Reversing the absolute phase on this record today was a REVELATION. There before me was all the ambience, openness, sweetness, silkiness and warmth I had come to expect from the best pressings of this longtime member of HP's TAS List of Super Discs, a record that really is a Super Disc when you hear a good one, and this is a very very good one indeed, on side two anyway.
Presenting another one of the many pressings we’ve discovered with Reversed Polarity.
You need a special key to unlock the magic of a pressing such as this. You must either switch the positive and negative at the speaker, the amp, or at the head shell leads, or you must have a switch that inverts phase on your preamp or phono stage. (The EAR 324p we use has just such a switch and let me tell you, it comes in very handy in situations like these.) If you can't do any of those, or are unwilling to do any of those, this is not the record for you.
What You Hear
What do you hear when you switch the polarity on side two? The top end comes back! This album was sounding very dull and closed in, not usually the sign of reversed phase. Not having a lot of tools in our toolbox to try, we just took a chance and flipped the phase. Wow! Now the top end sounding amazingly extended and open. Practically everything else got better too.
Are all copies reversed polarity? Definitely not. I know I've played amazing side twos that had to have been in correct polarity. If you have a copy of the album and it lacks top end extension, try reversing the polarity, you may be in for quite a shock.
Commentary from the Space Age Pop website
Schory was a classically trained percussionist who moved easily from symphony to experimental music to popular recordings. He served in the percussion section of the Chicago Symphony, worked as educational and Picture of Dick Schoryadvertising director for the Ludwig Drum Company, formed the New Percussion Ensemble and commissioned contemporary composers to write pieces for it, and wrote and recorded musical backgrounds for radio and television commercials.
Schory was a major influence on both classical and popular percussion music. He moved comfortably from the concert hall to the recording studio, and worked closely with music educators to broaden acceptance and understanding of percussion instruments and compositions. He wrote in 1960,
There are no limits when it comes to instrumentation in the amazing new field of percussion ensembles. Everything from auto brake drums, inverted rice bowls, and even a manifold from a '46 Chevrolet are included with surprisingly good musical results. If it can be struck and can be classified as a percussion instrument, someone, somewhere has scored for it.
Schory's albums for RCA offer choice samples of this music, sometimes simply enhancing standard studio band arrangements with percussion accents, but often rebuilding the whole piece around the percussion ensemble. Critic R. D. Darnell of High Fidelity magazine was one of Schory's strongest supporters, writing of the album, Wild Percussion and Horns A'Plenty,
At first glance, Schory's program conforms more closely to current trends (which he pioneered long before the now-dominant "Persuasive" and "Provocative" [see Enoch Light--ed.] series) but he consistently transcends these in musical taste, verve, unfailing wit, and superb sense of dramatic stereogenics.
While we might now cringe at the thought of anyone practicing "stereogenics" of any kind, dramatic or not, we can certainly recognize Schory's ability to bring the highest level of professionalism in his mastery of percussion to space age pop.