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1963 Winternationals,
In 1963 stereo records had only been produced for about four years and, consequently, there were a number of record releases that were put out for the sole purpose of highlighting the differences between the stereo sound and the old mono/hi-fi sound. Drag races, with all their beautiful noise, were recruited frequently in the early 1960s for just this purpose. Fleetwood Records in Lynn, Massachusetts was one of the first labels that got on the band wagon with their Competition Sound Series. They took their project very seriously and presented their case rather scientifically with boxed album liner notes. Now, 36 years later and with the benefit of 20-20 hindsight, their efforts come off unintentionally comical, much like the brainy problem-solving professor in a 1950s monster flick. You know the type. "This Godzilla — we have
never seen anything at the university quite like it before." No,
one doesn’t get many opportunities to watch a 100-foot, fire-breathing
sea lizard reduce a major metropolis like Tokyo to a cigar ash. The 1963 Winternationals liner notes lay it all out for the high tech-inclined listener: "The original high speed tape masters were made on a modified Presto 800 2-channel stereophonic tape recorder. Two Neuman U-48a condenser microphones were placed adjacent to the strip at the starting line and some 60 feet down strip. Through exhaustive listening tests, we have concluded that it is this area that provides the greatest amount of dynamic range…" and so on. In the old days, that jazz meant a lot. I was one of those record buyers who were mesmerized as they listened to the enhanced sound ricochet back and forth between their speakers with these sound effects records. In this case, the Pomona race begins with the National Anthem followed by stock cars, hot cars (gassers and roadsters), and factory experimentals. The narration, such as it is, comes from the Pomona tower and is provided by Bernie Partridge and Stan Adams. As one can guess with the sole recording devices placed on the track to pick up the cars, the listener really has to pay attention if he gives a ratsass about car identity and times, since the sole commentary emanates from the announcing deck. You can just make it out. Ostensibly, side two appears a lot more interesting. For your dancing and dining pleasure, the listener gets to revel in stock car eliminations and fuel and gas dragster eliminations. The fact that there are fuel eliminations make this disc even more historical (and unfortunately, hysterical … well, that’s a little harsh) because the 1963 Pomona bash was the first time NHRA featured Top Fuel. Well, does it work? Hell no, but what did you expect? It’s basically just noise, familiar and fondly remembered noise for the converted, but for an unrelenting half-hour? Even in 1963 it was awfully difficult to sit through 15 minutes per side listening to cars, even race cars, idle and make passes. And since the identity of these cars escapes the listener most of the time because of the way the sound equipment is positioned, it’s doubly frustrating. Drag racing has an important aural side, but it’s bigger hook is the visual aspect. In a sense, this nutty dust gatherer makes the same reverse error in judgment that MTV does with people who really dig music, and by "music" I mean everything from gangbanging hip-hop to Dion and the Belmonts. Music is something you listen to, first and foremost. What does a limp story line, posturing performers and T&A wiggle-wiggle have to do with something that exists to be HEARD? And don’t be quick to write that rant wrong. MTV is nothing more than TV with a catchy soundtrack. Two different mediums; like apples and appendix scars. However, go 180 degrees and you got the problem with the Fleetwood productions. Drag racing? You gotta see it to believe it, too. Why am I going through all this jive over something genuinely ancient? To piss you off, why else? Naw, just teasing, but …. The record is not a total waste of time. Experience has shown me that anything genuinely historical like a recording of the first NHRA Top Fuel show is worth preserving. In addition, the liner notes on the back of the album give you all the class winners plus the National Dragster overall story on how the race came out. The only problem is that micro type size makes you feel like Mr. Magoo. That aside, check the cover. How many times do you get to see the names of Don Garlits, Art Malone, Al Eckstrand, Hayden Proffitt, Peters & Frank, Jack Chrisman, Stone-Woods-Cook, Dave Strickler, Connie Kalitta, Tony Nancy, the Milne Bros., Dean Moon, and Porter & Reis bannered in the bright lights, not to mention color shots of a number of their cars? Now for the sticker shock. Should you want to buy a copy of this record, it’ll cost you more than a new CD by a pretty good margin. A mint copy could go as high as $25 to $30 and, unlike some old treasures, this one really requires a virgin surface. After all, imagine a scratch that rendered the recording thusly, "It’s Garlits and Malone heading for the lights, and it’s…and it’s…and it’s…and it’s…."
- Chris Martin
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