Judy Garland’s iconic “Get Happy” in stereo for the first time!

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Thanks to today’s new technology, audio engineers can extract separate tracks from mono recordings and remix them into stereo.  This new technology can work wonders on mono recordings, and “Get Happy” from Summer Stock is a perfect example.

Our friend Mark Milano has shared this amazing audio recording with us, married to the film footage.  Here’s his explanation:

Many recordings made during the Golden Age of film musicals survive in stereo because their original multichannel tracks survived.  But some of the very best were lost, including Judy Garland’s iconic performance of “Get Happy” in “Summer Stock” (1950).

Now, thanks to audio master Bob Zwolinski, we have this Digitally Extracted Stereo version.  After decades of hoping this would turn up, here it is – Judy finally gets the lush sound she deserves.  Sing Hallelujah!

I think you’ll agree that the results are just amazing.  Be sure to put on your headphones and enjoy this iconic number as never before!  Thank you, Mark and Bob!!

Below is a video explanation of how this new software works and is able to extract the music and vocals into separate tracks to make a true stereo recording.

7 comments

  1. Robert Parker’s remasters, as great as they sound, are not actually stereo. They’re enhanced to sound like stereo. This “Get Happy” has been converted to stereo thanks to this new technology that is able to extract the various instruments to create a true stereo track. It’s amazing and something Parker would have had a field day with if he were still with us!

    Here’s another of his great CDs: http://www.thejudyroom.com/soundtracks/moviemusicals.html

  2. HI Scott,

    I question your usage of the word “enhanced.” I am not an audio engineer, but based on listening can say that there is a separation of sound on Parker’s CD that replicates stereo. My only criticism of Parker is that he added a dash of reverb to all his remasters, which is not done today anymore.

    Question: Who is Bob Zwolinski? Might he chime in as to how he accomplished this wonderful stereo “Get Happy.” Thanks.

    All best.
    LAWRENCE SCHULMAN

  3. Great! If only they’d do the same with MGM’s “Johnny One Note”, which boasts a florid, complex arrangement.

  4. Parker didn’t have the technology to isolate the separate music tracks to create true stereo. That’s why I say “enhanced” – because although his work has a stereo sound to it, it’s still not stereo.

    This new technology is something Parker could only dream of, due to the technology of his time. That’s no slight to him, his work sounds great even with that extra reverb that is at times annoying. I am constantly amazed at how much audio software has advanced in the last five years or so.

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