Time Sweep uploaded to ubuweb, forget when this happened. Attributed solely to Hugo Keesing.
― Milton Parker, Thursday, 24 February 2011 22:14 (six years ago) Permalink
I believe it was uploaded there very recently. But in any case, it hit the blogosphere, and was reuploaded anonymously to SoundCloud by user rjs538.
Wayne and Wax follows the blog explosion.
― Milton Parker, Thursday, 24 February 2011 22:17 (six years ago) Permalink
In the last week Chartsweep has risen to “viral” prominence after a complicated — and possibly incestuous — round of re-posting and re-blogging and re-posting and re-blogging. Although uploaded to SoundCloud just two days ago, as of this writing, the two parts have cumulatively garnered nearly 150k plays!
― Milton Parker, Thursday, 24 February 2011 22:34 (six years ago) Permalink
Milton Parker has nailed it and he is to be credited for his insight and accuracy. I worked at Drake-Chenault from 1978 through 1983 as a sound technician and format recording engineer. I watched as Mark Ford (and Bill Watson, "producer") carefully, professionally and patiently recorded and updated "The History Of Rock and Roll" as well as the final "Time Sweep", sometimes into the wee small hours. I even played guitar for the HRR background "beds" under the likes of Peter, Paul and Mary and The Beatles and others. Please note that the records and tapes in mono, stereo or "enhanced stereo" were recorded in studios and pressed in plants all over the country under various and continually advancing technical audio improvements over many years. Mark Ford had to blend and homogenize these variables into one final, flowing package and make it listen-able, accurate and historically correct. His work was cut out for him. This is a work of art, at least up to his involvement in '81. What has not yet been mentioned, is the fact that he equalized and phase-corrected many cuts to bring out the highs and lows to make the AM/FM radio listening experience "better" than the original sound, whenever possible. You may even be able to hear instruments that were buried in the original recording. Certainly noticeable, is the tempo-matching from intro to outro, even from a fast to slow song. As a musician I know that that is not easy. Studio B at Drake-Chenault was not an unprofessional or low quality studio to work in. Thanks to Hank Landesberg, it was made for radio production and an editor like Mark Ford. He could hand-que 1/4" tape decks, turntables and razor blade-edit as good as any in the business. He had a good ear for the music he grew up with and an ear for sound. The finished product, delivered to stations around the country on vinyl LP and tape, was probably better sounding than any person has ever heard on their radio, as Mr. Parker well knows. If Mark Ford was a guitar player, he would probably be Eric Clapton with a little Hendrix thrown in. It was an education and learning experience being around him as well as the Drake-Chenault team of Terry Tretta, Mike Williams and Bill Drake. As a side note, in 1980, while Ford was editing the "History of Rock And Roll", one of the writers with Gary Theroux was Laurie Kaye. She and Dave Sholin went to New York to interview John Lennon the very day hey was killed. Ford had to drop everything and produce and edit a Lennon radio special to be aired ASAP. RSR.
― RSR, Thursday, 3 March 2011 05:07 (six years ago) Permalink
Thanks for signing up to post -- that's all great information, especially the context with all the other members of the Drake-Chenault team. At first I worried I was attributing perhaps too much credit to a single member of what had to have been a closely knit team, but when I heard that interview with him upthread and that Joni Mitchell crossfade & that 1981 mashup, all that work had such a recognizable signature it became clear he was the author.
You don't notice editing when it's done perfectly but it's pretty much the defining quality that seperates improvisation from composition, and Mark Ford was a composer. Not surprised to hear about all the equalizing & compression work beyond the temposhifts & crossfades -- flow like that takes more than craft, it takes inspiration
Hugo Keesing is not the only one to have updated the piece -- Bill Ingram had a version that extended Ford's edit through to 2002, and Joe Campas produced a version that goes through 2009. All three versions use blunt cuts between tracks, analog pause edits or blunt digital cuts -- no crossfades. And there's no correction for level imbalances, so it's a rocky listen when the mix swerves across R&B, country & powerballads -- you can get your ears blown out, and the tempo shifts are jarring. I'm grateful for those other versions because you still get the narrative, but they only underline the artistry of the 55-81 stretch.
Mark Ford would have loved Pro Tools.
The Time Sweep is just one of those masterpieces, and it's so interesting watching it keep getting discovered by massive new audiences, each time completely free of context even though it's been known by who knows how many millions. But the story eventually gets out on something this valuable.
― Milton Parker, Friday, 4 March 2011 20:34 (six years ago) Permalink
and that Joni Mitchell crossfade & that 1981 mashup
were those platypus moments for you? (i.e. triumphant and joyous because they were so well done)
The origin of "platypus moment" was Bruce Conner's A Movie, when the platypus rises through the water -- it was just the perfect edit.
― sarahel, Friday, 4 March 2011 22:26 (six years ago) Permalink
google reveals a frightening number of returns for 'platypus moment'
luckily for my sanity most of them do not reveal a widespread colloquial use of the term to denote non-sequituous editing inspired by bruce conner's 'a movie'
― Milton Parker, Saturday, 5 March 2011 04:14 (six years ago) Permalink
― Milton Parker, Monday, 7 March 2011 08:10 (six years ago) Permalink
have you considered growing a mustache?
― sarahel, Monday, 7 March 2011 17:17 (six years ago) Permalink
I have to say I am very plesantly surprised and delighted that so mnay people have commented so favoriably on this blog about the History of Rock 'n' Roll Timesweep. As I explained early in this blog, I came up with the idea while programming and writing the 52-hour special in 1977-8. There wasn't room in the show for so many great songs that I asked to have edited together two medleys -- one of all #1 hits, in sequence, and the other of other memorable hits of a given year that we didn't have time to play in full. (It took quite a while to develop each list and then find all the source material, but between the record libraries at Drake-Chenault and my own, we managed to pull it off.) The medleys were designed to run during the half-hour blocks I had laid out spotlighting each year starting in 1956 . I actually planned similar half hours covering 1950 through 1955 and another spotlighting roots-of-rock tracks from before 1950 (such as Wynonie Harris' "Good Rockin' Tonight" and Arthur Crudup's "That's All Right, Mama") but Bill Drake felt stations would object and those half-hours were never assembled. When I first brought up the idea of the medleys, pretty much everyone at Drake-Chenault thought they wouldn't work -- everyone, that is, except Bill Drake and Mark Ford. Both said "Let's try it" and Mark welcomed the challenge -- not really realizing just how difficult it would turn out to be. Mark dug in, though, and despite the relative crudity of his studio (quarter inch tape and mostly Radio Shack-grade electronics) he took great pains and delight in crafting all the #1 hit montages and most of the Other-Hits-Of-The-Year montages. One of the big objections voiced by most of the Drake-Chenault staff was their belief that people would get confused by the two-to-three minute montages and tune out. With that in mind, you can imagine the reaction when I later suggested we edit all the #1 hits montages together into one super montage and end the show with it. I got that idea after one our engineers, tired of hearing his girlfriend ask, "What exactly is it that's keeping you working late each night," copied the #1 hits element reel (on which all the #1 hits medley masters were stored) and took it home to his apartment. He told the girl he was going out to pick up a pizza and while he was gone she could listen to the reel. When he returned, he found her sitting crcsslegged on the floor in front of the speakers wth tears in her eyes. "What's the mater?" he said. "It can't be that bad." "Oh no," she replied. "I've just been hearing my whole life pass before my ears." When I heard that, I knew a #1 hits medley would HAVE to end the show. Both of my co-producers, Drake and Ford, agreed. What's come to be known as "The History of Rock 'n' Roll #1 Hits montage" -- which filled almost all of Hour 52 -- has become the most heavily bootlegged portion of the entire Billboard award-winning special. Pirated copies on LP, cassette, CD and MP3 files have been cirtculating now for -- wow -- 33 years! After I left Drake-Chenault, Mark lengthened the montage to bring it up to date through 1981. I've never had any contact with Hugo Keesing or Bill Ingram, know nothing abou them or what they may have done to extend the montage farther from there. I've been told, though, that my little idea in 1978 inspired the medley craze of the early '80s, which produced the Stars on 45 singles and others featuring medleys by Jim Reeves, Elvis Presley, The Beach Boys, The Beatles and more. Wish I could have gotten a royalty. I could use the money!
― Gary Theroux, Saturday, 2 April 2011 03:27 (six years ago) Permalink
Hi Gary, thanks for posting
If you are still reading, do you know if anyone knows where the master tape is? I know a renegade label that could be interested in releasing the 55-81 stretch, and I think it should happen. Not to sound like a broken record, but it is clearly a collective masterpiece.
― Milton Parker, Saturday, 2 April 2011 06:10 (six years ago) Permalink