The Spoonful reconvened in August1967 to begin sessions for their next album, Everything Playing. In need of a producer after Jacobsen's firing, the band initially hoped to work with Roy Halee, who had worked as engineer on the band's earlier recordings, but his continued employment with Columbia Records prevented the collaboration. Koppelman-Rubin instead suggested Joe Wissert, a Philadelphia-based producer who had recently worked with the Turtles on their 1967 singles, "Happy Together" and "She'd Rather Be with Me". On Wissert's recommendation, the band moved from Columbia's recording studios to Mira Sound Studios, a new facility in New York City which made use of an AMPEX MM-1000, the industry's first 16-track recorder. The band struggled to manage the more complicated recording equipment, a situation worsened when Wissert stopped attending sessions, forcing Yester to produce in his place.
The Spoonful reconvened in August1967 to begin sessions for their next album, Everything Playing. In need of a producer after Jacobsen's firing, the band initially hoped to work with Roy Halee who had worked as engineer on the band's earlier recordings, but his continued employment with Columbia Records prevented the collaboration. Koppelman-Rubin instead suggested Joe Wissert, a Philadelphia-based producer who had recently worked with the Turtles on their 1967 singles, "Happy Together" and "She'd Rather Be with Me". On Wissert's recommendation the band moved from Columbia's recording studios to Mira Sound Studios, a new facility in New York City which made use of an AMPEX MM-1000, the industry's first 16-track recorder. The band struggled to manage the more complicated recording equipment, a situation worsened when Wissert stopped attending sessions, forcing Yester to produce in his place.