Fact #130360
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Val Johns (recording artist) : Sonny had every balalaika, mandolin and guitar player in town squeezed into the studio. Literally, there must have been fifty people at that session. All of the musicians were laughing about it because it was so obviously wasteful to have so many people playing virtually the same simple chords.
Harold Battiste (musical arranger) : It was that way on every single Sonny And Cher session. Sonny got that from Phil Spector. If the fire marshall had come and seen how many musicians were squeezed into the studio, we'd all have been arrested.
Stan Ross (Co-Founder Gold Star Recording Studios) : There was a disc jockey named Don Steel who was a very dear friend of mine. He started [to play] Sonny And Cher. He got the first release on KHJ Boss radio. So the thing is this, when we made Sonny And Cher's record I took the tape, played it on the thing and listen to it on my car speaker and I'd say, "Here’s what's on this side", so I add a little more bottom, little more top, then I make the master and get a demo over to Don Steel and he had it on the air. The next day at three o'clock we went on the air. So everything was equalized. I knew exactly what it was it going to sound like.
(Source : interview with Michael Fremer at http://www.musicangle.com/feat.php?id=123Andpage=1)
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Harold Battiste (musical arranger) : It was that way on every single Sonny And Cher session. Sonny got that from Phil Spector. If the fire marshall had come and seen how many musicians were squeezed into the studio, we'd all have been arrested.
Stan Ross (Co-Founder Gold Star Recording Studios) : There was a disc jockey named Don Steel who was a very dear friend of mine. He started [to play] Sonny And Cher. He got the first release on KHJ Boss radio. So the thing is this, when we made Sonny And Cher's record I took the tape, played it on the thing and listen to it on my car speaker and I'd say, "Here’s what's on this side", so I add a little more bottom, little more top, then I make the master and get a demo over to Don Steel and he had it on the air. The next day at three o'clock we went on the air. So everything was equalized. I knew exactly what it was it going to sound like.
(Source : interview with Michael Fremer at http://www.musicangle.com/feat.php?id=123Andpage=1)