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Various - AM Gold 1967 (CD, Comp, RE, WEA) (Near Mint (NM or M-))

Various - AM Gold 1967 (CD, Comp, RE, WEA) (Near Mint (NM or M-))

Time Life Music,Warner Special Products

$5.00 USD
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Media Condition:  Near Mint (NM or M-)
Sleeve Condition: Near Mint (NM or M-)
Country:    US  
Released:  
Genre:       Rock, Funk / Soul
Style:         Soul, Rhythm & Blues, Rock & Roll, Folk Rock, Soft Rock, Pop Rock
Location:   

Comments:

 

Notes:

Time-Life released this disc as "[r=8860110" (SUD-05) in the [l774983 series in 1991, and as "[r=619389" (AM1-08) in the [l328190 series in 1994.

℗ 1991 Warner Special Products
© 1991, 1994 Time Life Inc. 

Track durations obtained from software.

Publishing:
Track 1- Charles Koppelman Music/Jonathan Three Music/Martin Bandier Music BMI
Track 2- Hudson Bay Music Inc. o/b/o Ft. Knox Music, Inc. BMI
Track 3, 8, 15- Screen Gems-EMI Music, Inc. BMI
Track 4- Duchess Music Corp. BMI
Track 5- Delicious Apple Music Corp./Downtown Music/Top of The Town Music ASCAP
Track 6- Pamco Music, Inc. BMI
Track 7- Jobete Music Co., Inc. ASCAP
Track 9- Blue Seas Music, Inc/Jac Music Inc. ASCAP
Track 10, 19- Gibb Brothers Music BMI
Track 11- Conrad Music/Olrap Publ. Co., Inc. BMI
Track 12- Irving Music, Inc. BMI
Track 13- ATV Music Corp./Duchess Music Corp. BMI/Welbeck Music Ltd. PRS
Track 14- Painted Desert Music Corp. BMI
Track 16- Charing Cross BMI
Track 17- Akbestal Music/Luvlin Music Inc. BMI
Track 18- Stone Agate Music BMI
Track 20- Tree Publ. Co., Inc. BMI
Track 21- Acuff-Rose Music, Inc. BMI
Track 22- Northridge Music Co. ASCAP

Complete liner notes:

Not only was Ode to Billie Joe one of the biggest hits of the '60s, it was also one of the most unlikely-and, thanks to a 1976 movie based on the song, it was still alive nearly a decade later. Which is more than could be said for poor Billie Joe McAllister, the song's protagonist.

Bobbie Gentry grew up Roberta Lee Streeter in Chickasaw County, the heart of the Mississippi Delta. In 1957, at the age of 13, she moved with her mother to Palm Springs, California; after seeing Jennifer Jones in Ruby Gentry, she changed her name. By 1966 she was fronting her own vocal­dance group in Las Vegas. In search of a publisher for the songs she had written, Gentry cut a demo of her Mississippi Delta-but after it reached a Capitol executive she became a recording artist.

Before her first session for the label, Bobbie woke up at three one morning and scribbled down the line "Billie Joe McAllister jumped off the Tallahatchie Bridge." She later built her song around those words and cut it in 30 minutes at the end of a session, as the B side to Mississippi Delta. But the languid, Southern Gothic Ode raised so many questions (What did Billie Joe throw off the bridge? What happened to him?) that it became the hit; it also won three Grammys.

Bobbie married Vegas magnate Bill Harrah and worked the Nevada resorts, even though she couldn't sustain a recording career for long. When the Billie Joe movie came out, she cut a new version of the song, which enjoyed brief chart status. The movie struggled conspicuously to keep up with the times as it answered the big questions: After throwing his girlfriend's rag doll off the bridge, Billie Joe killed himself because he feared he was gay.

But back in 1967, the year of flower power, hits like Windy and Up-Up and Away were more typical. The former was written in 3/4 time by 19-year-old folkie Ruthann Friedman about her Haight-Ashbury boyfriend. Producer Bones Howe, brought in to bolster the Association's sagging commercial power, was responsible for the song's overhaul. This was the first record on which the group members didn't play their own instruments. 

Up-Up and Away, the 5th Dimension's first top-10 single, won four Grammys, including Best Song honors for its writer, Jim Webb. Webb's inspiration for the song was the hot-air balloon his San Bernardino DJ friend William F. Williams flew on promotions for radio station KMEN. Both men felt this would make a fine title tune to a documentary they hoped to shoot on ballooning. The film never happened, but a couple of years later, rehearsing the 5th Dimension for Soul City Records in the absence of label owner Johnny Rivers, Webb gave the song to the group. Rivers made it the title song of the 5th Dimension's debut album.

The Mamas and the Papas were still going strong in 1967. Dedicated to the One I Love was a rhythm and blues ballad cowritten by Lowman Pauling and done by his group, the "5" Royales, in 1958; but it's more likely that John, Michelle, Denny and Cass knew the song via its 1961 girl-group interpretation by the Shirelles. Gene Pistilli and Terry Cashman wrote Sunday Will Never Be the Same with the Mamas and the Papas or the Left Banke in mind. But when both those groups passed, the team took it to Mercury producer Jerry Ross (who also did Keith's 98.6), and he recorded it with Chicago Mamas and Papas sound-alikes Spanky and Our Gang.

The Turtles were a former surf band (known as the Crossfires) riding the folk-rock bandwagon. Put together by Howard Kaylan and Mark Volman, who later performed as Flo and Eddie, the group was breaking up when songwriters Garry Bonner and Alan Gordon (of the Magicians) brought a dub of Happy Together to a Turtles gig at the Phone Booth in New York City. The dub had been rejected so many times it was almost unplayable, but Kaylan and Volman liked the song. And Happy Together gave the Turtles' career a second wind. Though it sounds buoyant, it is, according to the writers, the depressed fantasy of a guy in love with a woman who doesn't care for him.

The Stone Poneys were a folk-rock trio with Linda Ronstadt up front. But she was backed by studio musicians on Different Drum, written by Michael Nesmith of the Monkees. The record's success led her to quit the group and work as a solo artist backed by session players. 

Daydream Believer, written by John Stewart of the Kingston Trio, was the first Monkees hit on which the boys played their own instruments; Nesmith led that rebellion against Don Kirshner and the other businessmen who assembled and controlled the group. But without the benefit of their TV show, which the network canceled in 1968 after 59 episodes, the Monkees began slipping off the charts a little more than six months after this record went to No. 1. Their fellow Beatles imitators the Bee Gees were still on the ascent with songs like To Love Somebody and (The Lights Went Out In) Massachusetts.

Among soul acts, Smokey Robinson and the Miracles kept pace with I Second That Emotion. Robinson cowrote this gem with guitarist Al Cleveland after the latter accidentally misstated the "motion" phrase while the two men were Christmas shopping. 

Love Is Here and Now You're Gone was one of the last Supremes efforts before Florence Ballard was replaced by Cindy Birdsong and Diana Ross took over star billing for the trio. Lamont Dozier, who cowrote and coproduced as usual, recalled that the idea was to take advantage of Diana's unique "talk-singing" style: "She would start singing these songs and if they touched her emotionally, she would just cry and sing on the spot ... it was no big surprise that she went into the movie business." 

Dionne Warwick's I Say a Little Prayer joined (Theme from) Valley of the Dolls to become her most successful two-sided hit. Aaron Neville's Tell It Like It Is used a black expression that hippies and the student left had begun to adopt. Neville disliked the song before he cut it, as did writer Lee Diamond, former leader of Little Richard's band. But by the time producer George Davis was finished, the record sounded so good that Neville's small label was swamped trying to press (and pay for) enough copies to keep up with the demand.
 
Come Back When You Grow Up marked the return of teen idol Bobby Vee to the top 10 after a five-year absence. Welshman Tom Jones scored with Green, Green Grass of Home, a Curly Putman country standard inspired by a scene in John Huston's 1950 The Asphalt Jungle in which the driver of a gang's getaway car retires to his native South. British chanteuse Petula Clark's Don't Sleep In the Subway was patched together by producer Tony Hatch from fragments of three songs.

The Cowsills had a story almost as unlikely as that of Bobbie Gentry. The Rhode Island singing family group was put together by retired U.S. Navy chief petty officer Bud Cowsill, who combined his wife with his four youngest sons. They built a repertoire of 500 songs as they toured, and Cowsill pere used his two other sons as roadie and sound engineer and took his four-year-old daughter along for the ride. 

Apparently running the operation on a military model, he went $100,000 into debt and was on the verge of surrendering before writer-producer Artie Kornfeld came to the rescue. Kornfeld got the group a deal, gave them The Rain, the Park and Other Things and launched a $250,000 promotion campaign that made them so popular that they inspired the TV show The Partridge Family. At which point the Partridges began putting the Cowsills out of business. 

-John Morthland

 

1. The Fifth Dimension - Up-Up And Away 2:39
2. The Turtles - Happy Together 2:55
3. The Monkees - Daydream Believer 2:56
4. The Mamas & The Papas - Dedicated To The One I Love 3:00
5. The Young Rascals - How Can I Be Sure 2:54
6. Spanky & Our Gang - Sunday Will Never Be The Same 2:58
7. The Miracles - I Second That Emotion 2:46
8. Keith (2) - 98.6 3:03
9. Dionne Warwick - I Say A Little Prayer 3:03
10. Bee Gees - To Love Somebody 2:58
11. Aaron Neville - Tell It Like It Is 2:43
12. The Association (2) - Windy 2:52
13. Petula Clark - Don't Sleep In The Subway 2:58
14. Bobby Vee, The Strangers (17) - Come Back When You Grow Up 2:43
15. The Stone Poneys - Different Drum 2:37
16. Harpers Bizarre - The 59th Street Bridge Song (Feelin' Groovy) 2:36
17. The Cowsills - The Rain, The Park And Other Things 2:58
18. The Supremes - Love Is Here And Now You're Gone 2:46
19. Bee Gees - (The Lights Went Out In) Massachusetts 2:22
20. Tom Jones - Green, Green Grass Of Home 3:05
21. The Casinos - Then You Can Tell Me Goodbye 3:03
22. Bobbie Gentry - Ode To Billie Joe 4:12

 

Barcode and Other Identifiers:

Rights Society BMI
Rights Society ASCAP
Rights Society PRS
Matrix / Runout [WEA Mfg. Olyphant logo] X17502 10 OPCD 2603-2 03 M1S8
Mastering SID Code ifpi L902
Mould SID Code IFPI 2U3Q
Barcode [WEA Mfg. Olyphant logo] Y10308 10 OPCD 2603-2 02 M1S1
Mastering SID Code IFPI L903
Mould SID Code IFPI 2U7G

 

Remastered At Hit And Run Studios
Phonographic Copyright (p) Warner Special Products
Copyright (c) Time Life Inc.
Published By Charles Koppelman Music
Published By Jonathan Three Music
Published By Martin Bandier Music
Published By Hudson Bay Music
Published By Fort Knox Music, Inc.
Published By Screen Gems-EMI Music Inc.
Published By Duchess Music Corp.
Published By Delicious Apple Music Corp.
Published By Downtown Music Company
Published By Top Of The Town Music
Published By Pamco Music Inc.
Published By Jobete Music Co., Inc.
Published By Blue Seas Music, Inc.
Published By Jac Music Inc.
Published By Gibb Brothers Music
Published By Conrad Music
Published By Olrap Publishing Co., Inc.
Published By Irving Music, Inc.
Published By ATV Music Corp.
Published By Welbeck Music Ltd.
Published By Painted Desert Music Corp.
Published By Charing Cross Music
Published By Akbestal Music Inc.
Published By Luvlin Music, Inc.
Published By Stone Agate Music
Published By Tree Publishing Co., Inc.
Published By Acuff-Rose Music, Inc.
Published By Northridge Music Co.
Manufactured For Time Life Music
Manufactured By Warner Special Products
Glass Mastered At WEA Mfg. Olyphant
Pressed By WEA Mfg. Olyphant

Data provided by Discogs

In stock

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.


Damages and issues
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.

Exceptions / non-returnable items
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.

Exchanges
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.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.
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We ensure our customers have the best shopping experience

Fully Serviced

All items are meticulously serviced and restored to meet factory specifications

Well Cared Shipping

We pack with precision and ship in brand new, appropriately sized, boxes.

Information flow

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