Will vinyl ever get back to being the main source for music? Probably not, there are just too many other formats out there. Remember, when vinyl had its heyday, it WAS the format, it was how music lovers obtained their music and the most common form of music distribution. Personally, I think the download is just polluting the music scene, it has cheapened music, especially the 99 cent download. Too much bad music is being produced, it is so easy to post a song on MySpace and sell it; from people who have no clue what good music is. Anyway, here is what the RIAA is saying about the 'return' of our beloved vinyl record:
According to the RIAA’s recently-released 2007 sales report, the American music industry sold 36.6 percent more Extended Play (EP) and Long Play (LP) records than it had in the previous year, increasing vinyl sales revenue by 46.2 percent. CD unit sales, on the other hand, declined 11.7 percent with revenue dropping 20.5 percent during the same period.
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Rare Motown Single "Do I Love You" Is World's Most Expensive Record At $38K
Nidhi Sharma - Celebrity News Service Reporter
London, England (CNS) - A rare 7-inch vinyl single from Motown Records has been sold at a record price for $38,000 thus becoming the world's most expensive record. The single of Frank Wilson's "Do I Love You (Indeed I Do)" is one of only two surviving copies in the world.
Motown head Berry Gordy had the record destroyed when Wilson quit performing music to move into song writing and production. However a couple of copies managed to survive and one of it was sold at auction.
Record dealer John Manship of Leicestershire, England, said the buyer wanted to remain anonymous. The seller, Fife disc jockey and record collector Kenny Burrell, bought his version of the disc from a Canadian record dealer for at a then-record price of $22,000, BBC reports.
The record had previously been obtained from a record processing plant in Detroit, the home of Motown. Manship said about 70 bids had been made for the single.
SOURCE: http://www.allheadlinenews.com
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Woodstock 40th Anniversary
The bill for the Woodstock 40th Anniversary concert and celebration of music in Bethel, New York is starting to take shape. The August 15 show will include Mountain, Ten Years After, Canned Heat, Big Brother and the Holding Company, the Levon Helm Band, Jefferson Starship and Country Joe McDonald.
All of the acts played at the 1969 show except for Big Brother & the Holding Company as Janis Joplin was backed that day by the Kozmic Blues Band. Helm performed as part of the Band and the Jefferson Starship was then the Jefferson Airplane.
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Little Richard's 1970's Reprise Catalog Coming in June
After setting the early standard for Rock and Roll with his Specialty Records output, Little Richard quit the business to study religion. Recording gospel on End, Mercury and Atlantic, he eventually bounded back into rock in 1962 with a tour of England and great exposure with his music recorded by the likes of the Beatles.
In 1970, while a huge hit on the nostalgia circuit, he recorded three albums for Reprise. The Rill Thing, King of Rock and Roll and The Second Coming covered a wide range of styles, which may be one of the reasons they were not well received by the public. Only Freedom Blues, from The Rill Thing, made a showing on the R&B charts, reaching number 28 (47 on the Hot 100) while the followup, Greenwood Mississippi, made it to 85 on the pop list. Only 1971's King of Rock and Roll cracked the album chart, peaking at number 193.
These three albums will be released for the first time on CD with their original track listings on June 23 from Collector's Choice. Music historian Gene Sculatti, author of the Catalog of Cool, contributes liner notes.
The following is from the press release:
The Rill Thing: Little Richard recorded with the Muscle Shoals rhythm and horn sections on his 1970 Reprise debut, which Rolling Stone called “a major artistic triumph,” noting that he “personally arranged, produced and recorded the album with five recently penned originals. The record faithfully exhibits Richard’s maturity as an artist.” The first single, “Freedom Blues,” notched #47 on the pop charts, #28 R&B. Its two additional singles were the Travis Wammack-written “Greenwood, Mississippi,” which stalled at #85, and a non-charting yet inspired version of the Beatles’ “I Saw Her Standing There.” The album also included cover of Hank Williams’ “Lovesick Blues” done up in a New Orleans rhythm and “Dew Drop Inn,” which revisits more conventional Little Richard terrain: the patent scream, rollicking piano and booting sax solo of his earliest hits.
The King of Rock and Roll: The trade ad for this 1971 volume read: “Only Little Richard could top Little Richard.” Joel Selvin, reviewing in Rolling Stone, called the second Reprise set “a most significant chapter in the living legend of the greatest rock ’n’ roll singer ever . . .packed with the sort of stuff good rock is made of.” Richard paired with producer H.B. Barnum (Frank Sinatra, Aretha Franklin, Gladys Knight, O.C. Smith) here, finding him working closer to the upbeat R&B style of “Tutti Frutti” and “Good Golly Miss Molly,” but performing repertoire culled from the Top 40 of the ‘60s and early ‘70s: “Brown Sugar,” “Joy to the World,” “The Way You Do the Things You Do,” “Born on the Bayou,” and takes on Hank Williams’ ‘I’m So Lonesome I Could Cry,” Leadbelly’s “The Midnight Special” and Fred Rose’s “Settin’ the Woods on Fire.”
The Second Coming: Little Richard’s third and final Reprise album (although portions of a fourth were recorded and shelved) finds him reunited with Robert “Bumps” Blackwell, producer of his Specialty Records hits in the ‘50s. Four tunes (“Mockingbird Sally,” “Rockin’ Rockin’ Boogie,” “Thomasine” and “Saints”) feature New Orleans musicians who played on Richard’s (and many of Fats Domino’s) original hits: drummer Earl Palmer and sax man Lee Allen. Commenting on “Saints,” an update of “When the Saints Go Marching In,” Blackwell, in his original album notes, explained that their aim was to mix “New Orleans jazz with the horns and guitars creating a big brass sound, with the wah-wah blending in what I call the Isaac Hayes and Bar-Kays rhythmic Shaft attitude.” The album also contains a Little Richard/Sneaky Pete Kleinow co-write, “It Ain’t What You Do, It’s the Way You Do It,” with Kleinow’s pedal steel and Richard on electric piano reminiscent to The Beatles’ “Get Back.”
SOURCE: http://winkscollectibles.blogspot.com
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Vinyl Collective News
Stop by www.vinylcollective.com for some great vinyl!
Vinyl Collective Top 10 Sales of the past Week
1. STREETLIGHT MANIFESTO “Everything Goes Numb” LP white vinyl VC exclusive color
2. THURSDAY “Full Collapse” LP solid brown vinyl
3. LAWRENCE ARMS “Ghost Stories” LP maroon vinyl
4. THE MENZINGERS “Hold On, Dodge” 7″ olive green vinyl
5. STREETLIGHT MANIFESTO “Everything Goes Numb” LP clear red vinyl
5. BAYSIDE “Shudder” LP solid red vinyl
7. BETWEEN THE BURIED AND ME “Alaska” dbl LP clear vinyl
8. A DAY TO REMEMBER “Homesick” LP clear green vinyl
9. DARKEST HOUR “Hidden Hands Of The Sadist Nation” dbl LP dark putty vinyl VC excl
10. KAY KAY AND HIS WEATHERED UNDERGROUND “S/T” frosty translucent blue vinyl w/ CD
10. EELS “Hombre Lobo: 12 Songs Of Desire” LP
10. BOMB THE MUSIC INDUSTRY! “Scrambles” LP VC exclusive color
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Patrick Wolf's The Bachelor Cover Art, Release Info
The Bachelor is out June 1 in Europe and the UK on Wolf's BloodyChamberMusic imprint, and June 2 (digitally) and August 11 (physically) in the US, on NYLON Magazine's NYLON Records. If you want to see Wolf on the road, he'll be headining the NYLON Summer Music Tour with Living Thing and The Plasticines.
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