'Piper at the Gates of Dawn,' the debut album by Pink Floyd -- and the only one to feature Syd Barrett as bandleader -- was released in 1967.
"Instant Karma (We All Shine On)," credited to John Ono Lennon and produced by Phil Spector, hits #3 on the singles chart in 1970. The #1 album that week is "Let It Be," by the Beatles.
Crispian St. Peters ("Pied Piper") turns 64.
Billy Bland ("Let The Little Girl Dance") is 76.
Today in 1975, the song "Lovin' You" by Minnie Riperton topped the charts and stayed there for a week. She began recording as part of The Gems and then later with Rotary Connection. She had retired from the music scene in 1970 to raise a family when Stevie Wonder persuaded her to join his back-up group, Wonderlove. Wonder later produced Riperton's first solo album, "Perfect Angel" along with four more albums before she died of cancer on July 12th, 1979.
The late Tony Williams of the Platters ("Smoke Gets In Your Eyes") was born in 1928.
Agnetha Faltskog of ABBA ("SOS") is 58.
Gene Pitney ("Only Love Can Break A Heart") died of a heart attack while on tour in Wales in 2006.
Danny Rapp of Danny & the Juniors ("Rock And Roll Is Here To Stay") died of a self-inflicted gunshot in 1983.
In 1968, James Brown made a nationally-televised appeal for calm in the wake of the assassination of Rev. Martin Luther King, Jr. after riots had broken out in 30 US cities.
Elvis Presley's "Double Trouble" movie debuted in 1967.
Layne Staley died of a drug overdose in 2002, eight years to the day after Kurt Cobain committed suicide. The Alice in Chains singer's body is not found until several days later.
In 1981, Canned Heat vocalist Bob "the Bear" Hite died from a heart attack in Venice, Calif at the age of 36. He helped bring the sound of American blues to rock music.
In 1993, construction began on the Rock and Roll Hall of Fame in Cleveland, Ohio.
1994 - Kurt Cobain (Nirvana) killed himself with a shotgun. He was found three days later. (what a waste)
REM made its debut at an Athens, GA, party under the name Twisted Kite in 1980.
Hollies’ founding member and vocalist Allan Clarke was born in 1942.
Mike McCready, a founding member of Pearl Jam (along with Jeff Ament and Stone Gossard) was born in 1965.
Also in 1965- Sonny Bono and his 18 year old wife Cher were signed to Atco Records.
In 1998, Drummer, Cozy (Collin) Powell was killed in a car accident on April 5th, after bad weather forced him to lose control on a highway. He had worked with Black Sabbath, Whitesnake, Rainbow, Peter Green, Jeff Beck and Emerson, Lake and Powell. He was 50 years old.
Saturday, April 5, 2008
Friday, April 4, 2008
Putting A Value On Vinyl Records
As promised here is part two of my article about vinyl record appraisals. Remember, I have just opened up a new site called www.vinylrecordappraisals.com, so if you want to know what your old records may be worth, drop by for a visit!
Putting A Value On Vinyl Records
part two
By Robert Benson
In part one we discussed the most important element of vinyl record appraising, the condition of the record and LP jacket or sleeve and the methods used in grading a vinyl record. In this section we will explore other elements that factor into the value of a record.
Scarcity
Many, many millions of vinyl records are in circulation, with almost every household in the US, either having some vinyl records at one time or another. We even had a vinyl record ‘boon’ from around 1955-1980. But, how many of those records are still around and more importantly, what condition are they in?
For instance, rhythm and blues records from the 1950’s suffered from poor promotion and publicity, therefore there were fewer of these that were pressed. The record companies that produced these particular records were small and lacked the resources that the larger record companies enjoyed, some may have been limited to only one or two thousand being pressed, On the other hand, the Beatles records were massed produced and they benefited from much larger pressings and are a fairly common record (depending on the label) and some are not worth as much as one might think. This brings us to another element-demand.
Demand
Like any other commodity, vinyl records are subject to the old supply and demand adage that is prevalent in any free market society. Record values were affected by the Internet age, especially with the many online auction sites. Records that were thought to be rare and valuable suddenly came out of the closets and basements and were put up for sale and brought some prices down.
But, that has evened out at this time and the record guides and prices reflect that. If there is a demand for a certain genre or artist, chances are the price will go up, more people want these type of record and there is more competition for them. For instance, the music genre called Northern Soul (commonly known as Motown) enjoyed resurgence in sales in the past few years, driving up the prices. Conversely, there is not a lot of demand for classical music (in fact, there aren’t even any price guides for this genre of music); therefore you cannot expect to get much for the records.
History
This element of putting a value on a vinyl record goes hand in hand with the relative scarcity of the record. Many special musical genres in recorded music often command a higher price because of their place in music history. For instance, the early roots of country music from the early 1930s and 1940’s, early jazz recordings, the rock and roll ‘infancy’ recordings (including rockabilly, rhythm and blues, the ‘girl’ groups of the 60’s, ) are often highly sought after and therefore of more value. Some early Motown, psychedelic music, surf music, garage band rock and doo wop often command a higher price because these are records that have a prominent historical value in recorded sound.
Artist or Group
Obviously there are some musical icons that sell better than others and are in command. Early Elvis records, the Beatles, the Rolling Stones, Pink Floyd, Led Zeppelin, Bob Dylan, Jimi Hendrix just to name a few all command top dollar because there is always a demand for these records. But that is not to say that some obscure bands or artists are precluded from being valuable, on the contrary, there may be an artist that you have never heard of and the record may be selling for thousands of dollars.
LP Jacket, Inserts, Picture Sleeves
When issued, some records came with an added incentive and that is also collected and can add value to a record. LP’s came with fantastic artwork, inner sleeves with liner notes, lyrics, posters, cut out and all these elements are included when establishing a resale price. Again, the condition of these ‘extras’ must be taken into account when ascertaining the value of the record. 45rpm records came with picture sleeves and some of them are even more valuable than the record that they may hold.
The Year of Release
First pressings may be of more value than a reissue of the same record ten years later. For instance, a Beatles record that was released in 1965 is of more value to a collector than a reissue that was released in 1980.
The Record Label
Some record labels are also more collectible than others. Old R & B or jazz on the record label Bluenote is generally worth more than if the same music and artist are released on another label. Another example is Beatles’ records released on the Capitol record label as opposed to the Vee Jay label. For instance, if you were to the record “I Want To Hold Your Hand” on the Capitol label, it will generally be worth more than the same record on the Apple label (which was formed after the record was issued). Certainly there are exceptions, but there are a lot of record labels that suffered from poor distribution and, quite frankly, there are not that many to be had.
Stereo vs. Mono
As a general statement, all 45’s manufactured by all record labels after 1970 were pressed in stereo. But there were labels that issued records between 1957-1970 that were issued in both formats, and you would have to check the catalog number of the record to find out which one you may have. Some mono versions may be worth more than there stereo counterparts, while some records in stereo may be worth more than mono; it all depends on the artist and label.
As we review this two part article, we see that there are many elements that can factor into ascertaining what a record may be worth. We have covered the basics of vinyl record appraisals, there are more like picture discs, colored vinyl, promotional releases, misprints, why even the color of the record label may affect the price; but this is a good starting point. One element we should highlight is what you get for a record can also be determined to who you are selling the record to, a dealer will probably give you only a portion of what the record may be worth, or you may be able to find a rare and valuable record at a garage sale for pennies on the dollar. And that is the fun part for record collectors!
Putting A Value On Vinyl Records
part two
By Robert Benson
In part one we discussed the most important element of vinyl record appraising, the condition of the record and LP jacket or sleeve and the methods used in grading a vinyl record. In this section we will explore other elements that factor into the value of a record.
Scarcity
Many, many millions of vinyl records are in circulation, with almost every household in the US, either having some vinyl records at one time or another. We even had a vinyl record ‘boon’ from around 1955-1980. But, how many of those records are still around and more importantly, what condition are they in?
For instance, rhythm and blues records from the 1950’s suffered from poor promotion and publicity, therefore there were fewer of these that were pressed. The record companies that produced these particular records were small and lacked the resources that the larger record companies enjoyed, some may have been limited to only one or two thousand being pressed, On the other hand, the Beatles records were massed produced and they benefited from much larger pressings and are a fairly common record (depending on the label) and some are not worth as much as one might think. This brings us to another element-demand.
Demand
Like any other commodity, vinyl records are subject to the old supply and demand adage that is prevalent in any free market society. Record values were affected by the Internet age, especially with the many online auction sites. Records that were thought to be rare and valuable suddenly came out of the closets and basements and were put up for sale and brought some prices down.
But, that has evened out at this time and the record guides and prices reflect that. If there is a demand for a certain genre or artist, chances are the price will go up, more people want these type of record and there is more competition for them. For instance, the music genre called Northern Soul (commonly known as Motown) enjoyed resurgence in sales in the past few years, driving up the prices. Conversely, there is not a lot of demand for classical music (in fact, there aren’t even any price guides for this genre of music); therefore you cannot expect to get much for the records.
History
This element of putting a value on a vinyl record goes hand in hand with the relative scarcity of the record. Many special musical genres in recorded music often command a higher price because of their place in music history. For instance, the early roots of country music from the early 1930s and 1940’s, early jazz recordings, the rock and roll ‘infancy’ recordings (including rockabilly, rhythm and blues, the ‘girl’ groups of the 60’s, ) are often highly sought after and therefore of more value. Some early Motown, psychedelic music, surf music, garage band rock and doo wop often command a higher price because these are records that have a prominent historical value in recorded sound.
Artist or Group
Obviously there are some musical icons that sell better than others and are in command. Early Elvis records, the Beatles, the Rolling Stones, Pink Floyd, Led Zeppelin, Bob Dylan, Jimi Hendrix just to name a few all command top dollar because there is always a demand for these records. But that is not to say that some obscure bands or artists are precluded from being valuable, on the contrary, there may be an artist that you have never heard of and the record may be selling for thousands of dollars.
LP Jacket, Inserts, Picture Sleeves
When issued, some records came with an added incentive and that is also collected and can add value to a record. LP’s came with fantastic artwork, inner sleeves with liner notes, lyrics, posters, cut out and all these elements are included when establishing a resale price. Again, the condition of these ‘extras’ must be taken into account when ascertaining the value of the record. 45rpm records came with picture sleeves and some of them are even more valuable than the record that they may hold.
The Year of Release
First pressings may be of more value than a reissue of the same record ten years later. For instance, a Beatles record that was released in 1965 is of more value to a collector than a reissue that was released in 1980.
The Record Label
Some record labels are also more collectible than others. Old R & B or jazz on the record label Bluenote is generally worth more than if the same music and artist are released on another label. Another example is Beatles’ records released on the Capitol record label as opposed to the Vee Jay label. For instance, if you were to the record “I Want To Hold Your Hand” on the Capitol label, it will generally be worth more than the same record on the Apple label (which was formed after the record was issued). Certainly there are exceptions, but there are a lot of record labels that suffered from poor distribution and, quite frankly, there are not that many to be had.
Stereo vs. Mono
As a general statement, all 45’s manufactured by all record labels after 1970 were pressed in stereo. But there were labels that issued records between 1957-1970 that were issued in both formats, and you would have to check the catalog number of the record to find out which one you may have. Some mono versions may be worth more than there stereo counterparts, while some records in stereo may be worth more than mono; it all depends on the artist and label.
As we review this two part article, we see that there are many elements that can factor into ascertaining what a record may be worth. We have covered the basics of vinyl record appraisals, there are more like picture discs, colored vinyl, promotional releases, misprints, why even the color of the record label may affect the price; but this is a good starting point. One element we should highlight is what you get for a record can also be determined to who you are selling the record to, a dealer will probably give you only a portion of what the record may be worth, or you may be able to find a rare and valuable record at a garage sale for pennies on the dollar. And that is the fun part for record collectors!
Thursday, April 3, 2008
New Vinyl Record Appraisal Services Offered
Want to know what your old records may be worth? I have just opened up a new site www.vinylrecordappraisals.com and will appraise your classic records for a small fee.
There are many variables that go into ascertaining just what a particular record may be worth. I have written a two-part article about this and the first part is posted below. Look for part two tomorrow!
Putting A Value On Vinyl Records
part one
By Robert Benson
One element of the ever changing music industry is that the sale of vinyl records has increased and that these audio treasures are still in demand. In our age of digital products and downloads, there are still millions who prefer the sound and experience of vinyl records. In this two part article, let’s explore how a person can ascertain just how much a particular record is worth.
There are many factors and variables that come into play, whether buying or selling records. The ‘grading’ of a record is very subjective and because no two people grade the record the same, many problems arise when reselling new and used vinyl.
The value of a record is, and this is putting it in a very simplistic way, is what a person is willing to pay another person or business for the record. But there are many other variables that must be considered to put a value on a record, let’s look at them:
There is a common misconception that because a record is old, that it is valuable. On the contrary, some records that are just a few months old have more value than some that are 50 years old. And, while it is true that some bands and artists are more sought after and command a better resale price, the condition of the record is paramount, whether the record is a week old or seventy years old; age is not a determining factor, but condition is.
There are several different methods of grading records and unfortunately there is no ‘standard’ that everyone uses. But let’s look at one of the more widely accepted grading methods, which is in the “Rockin’ Records” price guide, written by the genre’s leading authority; Jerry Osborne. In this method, the record are given a certain ‘grade’ as to their condition, here are the grades:
Mint (M)- an absolutely perfect record in every way-to allow for a tiny blemish or flaw, this record would be considered Near Mint, which is the highest grade used the in the Osborne record price guides and what the prices in the record guides reflect.
Very Good (VG) - records in this condition should have a minimum of visual or audio imperfections that do not detract from your enjoyment and listening pleasure. You may see a plus or minus after this grade.
Good (G) - From a practical standpoint, this grade may mean the record is a good enough copy to fill a gap in your collection until you can secure a better copy. This record will show obvious signs of wear and tear and play all the way through without skipping.
Osborne explains what you can expect using the following formula. For very good condition, the record is worth 25-50% of the Near Mint price listed in his guides. For Good, figure 10-25% of the near mint price given in his guides. Another common mistake is that people take the price in the guides, grade the record and then do not ‘downgrade’ for the flaws and condition issues.
Another confusing aspect to this method is that some records might be listed as VG + or VG- or VG++ or NM-. But, what exactly is the person grading the record mean with these notations? Is it for the record, the sleeve, the LP jacket or the record itself? You can see why this way of grading can be very confusing to someone just starting a record collection.
Osborne also suggests a ten point grading scale and some feel that this system allows for a more precise description of the record than the mint, very good, good scale. Here is the scale:
10-Mint
9- Near Mint
8- better than VG but below NM
7- VG
6- better than Good but below VG
5- Good
4- better than Poor but below Good
3- Poor
2 and 1- why bother adding these to a collection?
I prefer the ten point scale, as it eliminates some of the confusion and provides a better description than VG_ or VG++ or G-. One important factor that Osborne stresses is to be honest about the condition and grade, meaning apply the same standard to the record you want to buy or sell as you would want the seller or buyer to give. But, and this goes along with Osborne’s recommendation, is a TRUST factor. You must assume and trust that the person giving the grade to the record is honest and will be held accountable for the grade.
But just because a record is visually acceptable may not mean it plays that way, so one must take that into consideration as well. So if you are buying a record you may also ask if it plays the grade that it was given. A long time ago, these two went together, but it seems that we have gotten away from this.
Another element in the grading process, and I have seen this done several ways, is the condition of the LP jacket, picture sleeve, inserts and liner notes. Some sellers may give you two ratings, one for the record and one for the other elements. There are some very valuable album covers and picture sleeves (from 45 rpm records) and these must also be accounted for in the selling price or the value of a vinyl record.
As you can see, this is a ‘gray area’ when buying and selling vinyl and one that is very subjective. Condition is the most important factor when buying and selling vinyl and when buying records you must be able to find a trustworthy seller and ascertain which method they are using to grade what they have for sale. And, as previously stated, the record price guides lists the prices for records in near mint condition, so that must be taken into account. Obviously, this all can be a bit confusing for a beginner, but a little common sense and education can help any buyer in their quest to add to their collection.
In part two, we will discuss some other important elements that go into finding what the value is for a vinyl record.
Look for part two in tomorrow's post!
There are many variables that go into ascertaining just what a particular record may be worth. I have written a two-part article about this and the first part is posted below. Look for part two tomorrow!
Putting A Value On Vinyl Records
part one
By Robert Benson
One element of the ever changing music industry is that the sale of vinyl records has increased and that these audio treasures are still in demand. In our age of digital products and downloads, there are still millions who prefer the sound and experience of vinyl records. In this two part article, let’s explore how a person can ascertain just how much a particular record is worth.
There are many factors and variables that come into play, whether buying or selling records. The ‘grading’ of a record is very subjective and because no two people grade the record the same, many problems arise when reselling new and used vinyl.
The value of a record is, and this is putting it in a very simplistic way, is what a person is willing to pay another person or business for the record. But there are many other variables that must be considered to put a value on a record, let’s look at them:
There is a common misconception that because a record is old, that it is valuable. On the contrary, some records that are just a few months old have more value than some that are 50 years old. And, while it is true that some bands and artists are more sought after and command a better resale price, the condition of the record is paramount, whether the record is a week old or seventy years old; age is not a determining factor, but condition is.
There are several different methods of grading records and unfortunately there is no ‘standard’ that everyone uses. But let’s look at one of the more widely accepted grading methods, which is in the “Rockin’ Records” price guide, written by the genre’s leading authority; Jerry Osborne. In this method, the record are given a certain ‘grade’ as to their condition, here are the grades:
Mint (M)- an absolutely perfect record in every way-to allow for a tiny blemish or flaw, this record would be considered Near Mint, which is the highest grade used the in the Osborne record price guides and what the prices in the record guides reflect.
Very Good (VG) - records in this condition should have a minimum of visual or audio imperfections that do not detract from your enjoyment and listening pleasure. You may see a plus or minus after this grade.
Good (G) - From a practical standpoint, this grade may mean the record is a good enough copy to fill a gap in your collection until you can secure a better copy. This record will show obvious signs of wear and tear and play all the way through without skipping.
Osborne explains what you can expect using the following formula. For very good condition, the record is worth 25-50% of the Near Mint price listed in his guides. For Good, figure 10-25% of the near mint price given in his guides. Another common mistake is that people take the price in the guides, grade the record and then do not ‘downgrade’ for the flaws and condition issues.
Another confusing aspect to this method is that some records might be listed as VG + or VG- or VG++ or NM-. But, what exactly is the person grading the record mean with these notations? Is it for the record, the sleeve, the LP jacket or the record itself? You can see why this way of grading can be very confusing to someone just starting a record collection.
Osborne also suggests a ten point grading scale and some feel that this system allows for a more precise description of the record than the mint, very good, good scale. Here is the scale:
10-Mint
9- Near Mint
8- better than VG but below NM
7- VG
6- better than Good but below VG
5- Good
4- better than Poor but below Good
3- Poor
2 and 1- why bother adding these to a collection?
I prefer the ten point scale, as it eliminates some of the confusion and provides a better description than VG_ or VG++ or G-. One important factor that Osborne stresses is to be honest about the condition and grade, meaning apply the same standard to the record you want to buy or sell as you would want the seller or buyer to give. But, and this goes along with Osborne’s recommendation, is a TRUST factor. You must assume and trust that the person giving the grade to the record is honest and will be held accountable for the grade.
But just because a record is visually acceptable may not mean it plays that way, so one must take that into consideration as well. So if you are buying a record you may also ask if it plays the grade that it was given. A long time ago, these two went together, but it seems that we have gotten away from this.
Another element in the grading process, and I have seen this done several ways, is the condition of the LP jacket, picture sleeve, inserts and liner notes. Some sellers may give you two ratings, one for the record and one for the other elements. There are some very valuable album covers and picture sleeves (from 45 rpm records) and these must also be accounted for in the selling price or the value of a vinyl record.
As you can see, this is a ‘gray area’ when buying and selling vinyl and one that is very subjective. Condition is the most important factor when buying and selling vinyl and when buying records you must be able to find a trustworthy seller and ascertain which method they are using to grade what they have for sale. And, as previously stated, the record price guides lists the prices for records in near mint condition, so that must be taken into account. Obviously, this all can be a bit confusing for a beginner, but a little common sense and education can help any buyer in their quest to add to their collection.
In part two, we will discuss some other important elements that go into finding what the value is for a vinyl record.
Look for part two in tomorrow's post!
This Day In Music History- April 3
Richard Manuel, keyboardist and vocalist with the Band, was born in Stratford, Ontario, Canada in 1943.
In 1961, a Pittsburgh quintet called The Marcels took "Blue Moon", a tune written in 1934, to the top of the Billboard chart. It was also a #1 in the UK.
Que sera sera... Doris Day was born Doris Mary Anne von Kapelhoff in 1922.
The late Jan Barry of Jan & Dean ("Surf City") was born in 1941.
Billy Joe Royal ("Down In The Boondocks") turns 66.
Tony Orlando ("Candida") is 64.
Wayne Newton ("Danke Shoen") is 66.
A motley member of Motley Crue. Guitarist Mick Mars was born with the moniker Robert Alan Deal in 1956. A one-time class clown, he legally becomes Mick Mars before he’s 18.
Sarah Vaughan ("Broken-Hearted Melody") died on this day in 1990.
The British Broadcasting Corporation bans the Coasters' "Charlie Brown" over its reference to "spitballs" (a ban it lifts two weeks later) in 1959.
In 1956, Elvis Presley made the first of two appearances on The Milton Berle Show, live from the flight deck of the USS Hancock. He earned $5,000 for performing "Heartbreak Hotel,” "Money, Honey" and "Blue Suede Shoes.” It's estimated that one out of every four Americans saw the show.
Elvis Presley's "It Happened At The World's Fair" movie opened in Los Angeles (it opens nationally a week later) in 1963.
In 1965, Sam the Sham & the Pharaohs released their garage classic "Wooly Bully."
Sebastian Bach, the somewhat outspoken singer with Skid Row, was born in the Bahamas in 1968.
The Doors' Jim Morrison turned himself in to the FBI in Los Angeles. He was charged with inter-state flight to avoid prosecution on six charges of lewd behavior and public exposure at a concert in Miami on March 2nd, 1969. He is later released on $2000 bail.
1989 - Pepsi dismissed Madonna as a spokesperson after her "Like a Prayer" video was called "blasphemous" by the Vatican.
In 1960, The Everly Brothers begin their first ever UK tour in London, where they were supported by The Crickets.
Also in 1960, Elvis Presley enters a Nashville studio where he records "It's Now Or Never" and "Are You Lonesome Tonight?"
In 1971, the Temptations hit the top of the Billboard Pop chart for the third and final time with "Just My Imagination". They would however, place 11 more songs in the Top 40 over the next 20 years.
In 1973, Capitol Records issued two Beatles' greatest hits packages - "The Beatles: 1962-1966" and "The Beatles: 1967-1970". Fans call them "the red album" and "the blue album.”
Ray Charles became the first performer to have hits on Billboard's charts in six different decades when his version of Leon Russell's "A Song For You" entered the R&B singles chart in 1993.
The Traveling Wilburys (Bob Dylan, George Harrison, Tom Petty, Roy Orbison and Jeff Lynn) began recording their "Handle With Care" album in Malibu in 1988.
In 1961, a Pittsburgh quintet called The Marcels took "Blue Moon", a tune written in 1934, to the top of the Billboard chart. It was also a #1 in the UK.
Que sera sera... Doris Day was born Doris Mary Anne von Kapelhoff in 1922.
The late Jan Barry of Jan & Dean ("Surf City") was born in 1941.
Billy Joe Royal ("Down In The Boondocks") turns 66.
Tony Orlando ("Candida") is 64.
Wayne Newton ("Danke Shoen") is 66.
A motley member of Motley Crue. Guitarist Mick Mars was born with the moniker Robert Alan Deal in 1956. A one-time class clown, he legally becomes Mick Mars before he’s 18.
Sarah Vaughan ("Broken-Hearted Melody") died on this day in 1990.
The British Broadcasting Corporation bans the Coasters' "Charlie Brown" over its reference to "spitballs" (a ban it lifts two weeks later) in 1959.
In 1956, Elvis Presley made the first of two appearances on The Milton Berle Show, live from the flight deck of the USS Hancock. He earned $5,000 for performing "Heartbreak Hotel,” "Money, Honey" and "Blue Suede Shoes.” It's estimated that one out of every four Americans saw the show.
Elvis Presley's "It Happened At The World's Fair" movie opened in Los Angeles (it opens nationally a week later) in 1963.
In 1965, Sam the Sham & the Pharaohs released their garage classic "Wooly Bully."
Sebastian Bach, the somewhat outspoken singer with Skid Row, was born in the Bahamas in 1968.
The Doors' Jim Morrison turned himself in to the FBI in Los Angeles. He was charged with inter-state flight to avoid prosecution on six charges of lewd behavior and public exposure at a concert in Miami on March 2nd, 1969. He is later released on $2000 bail.
1989 - Pepsi dismissed Madonna as a spokesperson after her "Like a Prayer" video was called "blasphemous" by the Vatican.
In 1960, The Everly Brothers begin their first ever UK tour in London, where they were supported by The Crickets.
Also in 1960, Elvis Presley enters a Nashville studio where he records "It's Now Or Never" and "Are You Lonesome Tonight?"
In 1971, the Temptations hit the top of the Billboard Pop chart for the third and final time with "Just My Imagination". They would however, place 11 more songs in the Top 40 over the next 20 years.
In 1973, Capitol Records issued two Beatles' greatest hits packages - "The Beatles: 1962-1966" and "The Beatles: 1967-1970". Fans call them "the red album" and "the blue album.”
Ray Charles became the first performer to have hits on Billboard's charts in six different decades when his version of Leon Russell's "A Song For You" entered the R&B singles chart in 1993.
The Traveling Wilburys (Bob Dylan, George Harrison, Tom Petty, Roy Orbison and Jeff Lynn) began recording their "Handle With Care" album in Malibu in 1988.
Tuesday, April 1, 2008
Top 5 eBay Vinyl Record Sales
Week Ending 03/01/2008
1) LP - Queen "The Works" Columbia Red Vinyl - $4,999.99
2) LP - Michele Auclair Schubert: "Complete Works For Violin And Piano" Erato STE 50136 - $3,000.00
3) 45 - The Five Tinos "Sitting My Window" / "Don Do That" SUN 222 - $2,851.89
4) 45 - Ernie Johnson "I Can't Stop The Pain" / "These Very Tender Moments" Artco - $2,094.69
5) LP - The Velvet Underground & Nico Mono w/ Torso Cover - $2,025.00
==============================================
Top 5 eBay Vinyl Record Sales
Week Ending 02/23/2008
1) 45 - Bruce Springsteen "Spirit In The Night" / "For You" Columbia - $5,100.00
2) LP - Phafner "Overdrive" Dragon - $5,000.00
3) 45 - The Squires "The Sultan" / "Aurora" V - $4,161.00
4) 45 - U2 "All I Want Is You" Purple Vinyl - $4,058.00
5) LP - Beatles "Please, Please Me" Parlophone - $3,850.00
1) LP - Queen "The Works" Columbia Red Vinyl - $4,999.99
2) LP - Michele Auclair Schubert: "Complete Works For Violin And Piano" Erato STE 50136 - $3,000.00
3) 45 - The Five Tinos "Sitting My Window" / "Don Do That" SUN 222 - $2,851.89
4) 45 - Ernie Johnson "I Can't Stop The Pain" / "These Very Tender Moments" Artco - $2,094.69
5) LP - The Velvet Underground & Nico Mono w/ Torso Cover - $2,025.00
==============================================
Top 5 eBay Vinyl Record Sales
Week Ending 02/23/2008
1) 45 - Bruce Springsteen "Spirit In The Night" / "For You" Columbia - $5,100.00
2) LP - Phafner "Overdrive" Dragon - $5,000.00
3) 45 - The Squires "The Sultan" / "Aurora" V - $4,161.00
4) 45 - U2 "All I Want Is You" Purple Vinyl - $4,058.00
5) LP - Beatles "Please, Please Me" Parlophone - $3,850.00
In the Chicago area?
This year's Record Fair, now known as the "CHIRP Record Fair" to benefit the Chicago Indie Radio Project, is coming up April 12 and 13th. Check out the website for more details, or read on below:
Formerly the WLUW Record Fair, this annual vinyl extravaganza brings you two days of shopping for quality rare and used records from a slew of Midwestern vendors. The 6th annual version of this can't-miss event for Chicagoans in the know and vinyl enthusiasts from around the country takes place at Pulaski Park Fieldhouse on April 12th and 13th. In addition to even more great dealers and a wider range of entertainment, this year's fair will benefit the Chicago Independent Radio Project, working to bring a brand new community radio station to Chicago.
The CHIRP Record Fair dealers range from genre specialists with tons of rarities to generalists with something for everyone. The music selection isn't limited to vinyl – CDs, DVDs, even 8-tracks abound, and the dealer lineup is rounded out nicely by a select batch of poster artists, crafters, and independent publications. This year's expanded entertainment lineup will range from live bands and DJs to dancers and circus performers. Food, games, and general revelry make this an action packed weekend for everyone, not just vinyl collectors.
The CHIRP Record Fair & Other Delights runs Saturday, April 12th from 10AM-6PM and Sunday, April 13th from 10AM-5PM. Admission is $7, or $5 with an ad or flyer. A special $25 pre-admission session from 8-10AM on Saturday allows collectors early access to the dealers, and offers unlimited access all weekend long. Pulaski Park Fieldhouse is located at 1419 W. Blackhawk.
Formerly the WLUW Record Fair, this annual vinyl extravaganza brings you two days of shopping for quality rare and used records from a slew of Midwestern vendors. The 6th annual version of this can't-miss event for Chicagoans in the know and vinyl enthusiasts from around the country takes place at Pulaski Park Fieldhouse on April 12th and 13th. In addition to even more great dealers and a wider range of entertainment, this year's fair will benefit the Chicago Independent Radio Project, working to bring a brand new community radio station to Chicago.
The CHIRP Record Fair dealers range from genre specialists with tons of rarities to generalists with something for everyone. The music selection isn't limited to vinyl – CDs, DVDs, even 8-tracks abound, and the dealer lineup is rounded out nicely by a select batch of poster artists, crafters, and independent publications. This year's expanded entertainment lineup will range from live bands and DJs to dancers and circus performers. Food, games, and general revelry make this an action packed weekend for everyone, not just vinyl collectors.
The CHIRP Record Fair & Other Delights runs Saturday, April 12th from 10AM-6PM and Sunday, April 13th from 10AM-5PM. Admission is $7, or $5 with an ad or flyer. A special $25 pre-admission session from 8-10AM on Saturday allows collectors early access to the dealers, and offers unlimited access all weekend long. Pulaski Park Fieldhouse is located at 1419 W. Blackhawk.
This Day In Music History- April 1
In 1961, "Runaway," Del Shannon's first single, hits #1 in both the U.S. and the U.K.
In 1962, Beatles’ manager Brian Epstein meets George Martin to play him a demo tape by the Liverpool group. George Martin signs the Beatles to EMI.
The Beatles held the top five positions in Billboard's singles chart in 1964 and the top two positions on the album chart.
The first Ramones album, entitled Ramones, was released in 1976. Recorded for only $6,000.00, it contained 14 songs, none over two minutes long.
In 1979, "Heart of Glass," by Blondie, becomes the first New Wave song to reach #1 in America.
Rudolph Isley of the Isley Brothers ("It's Your Thing") turns 69.
Happy birthday to Debbie Reynolds ("Tammy") who is 76 today.
Phil Margo of the Tokens ("The Lion Sleeps Tonight") is 65.
In 1984, Marvin Gaye ("I Heard It Through The Grapevine") was shot to death by his father, following an argument. Remarkably, Gaye's father received only probation after pleading guilty to manslaughter.
The "Woodstock" movie premiered in Hollywood in 1970.
In 1971, Led Zeppelin performed a concert for the BBC Radio program Rock Hour at London's Paris Theater. Featuring a bevy of material from their forthcoming fourth album, the concert becomes one of their most-bootlegged performances.
In 1957, the Everly Brothers released their second single, "Bye Bye Love," which later went to No. 2 on the pop chart. Amazingly, more than 30 labels had turned down the song.
Arthur Smith, whose name was so boring most people called him "Guitar Boogie," was born in Clinton, S.C. in 1921. His instrumental work on tunes like "Feudin' Banjos" (later renamed "Duelin' Banjos" for Deliverance) marked him as one of country music's greatest guitarists.
Ronnie Lane, Small Faces and Faces bass player was born in 1946.
The Beatles began a three-month stand at the Top Ten club in Hamburg, Germany in 1961. They play extended sets every night.
The Troggs used 45 minutes of spare studio time to record "Wild Thing" at Regent Sound Studio in London in 1966. The raw, simple little tune would climb to #2 in the UK and #1 in the US, selling over a million copies by the following June.
“Stairway To Heaven” is on the radio for the first time in 1971. The Led Zeppelin song is part of a London concert recording that is played on the BBC’s John Peel Rock Hour. Over the ensuing decades, “Stairway To Heaven” becomes the most played song on the radio.
Kurt Cobain (Nirvana) walked away (actually jumped a six foot wall) from a rehab center in Marina del Rey in 1994 and returned to Seattle. He kills himself four days later.
In 1877, Thomas Edison devised a telephone design that becomes the basis for his later claim to the invention of the microphone.
In 1924, the first gramophone to change records automatically goes on sale in the US.
Only Ringo Starr was present at the final Beatles recording session in 1970, where he overdubs percussion tracks for "The Long and Winding Road,” "Across The Universe" and "I Me Mine.”
In 1962, Beatles’ manager Brian Epstein meets George Martin to play him a demo tape by the Liverpool group. George Martin signs the Beatles to EMI.
The Beatles held the top five positions in Billboard's singles chart in 1964 and the top two positions on the album chart.
The first Ramones album, entitled Ramones, was released in 1976. Recorded for only $6,000.00, it contained 14 songs, none over two minutes long.
In 1979, "Heart of Glass," by Blondie, becomes the first New Wave song to reach #1 in America.
Rudolph Isley of the Isley Brothers ("It's Your Thing") turns 69.
Happy birthday to Debbie Reynolds ("Tammy") who is 76 today.
Phil Margo of the Tokens ("The Lion Sleeps Tonight") is 65.
In 1984, Marvin Gaye ("I Heard It Through The Grapevine") was shot to death by his father, following an argument. Remarkably, Gaye's father received only probation after pleading guilty to manslaughter.
The "Woodstock" movie premiered in Hollywood in 1970.
In 1971, Led Zeppelin performed a concert for the BBC Radio program Rock Hour at London's Paris Theater. Featuring a bevy of material from their forthcoming fourth album, the concert becomes one of their most-bootlegged performances.
In 1957, the Everly Brothers released their second single, "Bye Bye Love," which later went to No. 2 on the pop chart. Amazingly, more than 30 labels had turned down the song.
Arthur Smith, whose name was so boring most people called him "Guitar Boogie," was born in Clinton, S.C. in 1921. His instrumental work on tunes like "Feudin' Banjos" (later renamed "Duelin' Banjos" for Deliverance) marked him as one of country music's greatest guitarists.
Ronnie Lane, Small Faces and Faces bass player was born in 1946.
The Beatles began a three-month stand at the Top Ten club in Hamburg, Germany in 1961. They play extended sets every night.
The Troggs used 45 minutes of spare studio time to record "Wild Thing" at Regent Sound Studio in London in 1966. The raw, simple little tune would climb to #2 in the UK and #1 in the US, selling over a million copies by the following June.
“Stairway To Heaven” is on the radio for the first time in 1971. The Led Zeppelin song is part of a London concert recording that is played on the BBC’s John Peel Rock Hour. Over the ensuing decades, “Stairway To Heaven” becomes the most played song on the radio.
Kurt Cobain (Nirvana) walked away (actually jumped a six foot wall) from a rehab center in Marina del Rey in 1994 and returned to Seattle. He kills himself four days later.
In 1877, Thomas Edison devised a telephone design that becomes the basis for his later claim to the invention of the microphone.
In 1924, the first gramophone to change records automatically goes on sale in the US.
Only Ringo Starr was present at the final Beatles recording session in 1970, where he overdubs percussion tracks for "The Long and Winding Road,” "Across The Universe" and "I Me Mine.”
Sunday, March 30, 2008
This Day In Music History- March 30
Slowhand, Eric Clapton ("I Shot The Sheriff") turns 63.
Rolf Harris ("Tie Me Kangaroo Down, Sport") is 78.
Lesley Gore first appeared on TV, on ABC's "American Bandstand" in 1963.
Jim "Dandy" Mangrum of Black Oak Arkansas ("Jim Dandy") turns 60.
John Denver's "Sunshine on My Shoulders" went to No. 1 on the pop chart in 1974.
Also in 1974, the Ramones played their first-ever gig at New York's Performance Studio (Thank God, They Are Punk Boys!).
Miles Davis released Bitches Brew in 1970. Over time it became the cornerstone of a jazz-rock movement known as "fusion."
In 1968, Celine Dion was born in Charlemagne, Quebec.
The cover for Sgt. Pepper's Lonely Hearts Club Band was photographed at a studio on London's Flood Street in 1967, using cardboard cutouts and wax figures to represent the Beatles' heroes. The effigies featured include Edgar Allan Poe, Lenny Bruce, Vidal Sassoon, Laurel and Hardy, Bob Dylan, and Huntz Hall.
Hammer time officially began in 1962, when Stanley Kirk Burrell, aka MC Hammer-aka Hammer, was born in Oakland, Calif.
Frankie Laine, one of the best pop singers of the 1950s, was born in Chicago in 1913. His hits included the No. 3 "Moonlight Gambler."
Sonny Boy Williamson, a master of the blues harmonica whose songs were covered by the Grateful Dead, the Allman Brothers Band, Canned Heat, and Rod Stewart, was born in Jackson, Tennessee in 1914.
In 1946, Mahalia Jackson signed with Apollo Records, where she recorded some of her most fervid and best-loved gospel slides over the next eight years.
"He's So Fine" by the Chiffons hits #1 in 1963.
16 year old Lesley Gore recorded her breakthrough hit, "It's My Party" in 1963. Producer Quincy Jones hurried Gore into the studio when he found out that Phil Spector was going to cut the song with The Crystals.
Buddy Knox became the first artist in the Rock 'n' Roll era to write his own number one hit when "Party Doll" topped the Billboard chart in 1957. Buddy would go on to place four more songs in the Top 40 between 1957 and 1961.
In 1976, the Sex Pistols played their first London show and attracted an audience of 50 or so.
The Eagles’ “Hotel California” hits the top of the album chart in 1977.
Little Richard had his final US Top 10 hit with "Good Golly Miss Molly" in 1958. The song was from his last recording sessions for Specialty Records, after which he recorded a series of gospel songs.
In 1962, the Russian newspaper Pravda warned communist youths about the dangers of dancing the Twist.
In 1989, Gladys Knight performed without The Pips for the first time since grammar school at a show at Bally's in Las Vegas.
In 1992, The soundtrack to Wayne's World was the number 1 album in the US. It featured the return to the charts of Queen's, "Bohemian Rhapsody", actually making the song a bigger hit the second time around. Tracks by Eric Clapton, Jimi Hendrix, Alice Cooper, as well as a new version of "Dream Weaver" from Gary Wright, were also included on the LP.
Rolf Harris ("Tie Me Kangaroo Down, Sport") is 78.
Lesley Gore first appeared on TV, on ABC's "American Bandstand" in 1963.
Jim "Dandy" Mangrum of Black Oak Arkansas ("Jim Dandy") turns 60.
John Denver's "Sunshine on My Shoulders" went to No. 1 on the pop chart in 1974.
Also in 1974, the Ramones played their first-ever gig at New York's Performance Studio (Thank God, They Are Punk Boys!).
Miles Davis released Bitches Brew in 1970. Over time it became the cornerstone of a jazz-rock movement known as "fusion."
In 1968, Celine Dion was born in Charlemagne, Quebec.
The cover for Sgt. Pepper's Lonely Hearts Club Band was photographed at a studio on London's Flood Street in 1967, using cardboard cutouts and wax figures to represent the Beatles' heroes. The effigies featured include Edgar Allan Poe, Lenny Bruce, Vidal Sassoon, Laurel and Hardy, Bob Dylan, and Huntz Hall.
Hammer time officially began in 1962, when Stanley Kirk Burrell, aka MC Hammer-aka Hammer, was born in Oakland, Calif.
Frankie Laine, one of the best pop singers of the 1950s, was born in Chicago in 1913. His hits included the No. 3 "Moonlight Gambler."
Sonny Boy Williamson, a master of the blues harmonica whose songs were covered by the Grateful Dead, the Allman Brothers Band, Canned Heat, and Rod Stewart, was born in Jackson, Tennessee in 1914.
In 1946, Mahalia Jackson signed with Apollo Records, where she recorded some of her most fervid and best-loved gospel slides over the next eight years.
"He's So Fine" by the Chiffons hits #1 in 1963.
16 year old Lesley Gore recorded her breakthrough hit, "It's My Party" in 1963. Producer Quincy Jones hurried Gore into the studio when he found out that Phil Spector was going to cut the song with The Crystals.
Buddy Knox became the first artist in the Rock 'n' Roll era to write his own number one hit when "Party Doll" topped the Billboard chart in 1957. Buddy would go on to place four more songs in the Top 40 between 1957 and 1961.
In 1976, the Sex Pistols played their first London show and attracted an audience of 50 or so.
The Eagles’ “Hotel California” hits the top of the album chart in 1977.
Little Richard had his final US Top 10 hit with "Good Golly Miss Molly" in 1958. The song was from his last recording sessions for Specialty Records, after which he recorded a series of gospel songs.
In 1962, the Russian newspaper Pravda warned communist youths about the dangers of dancing the Twist.
In 1989, Gladys Knight performed without The Pips for the first time since grammar school at a show at Bally's in Las Vegas.
In 1992, The soundtrack to Wayne's World was the number 1 album in the US. It featured the return to the charts of Queen's, "Bohemian Rhapsody", actually making the song a bigger hit the second time around. Tracks by Eric Clapton, Jimi Hendrix, Alice Cooper, as well as a new version of "Dream Weaver" from Gary Wright, were also included on the LP.
Friday, March 28, 2008
Unique Items
A couple of items of interest:
Cartoon:
http://www.newsday.com/news/opinion/ny-walt-babyboomers-blurb,0,1036393.blurb
Recycling Old Records:
http://www.amnorthwest.tv/video.cfm?VideoURL=http://depository.shadowtv.net/media/236/2008/086/12/16003_236_20080326_123900_253.flv&CID=1154
Cartoon:
http://www.newsday.com/news/opinion/ny-walt-babyboomers-blurb,0,1036393.blurb
Recycling Old Records:
http://www.amnorthwest.tv/video.cfm?VideoURL=http://depository.shadowtv.net/media/236/2008/086/12/16003_236_20080326_123900_253.flv&CID=1154
This Day In Music History- March 28
1958-Opening night of "Alan Freed's Big Beat Show," a two-month tour, finds Jerry Lee Lewis arguing with Chuck Berry over who will close the show. Freed decided Berry will get to go last, inciting a literally incendiary performance by Lewis, who torched his piano during his set-closing "Great Balls of Fire."
Today in 1981, the song "Rapture" by Blondie topped the charts and stayed there for 2 weeks.
In 2003, officials in Manchester, England canceled a Bruce Springsteen concert after residents complain about noise levels. 50,000 tickets had already been sold. Uhhh, it’s a concert people.
In 1996, Phil Collins says he's leaving Genesis 20 years to the day after he made his North American debut as their lead singer.
In 1982, David Crosby was pulled over in Los Angeles and was discovered to be driving under the influence of cocaine. The singer's day turns worse after police discovered Quaaludes, drug paraphernalia, and a .45-caliber pistol in his car.
Blues guitarist Arthur "Big Boy" Crudup, best known for the hit "That's All Right Mama," died in Nassawadox, Virginia in 1974. Elvis Presley loved the song so much he recorded it as his first single for Sun Records in 1954.
Led Zeppelin released "Houses of the Holy" in 1973.
In 1958, legendary songwriter W.C. Handy died at age 84. The Father of the Blues is credited with writing the seminal "St. Louis Blues," as well as "Memphis Blues." The latter was the first song to have the word "blues" in the title.
Reba McEntire, the country superstar who turned to acting later in her career, was born today in 1954.
Eddie Cochran recorded his classic teen angst tune “Summertime Blues” in 1958.
In 1969, Ringo said “no.” John said “yes.” Ringo announced The Beatles will make no public appearances in the near future. John counters saying the group will make several appearances during the year. Ringo is right.
After bassist Chris Novoselic and drummer David Grohl threaten to disband Nirvana if their singer/songwriter/guitarist Kurt Cobain doesn’t get drug treatment, Cobain enters the SoCal Exodus Recovery Center in 1994. This is after Cobain nearly died from an OD in Rome only weeks earlier. Cobain walked out three days later.
In 1985, 6000 radio stations in the US and Canada simultaneously played "We Are the World", the fundraising song for African famine relief recorded by 45 superstar performers. Sales of the single, album, video and related merchandise initially raised more than $38-million US.
Today in 1981, the song "Rapture" by Blondie topped the charts and stayed there for 2 weeks.
In 2003, officials in Manchester, England canceled a Bruce Springsteen concert after residents complain about noise levels. 50,000 tickets had already been sold. Uhhh, it’s a concert people.
In 1996, Phil Collins says he's leaving Genesis 20 years to the day after he made his North American debut as their lead singer.
In 1982, David Crosby was pulled over in Los Angeles and was discovered to be driving under the influence of cocaine. The singer's day turns worse after police discovered Quaaludes, drug paraphernalia, and a .45-caliber pistol in his car.
Blues guitarist Arthur "Big Boy" Crudup, best known for the hit "That's All Right Mama," died in Nassawadox, Virginia in 1974. Elvis Presley loved the song so much he recorded it as his first single for Sun Records in 1954.
Led Zeppelin released "Houses of the Holy" in 1973.
In 1958, legendary songwriter W.C. Handy died at age 84. The Father of the Blues is credited with writing the seminal "St. Louis Blues," as well as "Memphis Blues." The latter was the first song to have the word "blues" in the title.
Reba McEntire, the country superstar who turned to acting later in her career, was born today in 1954.
Eddie Cochran recorded his classic teen angst tune “Summertime Blues” in 1958.
In 1969, Ringo said “no.” John said “yes.” Ringo announced The Beatles will make no public appearances in the near future. John counters saying the group will make several appearances during the year. Ringo is right.
After bassist Chris Novoselic and drummer David Grohl threaten to disband Nirvana if their singer/songwriter/guitarist Kurt Cobain doesn’t get drug treatment, Cobain enters the SoCal Exodus Recovery Center in 1994. This is after Cobain nearly died from an OD in Rome only weeks earlier. Cobain walked out three days later.
In 1985, 6000 radio stations in the US and Canada simultaneously played "We Are the World", the fundraising song for African famine relief recorded by 45 superstar performers. Sales of the single, album, video and related merchandise initially raised more than $38-million US.
Wednesday, March 26, 2008
20 Biggest Record Company Screwups
As promised, here is the rest of the list 10 through number one:
Youth Movement
#10 Columbia Records loses Alicia Keys, drops 50 Cent
Columbia had a way with young talent in the late ’90s and early ’00s. First, after plunking down a reported $400,000 to sign Alicia Keys, they turned her over to high-priced producers who tried to transform her into Whitney Houston. Frustrated, she bolted—and signed with J Records, where she has sold more than 20 million albums to date. Around the same time, another languishing Columbia prospect, 50 Cent, recorded “How to Rob” in a desperate attempt to get his label to notice him. But when he was shot nine times in 2000, skittish execs dumped him—and then watched as he became an unstoppable one-man money factory at Interscope.
Unintended consequence Fedoras and bulletproof vests become essential urban-fashion accessories.
Spy Game
#9 “Digital-rights management” backfires even more badly than usual
In a 2005 effort to combat digital piracy, Sony BMG packaged millions of CDs with copy-protection software that automatically installed a “rootkit” on users’ PCs, which, in addition to preventing consumers from making more than three copies of their legally purchased CD, also made them vulnerable to viruses and hackers. Sony BMG initially downplayed the problem, but after the Department of Homeland Security issued an advisory, the label recalled more than 4 million CDs. Sony was accused of spying on its customers’ listening habits and was forced to pay several million dollars to settle class-action lawsuits that alleged violations of spyware laws and deceptive trade practices.
Unintended consequence Radiohead offer up In Rainbows for a bargain pay-what-you-like price.
Rap Attack
#8 Warner junks Interscope
When anti-rap crusaders wanted to deliver a body blow to hip-hop, they took aim at the Warner Music Group, because its corporate parent, Time Warner, was American-owned and publicly traded. When Ice-T’s “Cop Killer” became too hot to handle, Warner Music dropped him, but the label still enjoyed huge rap hits—particularly through Death Row Records, partially owned by their Interscope label. But when Republican presidential candidate Bob Dole attacked Warner Music in his stump speech, Time Warner panicked, ordering the sale of Interscope to rival Universal. Universal soon became the biggest record company in the world—in large measure due to Interscope hits by Tupac, Dr. Dre and Eminem. Warner Music went on a long slide and was finally sold in 2004.
Unintended consequence Time Warner shareholders never have to worry about who killed Tupac.
Something’s Happening, But You Don’t Know What It Is
#7 Music publisher gives away Bob Dylan
In the early 1960s Leeds/Duchess was a legendary music-publishing company but far from the hippest: It knew Tin Pan Alley but couldn’t find a Greenwich Village coffeehouse with a compass. Yet when Columbia signed Bob Dylan in 1961, they steered him to Leeds, where he happily signed a publishing deal with a $1,000 advance. The following year, Dylan’s new manager, Albert Grossman, got out of the deal with the disinterested publisher simply by repaying the $1,000. Dylan’s new publisher, the savvier M. Witmark & Sons, received 237 songs—many of them future standards worth tens of millions of dollars—in just the first three years.
Unintended consequence The receptionists at Leeds/Duchess never have to field calls asking what “All Along the Watchtower” is really about.
Nothing Exceeds Like Excess
#6 Casablanca rides strong sales straight to the poorhouse
No record label represents the coked-up inanity of the late ’70s like disco-driven behemoth Casablanca. In 1978, the label simultaneously shipped a million copies of four solo albums by each member of their biggest rock act, Kiss, so they could justifiably claim the records “shipped platinum.” The albums sold well—but not that well. Record stores returned hundreds of thousands
of unsold copies, inspiring comedian Robert Klein to joke that Casablanca’s releases “shipped gold and returned platinum.” The label continued to lose millions a year throughout the late ’70s, until part-owner PolyGram Records bought out founder Neil Bogart for $15 million in 1980.
Unintended consequence Hey, man—400,000 extra surfaces to snort drugs from!
Whoa, Mama
#5 The RIAA sues a struggling single mom for digital piracy
n In the court of public opinion, it’s hard to find a more sympathetic defendant than a single mother of two, earning $36,000 a year. So what in the name of common decency was the Recording Industry Association of America thinking when it went after 30-year-old Jammie Thomas from Brainerd, Minnesota? The RIAA accused Thomas of using the P2P service Kazaa to illegally share mp3 files of 24 songs, including Journey’s “Don’t Stop Believin’,” the Goo Goo Dolls’ “Iris” and Destiny’s Child’s “Bills, Bills, Bills.” Thomas pleaded not guilty, blaming the shared files on mistaken identity, but last October a jury disagreed and fined her $222,000. That breaks down to a whopping $9,250 per song—more than six times her annual salary. At press time, Thomas was planning an appeal.
Unintended consequence The nation’s toddlers and fluffy kittens rush to erase their hard drives.
Pay (Somebody Else) To Play
#4 Indie promoters take the major labels to the cleaners
After the payola scandals of the ’50s, the government barred record labels from paying radio stations to play records. The solution: set up middlemen to do the dirty work! “Independent promoters” represented the labels’ interests to radio programmers, creating a massive cash flow of corruption. Even a mid-size hit could cost $700,000 in promo expenses—cash, vacations, drugs and other illicit rewards for mustachioed DJs—and labels ended up paying to get airplay for huge artists the stations would have spun anyway. A lot of coked-up DJs got nice tans, while the labels spent unnecessary millions and covered their balance sheets in bloody red.
Unintended consequence Colombian GDP spikes each time Mariah Carey releases a single.
Detroit At a Discount
#3 Motown sells for a pittance
In 1988 Berry Gordy Jr., reportedly losing millions of dollars on the label he had founded decades earlier, sold Motown and its incomparable back catalogue to MCA and investment company Boston Ventures for $60 million. How bad was that price? The next year, Herb Alpert and Jerry Moss sold their A&M Records to PolyGram for roughly $500 million. In 1990, David Geffen got about $700 million for Geffen Records and in ’92, Richard Branson unloaded Virgin Records to EMI for $960 million. And five years after buying Motown, Boston Ventures cashed out, selling the label to PolyGram for $325 million—a return of more than 500 percent.
Unintended consequence The Motown Atlantic airline, and Berry’s career as a trans-global balloonist, have yet to materialize.
Tomorrow Never Knows
#2 Decca Records A&R exec tells Fab Four, “No, thanks”
Dick Rowe was not the only record-label executive who passed on the Beatles in the early ’60s, but he was the only one who brushed off their manager, Brian Epstein, with the astute prediction that: “Groups with guitars are on their way out.” Epstein begged Rowe to reconsider, so Rowe hopped a train to Liverpool to check out the band live. When he arrived at the Cavern, he found a mob of kids trying to force their way into the club in the pouring rain. Annoyed, he smoked a cigarette, went home and signed Brian Poole and the Tremeloes instead.
Unintended consequence The Monkees
THE BIGGEST RECORD-COMPANY SCREWUP OF ALL TIME
#1 Major labels squash Napster
Shawn Fanning’s file-sharing service attracted tens of millions of users, but instead of trying to find a way to capitalize on it, the Recording Industry Association of America rejected Napster’s billion-dollar settlement offer and sued it out of existence in 2001. Napster’s users didn’t just disappear. They scattered to hundreds of alternative systems—and new technology has stayed three steps ahead of the music business ever since. The labels’ campaign to stop their music from being acquired for free across the Internet has been like trying to cork a hurricane—upward of a billion files are swapped every month on peer-to-peer networks. Since Napster closed, “there’s been no decline in the rate of online piracy,” says Eric Garland of media analysts BigChampagne, who logged users of son-of-Napster peer-to-peer networks more than doubling between 2002 and 2007. And that figure doubles again if you count BitTorrent.
Unintended consequence Your grandmother deciding to trade up from that dial-up connection
Youth Movement
#10 Columbia Records loses Alicia Keys, drops 50 Cent
Columbia had a way with young talent in the late ’90s and early ’00s. First, after plunking down a reported $400,000 to sign Alicia Keys, they turned her over to high-priced producers who tried to transform her into Whitney Houston. Frustrated, she bolted—and signed with J Records, where she has sold more than 20 million albums to date. Around the same time, another languishing Columbia prospect, 50 Cent, recorded “How to Rob” in a desperate attempt to get his label to notice him. But when he was shot nine times in 2000, skittish execs dumped him—and then watched as he became an unstoppable one-man money factory at Interscope.
Unintended consequence Fedoras and bulletproof vests become essential urban-fashion accessories.
Spy Game
#9 “Digital-rights management” backfires even more badly than usual
In a 2005 effort to combat digital piracy, Sony BMG packaged millions of CDs with copy-protection software that automatically installed a “rootkit” on users’ PCs, which, in addition to preventing consumers from making more than three copies of their legally purchased CD, also made them vulnerable to viruses and hackers. Sony BMG initially downplayed the problem, but after the Department of Homeland Security issued an advisory, the label recalled more than 4 million CDs. Sony was accused of spying on its customers’ listening habits and was forced to pay several million dollars to settle class-action lawsuits that alleged violations of spyware laws and deceptive trade practices.
Unintended consequence Radiohead offer up In Rainbows for a bargain pay-what-you-like price.
Rap Attack
#8 Warner junks Interscope
When anti-rap crusaders wanted to deliver a body blow to hip-hop, they took aim at the Warner Music Group, because its corporate parent, Time Warner, was American-owned and publicly traded. When Ice-T’s “Cop Killer” became too hot to handle, Warner Music dropped him, but the label still enjoyed huge rap hits—particularly through Death Row Records, partially owned by their Interscope label. But when Republican presidential candidate Bob Dole attacked Warner Music in his stump speech, Time Warner panicked, ordering the sale of Interscope to rival Universal. Universal soon became the biggest record company in the world—in large measure due to Interscope hits by Tupac, Dr. Dre and Eminem. Warner Music went on a long slide and was finally sold in 2004.
Unintended consequence Time Warner shareholders never have to worry about who killed Tupac.
Something’s Happening, But You Don’t Know What It Is
#7 Music publisher gives away Bob Dylan
In the early 1960s Leeds/Duchess was a legendary music-publishing company but far from the hippest: It knew Tin Pan Alley but couldn’t find a Greenwich Village coffeehouse with a compass. Yet when Columbia signed Bob Dylan in 1961, they steered him to Leeds, where he happily signed a publishing deal with a $1,000 advance. The following year, Dylan’s new manager, Albert Grossman, got out of the deal with the disinterested publisher simply by repaying the $1,000. Dylan’s new publisher, the savvier M. Witmark & Sons, received 237 songs—many of them future standards worth tens of millions of dollars—in just the first three years.
Unintended consequence The receptionists at Leeds/Duchess never have to field calls asking what “All Along the Watchtower” is really about.
Nothing Exceeds Like Excess
#6 Casablanca rides strong sales straight to the poorhouse
No record label represents the coked-up inanity of the late ’70s like disco-driven behemoth Casablanca. In 1978, the label simultaneously shipped a million copies of four solo albums by each member of their biggest rock act, Kiss, so they could justifiably claim the records “shipped platinum.” The albums sold well—but not that well. Record stores returned hundreds of thousands
of unsold copies, inspiring comedian Robert Klein to joke that Casablanca’s releases “shipped gold and returned platinum.” The label continued to lose millions a year throughout the late ’70s, until part-owner PolyGram Records bought out founder Neil Bogart for $15 million in 1980.
Unintended consequence Hey, man—400,000 extra surfaces to snort drugs from!
Whoa, Mama
#5 The RIAA sues a struggling single mom for digital piracy
n In the court of public opinion, it’s hard to find a more sympathetic defendant than a single mother of two, earning $36,000 a year. So what in the name of common decency was the Recording Industry Association of America thinking when it went after 30-year-old Jammie Thomas from Brainerd, Minnesota? The RIAA accused Thomas of using the P2P service Kazaa to illegally share mp3 files of 24 songs, including Journey’s “Don’t Stop Believin’,” the Goo Goo Dolls’ “Iris” and Destiny’s Child’s “Bills, Bills, Bills.” Thomas pleaded not guilty, blaming the shared files on mistaken identity, but last October a jury disagreed and fined her $222,000. That breaks down to a whopping $9,250 per song—more than six times her annual salary. At press time, Thomas was planning an appeal.
Unintended consequence The nation’s toddlers and fluffy kittens rush to erase their hard drives.
Pay (Somebody Else) To Play
#4 Indie promoters take the major labels to the cleaners
After the payola scandals of the ’50s, the government barred record labels from paying radio stations to play records. The solution: set up middlemen to do the dirty work! “Independent promoters” represented the labels’ interests to radio programmers, creating a massive cash flow of corruption. Even a mid-size hit could cost $700,000 in promo expenses—cash, vacations, drugs and other illicit rewards for mustachioed DJs—and labels ended up paying to get airplay for huge artists the stations would have spun anyway. A lot of coked-up DJs got nice tans, while the labels spent unnecessary millions and covered their balance sheets in bloody red.
Unintended consequence Colombian GDP spikes each time Mariah Carey releases a single.
Detroit At a Discount
#3 Motown sells for a pittance
In 1988 Berry Gordy Jr., reportedly losing millions of dollars on the label he had founded decades earlier, sold Motown and its incomparable back catalogue to MCA and investment company Boston Ventures for $60 million. How bad was that price? The next year, Herb Alpert and Jerry Moss sold their A&M Records to PolyGram for roughly $500 million. In 1990, David Geffen got about $700 million for Geffen Records and in ’92, Richard Branson unloaded Virgin Records to EMI for $960 million. And five years after buying Motown, Boston Ventures cashed out, selling the label to PolyGram for $325 million—a return of more than 500 percent.
Unintended consequence The Motown Atlantic airline, and Berry’s career as a trans-global balloonist, have yet to materialize.
Tomorrow Never Knows
#2 Decca Records A&R exec tells Fab Four, “No, thanks”
Dick Rowe was not the only record-label executive who passed on the Beatles in the early ’60s, but he was the only one who brushed off their manager, Brian Epstein, with the astute prediction that: “Groups with guitars are on their way out.” Epstein begged Rowe to reconsider, so Rowe hopped a train to Liverpool to check out the band live. When he arrived at the Cavern, he found a mob of kids trying to force their way into the club in the pouring rain. Annoyed, he smoked a cigarette, went home and signed Brian Poole and the Tremeloes instead.
Unintended consequence The Monkees
THE BIGGEST RECORD-COMPANY SCREWUP OF ALL TIME
#1 Major labels squash Napster
Shawn Fanning’s file-sharing service attracted tens of millions of users, but instead of trying to find a way to capitalize on it, the Recording Industry Association of America rejected Napster’s billion-dollar settlement offer and sued it out of existence in 2001. Napster’s users didn’t just disappear. They scattered to hundreds of alternative systems—and new technology has stayed three steps ahead of the music business ever since. The labels’ campaign to stop their music from being acquired for free across the Internet has been like trying to cork a hurricane—upward of a billion files are swapped every month on peer-to-peer networks. Since Napster closed, “there’s been no decline in the rate of online piracy,” says Eric Garland of media analysts BigChampagne, who logged users of son-of-Napster peer-to-peer networks more than doubling between 2002 and 2007. And that figure doubles again if you count BitTorrent.
Unintended consequence Your grandmother deciding to trade up from that dial-up connection
This Day In Music History-March 26
Happy Birthday to Diana Ross, born in 1944.
Steven Tyler of Aerosmith was born in 1948.
Johnny Crawford ("Cindy's Birthday") and “Rifleman” fame turns 62.
Alan Arkin of the Tarriers ("Banana Boat Song" and later an Academy Award winning actor) is 74.
Fred Parris of the Five Satins ("In The Still Of The Night") turns 72.
Birthday wishes to Vicki Lawrence ("The Night The Lights Went Out In Georgia"), who is 59.
Jon Jon Poulos of the Buckinghams ("Don't You Care") died of heart failure in 1980.
Peter Yarrow of Peter, Paul & Mary was arrested in Washington, DC in 1970 for taking "immoral liberties" with a 14 year-old girl (he pleads guilty and spends three months in jail).
Ricky Nelson recorded his first tunes-- "I'm Walkin'" and "A Teenager's Romance" in 1957.
"Man in the Mirror" by Michael Jackson topped the charts in 1988 and stayed there for 2 weeks.
Jan Berry of '60s surf duo Jan & Dean ("Surf City") died in 2004 following a seizure at his Los Angeles home. Jan & Dean's career was curtailed when Berry was paralyzed following a 1966 car crash that eerily paralleled their hit "Deadman's Curve". He was 62.
In 2002, Former president Bill Clinton told the New York Times that he's listening to "Puff Daddy, or whatever they call him now." (and he never inhaled either)
Elvis Costello released his first single, "Less Than Zero" in 1977.
In 1972, Mott the Hoople decided to break up, but changed their minds when David Bowie came calling with a song called "All the Young Dudes."
For you trivia buffs-Nena was born as Gabriele Kerner in Hagen, Germany in 1960. She's a one-hit-wonder known for 1983's excellent "99 Luftballons."
Bluesman Rufus Thomas, who had '70s hits with songs like "Do the Funky Chicken," was born in Cayce, MS in 1917.
James Iha (formerly of the Smashing Pumpkins) entered the world in 1968. The Japanese-American guitarist is from Chicago.
Fran Sheehan has a birthday. The Boston bassist was born in Beantown in 1946.
E.L.O.’s keyboardist, Richard Tandy, began his life in Birmingham, England in 1948.
In 1958, Eddie Cochran recorded his only US Top Ten hit, "Summertime Blues", which rose to #8 in the US the next fall.
In 1980, seven years after its release, Pink Floyd's "The Dark Side of the Moon" breaks the record for the longest-charting Pop album, previously held by Carole King's "Tapestry". At the same time, their latest single "Another Brick In The Wall" was topping both the Cashbox Best Sellers chart and the Billboard Hot 100.
Guns N' Roses was signed to Geffen Records in 1986.
In 2003, the aging ‘boy band’ Backstreet Boys released a statement to say that while they're not splitting up, they're not making a new album either. (Who?)
In 1977, 'Islands,' the final album by The Band’s original lineup, was released. Having met their contractual obligation to Capitol Records, they were free to disband – which they did.
Steven Tyler of Aerosmith was born in 1948.
Johnny Crawford ("Cindy's Birthday") and “Rifleman” fame turns 62.
Alan Arkin of the Tarriers ("Banana Boat Song" and later an Academy Award winning actor) is 74.
Fred Parris of the Five Satins ("In The Still Of The Night") turns 72.
Birthday wishes to Vicki Lawrence ("The Night The Lights Went Out In Georgia"), who is 59.
Jon Jon Poulos of the Buckinghams ("Don't You Care") died of heart failure in 1980.
Peter Yarrow of Peter, Paul & Mary was arrested in Washington, DC in 1970 for taking "immoral liberties" with a 14 year-old girl (he pleads guilty and spends three months in jail).
Ricky Nelson recorded his first tunes-- "I'm Walkin'" and "A Teenager's Romance" in 1957.
"Man in the Mirror" by Michael Jackson topped the charts in 1988 and stayed there for 2 weeks.
Jan Berry of '60s surf duo Jan & Dean ("Surf City") died in 2004 following a seizure at his Los Angeles home. Jan & Dean's career was curtailed when Berry was paralyzed following a 1966 car crash that eerily paralleled their hit "Deadman's Curve". He was 62.
In 2002, Former president Bill Clinton told the New York Times that he's listening to "Puff Daddy, or whatever they call him now." (and he never inhaled either)
Elvis Costello released his first single, "Less Than Zero" in 1977.
In 1972, Mott the Hoople decided to break up, but changed their minds when David Bowie came calling with a song called "All the Young Dudes."
For you trivia buffs-Nena was born as Gabriele Kerner in Hagen, Germany in 1960. She's a one-hit-wonder known for 1983's excellent "99 Luftballons."
Bluesman Rufus Thomas, who had '70s hits with songs like "Do the Funky Chicken," was born in Cayce, MS in 1917.
James Iha (formerly of the Smashing Pumpkins) entered the world in 1968. The Japanese-American guitarist is from Chicago.
Fran Sheehan has a birthday. The Boston bassist was born in Beantown in 1946.
E.L.O.’s keyboardist, Richard Tandy, began his life in Birmingham, England in 1948.
In 1958, Eddie Cochran recorded his only US Top Ten hit, "Summertime Blues", which rose to #8 in the US the next fall.
In 1980, seven years after its release, Pink Floyd's "The Dark Side of the Moon" breaks the record for the longest-charting Pop album, previously held by Carole King's "Tapestry". At the same time, their latest single "Another Brick In The Wall" was topping both the Cashbox Best Sellers chart and the Billboard Hot 100.
Guns N' Roses was signed to Geffen Records in 1986.
In 2003, the aging ‘boy band’ Backstreet Boys released a statement to say that while they're not splitting up, they're not making a new album either. (Who?)
In 1977, 'Islands,' the final album by The Band’s original lineup, was released. Having met their contractual obligation to Capitol Records, they were free to disband – which they did.
Debbie Hennessey-Country Rock Star
By Robert Benson
Debbie Hennessey accolades are impressive, including AC40 Female Artist of the Year by New music Weekly, she is a two-time ASCAPlus Award recipient, named Best Vocalist of the Month by Singer Universe, received Honorable Mentions in both the Billboard World Song Contest and Great American Song Contest, just to name a few.
But what is most impressive and what Debbie Hennessey is best known for is her immense musical talent and songwriting abilities. Her new CD, “Good As Gone” is a fresh country pop sound that is sure to go places.
The title cut, “Good As Gone” is a peppy country rock ditty with impeccable vocals and harmonies (“Good As Gone” was written by Mark Luna & Richard Wold). This L.A.-based country pop rocker is ready to take on Nashville by storm with her catchy singles and ‘from the heart’ lyrics. “Love Might Change Your Mind” is a classic acoustic guitar pop song that is sung with soft toned vocals and harmonies. The cut “When Two Become One,” with brilliant lyrics and a soulful swagger is a modern day pop classic and may be her signature ballad. (“When Two Become One” was written by Mark Luna & Terry Burns).
“Dare Me” is a playful, seductive country pop melody that belongs on any mainstream country radio play list. Another playful ditty called “Man Free Weekend,” is sung from the heart and implies what every woman needs every now and then.
These co-written songs are consistently creative, articulated and passionate. When a listener can not only hear the passion in a song, but actually feel it, then the musician’s job is done. Debbie Hennessey certainly does her job; she is a masterful musician and talent that everyone must experience.
Visit Debbie:
www.ilike2rock.net/members/93/
profile.myspace.com/
www.debbiehennessey.com/
Debbie Hennessey accolades are impressive, including AC40 Female Artist of the Year by New music Weekly, she is a two-time ASCAPlus Award recipient, named Best Vocalist of the Month by Singer Universe, received Honorable Mentions in both the Billboard World Song Contest and Great American Song Contest, just to name a few.
But what is most impressive and what Debbie Hennessey is best known for is her immense musical talent and songwriting abilities. Her new CD, “Good As Gone” is a fresh country pop sound that is sure to go places.
The title cut, “Good As Gone” is a peppy country rock ditty with impeccable vocals and harmonies (“Good As Gone” was written by Mark Luna & Richard Wold). This L.A.-based country pop rocker is ready to take on Nashville by storm with her catchy singles and ‘from the heart’ lyrics. “Love Might Change Your Mind” is a classic acoustic guitar pop song that is sung with soft toned vocals and harmonies. The cut “When Two Become One,” with brilliant lyrics and a soulful swagger is a modern day pop classic and may be her signature ballad. (“When Two Become One” was written by Mark Luna & Terry Burns).
“Dare Me” is a playful, seductive country pop melody that belongs on any mainstream country radio play list. Another playful ditty called “Man Free Weekend,” is sung from the heart and implies what every woman needs every now and then.
These co-written songs are consistently creative, articulated and passionate. When a listener can not only hear the passion in a song, but actually feel it, then the musician’s job is done. Debbie Hennessey certainly does her job; she is a masterful musician and talent that everyone must experience.
Visit Debbie:
www.ilike2rock.net/members/93/
profile.myspace.com/
www.debbiehennessey.com/
Tuesday, March 25, 2008
Freedom and Whiskey
By Robert Benson
The hard-rocking group “Freedom and Whiskey” has added a new voice to their arsenal, the husky growl and presence of vocalist Mark Hoeskstra. Add to that, the guitar prowess of ex- Days of the New guitarist Chuck Mingus, blend in the exceptional bass lines of Bill Goins, the stalwart skin work of drummer Mike Huettig and you have a recipe for an iconic rock and roll band that any hard-rocking American would be proud of.
Their third CD, “Super Real,” is a full and complete recipe of pure, masterful rock, blues and acoustic gems. Adeptly mixing their influences such as Led Zeppelin, Pink Floyd, Skynyrd, Collective Soul and ZZ Top, among many others, has this Louisville, Kentucky foursome catching listener’s ears nationwide.The cuts on the CD are tightly structured, classic rock jams with elements of a unique freshness that has MySpace and other online venues clamoring for more. The cut, “The Road,” is a hard-rocking lament to life on the road complete with a love torn chorus. The title cut, “Super Real” can remind some of the rapid-fire guitar prowess of Ted Nugent mixed with ZZ top riffolgy and details just how hard the band can rock. “Whiskey State Of Mind” is a unique southern rock anthem, ala the Allman Brothers Band, but with Zeppelin-like riffs and ZZ Top energy augmented by a supreme harmonica solo.
If your musical palette includes the blues, Freedom and Whiskey takes you down the blues road with the cut “Sellavision Blues.” A socially conscious number about the perils of the tube, the cut has Tragically Hip-like vocals and a lead guitar solo that will have ‘air guitarists’ breaking their fingers trying to keep up with Mingus’s passionate fingers and style. The cut “Freedom” is one that would belong on any Zeppelin play list, with classic acoustics and a guitar solo blended in with a modern rock punch. Another song, “Running Blind” is a precise acoustic ballad with Floyd-like guitar work meshing with the vocals as if in harmony. “For No Good Reason,” is an AC/DC type cut but with Freedom and Whiskey’s distinctive stamp on it, complete with a blues harmonica solo and raucous backing vocals.
Other cuts only exemplify just how much the band can rock and even the slower cuts are full of passion and poignant lyrics. The band can play slow, melodic numbers such as “August,” that has references to the perils we have all faced or the acoustic Floyd-like instrumental “Green.”
These veteran rockers have proved to be innovative, articulate and this cohesive, sophisticated CD will be heard years from now, as it is a masterful voice for this unique and hard-rocking quartet.
Freedom and Whiskey are:
Mark Hoekstra - Lead Vocals / Harmonica
Bill Goins - Bass Guitar / Lead Vocals / Backing Vocals
Mike Huettig- Drums / Backing Vocals
Chuck Mingis - Lead Guitar / Backing Vocals
Visit the band:
www.ilike2rock.net/members/11/
www.myspace.com/freedomandwhiskey
The hard-rocking group “Freedom and Whiskey” has added a new voice to their arsenal, the husky growl and presence of vocalist Mark Hoeskstra. Add to that, the guitar prowess of ex- Days of the New guitarist Chuck Mingus, blend in the exceptional bass lines of Bill Goins, the stalwart skin work of drummer Mike Huettig and you have a recipe for an iconic rock and roll band that any hard-rocking American would be proud of.
Their third CD, “Super Real,” is a full and complete recipe of pure, masterful rock, blues and acoustic gems. Adeptly mixing their influences such as Led Zeppelin, Pink Floyd, Skynyrd, Collective Soul and ZZ Top, among many others, has this Louisville, Kentucky foursome catching listener’s ears nationwide.The cuts on the CD are tightly structured, classic rock jams with elements of a unique freshness that has MySpace and other online venues clamoring for more. The cut, “The Road,” is a hard-rocking lament to life on the road complete with a love torn chorus. The title cut, “Super Real” can remind some of the rapid-fire guitar prowess of Ted Nugent mixed with ZZ top riffolgy and details just how hard the band can rock. “Whiskey State Of Mind” is a unique southern rock anthem, ala the Allman Brothers Band, but with Zeppelin-like riffs and ZZ Top energy augmented by a supreme harmonica solo.
If your musical palette includes the blues, Freedom and Whiskey takes you down the blues road with the cut “Sellavision Blues.” A socially conscious number about the perils of the tube, the cut has Tragically Hip-like vocals and a lead guitar solo that will have ‘air guitarists’ breaking their fingers trying to keep up with Mingus’s passionate fingers and style. The cut “Freedom” is one that would belong on any Zeppelin play list, with classic acoustics and a guitar solo blended in with a modern rock punch. Another song, “Running Blind” is a precise acoustic ballad with Floyd-like guitar work meshing with the vocals as if in harmony. “For No Good Reason,” is an AC/DC type cut but with Freedom and Whiskey’s distinctive stamp on it, complete with a blues harmonica solo and raucous backing vocals.
Other cuts only exemplify just how much the band can rock and even the slower cuts are full of passion and poignant lyrics. The band can play slow, melodic numbers such as “August,” that has references to the perils we have all faced or the acoustic Floyd-like instrumental “Green.”
These veteran rockers have proved to be innovative, articulate and this cohesive, sophisticated CD will be heard years from now, as it is a masterful voice for this unique and hard-rocking quartet.
Freedom and Whiskey are:
Mark Hoekstra - Lead Vocals / Harmonica
Bill Goins - Bass Guitar / Lead Vocals / Backing Vocals
Mike Huettig- Drums / Backing Vocals
Chuck Mingis - Lead Guitar / Backing Vocals
Visit the band:
www.ilike2rock.net/members/11/
www.myspace.com/freedomandwhiskey
Lisa Dames
By Robert Benson
Can a forty-year old housewife from Greensboro, NC make a name for herself and compete with the country icons that dominate country music these days? You can if your name is Lisa Dames. With the determination of a twenty-year old, this rising country music star has and is working hard to establish herself in the country music world.
Her first single, “Just Another Day,” is full of real-life lyrics and is a slow tempo ditty that explodes into a full-bore country rocker that would be at home on any country radio play list. In fact, the single reached #56 on the Music Row chart with over 7,000 spins on over 43 radio stations nationwide. Additionally, the video for “Just Another Day,” made its debut on national television on GAC’s “Positively Country” and has been added to CMT.com’s website.
Another cut called “Your Love,” is full of playful acoustics, rapid-fire lyrics and blended in perfectly with a rhythmic country flavor, sort of a Shiana Twain-like romp. Her second single, the banjo/violin laced “I’d Leave Me” is a perfect compliment to her country mystique, with tongue-in-cheek lyrical content and impeccable backing vocals. The cut, “No One Like Me,” is an introspective lament about what comes first in Lisa’s life-family and is passionately sang and expertly played. The ‘no regrets’ lyrical content emulates an exhilarating sweetness and is what I consider her signature ballad.
So from her constant touring that says to the world of country music, I am here!; Lisa Dames is slowly but surely making the world of country music her own musical haven. Working with Grammy nominated producer David Grow, and blending in her consistently inventive musicianship, Lisa Dames IS here, right alongside the top female country music superstars!
Visit Lisa Dames and Hear Her Music:
www.ilike2rock.net/members/29/audio.php
www.lisadames.com
www.myspace.com/lisadames
Can a forty-year old housewife from Greensboro, NC make a name for herself and compete with the country icons that dominate country music these days? You can if your name is Lisa Dames. With the determination of a twenty-year old, this rising country music star has and is working hard to establish herself in the country music world.
Her first single, “Just Another Day,” is full of real-life lyrics and is a slow tempo ditty that explodes into a full-bore country rocker that would be at home on any country radio play list. In fact, the single reached #56 on the Music Row chart with over 7,000 spins on over 43 radio stations nationwide. Additionally, the video for “Just Another Day,” made its debut on national television on GAC’s “Positively Country” and has been added to CMT.com’s website.
Another cut called “Your Love,” is full of playful acoustics, rapid-fire lyrics and blended in perfectly with a rhythmic country flavor, sort of a Shiana Twain-like romp. Her second single, the banjo/violin laced “I’d Leave Me” is a perfect compliment to her country mystique, with tongue-in-cheek lyrical content and impeccable backing vocals. The cut, “No One Like Me,” is an introspective lament about what comes first in Lisa’s life-family and is passionately sang and expertly played. The ‘no regrets’ lyrical content emulates an exhilarating sweetness and is what I consider her signature ballad.
So from her constant touring that says to the world of country music, I am here!; Lisa Dames is slowly but surely making the world of country music her own musical haven. Working with Grammy nominated producer David Grow, and blending in her consistently inventive musicianship, Lisa Dames IS here, right alongside the top female country music superstars!
Visit Lisa Dames and Hear Her Music:
www.ilike2rock.net/members/29/audio.php
www.lisadames.com
www.myspace.com/lisadames
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