The twenty-two-hour package was christened Capitol Hi-Q, a reference to the new buzz on high fidelity. John Seely cataloged it by mood and packaged it on 110 reels of quarter-inch tape and fifty-five corresponding audition discs. The sessions were recorded by Phil Green's orchestra in London and brought back to Hollywood. In January 1956, Loose turned in an astounding 5,500 pages of sheet music. Riddle was busy with his groundbreaking arrangements for Frank Sinatra, so Capitol hired Bill Loose, a pop composer-arranger with a good melodic sense. In 1955, Capitol decided to create its own music library and approached Nelson Riddle to write it. Contractually, however, Capitol was forbidden to track Q as background music for television. Q supplied music for radio shows Yours Truly, Johnny Dollar, True Detectives, and bumper music for television station breaks. In 1952, production chief Ken Nelson and library manager John Seely created the Capitol Q Series by leasing the Mutel library from David Chudnow and distributing it on 175 double-sided 78 rpm vinyl records. The service went out of business in 1951. Long before Capitol records moved into its spaceage tower off Hollywood and Vine, it serviced radio stations through its broadcast division with transcriptions of rights-free music recorded in Europe. I won’t put the whole thing here, but I’ve snipped together the snippets about the topic at hand. It’s available in snippets on Google Books. Paul Mandell wrote an insightful chapter on the history of stock music for the book ‘Performing Arts: Broadcasting,’ published by the U.S. So let’s give you some history, thanks again to a surprise on the internet. Such a thing happened with the Hi-Q library. And there are a variety of composers who wrote for Sam Fox (Cacciola included) whose cues can be heard.īut there’s one composer-well known at the time-who never received a stick of credit because of the common practice of the day of someone slapping their name on someone else’s music-by legal or illegal means. There are ‘D’ series cues from others-Jack Meakin, Joseph Cacciola and even Nelson Riddle. Later entries were co-written by Loose, Cadkin and Jack Cookerly (OK). You’ve read the names of some the composers on this blog-Bill Loose, John Seely (who had written for Sam Fox), Phil Green (EMI), Harry Bluestone and Emil Cadkin (C and B), Geordie Hormel (Zephyr) and Spencer Moore. ![]() Some was subtracted, so cues that were in one year were replaced with different ones in future releases. ![]() Capitol got cues from other libraries for Hi-Q, so you’ll find stuff from the C & B, Sam Fox, EMI Photoplay and even KPM libraries. ![]() international, ethnic and Christmas music. It was divided into five categories-“D” for “dramatic,” “L” for “light”, “M” for “melodic,” “S” for “short” and “X” for “extra,” where cues were placed that didn’t fit anywhere else, eg. One of the biggest libraries in North America was the Capitol Hi-Q library. That’s why you can hear the same stock music in old cartoons, commercials and sitcoms. So they turned to less expensive stock music libraries. Most producers couldn’t afford to hire composers or union musicians. The library music industry exploded with television. And when the internet piped itself (at first from a BBS at 300 baud) into the Yowp residence, I discovered there are people-lots of them, it turns out-who have an interest in commercial and industrial film music from the 1950s into the ‘60s. When I bought Leonard Maltin’s Of Mice and Magic and then happened upon a copy of Friedwald and Beck’s The Warner Brothers Cartoons, I had no idea anyone else had the same interest in who made those funny old cartoons. 2022 note: some of the music has been removed by a third party, likely due to a copyright claim.
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