple harmonies behind
lead vocals, keyboards, guitars, percussion, and (usually last-added) electric bass.
The final three cuts include a full drum set borrowed from a friend. Since each layer was re-mixed into the previously
recorded tracks, the cleanest sounding parts were the last ones added. And since drums need to be clean, they
were recorded near the end of the process.
The most demanding problem with sound-on-sound recordings is that nothing can be removed
or re-mixed later! When a new layer is mixed
in, all previous sounds get buried inside the new "track." If you don't like the final mix ... or you leave
in a bad note ... youre stuck with it. It
was an excellent training ground for a career in sound and video production -- which is
what Bob ended up doing in life.
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Original Album Cuts
(1963
bass added in 1966)
2) Dr. Casey Twist . . . . . . 2:21
Guitar, piano, overdubs
3) Hot Summer Day . . . . . 3:06
Bob Taylor
4) Torture . . . . . . . . . . . . . 2:21
5) Night of the New Moon 3:15
Guitar Paul Morgan
6) Ghost Freight . . . . . . . . 2:50
7) Loch Lomond Twist . . . 3:21
Sax, clarinet, flute
8) RT Boogie . . . . . . . . . . . 3:08
Gene Linfors
9) Plain Blues . . . . . . . . . . . 3:36
10) Hypo . . . . . . . . . . . . . . 3:10
Percussion, Piano
11) The Girls . . . . . . . . . . . . 2:20
Ed Idol
12) Little Rockin' Greenie . . 3:18
Extra Overdubbed Cuts (1965)
Drums Ralph Smith
13) In the Mood . . . . . . . . . 1:46
14) Happy Organ . . . . . . . . 2:01
15) Movin'-n-Groovin' . . . . 2:02
16) Sweet Nothin's . . . . . . 2:05
TOTAL TIME 44:07
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