Mickey, thanks.

Ronald, interesting information. I have never heard nor found documentation that Elvis was actually planning on recording the song. I do know that it was written for him, but haven't come across anything else that an Elvis recording was in the works. Do you have some source information? It would be great to know that an Elvis recording of the song was closer to reality than I previously thought.

I loved John Stewart from the very early Kingston Trio days. Have all of his albums, started with Signals Through The Glass with wife Buffy Ford. RDC

Still is to me and my wife. We traveled through life together with John.

Luis, thank you for your note. If you're interested in learning more about John Stewart please visit the Facebook documentary project page by using the link above. There are also links to the project page website.

Since Bubby passed away the original film is in his family's possession. Hopefully, they will read your comment and transfer the film in HD--who knows, maybe even 4K! The sound will still remain problematic. My editor punched it up as much as possible, but maybe an experienced sound editor might be able to pull more from it. The nice thing is that the color is great thanks to the original source and the telecine transfer.

I would like to know how Zenith defined "peak music power." It is not the same as undistorted sine wave output power, and there is no way that a solid state amplifier from the mid 1960s could have been so powerful.

It wasn't RMS power in those days.That was peak power and it was the total of both channels.

It comes out to about "5 to 1" in real power rating.. IOW..a "500 watt peak" amp..is REALLY capable of MAYBE :100 watts TOTAL..(50W/CH)..

PS: Look at those ugly stands. In those days, having a portable TV on an ugly stand was a way for anti-TV snobs to enjoy TV without admitting that it was really welcome in their homes.

Some of the Zenith guys here can probably fill in the specifics, but in general, each strip was a tuned circuit and whichever one was chosen made contact with the connections needed to put it into the circuit. At the end of each strip was a gear that turned a ferrite slug (or ganged slugs) to fine tune that circuit for the station it represented; this meshed with the fine tuning "ring" when that strip was selected; since each strip had its own fine tuning adjustment, it functioned as a preset, much like the buttons on a car radio (though most radios just have a mechanical or digital "memory" for each button, not a separate tuned circuit). This was functionally equivalent to the later tuners with a row of selectors and slugs for each preset, but because they were on a rotating drum, it didn't need any digital controls to swap them in or out of the circuit.

12:45 I'd never heard of a "UHF strip" before. It seems like an ingenious way of supporting UHF without the cost of a separate tuner. I wonder if the fine tuning knob could tune the whole 14-83 band; in markets with only one or two UHF stations, that was probably good enough, at least until 1965 when a separate UHF tuner became mandatory in the USA.

The UHF strips were pre-set to the desired UHF channel. TV dealers would either install these strips into TVs or customers could have the strips added at a TV repair shop. In that era, the worst case scenario would be that one would need four strips (in markets where all the networks plus National Educational Television were all on UHF).

Duane Thamm can I buy one

Bubby told me that they had hired a local television production news crew. For those of alive during those times this was often the sound quality of filmed segments for local news before the advent of more portable video cameras and, later, recorders.

The record sounds too polished to me for a production in a large hall. It seems there would be unavoidable echo and other issues with period recording technology on location as evidenced by the "Phoenix Concerts" album. [For comparison, listen to the same song lineup recorded a few months earlier in London on the multiple artists' CD box set, "The Great Zigzag Concert" with a great digital audio restoration. It is now my favorite live John Stewart album. Hopefully, someone in the future will create a digital audio restoration of the "Phoenix Concerts" album.] I still believe that this 45 RPM RCA release was recorded in a studio and meant to be one of John's singles. If someone has documentation or information to the contrary that the 45 recording was recorded in Phoenix Symphony Hall prior to the live concert album recording, please comment here.