Collector's Report reviews the top selling 45's, LP's, 78's and CD's each week on eBay. The following are the top sellers for the week of September 7 to September 13, 2008.
LP's
1) The Weasel Music - Frank Zappa - Side 1 Only Acetate - $2,550.00
2) Beatles Collection - Beatles - 14 albums still MFSL (SS) - $2,399.99
3) Gerard Gustin Trio - Gerard Gustin Trio - Beau LP 25 CM (VG+/VG) - $2,281.69
4) Saxophone Colossus - Sonny Rollins - Prestige PRLP 7079 (NM-/EX) - $2,025.00
5) Last Laugh - The Brigade - Band 'n Vocal BVRS-1066 (VG++/SW) - $1,725.00
45's
1) 12 Great New Sides - Elvis Presley - Rare promo 45, Only one of two records included, rare picture sleeve - RCA EPB 1254 (547-0794)(VG+/VG-) - $2,483.00
2) Check Her Out/Why Am I So Blue - Idols - USA 826 (VG++) - $2,125.00
3) Taking Care of Business/Say Something Nice to Me - Bobby Kline - MB Records 105 (NM-) - $1,727.00
4) Silver/Dive - Nirvana - Green vinyl single & test pressing with picture sleeve (VG++-NM/NM) - $1,346.00
5) Troubles, Troubles/1880 Twist - Ray Rivera - Dayhill 2009 (VG+) - $1,324.00
78's
1) Guitar Boogie/New York Blues - Blind Roosevelt Graves & His Brother - Paramount 12820 (E-) - $1,275.00
2) You So Dumb/Nasty-But It's Clean - Willie Kelly - Victor 23299 (E) - $1,242.00
3) She Done Sold It Out/My Love is Cold - Memphis Jug Band (E+) - $998.50
4) Unknown - Unknown - Chinese Red Label - Columbia 1302 (G+) - $876.00
5) One Night/I Got Stung - Elvis Presley - RCA Victor 20-7410 (VG+) - $765.55
Monday, September 15, 2008
Pink Floyd founder Richard Wright dies at 65
LONDON (Reuters) - Pink Floyd keyboard player and founding member Richard Wright died on Monday after a short battle with cancer, his spokesman said. He was 65.
Wright, guitarist Roger Waters and drummer Nick Mason founded the band that became Pink Floyd in the 1960s when they were students. Pink Floyd went on to become one of the biggest names in rock.
"The family of Richard Wright, founder member of Pink Floyd, announce with great sadness, that Richard died today after a short struggle with cancer," his spokesman said in a statement.
"The family have asked that their privacy is respected at this difficult time."
Wright co-wrote five songs on the record "Dark Side of the Moon" which was released in 1973, spent 14 years on the Billboard 200 album chart and is one of the best selling albums ever.
Wright left Pink Floyd after falling out with Waters during sessions for "The Wall." He rejoined the band in 1987.
(Reporting by David Clarke; Editing by Tim Castle)
Wright, guitarist Roger Waters and drummer Nick Mason founded the band that became Pink Floyd in the 1960s when they were students. Pink Floyd went on to become one of the biggest names in rock.
"The family of Richard Wright, founder member of Pink Floyd, announce with great sadness, that Richard died today after a short struggle with cancer," his spokesman said in a statement.
"The family have asked that their privacy is respected at this difficult time."
Wright co-wrote five songs on the record "Dark Side of the Moon" which was released in 1973, spent 14 years on the Billboard 200 album chart and is one of the best selling albums ever.
Wright left Pink Floyd after falling out with Waters during sessions for "The Wall." He rejoined the band in 1987.
(Reporting by David Clarke; Editing by Tim Castle)
Album Cover Art
Continuing our album cover art series, let's explore more controversial, weird, best and worst album covers as compiled by the staff at Gigwise.
Controversial
Clocking in at #44 is David Bowie's ‘Diamond Dogs’ – The cover art features a striking half-dog, half-Bowie figure painted by Belgian artist Guy Peellaert. It was controversial as the full painting clearly showed the hybrid’s genitalia. Very few copies of this original cover made their way into circulation at the time of the album's release. According to the record-collector publication Goldmine price guides, these albums have been among the most expensive record collectibles of all time, as high as thousands of US dollars for a single copy. The genitalia was quickly airbrushed out for the 1974 LP’s gatefold sleeve, although the original artwork (and another rejected cover featuring Bowie in a cordobes hat holding onto a ravenous dog) was included in subsequent Rykodisc/EMI re-issues.
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Weird
44. Penguin Café Orchestra: 'Signs of Life' - not much to say, they love penguins and naked people (if you look at their other album covers. Released in 1987 on the Editions E.G. label, now on Virgin. The Penguin Cafe Orchestra was a loose assembly of musicians headed by classically-trained guitarist, composer and arranger Simon Jeffes (Sussex, England, 1949-1997). Only Jeffes and cellist co-founder Helen Liebmann were core members; other musicians were drafted for the requirements of particular pieces or performances. Its sound does not fit easy categorization, but has elements of exuberant folk music and a minimalist aesthetic occasionally reminiscent of Philip Glass.
The Penguin Cafe Orchestra recorded and performed for 24 years until Jeffes died of a brain tumour in 1997.
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Worst
44. Razorlight – ‘Razorlight’ You would think that a band with such promise could have done more with an album cover- but why spend the money? Razorlight released their second album Razorlight on July 17, 2006, in the United Kingdom and it debuted at #1 in the UK Albums Chart a week later. It received mixed reviews, Q magazine giving it a rare 5/5 rating, whilst Pitchfork Media gave it 2.8/10. The leading single from the album, "In the Morning" was released as a single on July 3, 2006, which peaked at #3 in the UK Singles Chart. To date, it is their third biggest single after "Somewhere Else", which peaked at #2, and "America", which peaked at #1. It also reached #2 on iTunes' top songs chart.
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Best
44. Thom Yorke: ‘The Eraser’ The Eraser is the debut solo album by Radiohead lead singer Thom Yorke, released on 10 July 2006 in the United Kingdom and on 11 July in the United States and Canada. The album debuted at #3 on the UK Albums Chart and at #2 on the Billboard 200 in the United States, selling over 90,000 copies in its first week. The Eraser was nominated for both the Mercury Music Prize and the 2007 Grammy Award for Best Alternative Music Album.
The album's cover, a linocut by Stanley Donwood, depicts a figure in black hat and trenchcoat standing in imitation of King Canute, trying and failing to command the ocean. Around him are iconic London buildings that have been swept away by the Thames, including the Tower of London, the Houses of Parliament and the Thames Barrier. Donwood included this picture and other images seen in The Eraser booklet in his art exhibition London Views, prior to the album's release. The images were inspired by a large flood Donwood and Yorke both witnessed in Cornwall in 2004.
Controversial
Clocking in at #44 is David Bowie's ‘Diamond Dogs’ – The cover art features a striking half-dog, half-Bowie figure painted by Belgian artist Guy Peellaert. It was controversial as the full painting clearly showed the hybrid’s genitalia. Very few copies of this original cover made their way into circulation at the time of the album's release. According to the record-collector publication Goldmine price guides, these albums have been among the most expensive record collectibles of all time, as high as thousands of US dollars for a single copy. The genitalia was quickly airbrushed out for the 1974 LP’s gatefold sleeve, although the original artwork (and another rejected cover featuring Bowie in a cordobes hat holding onto a ravenous dog) was included in subsequent Rykodisc/EMI re-issues.
-------------------------------------------------------------------------------------
Weird
44. Penguin Café Orchestra: 'Signs of Life' - not much to say, they love penguins and naked people (if you look at their other album covers. Released in 1987 on the Editions E.G. label, now on Virgin. The Penguin Cafe Orchestra was a loose assembly of musicians headed by classically-trained guitarist, composer and arranger Simon Jeffes (Sussex, England, 1949-1997). Only Jeffes and cellist co-founder Helen Liebmann were core members; other musicians were drafted for the requirements of particular pieces or performances. Its sound does not fit easy categorization, but has elements of exuberant folk music and a minimalist aesthetic occasionally reminiscent of Philip Glass.
The Penguin Cafe Orchestra recorded and performed for 24 years until Jeffes died of a brain tumour in 1997.
-------------------------------------------------------------------------------------
Worst
44. Razorlight – ‘Razorlight’ You would think that a band with such promise could have done more with an album cover- but why spend the money? Razorlight released their second album Razorlight on July 17, 2006, in the United Kingdom and it debuted at #1 in the UK Albums Chart a week later. It received mixed reviews, Q magazine giving it a rare 5/5 rating, whilst Pitchfork Media gave it 2.8/10. The leading single from the album, "In the Morning" was released as a single on July 3, 2006, which peaked at #3 in the UK Singles Chart. To date, it is their third biggest single after "Somewhere Else", which peaked at #2, and "America", which peaked at #1. It also reached #2 on iTunes' top songs chart.
-------------------------------------------------------------------------------------
Best
44. Thom Yorke: ‘The Eraser’ The Eraser is the debut solo album by Radiohead lead singer Thom Yorke, released on 10 July 2006 in the United Kingdom and on 11 July in the United States and Canada. The album debuted at #3 on the UK Albums Chart and at #2 on the Billboard 200 in the United States, selling over 90,000 copies in its first week. The Eraser was nominated for both the Mercury Music Prize and the 2007 Grammy Award for Best Alternative Music Album.
The album's cover, a linocut by Stanley Donwood, depicts a figure in black hat and trenchcoat standing in imitation of King Canute, trying and failing to command the ocean. Around him are iconic London buildings that have been swept away by the Thames, including the Tower of London, the Houses of Parliament and the Thames Barrier. Donwood included this picture and other images seen in The Eraser booklet in his art exhibition London Views, prior to the album's release. The images were inspired by a large flood Donwood and Yorke both witnessed in Cornwall in 2004.
Sunday, September 14, 2008
Vinyl vs. CD
I recently found this article here: http://politicianrock.blogspot.com/2008/09/vinyl-vs-cd.htmland thought I would share it. It brings up many valid points, and I can agree with most. Someone asked me what I had for a 'sound system'. Not being an expert, I say that I have some great sounding speakers (I have no idea what kind they are, I inheirited when a friend passed away) and a mix and match receiver, CD player and I have recently purchased a new turntable (from my turntable store). But the main point here is that it all sounds good to me. And I tell people who ask me, "what is best?", I tell them it doesn't matter, it could be a 40 year-old suitcase model that you got from your grandmother or a $20,000 stereo system- if it sounds good to you-and you enjoy the music- well that's all that matters. You see, music is to be enjoyed, no matter what kind of stereo that you have. Now, I may ruffle a few feathers here with folks you have high end systems, but I love what I have and enjoy every minute of the music I play. And, it is always about the music- hail Vinyl!
Vinyl Vs. CD
Music purists and audiophiles claim that vinyl sounds far better than CD. Others claim that CDs are far cleaner than vinyl and avoid the annoyance of pops and unavoidable skips. Recently, Rolling Stone had an article that discussed the return of vinyl as well as asking master engineers which sounds better. It is interesting to note that Neilsen Soundscan have reported that in 2007 nearly one million new vinyl records were purchased, and that by the end of 2008, it could be around 1.6 million, nearly doubling the amount of vinyl sold in 2006. CD sales continue to drop as online downloading (both legal and illegal) progressively and almost aggressively becomes more popular.
So, is vinyl on its way back in? Among two small crowds, yes, it will maintain its power, and probably among the masses it may become a fad amongst "cool" kids. As for making a full-fledged comeback, it's not likely. Vinyl can cost nearly twice as much (or more) as a new CD. It's more expensive to make and is more expensive to ship, not to mention the labor is more difficult, resulting in hiked prices. Now, CDs don't need to be nearly as expensive as they are, as the production and shipping are far, far less than that of vinyl (and relatively cheap anyway, as a CD is estimated to cost about $2 US). In that sense, the music industry is screwing itself when it asks for $14 to $16 for a new album. The two pockets that are genuinely interested in vinyl are the older crowd, generally baby boomers who hold vinyl with nostalgia. The other are younger, mainly high school through college who listen to a good deal of music and enjoy sharing it with their friends. Album art and detailed liner notes interest them and add to the experience.
In hindsight, it's almost pointless to discuss whether CD sales will ever pick back up or if vinyl will ever surpass CDs as the second most popular medium (over downloads). What is worth discussing is the quality of each medium, and if one is truly better than the other.
Rolling Stone asked Bob Ludwig about three recent albums, concerned about which format was superior. The albums were Evil Urges by My Morning Jacket, Beggars Banquet (reissue) by the Rolling Stones, and Magic by Bruce Springsteen. Ludwig recommended vinyl for Evil Urges and Beggars Banquet, but went with CD for Magic. But only one one did he comment about the quality of the sound system, and that was for Magic. He said of it, "... On a really good sound system, it sounds a little bit warmer on vinyl."
I think that is the main thing that should be considered on the debate of vinyl vs. CD. How good is your sound system? I personally have a fairly mediocre system. My father picked up the equipment at a garage sale for $25, it included all Kenwood products; tuner, amp, pre-amp, and CD player. Before I moved into my apartment I snatched some of his old equipment, a Kenwood cassette player and surround sound setup. I have a turntable as well, an old Dual 1229. My speakers are two old KLH speakers, I do not know what model they are. In that respect, my system - depending on medium and quality of the release - can only sometimes audibly display one version as superior to the other.
I own somewhere between 150 and 200 albums, of which over 100 are CDs, the remaining being vinyl. This is another thing to take into account; the quality of the originals. Think about it this way, in 1967 the album Vanilla Fudge was released by Atco Records. I own both vinyl and CD. The original pressing from 1967 (or subsequent years, it is definitely very old) is in remarkably good condition considering its age. However, it seems to be slightly muffled and doesn't sound quite as good as the CD. One of the band's following albums, Near the Beginning, sounds even worse on vinyl. Yet, my Led Zeppelin records sound just as good as any CD of theirs that I have. My point being that the quality of the recording may vary from band to band based on the popularity of the band and quality of producers and engineers. Likewise, early CDs suffer the same problem. Take Slowhand by Eric Clapton. I own a CD from pressed in 1994, and compared to vinyl it sounds like a tinny FM rendition.
Finally, how much money do you have to spend and what do you want out of it? For those who want a complete musical experience, both audibly and visually, vinyl takes it, hands down. The sound of new 180 gram vinyl is just as good or better than a CD, and the gatefold albums with blown-up album art and liner note inserts make the experience all the more enjoyable. Plus, many modern artists include free online downloads so you can have the music on your iPod. For those who want a tangible copy for home entertainment or for the car, CD is the way to go. It is fairly cheaper than vinyl and can be burned to computers and therefore to iPods. Tracks can be mixed to make playlists, etc. For those who just want an album on their iPod or only a few tracks off an album, downloading from the iTunes store is the road to take. It's even cheaper than a CD and you get exactly the tracks you want.
It basically comes down to a few factors. 1) The quality of your sound system. The better it is, the better you'll be able to differentiate superior formats. 2) The quality of the format (vinyl or CD). Early CDs tend to sound very bad compared to remasters in the late 1990's to the present. Equally, old vinyl - especially those that have been passed down or bought in record stores - aren't always quality, as they can be over forty years old with unknown amounts of plays. 3) What do you want to get out of it? For an experience that can be shared with friends, vinyl is it. For the sake of having it, CD. Only need a few tracks? Download off of iTunes.
Not everyone is an audiophile, so the eternal debate is useless for most of us. What people need to think about is what they want, as that greatly dominates what they should purchase. Downloading music illegally is, well, illegal. While artists do make money off of tours, many need to prove to their labels (either major or independent) that they're worth keeping. Unfortunately, the artist doesn't see much money from a CD sale. I won't condone or condemn illegal downloading, but think about it this way; using torrents for getting albums and then putting them on your iPod is the equivalent to walking into a Best Buy and grabbing Highway 61 Revisited and then strolling out.
Is there a verdict in all this? What format is better? For me, I have begun to get back into vinyl. I prefer the experience, and since most new vinyl includes a free and legal download, I don't mind shelling out a few extra bucks. Does it sound better? Depends on my state of mind if you catch my drift, but that's not always what it's about. I enjoy listening to music with friends much more than walking around with headphone in my ears.
References: Rolling Stone - Vinyl Returns in the Age of MP3
Vinyl Vs. CD
Music purists and audiophiles claim that vinyl sounds far better than CD. Others claim that CDs are far cleaner than vinyl and avoid the annoyance of pops and unavoidable skips. Recently, Rolling Stone had an article that discussed the return of vinyl as well as asking master engineers which sounds better. It is interesting to note that Neilsen Soundscan have reported that in 2007 nearly one million new vinyl records were purchased, and that by the end of 2008, it could be around 1.6 million, nearly doubling the amount of vinyl sold in 2006. CD sales continue to drop as online downloading (both legal and illegal) progressively and almost aggressively becomes more popular.
So, is vinyl on its way back in? Among two small crowds, yes, it will maintain its power, and probably among the masses it may become a fad amongst "cool" kids. As for making a full-fledged comeback, it's not likely. Vinyl can cost nearly twice as much (or more) as a new CD. It's more expensive to make and is more expensive to ship, not to mention the labor is more difficult, resulting in hiked prices. Now, CDs don't need to be nearly as expensive as they are, as the production and shipping are far, far less than that of vinyl (and relatively cheap anyway, as a CD is estimated to cost about $2 US). In that sense, the music industry is screwing itself when it asks for $14 to $16 for a new album. The two pockets that are genuinely interested in vinyl are the older crowd, generally baby boomers who hold vinyl with nostalgia. The other are younger, mainly high school through college who listen to a good deal of music and enjoy sharing it with their friends. Album art and detailed liner notes interest them and add to the experience.
In hindsight, it's almost pointless to discuss whether CD sales will ever pick back up or if vinyl will ever surpass CDs as the second most popular medium (over downloads). What is worth discussing is the quality of each medium, and if one is truly better than the other.
Rolling Stone asked Bob Ludwig about three recent albums, concerned about which format was superior. The albums were Evil Urges by My Morning Jacket, Beggars Banquet (reissue) by the Rolling Stones, and Magic by Bruce Springsteen. Ludwig recommended vinyl for Evil Urges and Beggars Banquet, but went with CD for Magic. But only one one did he comment about the quality of the sound system, and that was for Magic. He said of it, "... On a really good sound system, it sounds a little bit warmer on vinyl."
I think that is the main thing that should be considered on the debate of vinyl vs. CD. How good is your sound system? I personally have a fairly mediocre system. My father picked up the equipment at a garage sale for $25, it included all Kenwood products; tuner, amp, pre-amp, and CD player. Before I moved into my apartment I snatched some of his old equipment, a Kenwood cassette player and surround sound setup. I have a turntable as well, an old Dual 1229. My speakers are two old KLH speakers, I do not know what model they are. In that respect, my system - depending on medium and quality of the release - can only sometimes audibly display one version as superior to the other.
I own somewhere between 150 and 200 albums, of which over 100 are CDs, the remaining being vinyl. This is another thing to take into account; the quality of the originals. Think about it this way, in 1967 the album Vanilla Fudge was released by Atco Records. I own both vinyl and CD. The original pressing from 1967 (or subsequent years, it is definitely very old) is in remarkably good condition considering its age. However, it seems to be slightly muffled and doesn't sound quite as good as the CD. One of the band's following albums, Near the Beginning, sounds even worse on vinyl. Yet, my Led Zeppelin records sound just as good as any CD of theirs that I have. My point being that the quality of the recording may vary from band to band based on the popularity of the band and quality of producers and engineers. Likewise, early CDs suffer the same problem. Take Slowhand by Eric Clapton. I own a CD from pressed in 1994, and compared to vinyl it sounds like a tinny FM rendition.
Finally, how much money do you have to spend and what do you want out of it? For those who want a complete musical experience, both audibly and visually, vinyl takes it, hands down. The sound of new 180 gram vinyl is just as good or better than a CD, and the gatefold albums with blown-up album art and liner note inserts make the experience all the more enjoyable. Plus, many modern artists include free online downloads so you can have the music on your iPod. For those who want a tangible copy for home entertainment or for the car, CD is the way to go. It is fairly cheaper than vinyl and can be burned to computers and therefore to iPods. Tracks can be mixed to make playlists, etc. For those who just want an album on their iPod or only a few tracks off an album, downloading from the iTunes store is the road to take. It's even cheaper than a CD and you get exactly the tracks you want.
It basically comes down to a few factors. 1) The quality of your sound system. The better it is, the better you'll be able to differentiate superior formats. 2) The quality of the format (vinyl or CD). Early CDs tend to sound very bad compared to remasters in the late 1990's to the present. Equally, old vinyl - especially those that have been passed down or bought in record stores - aren't always quality, as they can be over forty years old with unknown amounts of plays. 3) What do you want to get out of it? For an experience that can be shared with friends, vinyl is it. For the sake of having it, CD. Only need a few tracks? Download off of iTunes.
Not everyone is an audiophile, so the eternal debate is useless for most of us. What people need to think about is what they want, as that greatly dominates what they should purchase. Downloading music illegally is, well, illegal. While artists do make money off of tours, many need to prove to their labels (either major or independent) that they're worth keeping. Unfortunately, the artist doesn't see much money from a CD sale. I won't condone or condemn illegal downloading, but think about it this way; using torrents for getting albums and then putting them on your iPod is the equivalent to walking into a Best Buy and grabbing Highway 61 Revisited and then strolling out.
Is there a verdict in all this? What format is better? For me, I have begun to get back into vinyl. I prefer the experience, and since most new vinyl includes a free and legal download, I don't mind shelling out a few extra bucks. Does it sound better? Depends on my state of mind if you catch my drift, but that's not always what it's about. I enjoy listening to music with friends much more than walking around with headphone in my ears.
References: Rolling Stone - Vinyl Returns in the Age of MP3
Album Cover Art
Let's continue our look at Gigwise's most controversial, weird, best and worst album covers as compiled by their staff. Some I agree with, some would rate a bit different, but everyone has their own opinion.
Controversial
45. Roxy Music: ‘Country Life’ – The cover features two scantily-clad models, Constanze Karoli (reportedly the sister of Can's Michael Karoli) and Eveline Grunwald. Bryan Ferry met them in Portugal and persuaded them to do the photo shoot as well as to help him with the words to the song "Bitter-Sweet". Although not credited for their photos they are credited on the lyric sheet for their German translation work.
Roxy Music is an English art rock group founded in the early 1970s by art school graduate Bryan Ferry (vocals and keyboards). The other members are Phil Manzanera (guitars), Andy Mackay (saxophone and oboe) and Paul Thompson (drums and percussion). Former members include Brian Eno (synthesizer and "treatments"), and Eno's replacement Eddie Jobson (synthesizer and violin). Extant from 1971 through 1983, they reunited for a concert tour in 2001, and have announced that they are recording a new album for a yet-to-be-confirmed release date.
The cover image was considered controversial in some countries such as the United States, Spain, and The Netherlands, where it was censored for release. As a result, a later American LP release of Country Life featured a different cover shot. Instead of Karoli and Grunwald posed in front of some trees, the revised cover featured only the trees. Author Michael Ochs has described the result as the "most complete cover-up in rock history".
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Weirdest
The Cranberries: 'Bury The Hatchet' Bury the Hatchet was the fourth album by The Cranberries, released in 1999. In the US, the album has sold 377,000 copies as of April 2007.
It's the first album released by the band after their (first) hiatus which started back in 1996. Dolores had taken that time to heal from stress-induced diseases, and also had her first child, Taylor, during this period. This last fact reflected on some of the tracks in the album, mainly on "Animal Instinct" and "You and Me". The sound of the band had matured. It wasn't the melancholic and nostalgic feel of their first two albums, and it steered far apart of the anger shown in To the Faithful Departed. The themes of the songs vary, from maternity and children, to divorce and child abuse. The cover, although controversial, is a great glimpse at many phobias and the fact that you are being watched, wherever you are!
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Worst
Logging in at #45 is Vanilla Ice – ‘To The Extreme’ Released: August 28, 1990
Chart Positions: #1 US, #6 R&B/Hip-Hop
Last RIAA certification: 7x Platinum
Singles: "Ice Ice Baby", "Play That Funky Music", "I Love You"
Not much more has to be said.
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Best
45. Kiss: ‘Alive!’ When the album came out, KISS was the band, true rock & roll heaven. Add in the make-up, platform shoes and sheer excess and you have rock & roll in the 70's
Alive! was Kiss' fourth album and is considered their breakthrough, as well as a landmark for live albums. Released on September 10, 1975, the double-disc set contained live versions of selected tracks from their first three studio albums, Kiss, Hotter Than Hell, and Dressed to Kill. It peaked at #9 on the album charts. The album charted for 110 weeks, by far the longest in the band's history. In 2003, the album was ranked number 159 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Controversial
45. Roxy Music: ‘Country Life’ – The cover features two scantily-clad models, Constanze Karoli (reportedly the sister of Can's Michael Karoli) and Eveline Grunwald. Bryan Ferry met them in Portugal and persuaded them to do the photo shoot as well as to help him with the words to the song "Bitter-Sweet". Although not credited for their photos they are credited on the lyric sheet for their German translation work.
Roxy Music is an English art rock group founded in the early 1970s by art school graduate Bryan Ferry (vocals and keyboards). The other members are Phil Manzanera (guitars), Andy Mackay (saxophone and oboe) and Paul Thompson (drums and percussion). Former members include Brian Eno (synthesizer and "treatments"), and Eno's replacement Eddie Jobson (synthesizer and violin). Extant from 1971 through 1983, they reunited for a concert tour in 2001, and have announced that they are recording a new album for a yet-to-be-confirmed release date.
The cover image was considered controversial in some countries such as the United States, Spain, and The Netherlands, where it was censored for release. As a result, a later American LP release of Country Life featured a different cover shot. Instead of Karoli and Grunwald posed in front of some trees, the revised cover featured only the trees. Author Michael Ochs has described the result as the "most complete cover-up in rock history".
-------------------------------------------------------------------------------------
Weirdest
The Cranberries: 'Bury The Hatchet' Bury the Hatchet was the fourth album by The Cranberries, released in 1999. In the US, the album has sold 377,000 copies as of April 2007.It's the first album released by the band after their (first) hiatus which started back in 1996. Dolores had taken that time to heal from stress-induced diseases, and also had her first child, Taylor, during this period. This last fact reflected on some of the tracks in the album, mainly on "Animal Instinct" and "You and Me". The sound of the band had matured. It wasn't the melancholic and nostalgic feel of their first two albums, and it steered far apart of the anger shown in To the Faithful Departed. The themes of the songs vary, from maternity and children, to divorce and child abuse. The cover, although controversial, is a great glimpse at many phobias and the fact that you are being watched, wherever you are!
-------------------------------------------------------------------------------------
Worst
Logging in at #45 is Vanilla Ice – ‘To The Extreme’ Released: August 28, 1990
Chart Positions: #1 US, #6 R&B/Hip-Hop
Last RIAA certification: 7x Platinum
Singles: "Ice Ice Baby", "Play That Funky Music", "I Love You"
Not much more has to be said.
----------------------------------------------
Best
45. Kiss: ‘Alive!’ When the album came out, KISS was the band, true rock & roll heaven. Add in the make-up, platform shoes and sheer excess and you have rock & roll in the 70's
Alive! was Kiss' fourth album and is considered their breakthrough, as well as a landmark for live albums. Released on September 10, 1975, the double-disc set contained live versions of selected tracks from their first three studio albums, Kiss, Hotter Than Hell, and Dressed to Kill. It peaked at #9 on the album charts. The album charted for 110 weeks, by far the longest in the band's history. In 2003, the album was ranked number 159 on Rolling Stone magazine's list of the 500 greatest albums of all time.
This Date In Music History- September 14
Birthdays:
Born on this day in 1946, Pete Agnew of Nazareth.
Born on this day in 1983, troubled UK singer, songwriter Amy Winehouse.
Free guitarist Paul Kossoff was born in Hempstead, England in 1950.
Joey Heatherton ("Gone") turns 64.
John "Bowser" Bauman (Sha Na Na) was born in 1947.
History:
In 1963, ABC invited Pete Seeger to appear on the network's Hootenanny, hoping the folk icon would break a boycott of the program by fellow folk singers. However, he refused after being asked to sign an oath of loyalty to the U.S. We hope that ABC's policy on musical guests has changed since then.
The late Barry Cowsill of the Cowsills ("Hair") was born in 1954.
In 1968, Roy Orbison's two sons died in a fire at his Hendersonville, Tennessee home while he was performing in England.
What's next for the Who's Pete Townshend in 1968? He tells Rolling Stone today that he's working on a rock opera about a deaf, dumb, and blind boy. The pinball bit must have come later.
Also in 1968, The Archies premiered on CBS. Producer Don Kirshner later succeeds on sending the Archies' single "Sugar Sugar" to No. 1 in the US. The following year The Archies started an eight-week run at No.1 on the UK singles chart with 'Sugar Sugar', becoming the longest running one hit wonder in the UK. Not bad for a group that was a cartoon.
At a Sotheby's auction in 1995, the star lot is Paul McCartney's handwritten lyrics for "Getting Better." It sold for $249,000.
In 1814, Francis Scott Key wrote the lyrics to the "Star-Spangled Banner." The song became the official U.S. national anthem on March 3, 1931.
Genesis played their first gig for money in Surrey, England in 1969, at a cottage owned by a Sunday school teacher.
Pink Floyd's movie "The Wall" began production in 1981.
In 1979, the film Quadrophenia was released. Based on The Who’s 1973 rock opera, the film featured Phil Daniels, Toyah Willcox, Ray Winstone, Michael Elphick and Sting.
In 1974, Eric Clapton’s version of the Wailers’ “I Shot the Sheriff,” written by head Wailer Bob Marley, hits #1 and helped generate interest in reggae music.
The Grateful Dead played the first of three shows in the shadow of the Great Pyramid in Giza in 1978. Proceeds go to the Egyptian Department of Antiquities and the Faith & Hope Society for the Handicapped.
In 2007, The Beatles-themed movie musical, Across The Universe, begins a limited theatrical release. Pass. If you like Beatles songs showing up here, there and anywhere in a movie go watch Yellow Submarine again. Besides, Yellow Submarine has a more believable plot. The soundtrack (also out) consists of Beatles covers, including performances by Joe Cocker (who had success singing Beatles songs early in his career) and Bono. The U2 frontman’s take on "I Am The Walrus" is in the film, while his rendition of "Lucy In The Sky With Diamonds" is heard during the end credits.
Bachman-Turner Overdrive’s “Not Fragile” lands on the album chart in 1974. It eventually tops the survey.
Little Richard recorded his first hit, "Tutti-Frutti" in 1955. His original lyrics were "cleaned up" by a local songwriter.
Born on this day in 1946, Pete Agnew of Nazareth.
Born on this day in 1983, troubled UK singer, songwriter Amy Winehouse.
Free guitarist Paul Kossoff was born in Hempstead, England in 1950.
Joey Heatherton ("Gone") turns 64.
John "Bowser" Bauman (Sha Na Na) was born in 1947.
History:
In 1963, ABC invited Pete Seeger to appear on the network's Hootenanny, hoping the folk icon would break a boycott of the program by fellow folk singers. However, he refused after being asked to sign an oath of loyalty to the U.S. We hope that ABC's policy on musical guests has changed since then.
The late Barry Cowsill of the Cowsills ("Hair") was born in 1954.
In 1968, Roy Orbison's two sons died in a fire at his Hendersonville, Tennessee home while he was performing in England.
What's next for the Who's Pete Townshend in 1968? He tells Rolling Stone today that he's working on a rock opera about a deaf, dumb, and blind boy. The pinball bit must have come later.
Also in 1968, The Archies premiered on CBS. Producer Don Kirshner later succeeds on sending the Archies' single "Sugar Sugar" to No. 1 in the US. The following year The Archies started an eight-week run at No.1 on the UK singles chart with 'Sugar Sugar', becoming the longest running one hit wonder in the UK. Not bad for a group that was a cartoon.
At a Sotheby's auction in 1995, the star lot is Paul McCartney's handwritten lyrics for "Getting Better." It sold for $249,000.
In 1814, Francis Scott Key wrote the lyrics to the "Star-Spangled Banner." The song became the official U.S. national anthem on March 3, 1931.
Genesis played their first gig for money in Surrey, England in 1969, at a cottage owned by a Sunday school teacher.
Pink Floyd's movie "The Wall" began production in 1981.
In 1979, the film Quadrophenia was released. Based on The Who’s 1973 rock opera, the film featured Phil Daniels, Toyah Willcox, Ray Winstone, Michael Elphick and Sting.
In 1974, Eric Clapton’s version of the Wailers’ “I Shot the Sheriff,” written by head Wailer Bob Marley, hits #1 and helped generate interest in reggae music.
The Grateful Dead played the first of three shows in the shadow of the Great Pyramid in Giza in 1978. Proceeds go to the Egyptian Department of Antiquities and the Faith & Hope Society for the Handicapped.
In 2007, The Beatles-themed movie musical, Across The Universe, begins a limited theatrical release. Pass. If you like Beatles songs showing up here, there and anywhere in a movie go watch Yellow Submarine again. Besides, Yellow Submarine has a more believable plot. The soundtrack (also out) consists of Beatles covers, including performances by Joe Cocker (who had success singing Beatles songs early in his career) and Bono. The U2 frontman’s take on "I Am The Walrus" is in the film, while his rendition of "Lucy In The Sky With Diamonds" is heard during the end credits.
Bachman-Turner Overdrive’s “Not Fragile” lands on the album chart in 1974. It eventually tops the survey.
Little Richard recorded his first hit, "Tutti-Frutti" in 1955. His original lyrics were "cleaned up" by a local songwriter.
Saturday, September 13, 2008
Record Show Information
Looking for the next record convention/sale in your area? Now you have the resource to find the upcoming record shows in your part of the country!
http://www.recordshowsofamerica.com/index.html
http://www.recordshowsofamerica.com/index.html
Superstar DJ Record Fair Set for Sunday
In the New York area??
Vinyl collectors are a rare breed. They know about limited edition pressings of records most people have never heard of and they'd travel to the end of the earth for the chance to dig for wax. In keeping with the recent resurgence in vinyl, the first Superstar DJ Record Fair will take place on Sunday at the Brooklyn Flea at Bishop Loughlin Memorial High School in Ft. Greene. And yes, the event will feature a host of superstar DJs, including DJ/Rupture, DJ Rehka, McBoing Boing, some of the the folks from Def Jux Records and Breakbeat Science’s DB and Dara. After the DJs play their half-hour set (which will consist of platters from their personal record collections), shoppers will be able to buy the record straight off the turntable. How's the for instant gratification? The fair is run by scenester/journalist Eric Demby, who is expecting several thousand visitors. Says Demby, "It's 100% rain or shine, and we rented a huge tent for all the record vendors."
Vinyl collectors are a rare breed. They know about limited edition pressings of records most people have never heard of and they'd travel to the end of the earth for the chance to dig for wax. In keeping with the recent resurgence in vinyl, the first Superstar DJ Record Fair will take place on Sunday at the Brooklyn Flea at Bishop Loughlin Memorial High School in Ft. Greene. And yes, the event will feature a host of superstar DJs, including DJ/Rupture, DJ Rehka, McBoing Boing, some of the the folks from Def Jux Records and Breakbeat Science’s DB and Dara. After the DJs play their half-hour set (which will consist of platters from their personal record collections), shoppers will be able to buy the record straight off the turntable. How's the for instant gratification? The fair is run by scenester/journalist Eric Demby, who is expecting several thousand visitors. Says Demby, "It's 100% rain or shine, and we rented a huge tent for all the record vendors."
Vinyl Revolution: In a Digital Age, The LP Record Makes a Comeback
Another great Vinyl Record article, this from the Wall Street Journal, a bit lengthy, but the story is the same....Hail Vinyl!
By CRAIG WINNEKER
September 12, 2008
A group of 20-something tourists from Istanbul are wandering along London's Portobello Road when one of them, Surhan Gebologlu, walks into Intoxica, a bamboo-covered record shop with an inviting array of LPs displayed on its walls -- everything from Sly and the Family Stone's "A Whole New Thing" to "Scientist at the Controls of Dub."
"I just got a record player," he says, inspecting a mint-condition copy of "The Queen Is Dead" by the Smiths. "My girlfriend bought it for me and I want to use it."
He's not alone. The 12-inch vinyl LP record -- in decline for the past two decades, clung to only by DJs, audiophile nerds and collectors -- is back. Sales of new LPs are on the rise -- the only segment of the market for physical-format recorded music (CDs, tapes and records) to expand during the digital revolution -- and more groups are releasing albums on vinyl, often creatively packaged in combination with digital formats. For young people just discovering vinyl and older listeners indulging in a bit of sonic nostalgia, a record player is suddenly a trendy new piece of audio equipment. Sales of turntables increased more than 80% from 2006 to 2007 and are continuing to rise this year, according to the Consumer Electronics Association.
While LPs remain a niche product -- the sales figures are minuscule compared with the amount of music sold digitally -- their resurgence is notable. World-wide sales of LP records doubled in 2007 (from three million to six million units) after hitting an all-time low in 2006, according to figures from IFPI, the international recording industry trade association. Global sales of CDs dropped 12% in the same period, after having fallen 10% the previous year. In the U.S., sales of vinyl records increased 36% from 2006-2007 while CD sales dropped nearly 18%. Those figures are just for new purchases; they don't include the vast secondary market for LPs online and in used record shops.
SPIN CONTROL
Take a look at four popular and widely available record players."Last year and this year have been our busiest ever," says Kris Jones of London's Sounds of the Universe record shop, which sells more music on vinyl than on CD. "It's really crazy."
Why the sudden interest in a bulky, old-fashioned format that costs more than downloading and requires equipment most people banished to the basement long ago? Some of it is due to increased visibility in a changing marketplace. Record companies are looking for innovative ways to make people pay for music -- often music they already have in another format -- rather than get it free or at a reduced price over the Internet. Vinyl is one way to attract buyers with something more tangible than a computer file.
"There's a reaction against the commoditization of music" that downloading represents, says Mike Allen, a music-industry consultant and former vice president of international marketing for record company EMI Group. "With vinyl there's something that has innate value -- a physical object."
LPs hitting the market in recent months have run the gamut from major acts like Coldplay and Madonna to hip new groups like Black Kids and the Hold Steady and even to indie bands who press a few thousand LPs and sell them at gigs. There's also a boom in vinyl editions of old albums. U2 just rereleased deluxe remastered LP versions of its classics "War" and "October." Earlier this year, Michael Jackson's 25th anniversary edition of "Thriller" hit the shelves in a vinyl edition with extra tracks.
Some artists are even rewarding buyers of their new LPs with digital versions of the music, effectively selling them the best of both worlds for one price. Major acts like Beck, Tom Petty and Wilco -- as well as newer indie sensations like Fleet Foxes -- have recently released albums on vinyl with free CDs or MP3 downloads included.
Ilpo Musto
Sounds of the Universe record shop in London's SoHoRadiohead's release late last year of "In Rainbows" was a watershed for the new sales strategy of value-added vinyl. The band made its new album available online and asked people to pay whatever they wanted to for it. But they also released the music in a £40 "discbox" edition, with two vinyl records, two CDs and a thick souvenir booklet. (Like the five LPs in the special edition of Metallica's new album, "Death Magnetic," the "In Rainbows" records are made to play at 45 rpm rather than 33 1/3, allowing for higher-quality sound.) Even with the music available digitally for free, Radiohead has sold more than 60,000 discboxes.
"People want to hold something," says Mr. Jones. "They like the pictures, the artwork."
So do older listeners, who remember the days when buying a new record was something special. "You forget how gigantic the artwork was, how much more interesting the albums are than CDs or downloads," says Mr. Allen. "It's a bit of a lost joy."
Sound quality also plays a role. Vinyl fanatics have always maintained that LPs sound warmer and richer than digital formats. "There has been a resurgence of vinyl among people who believe that with CDs and downloads the sound quality is not there," says IFPI's Francine Cunningham.
That was especially the case in the early days of CDs, when methods of transferring master tapes to digital formats failed to satisfy audiophiles. CD sound quality has improved greatly since then, says Mr. Allen, but there have always been people "who found digital music harsh and cold." The same is true with MP3s, which typically are saved onto players as compressed files, much smaller than the data on CDs, that sacrifice some audio quality.
There's also a novelty aspect. To a young buyer, a record is something unusual -- even something you listen to from start to finish as an artistic whole rather than on shuffle play. "People have gotten tired of downloading all of a sudden," says Chris Summers, manager of London's Rough Trade Records. "Young listeners crave something new. To them, vinyl is new."
London's Best Vinyl
The Internet has made it easy to find almost any record anywhere. Amazon's U.S. and U.K. sites have beefed up their vinyl sections in response to increasing demand (recent top sellers include the new Metallica and classics like Pink Floyd's "Dark Side of the Moon"). EBay and the online Gemm network have created a huge virtual market for vinyl records by allowing small shops around the world to sell to anyone. Retail giants such as Best Buy, HMV and Britain's Fopp! have vinyl sections.
But the most rewarding way to shop for LPs is by flipping through the racks in a great record store, perhaps one specializing in your favorite kind of music. Plenty of small record shops have closed in recent years, but most cities still have a few. Collectors and experts favor places like Croc-o-Disc in Paris, Hard Wax in Berlin, Second Life Music in Amsterdam and Runtrunt in Stockholm.
For the best shopping, though, they head to London, where around 20 record stores are still in business, concentrated mainly in two areas, Soho and Notting Hill. Collectors go crazy in these shops, which cater to every taste from acid jazz and soulful house to punk to Afro-beat. But even casual buyers can while away hours looking through the racks.
Here, a look at a few of the city's best shops selling new releases and vintage LPs.
Side One: Soho
Today's London may seem like a city of cookie-cutter pubs and Starbucks-quaffing hedge-funders, but Berwick Street, in the heart of Soho, retains a bit of what people like to think of as swinging '60s vibe. It's the kind of place where students strike artistic poses as they sketch interesting storefronts -- as several were doing on a recent morning -- and Cockney fruit-and-veg men shout out friendly hellos.
It's also the kind of place that still is home to record shops, a half dozen or so of them clustered on or near Berwick Street. A few of the area's shops have closed in recent years, but the remaining ones claim business is picking up as demand for vinyl increases. They all do business over the Internet and a few also sell CDs and DVDs.
Start at the southern end, where Music & Video Exchange and the appropriately named Vinyl Junkies are right next to each other. Music & Video Exchange is worth a brief stop -- a real grab bag, with racks of used records in all genres. Vinyl Junkies (www.vinyl-junkies.com) has a more attractively arranged selection, including new releases, especially in house, disco and funk; vintage classic rock; and a wall full of 45s, perfect for DJs seeking unusual beats.
"We try to sell a bit of everything," says store clerk Dave James, "from drum-and-bass to African funk, Latin, reggae."
Like many of the shops in the area, Vinyl Junkies has several turntable-and-headphone listening stations, so you can check out potential purchases. Store employees report an uptick in business recently -- especially with sales over the Internet. "A lot of people are only listening to MP3s," Mr. James says, "but there are still a lot of people who want to hold something in their hands."
Just around the corner, on Broadwick Street, is Sounds of the Universe (www.soundsoftheuniverse.com). This airy, sunlit shop features several albums from its own label, Soul Jazz records: mainly new compilations of classic funk and world beat tracks from around the world.
The store also sells CDs but is doing more business in vinyl. Mr. Jones points out that with some types of music, like dubstep (a bass-heavy dance genre popular in London, in which tracks are sometimes mixed and arranged on the fly by DJs), many groups release their albums on vinyl only. "Over the last five years vinyl has done nothing but go up," says Mr. Jones. "I really do think there is a future for vinyl."
Back on Berwick Street are two other shops worth visiting. Revival Records (www.revivalrecords.uk.com) buys and sells rock and pop classics. It's strictly a used-record shop, with everything from dusty obscurities for around £2 to hard-to-find classics for £50 and up. You can also find the occasional new release. A mint-condition copy of The Hold Steady's "Stay Positive" was recently on sale for £12, compared with £16 at HMV.
Like most of the record shops in the area, Revival stocks its racks with empty album covers; the records themselves are kept behind the counter. It's like a library with a colorful card catalog: Ask a clerk to bring you the music, which you can inspect for scratches or even spin on one of the turntables before buying. Revival's selection is nicely eclectic. On a recent visit, I picked up Ry Cooder's self-titled solo debut, and Kraftwerk's "The Man-Machine."
For more new releases, head a few doors up the street to Sister Ray Records (www.sisterray.co.uk), which has a more modern record-shop feel -- with CDs and DVDs on sale as you enter and thumping music on the stereo. But the selection of vinyl in the back of the store is extensive and fun to browse: everything from classic jazz (Miles Davis, "Kind of Blue") to pop (new releases from Madonna and Paul Weller) to dubstep (The Bug, "London Zoo").
Side Two: Notting Hill
Portobello Road in Notting Hill is one of London's most popular shopping areas, a mecca for people looking to buy everything from vintage clothing to antique jewelry. It's also a target-rich environment for vinyl lovers, with a half dozen record shops all within a few blocks of each other in addition to the several used-record vendors who set up shop along the street market held every Saturday.
Rough Trade (www.roughtrade.com), located on a side street, is usually the first stop in the area for record collectors. Originally affiliated with the record label of the same name, which in the 1980s released albums by the Smiths, Aztec Camera and a host of postpunk bands, the shop is now a separate entity but has a reputation for a good selection and knowledgeable staff.
New vinyl releases and CDs are upstairs, and used records -- everything from junk to collectible rarities -- are in the basement. The records are organized in clever categories. Some groups, like the Beatles and the Stones, get their own shelves, but other albums are grouped by interest: "UK Seventies Prog," "Celtic Folk," "Texas New Country." There are a lot of rarities and dance remixes, "things you just can't find on a download," says Mr. Summers.
Browsing the racks one recent morning is Swedish musician Idris Aly Omar, 27 years old, who is visiting London with his parents and hitting all the record shops in Notting Hill. "It started in the '90s, with hip hop," says Mr. Omar, who has amassed about 4,000 records since he started buying vinyl as a teenager. "I was looking for samples. But then you get interested in different types of music. I like the rarity of it. There are a lot of records that aren't available on CD or digital."
(Rough Trade's new store just off Brick Lane in London's East End supersizes the indie-record-shop concept, with books and CDs and a long row of turntable listening stations. It also adds such contemporary touches as a coffee-and-juice bar, lounge seating and free Wi-Fi. There are near daily in-store performances by bands.)
Tucked away on Blenheim Crescent, a few steps off Portobello Road, Minus Zero Records (www.minuszerorecords.com) is two shops in one: Minus Zero owner Bill Forsyth is on the left as you enter; Stand Out records owner Bill Allerton is on the right. They both stock an amusingly bizarro mishmash of 1960s and '70s psychedelia, folk oddities and old-school British punk -- everything from classic Dylan and Stones to really weird stuff, such as a recording of Kurt Vonnegut reading "Breakfast of Champions." Even more fun to browse than the records are the old magazines, postcards and concert posters.
Further up Portobello Road, Honest Jon's (www.honestjons.com) specializes in soul, world beats and jazz. The shop has joined with rock musician Damon Albarn to found the record label of the same name, which releases eclectic African and Asian music and archival compilations, such as the newly issued "Give Me Love: Songs Of The Brokenhearted -- Baghdad, 1925-1929," a collection of early 78-rpm recordings of Middle Eastern music.
Another shop, Sounds, on the main Portobello drag, has a cramped back room with used LPs but is worth poking your head into if you're looking for something special in the classic-rock genre.
Back at Intoxica Records (www.intoxica.co.uk) on Portobello Road, Mr. Gebologlu has paid for the Smiths record and is heading out. It's music he already has, but he wants it on vinyl, too. "I downloaded it, but I also want to buy it," he says. Downloading without paying "is not good for the artists. It's stealing."
Intoxica sales associate Debbie Smith says the shop has struggled to stay in business in the digital era but is doing better now. "Vinyl, as an artifact, is coming back. Young people have never known vinyl -- they have no concept of it -- so it's a cool thing for them. They're discovering that it sounds so much better than downloads. You can't collect MP3s."
SOURCE: http://online.wsj.com
By CRAIG WINNEKER
September 12, 2008
A group of 20-something tourists from Istanbul are wandering along London's Portobello Road when one of them, Surhan Gebologlu, walks into Intoxica, a bamboo-covered record shop with an inviting array of LPs displayed on its walls -- everything from Sly and the Family Stone's "A Whole New Thing" to "Scientist at the Controls of Dub."
"I just got a record player," he says, inspecting a mint-condition copy of "The Queen Is Dead" by the Smiths. "My girlfriend bought it for me and I want to use it."
He's not alone. The 12-inch vinyl LP record -- in decline for the past two decades, clung to only by DJs, audiophile nerds and collectors -- is back. Sales of new LPs are on the rise -- the only segment of the market for physical-format recorded music (CDs, tapes and records) to expand during the digital revolution -- and more groups are releasing albums on vinyl, often creatively packaged in combination with digital formats. For young people just discovering vinyl and older listeners indulging in a bit of sonic nostalgia, a record player is suddenly a trendy new piece of audio equipment. Sales of turntables increased more than 80% from 2006 to 2007 and are continuing to rise this year, according to the Consumer Electronics Association.
While LPs remain a niche product -- the sales figures are minuscule compared with the amount of music sold digitally -- their resurgence is notable. World-wide sales of LP records doubled in 2007 (from three million to six million units) after hitting an all-time low in 2006, according to figures from IFPI, the international recording industry trade association. Global sales of CDs dropped 12% in the same period, after having fallen 10% the previous year. In the U.S., sales of vinyl records increased 36% from 2006-2007 while CD sales dropped nearly 18%. Those figures are just for new purchases; they don't include the vast secondary market for LPs online and in used record shops.
SPIN CONTROL
Take a look at four popular and widely available record players."Last year and this year have been our busiest ever," says Kris Jones of London's Sounds of the Universe record shop, which sells more music on vinyl than on CD. "It's really crazy."
Why the sudden interest in a bulky, old-fashioned format that costs more than downloading and requires equipment most people banished to the basement long ago? Some of it is due to increased visibility in a changing marketplace. Record companies are looking for innovative ways to make people pay for music -- often music they already have in another format -- rather than get it free or at a reduced price over the Internet. Vinyl is one way to attract buyers with something more tangible than a computer file.
"There's a reaction against the commoditization of music" that downloading represents, says Mike Allen, a music-industry consultant and former vice president of international marketing for record company EMI Group. "With vinyl there's something that has innate value -- a physical object."
LPs hitting the market in recent months have run the gamut from major acts like Coldplay and Madonna to hip new groups like Black Kids and the Hold Steady and even to indie bands who press a few thousand LPs and sell them at gigs. There's also a boom in vinyl editions of old albums. U2 just rereleased deluxe remastered LP versions of its classics "War" and "October." Earlier this year, Michael Jackson's 25th anniversary edition of "Thriller" hit the shelves in a vinyl edition with extra tracks.
Some artists are even rewarding buyers of their new LPs with digital versions of the music, effectively selling them the best of both worlds for one price. Major acts like Beck, Tom Petty and Wilco -- as well as newer indie sensations like Fleet Foxes -- have recently released albums on vinyl with free CDs or MP3 downloads included.
Ilpo Musto
Sounds of the Universe record shop in London's SoHoRadiohead's release late last year of "In Rainbows" was a watershed for the new sales strategy of value-added vinyl. The band made its new album available online and asked people to pay whatever they wanted to for it. But they also released the music in a £40 "discbox" edition, with two vinyl records, two CDs and a thick souvenir booklet. (Like the five LPs in the special edition of Metallica's new album, "Death Magnetic," the "In Rainbows" records are made to play at 45 rpm rather than 33 1/3, allowing for higher-quality sound.) Even with the music available digitally for free, Radiohead has sold more than 60,000 discboxes.
"People want to hold something," says Mr. Jones. "They like the pictures, the artwork."
So do older listeners, who remember the days when buying a new record was something special. "You forget how gigantic the artwork was, how much more interesting the albums are than CDs or downloads," says Mr. Allen. "It's a bit of a lost joy."
Sound quality also plays a role. Vinyl fanatics have always maintained that LPs sound warmer and richer than digital formats. "There has been a resurgence of vinyl among people who believe that with CDs and downloads the sound quality is not there," says IFPI's Francine Cunningham.
That was especially the case in the early days of CDs, when methods of transferring master tapes to digital formats failed to satisfy audiophiles. CD sound quality has improved greatly since then, says Mr. Allen, but there have always been people "who found digital music harsh and cold." The same is true with MP3s, which typically are saved onto players as compressed files, much smaller than the data on CDs, that sacrifice some audio quality.
There's also a novelty aspect. To a young buyer, a record is something unusual -- even something you listen to from start to finish as an artistic whole rather than on shuffle play. "People have gotten tired of downloading all of a sudden," says Chris Summers, manager of London's Rough Trade Records. "Young listeners crave something new. To them, vinyl is new."
London's Best Vinyl
The Internet has made it easy to find almost any record anywhere. Amazon's U.S. and U.K. sites have beefed up their vinyl sections in response to increasing demand (recent top sellers include the new Metallica and classics like Pink Floyd's "Dark Side of the Moon"). EBay and the online Gemm network have created a huge virtual market for vinyl records by allowing small shops around the world to sell to anyone. Retail giants such as Best Buy, HMV and Britain's Fopp! have vinyl sections.
But the most rewarding way to shop for LPs is by flipping through the racks in a great record store, perhaps one specializing in your favorite kind of music. Plenty of small record shops have closed in recent years, but most cities still have a few. Collectors and experts favor places like Croc-o-Disc in Paris, Hard Wax in Berlin, Second Life Music in Amsterdam and Runtrunt in Stockholm.
For the best shopping, though, they head to London, where around 20 record stores are still in business, concentrated mainly in two areas, Soho and Notting Hill. Collectors go crazy in these shops, which cater to every taste from acid jazz and soulful house to punk to Afro-beat. But even casual buyers can while away hours looking through the racks.
Here, a look at a few of the city's best shops selling new releases and vintage LPs.
Side One: Soho
Today's London may seem like a city of cookie-cutter pubs and Starbucks-quaffing hedge-funders, but Berwick Street, in the heart of Soho, retains a bit of what people like to think of as swinging '60s vibe. It's the kind of place where students strike artistic poses as they sketch interesting storefronts -- as several were doing on a recent morning -- and Cockney fruit-and-veg men shout out friendly hellos.
It's also the kind of place that still is home to record shops, a half dozen or so of them clustered on or near Berwick Street. A few of the area's shops have closed in recent years, but the remaining ones claim business is picking up as demand for vinyl increases. They all do business over the Internet and a few also sell CDs and DVDs.
Start at the southern end, where Music & Video Exchange and the appropriately named Vinyl Junkies are right next to each other. Music & Video Exchange is worth a brief stop -- a real grab bag, with racks of used records in all genres. Vinyl Junkies (www.vinyl-junkies.com) has a more attractively arranged selection, including new releases, especially in house, disco and funk; vintage classic rock; and a wall full of 45s, perfect for DJs seeking unusual beats.
"We try to sell a bit of everything," says store clerk Dave James, "from drum-and-bass to African funk, Latin, reggae."
Like many of the shops in the area, Vinyl Junkies has several turntable-and-headphone listening stations, so you can check out potential purchases. Store employees report an uptick in business recently -- especially with sales over the Internet. "A lot of people are only listening to MP3s," Mr. James says, "but there are still a lot of people who want to hold something in their hands."
Just around the corner, on Broadwick Street, is Sounds of the Universe (www.soundsoftheuniverse.com). This airy, sunlit shop features several albums from its own label, Soul Jazz records: mainly new compilations of classic funk and world beat tracks from around the world.
The store also sells CDs but is doing more business in vinyl. Mr. Jones points out that with some types of music, like dubstep (a bass-heavy dance genre popular in London, in which tracks are sometimes mixed and arranged on the fly by DJs), many groups release their albums on vinyl only. "Over the last five years vinyl has done nothing but go up," says Mr. Jones. "I really do think there is a future for vinyl."
Back on Berwick Street are two other shops worth visiting. Revival Records (www.revivalrecords.uk.com) buys and sells rock and pop classics. It's strictly a used-record shop, with everything from dusty obscurities for around £2 to hard-to-find classics for £50 and up. You can also find the occasional new release. A mint-condition copy of The Hold Steady's "Stay Positive" was recently on sale for £12, compared with £16 at HMV.
Like most of the record shops in the area, Revival stocks its racks with empty album covers; the records themselves are kept behind the counter. It's like a library with a colorful card catalog: Ask a clerk to bring you the music, which you can inspect for scratches or even spin on one of the turntables before buying. Revival's selection is nicely eclectic. On a recent visit, I picked up Ry Cooder's self-titled solo debut, and Kraftwerk's "The Man-Machine."
For more new releases, head a few doors up the street to Sister Ray Records (www.sisterray.co.uk), which has a more modern record-shop feel -- with CDs and DVDs on sale as you enter and thumping music on the stereo. But the selection of vinyl in the back of the store is extensive and fun to browse: everything from classic jazz (Miles Davis, "Kind of Blue") to pop (new releases from Madonna and Paul Weller) to dubstep (The Bug, "London Zoo").
Side Two: Notting Hill
Portobello Road in Notting Hill is one of London's most popular shopping areas, a mecca for people looking to buy everything from vintage clothing to antique jewelry. It's also a target-rich environment for vinyl lovers, with a half dozen record shops all within a few blocks of each other in addition to the several used-record vendors who set up shop along the street market held every Saturday.
Rough Trade (www.roughtrade.com), located on a side street, is usually the first stop in the area for record collectors. Originally affiliated with the record label of the same name, which in the 1980s released albums by the Smiths, Aztec Camera and a host of postpunk bands, the shop is now a separate entity but has a reputation for a good selection and knowledgeable staff.
New vinyl releases and CDs are upstairs, and used records -- everything from junk to collectible rarities -- are in the basement. The records are organized in clever categories. Some groups, like the Beatles and the Stones, get their own shelves, but other albums are grouped by interest: "UK Seventies Prog," "Celtic Folk," "Texas New Country." There are a lot of rarities and dance remixes, "things you just can't find on a download," says Mr. Summers.
Browsing the racks one recent morning is Swedish musician Idris Aly Omar, 27 years old, who is visiting London with his parents and hitting all the record shops in Notting Hill. "It started in the '90s, with hip hop," says Mr. Omar, who has amassed about 4,000 records since he started buying vinyl as a teenager. "I was looking for samples. But then you get interested in different types of music. I like the rarity of it. There are a lot of records that aren't available on CD or digital."
(Rough Trade's new store just off Brick Lane in London's East End supersizes the indie-record-shop concept, with books and CDs and a long row of turntable listening stations. It also adds such contemporary touches as a coffee-and-juice bar, lounge seating and free Wi-Fi. There are near daily in-store performances by bands.)
Tucked away on Blenheim Crescent, a few steps off Portobello Road, Minus Zero Records (www.minuszerorecords.com) is two shops in one: Minus Zero owner Bill Forsyth is on the left as you enter; Stand Out records owner Bill Allerton is on the right. They both stock an amusingly bizarro mishmash of 1960s and '70s psychedelia, folk oddities and old-school British punk -- everything from classic Dylan and Stones to really weird stuff, such as a recording of Kurt Vonnegut reading "Breakfast of Champions." Even more fun to browse than the records are the old magazines, postcards and concert posters.
Further up Portobello Road, Honest Jon's (www.honestjons.com) specializes in soul, world beats and jazz. The shop has joined with rock musician Damon Albarn to found the record label of the same name, which releases eclectic African and Asian music and archival compilations, such as the newly issued "Give Me Love: Songs Of The Brokenhearted -- Baghdad, 1925-1929," a collection of early 78-rpm recordings of Middle Eastern music.
Another shop, Sounds, on the main Portobello drag, has a cramped back room with used LPs but is worth poking your head into if you're looking for something special in the classic-rock genre.
Back at Intoxica Records (www.intoxica.co.uk) on Portobello Road, Mr. Gebologlu has paid for the Smiths record and is heading out. It's music he already has, but he wants it on vinyl, too. "I downloaded it, but I also want to buy it," he says. Downloading without paying "is not good for the artists. It's stealing."
Intoxica sales associate Debbie Smith says the shop has struggled to stay in business in the digital era but is doing better now. "Vinyl, as an artifact, is coming back. Young people have never known vinyl -- they have no concept of it -- so it's a cool thing for them. They're discovering that it sounds so much better than downloads. You can't collect MP3s."
SOURCE: http://online.wsj.com
Looking for vinyl at Bleecker Bob’s Records
Found this gem and thought I would share. There a hundreds of stories just like this one, established record stores now doing a brisk business! Hail Vinyl!
Vinyl still plays big in South Village record shops
By Gabriel Zucker
It’s not a big deal to see a “No Tapes” sign in the increasingly digital music industry these days. It’s not even surprising to find a “No CD’s” sign, what with the advent of electronic downloading that has already put Tower Records out of business.
But Bob Abramson does not run a downloading business. He posts those signs in the window of his House of Oldies so that passersby know that they will only find vinyl in his shop.
“We stay in business because there’s a lot of people who feel vinyl sounds better than anything else when they listen to it,” Abramson explained in his claustrophobic Carmine St. shop recently. “It’s as simple as that. There’s enough people that love the sound of vinyl to keep us in business.”
And Abramson is not alone. Within a two-block radius of his store, vinyl diehards can find not one but two more vinyl-vending record shops: Bleecker Bob’s Records, on W. Third St. between Sixth Ave. and MacDougal St., and Bleecker Street Records, on Bleecker St. between Carmine and Leroy Sts., whose CD-stocked ground floor masks a vinyl-filled basement that employees say is a large part of their business. Until recently, two more shops lived on Abramson’s street; they are gone, but Abramson has faith that he and the others will remain. Asked if escalating rent was giving him the spooks, he laughed.
“We have no competition,” he said. “My customers are very loyal to me. We opened in ’68 and we still have customers from the ’60s.”
But the vinyl culture is not limited to the generation that never made the shift.
“We have all kinds, all ages coming in here,” said Neil Constantine, who works in the vinyl basement at Bleecker Street Records. “We have young kids and their parents coming with them, trying to find their record, and we have the old-timer that’s trying to find something back from their heyday just to get reacquainted with it.”
“My clients are from teenagers to old people like myself,” agreed Abramson, who has owned and worked at House of Oldies since 1968.
His customers have also included some dignitaries.
“Almost every artist has been in here,” boasted Abramson, listing John Lennon, Bette Middler, George Carlin, Robert Plant and all of The Ramones.
Abramson has also hosted some less-than-desirables.
“Every day, I get parents coming in with their children, saying, ‘Joey, this is what we used to play,’ ” said Abramson, who said he is fine with that, “as long as I don’t get 14 people in here who don’t know what records are and my regulars can’t get in.”
“You see it’s a narrow store,” he said.
Narrow, and filled with vinyl, House of Oldies is, in fact, one of the largest vinyl shops in the country, with about 500,000 45s and 250,000 LP’s between the store, the basement and a Long Island warehouse.
And among those 750,000, what are Abramson’s favorites?
“It’s funny, because everybody asks me that question,” he laughed. “They think because I own the store that I know the little things that nobody knows. But I’m into Dylan, the Stones, Beach Boys, Bowie, Springsteen — the regular, the very, very vanilla, so to speak.”
SOURCE: http://www.thevillager.com
Vinyl still plays big in South Village record shops
By Gabriel Zucker
It’s not a big deal to see a “No Tapes” sign in the increasingly digital music industry these days. It’s not even surprising to find a “No CD’s” sign, what with the advent of electronic downloading that has already put Tower Records out of business.
But Bob Abramson does not run a downloading business. He posts those signs in the window of his House of Oldies so that passersby know that they will only find vinyl in his shop.
“We stay in business because there’s a lot of people who feel vinyl sounds better than anything else when they listen to it,” Abramson explained in his claustrophobic Carmine St. shop recently. “It’s as simple as that. There’s enough people that love the sound of vinyl to keep us in business.”
And Abramson is not alone. Within a two-block radius of his store, vinyl diehards can find not one but two more vinyl-vending record shops: Bleecker Bob’s Records, on W. Third St. between Sixth Ave. and MacDougal St., and Bleecker Street Records, on Bleecker St. between Carmine and Leroy Sts., whose CD-stocked ground floor masks a vinyl-filled basement that employees say is a large part of their business. Until recently, two more shops lived on Abramson’s street; they are gone, but Abramson has faith that he and the others will remain. Asked if escalating rent was giving him the spooks, he laughed.
“We have no competition,” he said. “My customers are very loyal to me. We opened in ’68 and we still have customers from the ’60s.”
But the vinyl culture is not limited to the generation that never made the shift.
“We have all kinds, all ages coming in here,” said Neil Constantine, who works in the vinyl basement at Bleecker Street Records. “We have young kids and their parents coming with them, trying to find their record, and we have the old-timer that’s trying to find something back from their heyday just to get reacquainted with it.”
“My clients are from teenagers to old people like myself,” agreed Abramson, who has owned and worked at House of Oldies since 1968.
His customers have also included some dignitaries.
“Almost every artist has been in here,” boasted Abramson, listing John Lennon, Bette Middler, George Carlin, Robert Plant and all of The Ramones.
Abramson has also hosted some less-than-desirables.
“Every day, I get parents coming in with their children, saying, ‘Joey, this is what we used to play,’ ” said Abramson, who said he is fine with that, “as long as I don’t get 14 people in here who don’t know what records are and my regulars can’t get in.”
“You see it’s a narrow store,” he said.
Narrow, and filled with vinyl, House of Oldies is, in fact, one of the largest vinyl shops in the country, with about 500,000 45s and 250,000 LP’s between the store, the basement and a Long Island warehouse.
And among those 750,000, what are Abramson’s favorites?
“It’s funny, because everybody asks me that question,” he laughed. “They think because I own the store that I know the little things that nobody knows. But I’m into Dylan, the Stones, Beach Boys, Bowie, Springsteen — the regular, the very, very vanilla, so to speak.”
SOURCE: http://www.thevillager.com
Album Cover Art
Let's continue our look at controversial album cover art. Coming in at #46 (according to Gigwise staff) is the album cover by Beautiful South.
"Welcome to the Beautiful South" was the debut album by The Beautiful South released in August 1989. Jan Saudek's album cover originally depicted two pictures, one of a woman with a gun in her mouth, and another with a man smoking. The cover was refused by Woolworths, not just because they thought people would point guns at their faces, but mainly because they thought it might cause people to take up smoking. So a second, overly-cute cover was made, depicting a fluffy bunny rabbit and a Teddy bear.
So the gun in the mouth was not a problem, but smoking a cigarette was? Man, censorship needs to be fixed!
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Weirdest
Clocking in at #46 for the weirdest album cover art (according to Gigwise) is Picastro: 'Whore Luck' (2007)– A simple pencil drawing, on first glance it looks as though the cover the Canadian band's 2007 album is just a couple kissing. One can make their own inferences as to what else it may appear to resemble. [Artwork By - Ned Schwartz [Mind Sensations] - Jes Watson
Picastro began in Toronto in 1997 or 1998 as a acoustic guitar and cello duo. Since then there have been a long list of contributors, some of whom still appear on recordings.
Kurt Newman (guitar), Stephanie Vittas (cello), catl (guitar), Evan Clarke (drums, guitar), Zak Hanna (guitar), Rachel McBride (cello), Owen Pallett (viola, organ, piano), Nick Storring (cello), Brandon Valdivia (drums), Ant Saunders (viola, guitar).
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Worst
46. The Prodigy – ‘Experience’
Apparently too busy to be bothered by any attempt at a conceptual album cover, I guess just the name of the band was good enough. Apparently, album cover art and design were not in the budget.
Experience was the debut album by the English band The Prodigy. The album was released on September 28, 1992 through XL Recordings where it peaked at #12 in the charts in October.
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Best
The Smiths: ‘The Queen Is Dead’
Not sure why this makes a 'best of' list, I guess the color green is soothing when depicting a dead body. The album cover of The Queen Is Dead was designed by Morrissey and features Alain Delon from the 1964 film L'Insoumis.
"The Queen Is Dead" was the third studio album by The Smiths. It was released in June of 1986 in the UK by Rough Trade Records, and reached number two in the British charts. Sire Records also released the album in in June 1986 in the US. The album reached number 70 on the Billboard 200 and was certified Gold by the RIAA on 09/19/1990.
Friday, September 12, 2008
Album Cover Art
Continuing our look at Gigwise's list of controversial, weird, worst and best album covers (as complied by their staff) let's explore the covers that placed #47 on the list:
Controversial
Coming in at number 47, is the iconic LP by the Rolling Stones called "Sticky Fingers (why so low on the list, when this was released it caused quite a stir!) which was was released in 1971. It is notable for being the band's first release on their newly-formed Rolling Stones Records label after having been contracted since 1963 with Decca Records in the UK and London Records in the US.
The artwork for Sticky Fingers - including a working zipper that opened to reveal a man in cotton briefs (rubber stamped "THIS PHOTOGRAPH MAY NOT BE-ETC.") - was conceived by Andy Warhol, photographed by Billy Name, designed by John Pasche and featured the lower torso of either Warhol assistant Jed Johnson or Joe Dallesandro (not Mick Jagger as a number of fans at the time speculated) in a pair of tight jeans. After retailers complained that the zipper was causing damage to the vinyl (from stacked shipments of the record), the zipper was "unzipped" slightly to the middle of the record, where damage would be minimized.
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Weird
The Flaming Lips: 'Oh My Gawd' – is The Flaming Lips' second album, released on Restless Records in 1987.A collage of seemingly unconnected photographs and cartoons that centres on two giant skulls, The cover features a weird Dali pastiche painted by the band, Features late 80's psychedlia and awesome artwork done by the members of the band, it captures the essence of the alum's heavy rock and roll
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Worst
Coming in at #47 for the worst album cover is Orion – ‘Reborn’ with an image that certainly belongs right along side of the worst album covers of all time.
Orion (February 26, 1945 – December 12, 1998) was the stage name of rockabilly singer Jimmy Ellis. Following the death of Elvis Presley in August 1977, Ellis dressed and sang in the manner of Presley and wore a mask during public appearances, fueling speculation that Presley had faked his death and returned to singing. Ellis' singing and natural speaking voice very closely resembled Presley's. Ellis had recorded rock and country singles under his real name for a number of independent labels since the early 1960s before adopting the Orion persona for Sun Records — Presley's first recording label — in 1980.
With or without the famous mask, the voice was the same. Jimmy Ellis was one of the super-talented, like Elvis, Tom Jones, or Engelbert Humperdinck. Jimmy used different names in his career to try and break the connection between him and the voice of Elvis Presley - names such as Orion, Ellis James, Steven Silver, and others. These attempts were futile because the voice was HIS voice no matter what label was put on it.
Not a novelty act
Mr. Excitement - Orion (Jimmy Ellis) was fun loving, had a great sense of humor, and a great personality. He could laugh about most anything...he was alot of fun at home and especially on stage!!
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Best
#47 on the list for best album covers of all time (as compiled by the Gigwise)the Ramones: ‘Road to Ruin’
Road to Ruin is the fourth album by the Ramones. It was released on September 22, 1978. It was recorded in May and June of 1978 at Media Sound in New York.
With cartoon-like caractures by: John Holmstrom and Gus McDonald this is a classic album cover and belongs on any list of 'best of' album covers.
Controversial
Coming in at number 47, is the iconic LP by the Rolling Stones called "Sticky Fingers (why so low on the list, when this was released it caused quite a stir!) which was was released in 1971. It is notable for being the band's first release on their newly-formed Rolling Stones Records label after having been contracted since 1963 with Decca Records in the UK and London Records in the US.
The artwork for Sticky Fingers - including a working zipper that opened to reveal a man in cotton briefs (rubber stamped "THIS PHOTOGRAPH MAY NOT BE-ETC.") - was conceived by Andy Warhol, photographed by Billy Name, designed by John Pasche and featured the lower torso of either Warhol assistant Jed Johnson or Joe Dallesandro (not Mick Jagger as a number of fans at the time speculated) in a pair of tight jeans. After retailers complained that the zipper was causing damage to the vinyl (from stacked shipments of the record), the zipper was "unzipped" slightly to the middle of the record, where damage would be minimized.
------------------------------------------------------------------------------------
Weird
The Flaming Lips: 'Oh My Gawd' – is The Flaming Lips' second album, released on Restless Records in 1987.A collage of seemingly unconnected photographs and cartoons that centres on two giant skulls, The cover features a weird Dali pastiche painted by the band, Features late 80's psychedlia and awesome artwork done by the members of the band, it captures the essence of the alum's heavy rock and roll
--------------------------------------------------
Worst
Coming in at #47 for the worst album cover is Orion – ‘Reborn’ with an image that certainly belongs right along side of the worst album covers of all time.
Orion (February 26, 1945 – December 12, 1998) was the stage name of rockabilly singer Jimmy Ellis. Following the death of Elvis Presley in August 1977, Ellis dressed and sang in the manner of Presley and wore a mask during public appearances, fueling speculation that Presley had faked his death and returned to singing. Ellis' singing and natural speaking voice very closely resembled Presley's. Ellis had recorded rock and country singles under his real name for a number of independent labels since the early 1960s before adopting the Orion persona for Sun Records — Presley's first recording label — in 1980.
With or without the famous mask, the voice was the same. Jimmy Ellis was one of the super-talented, like Elvis, Tom Jones, or Engelbert Humperdinck. Jimmy used different names in his career to try and break the connection between him and the voice of Elvis Presley - names such as Orion, Ellis James, Steven Silver, and others. These attempts were futile because the voice was HIS voice no matter what label was put on it.
Not a novelty act
Mr. Excitement - Orion (Jimmy Ellis) was fun loving, had a great sense of humor, and a great personality. He could laugh about most anything...he was alot of fun at home and especially on stage!!
-------------------------------------------------------------------------------------
Best
#47 on the list for best album covers of all time (as compiled by the Gigwise)the Ramones: ‘Road to Ruin’
Road to Ruin is the fourth album by the Ramones. It was released on September 22, 1978. It was recorded in May and June of 1978 at Media Sound in New York.
With cartoon-like caractures by: John Holmstrom and Gus McDonald this is a classic album cover and belongs on any list of 'best of' album covers.
No More Floyd
David Gilmour told the Associated Press not to expect another Pink Floyd reunion. He says that the Live8 appearance was “excellent, really enjoyable,” but “The rehearsals were less enjoyable. The rehearsals convinced me it wasn’t something I wanted to be doing a lot of.”
“There have been all sorts of farewell moments in people’s lives and careers which they have then rescinded, but I think I can fairly categorically say that there won’t be a tour or an album again that I take part in. It isn’t to do with animosity or anything like that. It’s just that I’ve done that. I’ve been there, I’ve done it.”
“There have been all sorts of farewell moments in people’s lives and careers which they have then rescinded, but I think I can fairly categorically say that there won’t be a tour or an album again that I take part in. It isn’t to do with animosity or anything like that. It’s just that I’ve done that. I’ve been there, I’ve done it.”
This Date In Music History- September 12
Birthddays:
One of the greatest voices in country music, George Jones was born in Saratoga, Texas in 1931.
Pop singer Maria Muldaur ("Midnight at the Oasis") was born in New York as Maria D'Amato in 1943.
Rush drummer Neal Peart celebrates a birthday today.
Gerry Beckley, the singer with "Horse With No Name" hit-makers America, was born in 1952.
Birthday wishes to Liam Gallagher of Oasis.
History:
In 1962, George Martin produced the single "Love Me Do" b/w "P.S. I Love You" at his first recording session with the Beatles.
John Lennon appeared at the Toronto Rock ‘n' Roll Revival concert in 1969, accompanied by Eric Clapton, Klaus Voormann, Alan White and Yoko. 'The Plastic Ono Band – Live Peace in Toronto' was released in December.
'Wish You Were Here,' Pink Floyd's long-awaited follow-up to 'Dark Side of the Moon,' was released in 1975. "Shine On You Crazy Diamond," a side-long epic about their troubled ex-leader Syd Barrett, is its centerpiece.
Gene Vincent succumbs to a bleeding ulcer at age 36 in 1970.
The late Barry White ("Can't Get Enough Of Your Love, Babe") was born in 1944.
An in-depth report on the death of Elvis Presley aired on ABC-TV’s "20/20" in 1980. It raised so many unanswered questions that the official case concerning Elvis’ death was reopened.
One of Rock ‘n’ Roll’s founders and Country legend, Johnny Cash died of complications from diabetes in 2003. The 71 year-old singer/songwriter had an amazing career spanning six decades - even earning an MTV Video nomination (for “Hurt”) earlier in the year.
In 1964, Manfred Mann's "Do Wah Diddy Diddy" entered Billboard's Hot 100, where it will reach number one just a few weeks later.
The Monkees television show premieres on NBC in 1966. Producers Bert Schneider and Bob Rafelson decided to emulate the zany, madcap humor of the Beatles' A Hard Day's Night for the small screen. When they placed in ad in Variety for four Folk & Rock musicians to appear in a TV series, over 400 applied for the job, including Stephen Stills, John Sebastian, Harry Nilsson and Danny Hutton, but as it turned out, only one of the four winners, guitarist and songwriter Michael Nesmith, actually saw the ad. Micky Dolenz (who would play drums), Davy Jones (who would sing), and Peter Tork (bass) found out about the opportunity from other sources. Nesmith and Tork had experience in the Folk scene; Dolenz and Jones were primarily actors, although Nesmith and Jones had already made some obscure solo recordings. Some have claimed that Charles Manson also applied. The truth is that he was in prison at the time and would not be paroled until March 21, 1967.
Gary Glitter's instrumental, "Rock and Roll Part 2" reached its peak at number seven on the US chart in 1972. The song was a standard at sporting events for years until he was arrested on child pornography charges in England in 1997. Many pro sports organizations quit playing the song after a technician fixing Glitter's computer found indecent images of young children on his hard drive.
Stax Records had its first #1 hit in 1962, with “Green Onions,” by Booker T. & the MG’s, which topped the R&B chart for four weeks. It peaked at #3 on the pop chart.
In 2002, the house that Kurt Cobain (Nirvana) lived in as a child, from 11-15, was sold on eBay for $210,000. The house had been valued at $52,660 in 2000.
2000 - The family of Jimi Hendrix released 56 rare tracks in a 4-CD boxed set, "The Jimi Hendrix Experience."
One of the greatest voices in country music, George Jones was born in Saratoga, Texas in 1931.
Pop singer Maria Muldaur ("Midnight at the Oasis") was born in New York as Maria D'Amato in 1943.
Rush drummer Neal Peart celebrates a birthday today.
Gerry Beckley, the singer with "Horse With No Name" hit-makers America, was born in 1952.
Birthday wishes to Liam Gallagher of Oasis.
History:
In 1962, George Martin produced the single "Love Me Do" b/w "P.S. I Love You" at his first recording session with the Beatles.
John Lennon appeared at the Toronto Rock ‘n' Roll Revival concert in 1969, accompanied by Eric Clapton, Klaus Voormann, Alan White and Yoko. 'The Plastic Ono Band – Live Peace in Toronto' was released in December.
'Wish You Were Here,' Pink Floyd's long-awaited follow-up to 'Dark Side of the Moon,' was released in 1975. "Shine On You Crazy Diamond," a side-long epic about their troubled ex-leader Syd Barrett, is its centerpiece.
Gene Vincent succumbs to a bleeding ulcer at age 36 in 1970.
The late Barry White ("Can't Get Enough Of Your Love, Babe") was born in 1944.
An in-depth report on the death of Elvis Presley aired on ABC-TV’s "20/20" in 1980. It raised so many unanswered questions that the official case concerning Elvis’ death was reopened.
One of Rock ‘n’ Roll’s founders and Country legend, Johnny Cash died of complications from diabetes in 2003. The 71 year-old singer/songwriter had an amazing career spanning six decades - even earning an MTV Video nomination (for “Hurt”) earlier in the year.
In 1964, Manfred Mann's "Do Wah Diddy Diddy" entered Billboard's Hot 100, where it will reach number one just a few weeks later.
The Monkees television show premieres on NBC in 1966. Producers Bert Schneider and Bob Rafelson decided to emulate the zany, madcap humor of the Beatles' A Hard Day's Night for the small screen. When they placed in ad in Variety for four Folk & Rock musicians to appear in a TV series, over 400 applied for the job, including Stephen Stills, John Sebastian, Harry Nilsson and Danny Hutton, but as it turned out, only one of the four winners, guitarist and songwriter Michael Nesmith, actually saw the ad. Micky Dolenz (who would play drums), Davy Jones (who would sing), and Peter Tork (bass) found out about the opportunity from other sources. Nesmith and Tork had experience in the Folk scene; Dolenz and Jones were primarily actors, although Nesmith and Jones had already made some obscure solo recordings. Some have claimed that Charles Manson also applied. The truth is that he was in prison at the time and would not be paroled until March 21, 1967.
Gary Glitter's instrumental, "Rock and Roll Part 2" reached its peak at number seven on the US chart in 1972. The song was a standard at sporting events for years until he was arrested on child pornography charges in England in 1997. Many pro sports organizations quit playing the song after a technician fixing Glitter's computer found indecent images of young children on his hard drive.
Stax Records had its first #1 hit in 1962, with “Green Onions,” by Booker T. & the MG’s, which topped the R&B chart for four weeks. It peaked at #3 on the pop chart.
In 2002, the house that Kurt Cobain (Nirvana) lived in as a child, from 11-15, was sold on eBay for $210,000. The house had been valued at $52,660 in 2000.
2000 - The family of Jimi Hendrix released 56 rare tracks in a 4-CD boxed set, "The Jimi Hendrix Experience."
Thursday, September 11, 2008
Album Cover Art
As we continue our look at album cover art, let's look again at the Gigwise list of controversial, weirdest, worst and best album covers as compiled by their crack staff.
Controversial
Arctic Monkeys: ‘Whatever People Say I Am, That’s What I’m Not’ - Featuring the band’s close friend and brother of The Reverend, Chris McClure, the Arctics landed into hot water after anti-smoking groups complained about the cigarette in McClure’s mouth.
Whatever People Say I Am, That's What I'm Not is the debut album by Sheffield band Arctic Monkeys, released on 23 January 2006 and the album sold over 360,000 copies in its first week. It has since gone quadruple platinum in the UK. Its release in the United States on 21 February 2006 saw it become the second fastest selling debut indie album in history, turning over around 34,000 copies in its first week and achieving #24 in the album charts. The album also went to #1 in Australia and Ireland.
The image caused controversy when the head of Scotland's NHS criticized the cover for "reinforcing the idea that smoking is OK." The band's product manager certainly denied the accusation, and in fact suggested the opposite saying, "You can see from the image smoking is not doing him the world of good." In March 2006, McClure announced that he would be giving up smoking, due to lack of funds.
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Weird
Coming in at #48 on Gigwise's list of weird album covers is the legendary Doors LP The Doors: 'Strange Days'
Strange Days was the second album released by the rock band The Doors (September 1967). The album earned the group a gold record and peaked at #3 on the Billboard Hot 200. The record's producer, Paul Rothchild however, considered it a commercial failure, even if it was an artistic triumph.
"We all thought it was the best album. Significantly, it was also the one with the weakest sales. We were confident it was going to be bigger than anything The Beatles had done. But, there was no single. The record died on us." he said.
Against this view, one could argue that the album still sold well, managing two top 30 hits, a top 3 placing on the US charts and a platinum certification. "Strange Days" certainly did nothing to derail the overall success of the Doors, and this was evident by their next release, the chart-topping "Waiting for the Sun" album.
The cover photo was taken in Sniffen Court, a small residential suburb of New York City. Photographer Joel Brodsky originally wanted Jim Morrison and the band on the cover, but the frontman refused. However, most carnivals were out on summer tours so it was a struggle for Brodsky to find professional circus performers. The acrobats were the only ones he could find; the dwarf Lester Janus and his younger brother (not twins) Stanley Janus (who appeared on the back cover) were hired from an acting firm; the juggler was Brodsky's own assistant; the trumpet player was a taxi driver; and the strongman was a doorman at a club.
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Worst
Logging in at #48 on the Gigwise list is an album cover by Freddie Mercury & Queen. It was the band's thirteenth studio album, released in 1989.
The striking cover art utilised then cutting-edge image-manipulation technology to combine photographs of the familiar faces of the four band members into one morphed giant four-faced head. The image was in line with their decision to dispense with individual credits and simply present their music as the product of Queen the entity. The album reached #1 in the UK, in Austria, Germany, in the Netherlands and Switzerland, and #24 on the American Billboard 200 chart.
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Best
Nirvana: ‘In Utero’ - ‘In Utero’ was an aggressively dark exploration of subject matters which had affected their frontman’s life thus far such as the dysfunctional family, cancer, privacy, and abortion. The imagery of the Transparent Anatomical Mannikin was originally meant for the single ‘Lithium’ or another track from ‘Neveremind’ but was scrapped due to copyright
In Utero was the third and final studio album by the grunge band icons Nirvana, and was released on September 21, 1993 by DGC Records. The album's abrasive and aggressive sound was a departure from the polished production of the band's breakthrough second album, Nevermind (1991), due in part to the selection of recording engineer Steve Albini. The subject matters of the songs included dysfunctional family, cancer, issues of privacy, and abortion.
The art director for In Utero was Robert Fisher, who had designed all of Nirvana's releases on DGC Records. Most of the ideas for the artwork for the album and related singles came from Cobain. Fisher recalled that "[Cobain] would just give me some loose odds and ends and say 'Do something with it.'"
The cover of the album is an image of a Transparent Anatomical Mannikin, with angel wings superimposed.
Controversial
Arctic Monkeys: ‘Whatever People Say I Am, That’s What I’m Not’ - Featuring the band’s close friend and brother of The Reverend, Chris McClure, the Arctics landed into hot water after anti-smoking groups complained about the cigarette in McClure’s mouth.
Whatever People Say I Am, That's What I'm Not is the debut album by Sheffield band Arctic Monkeys, released on 23 January 2006 and the album sold over 360,000 copies in its first week. It has since gone quadruple platinum in the UK. Its release in the United States on 21 February 2006 saw it become the second fastest selling debut indie album in history, turning over around 34,000 copies in its first week and achieving #24 in the album charts. The album also went to #1 in Australia and Ireland.
The image caused controversy when the head of Scotland's NHS criticized the cover for "reinforcing the idea that smoking is OK." The band's product manager certainly denied the accusation, and in fact suggested the opposite saying, "You can see from the image smoking is not doing him the world of good." In March 2006, McClure announced that he would be giving up smoking, due to lack of funds.
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Weird
Coming in at #48 on Gigwise's list of weird album covers is the legendary Doors LP The Doors: 'Strange Days'
Strange Days was the second album released by the rock band The Doors (September 1967). The album earned the group a gold record and peaked at #3 on the Billboard Hot 200. The record's producer, Paul Rothchild however, considered it a commercial failure, even if it was an artistic triumph.
"We all thought it was the best album. Significantly, it was also the one with the weakest sales. We were confident it was going to be bigger than anything The Beatles had done. But, there was no single. The record died on us." he said.
Against this view, one could argue that the album still sold well, managing two top 30 hits, a top 3 placing on the US charts and a platinum certification. "Strange Days" certainly did nothing to derail the overall success of the Doors, and this was evident by their next release, the chart-topping "Waiting for the Sun" album.
The cover photo was taken in Sniffen Court, a small residential suburb of New York City. Photographer Joel Brodsky originally wanted Jim Morrison and the band on the cover, but the frontman refused. However, most carnivals were out on summer tours so it was a struggle for Brodsky to find professional circus performers. The acrobats were the only ones he could find; the dwarf Lester Janus and his younger brother (not twins) Stanley Janus (who appeared on the back cover) were hired from an acting firm; the juggler was Brodsky's own assistant; the trumpet player was a taxi driver; and the strongman was a doorman at a club.
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Worst
Logging in at #48 on the Gigwise list is an album cover by Freddie Mercury & Queen. It was the band's thirteenth studio album, released in 1989.
The striking cover art utilised then cutting-edge image-manipulation technology to combine photographs of the familiar faces of the four band members into one morphed giant four-faced head. The image was in line with their decision to dispense with individual credits and simply present their music as the product of Queen the entity. The album reached #1 in the UK, in Austria, Germany, in the Netherlands and Switzerland, and #24 on the American Billboard 200 chart.
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Best
Nirvana: ‘In Utero’ - ‘In Utero’ was an aggressively dark exploration of subject matters which had affected their frontman’s life thus far such as the dysfunctional family, cancer, privacy, and abortion. The imagery of the Transparent Anatomical Mannikin was originally meant for the single ‘Lithium’ or another track from ‘Neveremind’ but was scrapped due to copyright
In Utero was the third and final studio album by the grunge band icons Nirvana, and was released on September 21, 1993 by DGC Records. The album's abrasive and aggressive sound was a departure from the polished production of the band's breakthrough second album, Nevermind (1991), due in part to the selection of recording engineer Steve Albini. The subject matters of the songs included dysfunctional family, cancer, issues of privacy, and abortion.The art director for In Utero was Robert Fisher, who had designed all of Nirvana's releases on DGC Records. Most of the ideas for the artwork for the album and related singles came from Cobain. Fisher recalled that "[Cobain] would just give me some loose odds and ends and say 'Do something with it.'"
The cover of the album is an image of a Transparent Anatomical Mannikin, with angel wings superimposed.
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