Stereo recording technology has been around since the early 1950s, although it came into general use in recording music albums around 1959. For the first decade or so thereafter, albums were issued in both stereophonic and monaural versions, with the stereo version costing about $1.00 more. By 1968 US record labels were no longer issuing separate versions, as turntables had begun featuring lighter “stereo-compatible” styluses and tone arms that could play stereo records in monaural without groove damage to the record.
Pop singles were another matter as 45 rpm records remained available only in monaural until the end of the 1960s when some labels began issuing 45 rpm in stereo. Why the delay in making singles available in stereo sound?
Well, as Buck Owens himself said:
“The reason my Capitol records sounded the way they did—real heavy on the treble—was because I knew most people were going to be listening to ’em on their AM car radios. At the time, nobody else was doing anything like that, but it just seemed like common sense to me. And it was one more reason that you knew it was a Buck Owens record as soon as it came on the radio—because it just didn’t sound like those other records…”
Buck was right – much of the music listening, done by youthful listeners, was done in automobiles over AM radios. AM – FM radios would not become standard equipment in automobiles until the mid-1970s. While FM radio existed during the 1960s, most FM stations played classical music.
Whether you are a fan of country, Motown or pop music as it was played and heard before 1970, you likely have complained that the music available on stereo albums doesn’t sound like it did on your car radio. This is true whether due to the way the mono and stereo was mixed, or the fact that many songs were recorded separately for release on stereo (Motown fans and fans of the Mama & Papas have been lamenting this for years),
With The Complete Capitol Singles (1967-1970) Omnivore has made available the Buck Owens mono singles for the first time in ages. Comprising the A&B sides of Buck’s singles, Omnivore has put together a two-disc set of 36 Buck Owens songs. Disc one is entirely monaural mixes but by the time most of the songs on disc two were issued, Capitol was issuing stereo 45 rpm singles.
Unlike jazz artists who often re-recorded their tracks for stereo release (June Christy’s Cool is a notable example), for the most part, country artists did not record separate stereo and mono tracks. The sound difference is in the mixing and the fact that sometimes certain instruments get lost in the monaural mix (usually the lower pitched instruments). In the case of Buck Owens, the treble is brighter and sometimes the steel guitar seems mixed more prominently up front.
As far as I can tell the only track which seems to have been modified significantly in the stereo version is “How Long Will My Baby Be Gone” which had some annoying clapping sounds and other overdubs applied. Also, the distortion guitar on “Who’s Gonna Mow Your Grass” seems less pronounced than on the stereo albums, but I could be mistaken about that. There is one live track on the album “Johnny B. Goode” – my Dad and I were in the audience (it was his 44th birthday) and if you listen very carefully you might hear Dad and I applauding!
This is not quite Buck Owens at his peak (none of his very biggest hits are here) as Buck was beginning to be bumped off the mountaintop and was getting a bit more experimental in an effort to stay current. Also, Steel wizard Tom Brumley left the group in late 1968 to be replaced, briefly, by Jay Dee Maness. Maness was a fine steel player but his sound is very different than that of Tom Brumley
Especially noteworthy are “I’ve Got You On My Mind Again” which was the first Buck Owens single to feature strings and background voices, and “Tall Dark Stranger” which is unlike anything else Owens recorded.
The sound on this set is fabulous and I really enjoyed Disc One which transported me back to my teen-aged years listening to these songs on the radio. Disc Two documents Buck’s slow decline, and also gathers his duets with Susan Raye.
This isn’t where I would start my Buck Owens collection (Rhino’s fabulous box set from 1992, The Buck Owens Collection 1959-1990, is where I would start, although there are other good sets available, including a pair of two-disc sets by Omnivore Records in Buck ‘Em ! – Volume One and Buck ‘Em ! Volume Two) but this is a nice addition to any collection, collecting some otherwise unavailable material
01 Sam’s Place
02 Don’t Ever Tell Me Goodbye
03 Your Tender Loving Care
04 What A Liar I Am
05 It Takes People Like You [To Make People Like Me]
06 You Left Her Lonely Too Long
07 How Long Will My Baby Be Gone
08 Everybody Needs Somebody
09 Sweet Rosie Jones
10 Happy Times Are Here Again
11 Let The World Keep On A Turnin’ (w/Buddy Alan)
12 I’ll Love You Forever And Ever (w/Buddy Alan)
13 I’ve Got You On My Mind Again
14 That’s All Right With Me [If It’s All Right With You]
15 Christmas Shopping
16 One Of Everything You Got
17 Things I Saw Happening At The Fountain On The Plaza
18 Turkish Holiday
01 Who’s Gonna Mow Your Grass
02 There’s Gotta Be Some Changes Made
03 Johnny B. Goode [Live 03-09-1969]
04 Maybe If I Close My Eyes [It’ll Go Away]
05 Tall Dark Stranger
06 Sing That Kind Of Song
07 Big In Vegas
08 White Satin Bed
09 We’re Gonna Get Together (with Susan Raye)
10 Everybody Needs Somebody (with Susan Raye)
11 Togetherness (with Susan Raye)
12 Fallin’ For You (with Susan Raye)
13 The Kansas City Song
14 I’d Love To Be Your Man
15 The Great White Horse (with Susan Raye)
16 Your Tender Loving Care (with Susan Raye)
17 I Wouldn’t Live In New York City
18 No Milk And Honey In Baltimore
All tracks on Disc 1, and Tracks 1–2 on Disc 2 are Mono Single Versions. After “Who’s Gonna Mow Your Grass” all US singles for Buck were issued in stereo. Although British and German releases were still mostly monaural.