The King Kong Cast - King Kong - All African Jazz Opera (LP, Album, Mono, Bur) (Very Good Plus (VG+))

The King Kong Cast - King Kong - All African Jazz Opera (LP, Album, Mono, Bur) (Very Good Plus (VG+))

Gallotone

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Media Condition:  Very Good Plus (VG+)
Sleeve Condition: Fair (F)
Country:    South Africa  
Released:  
1959-03-00
Genre:       Jazz, Stage & Screen
Style:         Musical

Comments:

 

Notes:

Original GALP 1040 issue includes a lyric sheet insert. Original cast production of "King Kong" opened at the WITS Great Hall in Johannesburg on February 2, 1959. The London cast production opened at the Princes Theatre in London on February 23, 1961. There are at least four different recordings of the production. Mono and stereo recordings by the original cast are different recordings with different matrices. Mono version recorded with the full original cast in Johannesburg on January 26, 1959. (ABC 17346/17347) Stereo version recorded again with the full original cast in Johannesburg on July 7, 1959. (ABC 17701/17702) Both mono and stereo versions of the original cast recordings feature Miriam Makeba as "Joyce". The 1961 London cast recordings are separate later performances featuring Peggy Phango as "Joyce" instead of Miriam Makeba. There are two versions of the London cast recordings. The first version was recorded in Johannesburg before the cast left for London. The second version was recorded in London during the time of the performance. There are mono and stereo versions of both the London cast recordings. Mono version recorded with the full London cast in Johannesburg around late December, 1960. (ABC 19759/19760; CPL 2256/2257) Stereo version recorded with the full London cast in Johannesburg around late December, 1960. (ZCPL 2256/2257) Mono version recorded with the full London cast in London in February, 1961. (CPL 2282/2283) Stereo version recorded with the full London cast in London in February, 1961. (ZCPL 2282/2283) The four different recordings can be determined by their matrix numbers or by listening to the opening track: Version 1: (ABC 17346/17347) Mono - Slow horn intro, downbeat. Version 2: (ABC 17701/17702) Stereo - Isolated upbeat fanfare horns, followed by slow horn. Version 3: (ABC 19759/19760; CPL 2256/2257; ZCPL 2256/2257) Mono and Stereo - Drumroll followed by upbeat fanfare horns. Version 4: (CPL 2282/2283; ZCPL 2282/2283) Mono and Stereo - Bright upbeat fanfare horns backed by quieter drumroll.

 

A1. Sad Times, Bad Times
A2. Marvellous Muscles
A3. King Kong
A4. Kwela Kong
A5. Back Of The Moon
A6. Petal's Song
A7. Damn Him
B1. Strange Things Happen
B2. Better Than New
B3. Mad
B4. Quickly In Love
B5. In The Queue
B6. It's A Wedding
B7. Death Song

 

Barcode and Other Identifiers:

Matrix / Runout ABC.17346 (A)
Matrix / Runout ABC.17347 (B)
Matrix / Runout ABC 17346/2
Matrix / Runout ABC 17347/2

 

Published By M.P.A.
Manufactured By Gallo (Africa) Ltd.
Made By Gallo (Africa) Ltd.
Printed By Design Centre / Essons

Data provided by Discogs

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There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


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Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

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Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

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The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

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