The True One
Promo box The True One for promo release of Pandemonium Shadow Show album in October 1967 sent to radio DJ and music press with informations and goodies like press-photos, poster, badge, stickers, balloons, letters, fan-club card... and a copy of the album
A few other releases had the good idea to use that same lettering and logo in red and pink graphic for singles made in Japan and Spain
Press-photos included in the box beside a promo-poster, stickers with the logo The True One and information letters about the album Pandemonium Shadow Show
THE TRUE ONE: He's the sound of today... and he sings the total truth. In this album, Nilsson delivers the message with such unique songs as "Ten Little Indians", "You Can't Do That" and "1941."
The subject of a big promotion, Nilsson is phasing in as sign of the times listening.
RCA Victor full page advert with the True One message featuring in the very first pages of a music magazine in November, 1967 for Pandemonium Shadow Show release
UNDERGROUNG EXPLOSION!!!
Harry under umbrella during the recording session in summer 67
posing for photo used for single sleeve, press-photo and advert page
During the same recording sessions, other photo shots in black & white showing Harry in black suit fooling around in the studio used for single sleeves (here made in France and Israel) and press-photos sent a little everywhere in music business, and also the promo-badge included in the promo The True One box
Artwork with a mix of front and back sleeve of the album Pandemonium Shadow Show with a montage made of other photo shots in mixing room during the recording session of the album.
Photographs by E.J. Gold during the summer of 1967 where you can see Harry working with the young staff producer at RCA, Rick Jarrard, a former guitar player from Nashville, who produced the Jefferson Airplane (Surrealistic Pillow) or José Feliciano. Jarrard produced Harry's first two albums, Pandemonium Shadow Show and Aerial Ballet, and part of his third album, Harry.
Also are present the recording engineer Dick Bogert (Dick "Knobbs" Bogert as it is said on the back sleeve), Harry's arranger and partner at "Vine St.Music" George Allison Tipton who produced Harry's first album at his own expense and backed the first few albums with time and talent. Tipton has done a lot for Harry to boost his career. Also some other studio musicians like the bass player Ray Brown.
Young producer Rick Jarrard had to fight long and hard for the studio time he knew was necessary to allow complex backgrounds to be built up and to give Nilsson the opportunity for vocal overdubbing.
In 1967, when Harry started his recording sessions, RCA used to record every album in two or three simple three-hour sessions, in which a singer sang standard songs live with a band or orchestra in a succession of complete takes.
Along with engineer Dick Bogert and arranger George Tipton, Harry used to work over some sections again and again to arrive at the finished sound they wanted. Harry valued Jarrard's input, complimenting him on his "marvelous ear" and "his ability to listen to a sound and relate it to someone else".
It was an exhausting process going over and over the same piece of song to create this dense layering of voices, as Rick Jarrard recalled. For those technical reasons, some early tracks are exceptional pieces of studio craft and extremely advanced for 1967.
Nilsson is hear... the next promoting line used everywhere for promo kits sent to radios and music-press and also for huge outside panels announcing Harry following album Aerial Ballet
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