In 1968, 'We’re Only in It for the Money,' by the Mothers of Invention, was released. Composed by bandleader Frank Zappa, it satirizes of hippie culture and the Beatles' 'Sgt. Pepper.'
Chris Rea ("Fool If You Think It's Over") turns 57.
Bobby Womack ("Looking For A Love") is 64.
Lyricist Howard Greenfield died in Los Angeles in 1986. With Neil Sedaka, he wrote Brill Building standards such as "Breaking Up Is Hard to Do,” "Love Will Keep Us Together" and "Stupid Cupid."
In 2001, Glenn Hughes of the Village People ("Macho Man") died of lung cancer and was buried in his leather biker outfit.
John Lennon caused a major stir in the United States in 1966 when London's Evening Standard newspaper published an interview with him in which he remarks, "Christianity will go. It will vanish and shrink. I needn't argue that. I'm right and will be proved right. We're more popular than Jesus right now." Lennon would later apologize, explaining that what he meant was "the way some people carry on, (screaming at their concerts) you'd think we were more popular than Jesus Christ". Thousands of Beatle records were smashed at mass rallies and some radio stations quit playing their songs altogether. John's apology was eventually accepted by most and time has healed the wounds.
In 1970, Janis Joplin was fined $200 for onstage profanity by a Tampa, Florida judge.
An icy car crash sent Temptations members Eddie Kendricks and Otis Williams to a Sommerset, Pennsylvania hospital in 1968.
Jason Newsted (from Metallica) was born in 1963.
Today in 1989, the song "Lost in Your Eyes" by Debbie Gibson topped the charts and stayed there for 3 weeks.
The Band pianist and vocalist Richard Manuel hanged himself following a gig at the Cheek to Cheek nightclub in Winter Park, Fla. He was 41.
Guitarist Billy Gibbons of ZZ Top was born in Houston in 1950.
Yes founding bass player Chris Squire was born in London in 1948.
Happy birthday to Evan Dando of the Lemonheads, who entered the world in 1967.
The Rolling Stones hit #1 with “Ruby Tuesday” in 1967. But censorship efforts swirling around the classic “Let’s Spend The Night Together” (on the flip side) cause that song to stall at #55.
Steve (then known as Stevie) Winwood left the Spencer Davis Group to form Traffic in 1967.
Badfinger received a gold record for "Day after Day" in 1972.
The Bee Gees were the hottest act around in 1978, when they helped their younger brother Andy to the top spot on Billboard's Hot 100 by writing his hit, "(Love Is) Thicker Than Water". Their own tune, "Stayin' Alive" was pushed back to number 2, while another of their compositions, "Emotion" by Samantha Sang, sat at number 4 and "Night Fever" was number 5.
Also in 1978, the US internal Revenue Service carried out a dawn raid at the home of Jerry Lee Lewis and removed cars worth over $170,000, to pay off his back taxes.
In 1999, Cher had her first Billboard number one single in 25 years with "Believe." The last time she topped the chart was with 1974's "Dark Lady."
Tuesday, March 4, 2008
Monday, March 3, 2008
Jeff Healey Dies at 41
This from the AP wire:
Blind Guitarist Jeff Healey Dies at 41
TORONTO (AP) — Blind rock and jazz musician Jeff Healey has died after a lifelong battle against cancer. He was 41.
Healey died Sunday evening in a Toronto hospital, said bandmate Colin Bray, who was in the room with Healey's family when the guitarist died.
The Grammy-nominated Healey rose to stardom as the leader of the Jeff Healey Band, a rock-oriented trio that gained international acclaim and platinum record sales with the 1988 album "See the Light." The album included the hit single "Angel Eyes."
Healey had battled cancer since age 1, when a rare form of retinal cancer known as Retinoblastoma claimed his eyesight.
Due to his blindness, Healey taught himself to play guitar by laying the instrument across his lap.
His unique playing style, combined with his blues-oriented vocals, earned him a reputation as a teenage musical prodigy. He shared stages with George Harrison, B.B. King and Stevie Ray Vaughan.
Bray said he and many others expected the guitarist to rally from this latest illness.
"I don't think any of us thought this was going to happen," Bray said. "We just thought he was going to bounce back as he always does."
Healey had undergone numerous operations in recent years to remove tumors from his lungs and leg.
Bray and fellow bandmate Gary Scriven remembered their frontman as a musician of rare abilities with a generous nature and wicked sense of humor.
Healey's true love was jazz, the genre that dominated his three most recent albums.
His love of jazz led him to host radio shows in Canada where he spun long-forgotten numbers from his personal collection of over 30,000 vinyl records.
His death came weeks before the release of his first rock album in eight years.
"Mess of Blues" is slated for a North American release on April 22.
He is survived by his wife, Christie, and two children.
Blind Guitarist Jeff Healey Dies at 41
TORONTO (AP) — Blind rock and jazz musician Jeff Healey has died after a lifelong battle against cancer. He was 41.
Healey died Sunday evening in a Toronto hospital, said bandmate Colin Bray, who was in the room with Healey's family when the guitarist died.
The Grammy-nominated Healey rose to stardom as the leader of the Jeff Healey Band, a rock-oriented trio that gained international acclaim and platinum record sales with the 1988 album "See the Light." The album included the hit single "Angel Eyes."
Healey had battled cancer since age 1, when a rare form of retinal cancer known as Retinoblastoma claimed his eyesight.
Due to his blindness, Healey taught himself to play guitar by laying the instrument across his lap.
His unique playing style, combined with his blues-oriented vocals, earned him a reputation as a teenage musical prodigy. He shared stages with George Harrison, B.B. King and Stevie Ray Vaughan.
Bray said he and many others expected the guitarist to rally from this latest illness.
"I don't think any of us thought this was going to happen," Bray said. "We just thought he was going to bounce back as he always does."
Healey had undergone numerous operations in recent years to remove tumors from his lungs and leg.
Bray and fellow bandmate Gary Scriven remembered their frontman as a musician of rare abilities with a generous nature and wicked sense of humor.
Healey's true love was jazz, the genre that dominated his three most recent albums.
His love of jazz led him to host radio shows in Canada where he spun long-forgotten numbers from his personal collection of over 30,000 vinyl records.
His death came weeks before the release of his first rock album in eight years.
"Mess of Blues" is slated for a North American release on April 22.
He is survived by his wife, Christie, and two children.
Sunday, March 2, 2008
This Day In Music History- March 2
In 1999, Dusty Springfield died of breast cancer on the day she was scheduled to receive the Order of the British Empire (OBE) from the queen of England and two weeks before her induction into the Rock and Roll Hall of Fame.
Edwin Starr hits #1 with "War" in 1970.
The late Karen Carpenter ("Close To You") was born in 1950.
Lou Reed ("Walk On The Wild Side") turns 64.
Eddie Money ("Two Tickets To Paradise") is 59.
John Cowsill of the Cowsills ("Hair") celebrates his 52nd birthday.
Filming begins on the Beatles movie, "A Hard Day's Night" in 1964.
Vee-Jay Records in Chicago creates the Tollie label in 1964 and released "Twist And Shout" by the Beatles on it.
Birthday wishes to Jon Bon Jovi who was born in 1962.
Today in 1963, the song "Walk Like a Man" by the Four Seasons topped the charts and stayed there for 3 weeks.
"Seasons in the Sun" by Terry Jacks topped the charts in 1974 and stayed there for 3 weeks. It was recommended by Jacks to The Beach Boys, who did record it, but declined to release it. Their decision worked out well for Jacks, who sold over eleven and a half million copies of the record.
In 1969, John Lennon and Yoko Ono perform at a jazz festival in Cambridge, England, where they record "Let's Go On Flying," "Snow Is Falling All the Time," "Don't Worry Kyoko," "Song for John," and "Cambridge 1969." It's the first time a Beatle has performed solo.
In 1960, Elvis Presley leaves Germany after having served two years in the Army. While the plane is refueling in Prestwich, Scotland, the King of Rock 'n' Roll greets fans through a fence. It's the only time he ever visited Britain.
Rory Gallagher, known for his ubiquitous plaid shirts, was born in Ballyshannon in 1949.
Influential flat-picking guitarist Doc Watson was born in Deep Gap, N.C. in 1923.
Missing Persons vocalist, Dale Bozzio (born Dale Frances Consalvi) has a birthday today. She’s a Playboy Bunny before pursuing a music career. She was born in 1955.
Coldplay’s frontman (and occasional lead guitarist and pianist), Chris Martin, entered the world in 1967.
Stevie Wonder’s “Innervisions” scores five Grammys including Album of the Year in 1974.
“Don’t Look Back In Anger” is the #1 song in the U.K. in 1996. The Oasis track debuts in the top spot.
Bo Diddley had his first recording session at Universal Recording Studio in Chicago in 1955, where he lays down "Bo Diddley", which will top the R&B chart by the following June.
In 1983, Sony, Philips and Polygram introduce a new digital audio system called a compact disc that contains up to 1 hour of music.
21 years after its initial release, "All Right Now" by Free reached #2 on the UK singles chart in 1991, when it was reissued to coincide with its use in a Wrigleys Chewing gum TV ad.
Hank Ballard, the writer and original performer of "The Twist", died March 2nd at his Los Angeles home after suffering from throat cancer. His exact age is uncertain as most biographies say he was 66, but friends say he was actually 75. He originally released "The Twist" on the B-side of his 1959 tune "Teardrops On Your Letter", but after Chubby Checker took the song to number one, Ballard re-released his version and had a top 30 hit with it as well in 1960. He was inducted into the Rock and Roll Hall of Fame in 1990.
Edwin Starr hits #1 with "War" in 1970.
The late Karen Carpenter ("Close To You") was born in 1950.
Lou Reed ("Walk On The Wild Side") turns 64.
Eddie Money ("Two Tickets To Paradise") is 59.
John Cowsill of the Cowsills ("Hair") celebrates his 52nd birthday.
Filming begins on the Beatles movie, "A Hard Day's Night" in 1964.
Vee-Jay Records in Chicago creates the Tollie label in 1964 and released "Twist And Shout" by the Beatles on it.
Birthday wishes to Jon Bon Jovi who was born in 1962.
Today in 1963, the song "Walk Like a Man" by the Four Seasons topped the charts and stayed there for 3 weeks.
"Seasons in the Sun" by Terry Jacks topped the charts in 1974 and stayed there for 3 weeks. It was recommended by Jacks to The Beach Boys, who did record it, but declined to release it. Their decision worked out well for Jacks, who sold over eleven and a half million copies of the record.
In 1969, John Lennon and Yoko Ono perform at a jazz festival in Cambridge, England, where they record "Let's Go On Flying," "Snow Is Falling All the Time," "Don't Worry Kyoko," "Song for John," and "Cambridge 1969." It's the first time a Beatle has performed solo.
In 1960, Elvis Presley leaves Germany after having served two years in the Army. While the plane is refueling in Prestwich, Scotland, the King of Rock 'n' Roll greets fans through a fence. It's the only time he ever visited Britain.
Rory Gallagher, known for his ubiquitous plaid shirts, was born in Ballyshannon in 1949.
Influential flat-picking guitarist Doc Watson was born in Deep Gap, N.C. in 1923.
Missing Persons vocalist, Dale Bozzio (born Dale Frances Consalvi) has a birthday today. She’s a Playboy Bunny before pursuing a music career. She was born in 1955.
Coldplay’s frontman (and occasional lead guitarist and pianist), Chris Martin, entered the world in 1967.
Stevie Wonder’s “Innervisions” scores five Grammys including Album of the Year in 1974.
“Don’t Look Back In Anger” is the #1 song in the U.K. in 1996. The Oasis track debuts in the top spot.
Bo Diddley had his first recording session at Universal Recording Studio in Chicago in 1955, where he lays down "Bo Diddley", which will top the R&B chart by the following June.
In 1983, Sony, Philips and Polygram introduce a new digital audio system called a compact disc that contains up to 1 hour of music.
21 years after its initial release, "All Right Now" by Free reached #2 on the UK singles chart in 1991, when it was reissued to coincide with its use in a Wrigleys Chewing gum TV ad.
Hank Ballard, the writer and original performer of "The Twist", died March 2nd at his Los Angeles home after suffering from throat cancer. His exact age is uncertain as most biographies say he was 66, but friends say he was actually 75. He originally released "The Twist" on the B-side of his 1959 tune "Teardrops On Your Letter", but after Chubby Checker took the song to number one, Ballard re-released his version and had a top 30 hit with it as well in 1960. He was inducted into the Rock and Roll Hall of Fame in 1990.
Friday, February 29, 2008
The World’s First Album Cover
Alex Steinweiss’ Greatest Hit
I was contacted by a gentleman yesterday about the value of this particular album cover (and records), which is said to be Alex Steinweiss's first cover for Columbia Records in 1938. Alex Steinwess, a then 23 years old designer, convinced Columbia’s suits to create the first true album cover. Until then, 78s were sold in generic brown paper sleeves.
I did some research and found this site that adds information about this historic album cover, (http://tinyurl.com/2835va)
but does not mention what it is worth today. Anyone know how much this album is worth?
The Future Of Album Cover Art
By Robert Benson
As we conclude our four-part article series on album cover art, let’s to peer into the future and see what lies ahead for vinyl records and album cover art. Joining us again for our discussion is Vinyl Record Day Founder and vinyl businessman Gary Freiberg (www.RockArtPictureShow.com & www.VinylRecordDay.org).
“The introduction of the compact disc and of course the new required player was nothing new in the history of recording. Ever since Thomas Edison introduced records in 1877 record companies have periodically changed the format of how the recording is listened to,” Freiberg explains. “Edison’s first records were round cylinders that slipped onto a spindle, then records became flat, a disc. Now everyone had to go out and buy the new disc player, the flat record phonograph, and replace their old cylinder records with flat ones that played at the 78 rpm speed. Years went by and Columbia invented a new speed, the 33rpm. Again, consumers had to replace that old 78rpm phonograph and buy new phonographs that played the new 33rpm speed. RCA didn’t like Columbia introducing their new speed so they came out with one of their own, the 45rpm.”
“In fact, Robert Sarnoff, the president of RCA became furious when Columbia offered him the new speed; it was like Apple offering Sony their iPod technology and Sony turning it down. Sarnoff wanted his engineers to come up with something different, hence, the 45rpm, which if you start with 78 and subtract 33 you get 45 and that’s how that came to be.”
Getting back on track Freiberg continues, “The 33rpm and 45rpm were the leaders until 8 track tapes were introduced, and of course the new player to listen to them. Next were the smaller cassette tapes, and yes, a new player to play them.”
A few years later came the compact disc, and again, a new player to hear them.
Optimistically Freiberg says, “Through the digital revolution vinyl has endured because it has something no other format has, personal connection. No other format has the association we attach to vinyl and our personal history. But that doesn’t mean that when all the baby boomers are gone vinyl will disappear? There is resurgence in vinyl, the generation that grew up on CD’s are recognizing the differences between the formats, they appreciate cover art and the difference in sound. For a generation that grew up playing vinyl, CD’s were a big change, for the CD generation it’s vinyl that is a change. I’m very encouraged about the future of the vinyl record not just from a business point but as a vinyl preservationist and historian. It’s important we preserve our audio history, vinyl is the format that has more of it than any other.”
Moreover, does album cover art add a new dimension to the overall listening experience? As we have learned yes it does. It is a tangible, tactile connection, one you don’t really get with a CD or a download. Yes, CD’s have art and lyrics, but in a shrunken format and certainly it is not the same experience that one would get with an elaborate album cover. There are even a number of record companies who are adding images and art work to downloaded material, but it is virtual, not tactile. And there is another vital reason to appreciate vinyl and album cover art.
“Only five percent of vinyl recordings have been transferred to commercial compact disc,” Freiberg states. “Record companies cannot afford to transfer everything onto CD; it’s not economically viable to do that. For example there’s not much demand for radio broadcasts from the forties. Record companies wouldn’t recoup their costs releasing a CD like that; much of our audio history is not commercially viable so it doesn’t get transferred.”
So who then, is responsible for preserving our audio past?
“Consumers,” Freiberg answers without hesitation. “The public are the custodian of our audio history. We are the ones responsible to make sure our record collection and album cover art is cared for so that we can pass on to future generation the voices and sound of years past. Record companies won’t do it, so it’s up to every person who has a record collection to preserve it for the future.”
How do we encourage today’s society to preserve those “old records” containing recordings that will never see the shine of a compact disc? Gary explains why he founded Vinyl Record Day in 2002:
“Vinyl Record Day.org is the only 501 (c) 3 nonprofit organization dedicated to the Preservation of the Cultural Influences, Recordings and Album Cover Art of the Vinyl Record. The Internet has been the primary avenue for the public to learn of us and our objectives. To raise funds for education and awareness I created the ‘Mural of Album Cover Art.’ It’s our poster child featuring one hundred different album covers from a forty year period and includes music artists from many genres as well as the album covers of many highly respected graphic artists. The Mural of Album Cover Art is not the definitive representation of album covers or the definitive set of covers. It is a representation of the depiction the art form has of fashion, lifestyles and social values as we evolved from the forties to the nineties. There’s a Narrative Guide that annotates each one of the one hundred covers that explains their place in the history of Album Cover Art.” You can check the mural out at www.VinylRecordDay.org.
Freiberg concludes with a touch of irony, “Now the digital age has come full circle. Trying to add value to downloading music, major players like Apple’s iTunes now include cover art with the individual download. Loaded onto an iPod screen, with this latest innovation, record companies have succeeded in shrinking cover art even further than a CD jewel case. A new innovation, however; there is no substitute, no replacement for the historic album cover art that accompanies the musical format that we are closest to, the vinyl record.”
So with record companies trying to add value to download by including specific art work for the individual download, until they come up with a new innovation, there will be no substitute for the old-fashioned and historic album cover art that accompanies the classic music we adore.
As we conclude our four-part article series on album cover art, let’s to peer into the future and see what lies ahead for vinyl records and album cover art. Joining us again for our discussion is Vinyl Record Day Founder and vinyl businessman Gary Freiberg (www.RockArtPictureShow.com & www.VinylRecordDay.org).
“The introduction of the compact disc and of course the new required player was nothing new in the history of recording. Ever since Thomas Edison introduced records in 1877 record companies have periodically changed the format of how the recording is listened to,” Freiberg explains. “Edison’s first records were round cylinders that slipped onto a spindle, then records became flat, a disc. Now everyone had to go out and buy the new disc player, the flat record phonograph, and replace their old cylinder records with flat ones that played at the 78 rpm speed. Years went by and Columbia invented a new speed, the 33rpm. Again, consumers had to replace that old 78rpm phonograph and buy new phonographs that played the new 33rpm speed. RCA didn’t like Columbia introducing their new speed so they came out with one of their own, the 45rpm.”
“In fact, Robert Sarnoff, the president of RCA became furious when Columbia offered him the new speed; it was like Apple offering Sony their iPod technology and Sony turning it down. Sarnoff wanted his engineers to come up with something different, hence, the 45rpm, which if you start with 78 and subtract 33 you get 45 and that’s how that came to be.”
Getting back on track Freiberg continues, “The 33rpm and 45rpm were the leaders until 8 track tapes were introduced, and of course the new player to listen to them. Next were the smaller cassette tapes, and yes, a new player to play them.”
A few years later came the compact disc, and again, a new player to hear them.
Optimistically Freiberg says, “Through the digital revolution vinyl has endured because it has something no other format has, personal connection. No other format has the association we attach to vinyl and our personal history. But that doesn’t mean that when all the baby boomers are gone vinyl will disappear? There is resurgence in vinyl, the generation that grew up on CD’s are recognizing the differences between the formats, they appreciate cover art and the difference in sound. For a generation that grew up playing vinyl, CD’s were a big change, for the CD generation it’s vinyl that is a change. I’m very encouraged about the future of the vinyl record not just from a business point but as a vinyl preservationist and historian. It’s important we preserve our audio history, vinyl is the format that has more of it than any other.”
Moreover, does album cover art add a new dimension to the overall listening experience? As we have learned yes it does. It is a tangible, tactile connection, one you don’t really get with a CD or a download. Yes, CD’s have art and lyrics, but in a shrunken format and certainly it is not the same experience that one would get with an elaborate album cover. There are even a number of record companies who are adding images and art work to downloaded material, but it is virtual, not tactile. And there is another vital reason to appreciate vinyl and album cover art.
“Only five percent of vinyl recordings have been transferred to commercial compact disc,” Freiberg states. “Record companies cannot afford to transfer everything onto CD; it’s not economically viable to do that. For example there’s not much demand for radio broadcasts from the forties. Record companies wouldn’t recoup their costs releasing a CD like that; much of our audio history is not commercially viable so it doesn’t get transferred.”
So who then, is responsible for preserving our audio past?
“Consumers,” Freiberg answers without hesitation. “The public are the custodian of our audio history. We are the ones responsible to make sure our record collection and album cover art is cared for so that we can pass on to future generation the voices and sound of years past. Record companies won’t do it, so it’s up to every person who has a record collection to preserve it for the future.”
How do we encourage today’s society to preserve those “old records” containing recordings that will never see the shine of a compact disc? Gary explains why he founded Vinyl Record Day in 2002:
“Vinyl Record Day.org is the only 501 (c) 3 nonprofit organization dedicated to the Preservation of the Cultural Influences, Recordings and Album Cover Art of the Vinyl Record. The Internet has been the primary avenue for the public to learn of us and our objectives. To raise funds for education and awareness I created the ‘Mural of Album Cover Art.’ It’s our poster child featuring one hundred different album covers from a forty year period and includes music artists from many genres as well as the album covers of many highly respected graphic artists. The Mural of Album Cover Art is not the definitive representation of album covers or the definitive set of covers. It is a representation of the depiction the art form has of fashion, lifestyles and social values as we evolved from the forties to the nineties. There’s a Narrative Guide that annotates each one of the one hundred covers that explains their place in the history of Album Cover Art.” You can check the mural out at www.VinylRecordDay.org.
Freiberg concludes with a touch of irony, “Now the digital age has come full circle. Trying to add value to downloading music, major players like Apple’s iTunes now include cover art with the individual download. Loaded onto an iPod screen, with this latest innovation, record companies have succeeded in shrinking cover art even further than a CD jewel case. A new innovation, however; there is no substitute, no replacement for the historic album cover art that accompanies the musical format that we are closest to, the vinyl record.”
So with record companies trying to add value to download by including specific art work for the individual download, until they come up with a new innovation, there will be no substitute for the old-fashioned and historic album cover art that accompanies the classic music we adore.
This Day In Music History- Feb 29
Gretchen Christopher of the Fleetwoods ("Come Softly To Me") is 17 (she was born 68 years ago but only has a birthday once every four years)
Partridge Family producer/songwriter Wes Farrell ("Hang On Sloopy", "Come On Down To My Boat", "Come A Little Bit Closer" and many others) died in Fisher Island, Florida in 1996. He also worked with the Everly Brothers and Lou Christie. The Beatles, Van Morrison, Jay & the Americans, and the Yardbirds also covered his songs.
In 1980, Mason City Police discovered a file containing Buddy Holly's glasses and a watch owned by The Big Bopper, that were found in the wreckage of their plane crash in 1959. Holly's cuff links worn during the crash had already been presented to Paul McCartney back in 1976, when the first Buddy Holly Week was held. Holly's widow would eventually launch a lawsuit to recover his glasses.
Aretha Franklin won her first Grammy (Best Female R&B Vocal for "Respect") in 1968.
In 2000, Lonestar top the Hot 100 chart with the their country single "Amazed." It's the first time a country song has gone to No. 1 since Kenny Rogers and Dolly Parton's "Islands in the Stream" in 1983.
2000 - In Guilford, Surrey, Eric Clapton had his driving privileges suspended for six months and was fined about $570 dollars for speeding. (I guess he’s not “slow foot)
In 1964, Betty Everett's "The Shoop Shoop Song" entered the Billboard chart, where it will peak at #6.
In 2000, 'Two Against Nature,' Steely Dan's first studio album since 1980, was released.
Today in 1992, the song "To Be with You" by Mr. Big topped the charts and stayed there for 3 weeks.
The Beatles won an Album of the Year Grammy for “Sgt. Pepper’s Lonely Hearts Club Band” in 1968. How could they not win with one of the most historic LP’s ever released?
John Lennon and Yoko Ono’s U.S. visas expired in 1972. This begins a three-year struggle for permanent residency status. The couple were viewed as political radicals by the Nixon Administration who wants them deported. John and Yoko eventually win the right to stay.
In 2000, Smashing Pumpkins released “MACHINA/The Machines of Gods,” their last studio LP.
Partridge Family producer/songwriter Wes Farrell ("Hang On Sloopy", "Come On Down To My Boat", "Come A Little Bit Closer" and many others) died in Fisher Island, Florida in 1996. He also worked with the Everly Brothers and Lou Christie. The Beatles, Van Morrison, Jay & the Americans, and the Yardbirds also covered his songs.
In 1980, Mason City Police discovered a file containing Buddy Holly's glasses and a watch owned by The Big Bopper, that were found in the wreckage of their plane crash in 1959. Holly's cuff links worn during the crash had already been presented to Paul McCartney back in 1976, when the first Buddy Holly Week was held. Holly's widow would eventually launch a lawsuit to recover his glasses.
Aretha Franklin won her first Grammy (Best Female R&B Vocal for "Respect") in 1968.
In 2000, Lonestar top the Hot 100 chart with the their country single "Amazed." It's the first time a country song has gone to No. 1 since Kenny Rogers and Dolly Parton's "Islands in the Stream" in 1983.
2000 - In Guilford, Surrey, Eric Clapton had his driving privileges suspended for six months and was fined about $570 dollars for speeding. (I guess he’s not “slow foot)
In 1964, Betty Everett's "The Shoop Shoop Song" entered the Billboard chart, where it will peak at #6.
In 2000, 'Two Against Nature,' Steely Dan's first studio album since 1980, was released.
Today in 1992, the song "To Be with You" by Mr. Big topped the charts and stayed there for 3 weeks.
The Beatles won an Album of the Year Grammy for “Sgt. Pepper’s Lonely Hearts Club Band” in 1968. How could they not win with one of the most historic LP’s ever released?
John Lennon and Yoko Ono’s U.S. visas expired in 1972. This begins a three-year struggle for permanent residency status. The couple were viewed as political radicals by the Nixon Administration who wants them deported. John and Yoko eventually win the right to stay.
In 2000, Smashing Pumpkins released “MACHINA/The Machines of Gods,” their last studio LP.
Thursday, February 28, 2008
R.I.P- Buddy Miles
Buddy Miles, the rock and R&B drummer, singer and songwriter whose eclectic career included stints playing with Jimi Hendrix and as the lead voice of the California Raisins, the animated clay figures that became an advertising phenomenon in the late 1980s, has died. He was 60.
Miles died Tuesday of congestive heart failure at his home in Austin, Texas, according to an announcement on his website.
A massive man with a distinctive, sculpted afro, Miles hit his peak of popularity when he joined Hendrix and bassist Billy Cox to form Hendrix's Band of Gypsys, which the New Rolling Stone Encyclopedia of Rock & Roll called "the first black rock group." Miles had played with Hendrix on the guitarist's influential "Electric Ladyland" album released in 1968.
Miles died Tuesday of congestive heart failure at his home in Austin, Texas, according to an announcement on his website.
A massive man with a distinctive, sculpted afro, Miles hit his peak of popularity when he joined Hendrix and bassist Billy Cox to form Hendrix's Band of Gypsys, which the New Rolling Stone Encyclopedia of Rock & Roll called "the first black rock group." Miles had played with Hendrix on the guitarist's influential "Electric Ladyland" album released in 1968.
The Beatles’ Sgt. Pepper Album Steals The Show
Butcher Block Album Creates Controversy
By Robert Benson
As we continue our discussion with Gary Freiberg (www.RockArtPictureShow.com
www.VinylRecordDay.org), let’s pick up where we left off and continue detailing the poll that was conducted at the Vinyl Record Day web site and specifically, the album that was voted to be the number one album cover of all time, the Beatles’ “Sgt. Pepper” album.
The album was groundbreaking because up until then album covers were pretty standard, a picture of the artist (usually a head shot) or group or a specific setting, for example, maybe a jukebox surrounded by teens. This was a very careful and easy way of doing things. But, the Beatles added new elements to album cover art, as Gary details:
“The Beatles did something with the Sgt. Pepper album that had never been done before, this was the first packaged vinyl and it came complete with inserts and a specially designed album cover. And, who and why were these pictures of other famous people included on the cover, it just didn’t make sense. The Beatles also included cardboard cut-outs. Up until then it was logical, here’s the music, here’s the artist. It also started the idea that Paul was dead because there is a hand that seems to be coming out of nowhere, it is above Paul’s head; and Paul is also wearing a black carnation. So there were elements about the entire album package that gave people a purpose to sit down with it. That is one of the unique features of album cover art and why people have such a bond with albums, because it is something tactile; we put it in our hands and we sat down and looked at it. The Beatles broke all ground and Sgt. Pepper is by far, in the history of album cover art, the most pivotal album cover of all time.”
Now an interesting note for record collectors is that the value of this classic album is directly influenced by whether or not the package includes the aforementioned cut-outs as well as a custom sleeve. Of course, the condition of the vinyl record itself is paramount and is the single most deciding factor when ascertaining the price for, not only this album, but for any vinyl record.
After the Sgt. Pepper album, record labels and the musicians themselves were much more liberal when creating album cover art. They started to market to specific demographics and groups. Graphics were improved and famous artists were also commissioned to add their expertise to the evolving world of album cover art. Bands started to include more lyrics, band pictures and production notes. Many controversial, provocative and famous album covers were produced. But, even before Sgt. Pepper, the Beatles were at the forefront with regards to controversial album cover art. In fact, the Beatles’ album “Yesterday...& Today” (also known as the “butcher block” album) gained critical attention and controversy.
“The story behind this is that it portrays the Beatles wearing white butcher smocks with various severed baby doll parts. Paul is sitting with a severed head in his lap and the rest of the torso on his shoulder and they mixed this all in with bloody beef ribs,” details Gary. “The reason the Beatles did this cover was that they did not like what the record company did with their album “Help.” That is the cover where the Beatles’ intent was to purposely try to spell out “help” with the pictures of themselves with outstretched arms and everyone is considered in a different way. But when the album cover was released in the states, the executives at Capitol records didn’t get it and they just randomly arranged the Beatles on the cover and the Beatles thought that the record company had “butchered” the cover.”
“As soon as it (the butcher cover) got over here, it got recalled and in fact, I spoke with a record store owner in Los Angles who recently sold a copy of the record, still in shrink wrap, stereo version, along with the original letter from Capitol Records stating that they were recalling the album and he sold this copy for $80,000. Now this is a very rare record because the mono version of the album out numbered the stereo version eight to one and is much more common.”
The album has been out of print for years. It was replaced by the “trunk cover”, a picture of the Fab Four around a large trunk (with Paul McCartney sitting inside the trunk). After the recall, this picture was either pasted over the “butcher block” picture or the “butcher block” cover was removed all together, with the “trunk cover” then pasted on the front of the album (incidentally, the pictures of both covers were taken by the same photographer, Robert Whitaker). Now, is there a way to ascertain exactly what kind of cover you have if you happen to own a copy of the Beatles’ “Yesterday...& Today” album? Yes, there is as Gary informs us:
“With the paste over there is a way to know if you have a paste over cover or not. On the right hand side, a couple of inches above the bottom and a couple of inches over (there is a lot of white filler space on this particular cover and it is very plain again was a purposeful comment from the Beatles) there is a “V”. You see, Ringo was wearing a turtle-neck on the butcher cover and if you have a paste over copy you can see that black triangle that bleeds through. If you have a pasted over cover, there is value to those as well.”
So with the Beatles’ vision and creativeness, other artist joined the crowd. For instance, the Jimi Hendrix LP called “Electric Ladyland” was released in the U.K. with pictures of nude women. But, the album cover was censored in the states, as Gary explains:
“It’s a fold out and a continuous front and back image of topless women, some of which are holding copies of the album. That’s (the censorship) typical of American morality, same thing with the Blind Faith album, taking off the bare-chested adolescent girl and putting on a picture of the band and I think is pretty consistent with our society of having a face of being puritan, but when you scratch the surface, there’s a lot more there than perhaps how we like to present things.”
In our last article, we will continue our discussion about album cover art and see what lies ahead, not only for vinyl records, but the digital world as well.
LOOK FOR OUR LAST ARTICLE IN OUR FOUR-PART INTERVIEW WITH FAMED VINYL ENTHUSIAST GARY FREIBERG TOMMORROW
By Robert Benson
As we continue our discussion with Gary Freiberg (www.RockArtPictureShow.com
www.VinylRecordDay.org), let’s pick up where we left off and continue detailing the poll that was conducted at the Vinyl Record Day web site and specifically, the album that was voted to be the number one album cover of all time, the Beatles’ “Sgt. Pepper” album.
The album was groundbreaking because up until then album covers were pretty standard, a picture of the artist (usually a head shot) or group or a specific setting, for example, maybe a jukebox surrounded by teens. This was a very careful and easy way of doing things. But, the Beatles added new elements to album cover art, as Gary details:
“The Beatles did something with the Sgt. Pepper album that had never been done before, this was the first packaged vinyl and it came complete with inserts and a specially designed album cover. And, who and why were these pictures of other famous people included on the cover, it just didn’t make sense. The Beatles also included cardboard cut-outs. Up until then it was logical, here’s the music, here’s the artist. It also started the idea that Paul was dead because there is a hand that seems to be coming out of nowhere, it is above Paul’s head; and Paul is also wearing a black carnation. So there were elements about the entire album package that gave people a purpose to sit down with it. That is one of the unique features of album cover art and why people have such a bond with albums, because it is something tactile; we put it in our hands and we sat down and looked at it. The Beatles broke all ground and Sgt. Pepper is by far, in the history of album cover art, the most pivotal album cover of all time.”
Now an interesting note for record collectors is that the value of this classic album is directly influenced by whether or not the package includes the aforementioned cut-outs as well as a custom sleeve. Of course, the condition of the vinyl record itself is paramount and is the single most deciding factor when ascertaining the price for, not only this album, but for any vinyl record.
After the Sgt. Pepper album, record labels and the musicians themselves were much more liberal when creating album cover art. They started to market to specific demographics and groups. Graphics were improved and famous artists were also commissioned to add their expertise to the evolving world of album cover art. Bands started to include more lyrics, band pictures and production notes. Many controversial, provocative and famous album covers were produced. But, even before Sgt. Pepper, the Beatles were at the forefront with regards to controversial album cover art. In fact, the Beatles’ album “Yesterday...& Today” (also known as the “butcher block” album) gained critical attention and controversy.
“The story behind this is that it portrays the Beatles wearing white butcher smocks with various severed baby doll parts. Paul is sitting with a severed head in his lap and the rest of the torso on his shoulder and they mixed this all in with bloody beef ribs,” details Gary. “The reason the Beatles did this cover was that they did not like what the record company did with their album “Help.” That is the cover where the Beatles’ intent was to purposely try to spell out “help” with the pictures of themselves with outstretched arms and everyone is considered in a different way. But when the album cover was released in the states, the executives at Capitol records didn’t get it and they just randomly arranged the Beatles on the cover and the Beatles thought that the record company had “butchered” the cover.”
“As soon as it (the butcher cover) got over here, it got recalled and in fact, I spoke with a record store owner in Los Angles who recently sold a copy of the record, still in shrink wrap, stereo version, along with the original letter from Capitol Records stating that they were recalling the album and he sold this copy for $80,000. Now this is a very rare record because the mono version of the album out numbered the stereo version eight to one and is much more common.”
The album has been out of print for years. It was replaced by the “trunk cover”, a picture of the Fab Four around a large trunk (with Paul McCartney sitting inside the trunk). After the recall, this picture was either pasted over the “butcher block” picture or the “butcher block” cover was removed all together, with the “trunk cover” then pasted on the front of the album (incidentally, the pictures of both covers were taken by the same photographer, Robert Whitaker). Now, is there a way to ascertain exactly what kind of cover you have if you happen to own a copy of the Beatles’ “Yesterday...& Today” album? Yes, there is as Gary informs us:
“With the paste over there is a way to know if you have a paste over cover or not. On the right hand side, a couple of inches above the bottom and a couple of inches over (there is a lot of white filler space on this particular cover and it is very plain again was a purposeful comment from the Beatles) there is a “V”. You see, Ringo was wearing a turtle-neck on the butcher cover and if you have a paste over copy you can see that black triangle that bleeds through. If you have a pasted over cover, there is value to those as well.”
So with the Beatles’ vision and creativeness, other artist joined the crowd. For instance, the Jimi Hendrix LP called “Electric Ladyland” was released in the U.K. with pictures of nude women. But, the album cover was censored in the states, as Gary explains:
“It’s a fold out and a continuous front and back image of topless women, some of which are holding copies of the album. That’s (the censorship) typical of American morality, same thing with the Blind Faith album, taking off the bare-chested adolescent girl and putting on a picture of the band and I think is pretty consistent with our society of having a face of being puritan, but when you scratch the surface, there’s a lot more there than perhaps how we like to present things.”
In our last article, we will continue our discussion about album cover art and see what lies ahead, not only for vinyl records, but the digital world as well.
LOOK FOR OUR LAST ARTICLE IN OUR FOUR-PART INTERVIEW WITH FAMED VINYL ENTHUSIAST GARY FREIBERG TOMMORROW
Mini Clubman "Record Player"
It never ceases to amaze me what kinds of listening experiences one can get with our wonderful vinyl record. In my never ending search to keep you informed, I have this unique little Mini Clubman Vinyl Killer Record Player for you to look at.
Visionaire 53 is a collection of five 12-inch vinyl “picture disc” records that are packaged inside a sleek domed case. While we’re sure that the selection of sound pieces by artists ranging from U2, David Byrne, Michael Stipe, Robert Wilson and Cat Power, among others, are riveting, we’re slightly more interested in the record player provided to listen to them.
The compilation comes with what’s called a Mini Clubman “Vinyl Killer” record player. The portable music maker is battery operated, “driving” along the groves in the record to produce the sound. There’s a tiny speaker built right into the top of the miniature Clubman, and though we can’t imagine the sound is terribly powerful, we can’t help but really want one anyway. Unfortunately, Visionaire 53 runs a steep $250 for one of the 4,000 total copies to be sold. Perhaps not a bad deal for the vinyl record enthusiast that has to have everything, and as a collector, I certainly want one!
For more information:
http://www.visionaireworld.com/index.php
Wednesday, February 27, 2008
This Day In Music History- Feb 27
Pink Floyd recorded their first single, "Arnold Layne," at Sound Techniques Studio in London in 1967. It reached #20 on the British singles chart.
'Pearl,' the album that Janis Joplin was making at the time of her death, hits #1 on the album charts in 1971, where it will stay for nine weeks.
1982-'Damn the Torpedoes' is Tom Petty and the Heartbreakers’ first album to be certified platinum (one million copies sold).
In 1970, Jefferson Airplane was fined $1,000 for onstage profanity in Oklahoma City.
James Brown was paroled from prison after serving two years on drug and assault charges in 1991.
Keith Richards was arrested for heroin possession in Toronto in 1977. Police find heroin, cocaine and narcotics paraphernalia. Authorities accuse Richards of intending to traffic the drugs but Keith’s attorney claims his client’s drug problem is so extreme all the drugs are for his personal use.
Jamie Foxx wins a Best Actor Oscar for his portrayal of Ray Charles in the movie, "Ray" in 2005.
The Miracles make their first TV appearance, on "American Bandstand" in 1960.
Today in 1961, the song "Pony Time" by Chubby Checker topped the charts and stayed there for 3 weeks.
In 2003, a lawyer for Great White's tour manager says the band had permission from a Rhode Island nightclub to use pyrotechnics at their fatal Feb. 20 show. Ninety-six people died after the club caught fire. The Boston Herald reports the band's record sales are up following the tragedy.
Journey founder and Santana guitarist Neal Schon was born in San Mateo, CA in 1954.
In 1956, Specialty Records released Little Richard's "Slippin' and Slidin'." The song becomes the pianist's first R&B No. 1, while its flip side, "Long Tall Sally," becomes his first top 10 pop hit.
1990 - Milli Vanilli's Rob Pilatus shared his perspective on life with Time magazine. In the interview he said, "Musically, we're more talented than any Bob Dylan or Paul McCartney. Mick Jagger can't produce a sound. I'm the new Elvis." In a related story, it was reported that pigs fly.
Cindy Wilson (The B-52's) was born in Athens, GA in 1957.
Lynyrd Skynyrd vocalist (since ‘87 - replacing the late Ronnie Van Zant), Johnny Van Zant, was born in 1960.
In 2007, an album featuring the children of well-known musicians performing their parent's hits is available exclusively in Target stores. "Song For My Father " includes Salvador Santana's rendition of "Evil Ways" and Devon Allman's version of "Midnight Rider."
In 1980, The Doobie Brothers' "What a Fool Believes" wins a Grammy Award for both Record of the Year and Song of the Year, while Billy Joel's "52nd Street" wins both Album of the Year and Best Male Pop Vocal Performance.
Paul McCartney and Stevie Wonder recorded "Ebony and Ivory" in 1981, which will top both the Billboard Pop chart and the Adult Contemporary chart during a 15 week run.
'Pearl,' the album that Janis Joplin was making at the time of her death, hits #1 on the album charts in 1971, where it will stay for nine weeks.
1982-'Damn the Torpedoes' is Tom Petty and the Heartbreakers’ first album to be certified platinum (one million copies sold).
In 1970, Jefferson Airplane was fined $1,000 for onstage profanity in Oklahoma City.
James Brown was paroled from prison after serving two years on drug and assault charges in 1991.
Keith Richards was arrested for heroin possession in Toronto in 1977. Police find heroin, cocaine and narcotics paraphernalia. Authorities accuse Richards of intending to traffic the drugs but Keith’s attorney claims his client’s drug problem is so extreme all the drugs are for his personal use.
Jamie Foxx wins a Best Actor Oscar for his portrayal of Ray Charles in the movie, "Ray" in 2005.
The Miracles make their first TV appearance, on "American Bandstand" in 1960.
Today in 1961, the song "Pony Time" by Chubby Checker topped the charts and stayed there for 3 weeks.
In 2003, a lawyer for Great White's tour manager says the band had permission from a Rhode Island nightclub to use pyrotechnics at their fatal Feb. 20 show. Ninety-six people died after the club caught fire. The Boston Herald reports the band's record sales are up following the tragedy.
Journey founder and Santana guitarist Neal Schon was born in San Mateo, CA in 1954.
In 1956, Specialty Records released Little Richard's "Slippin' and Slidin'." The song becomes the pianist's first R&B No. 1, while its flip side, "Long Tall Sally," becomes his first top 10 pop hit.
1990 - Milli Vanilli's Rob Pilatus shared his perspective on life with Time magazine. In the interview he said, "Musically, we're more talented than any Bob Dylan or Paul McCartney. Mick Jagger can't produce a sound. I'm the new Elvis." In a related story, it was reported that pigs fly.
Cindy Wilson (The B-52's) was born in Athens, GA in 1957.
Lynyrd Skynyrd vocalist (since ‘87 - replacing the late Ronnie Van Zant), Johnny Van Zant, was born in 1960.
In 2007, an album featuring the children of well-known musicians performing their parent's hits is available exclusively in Target stores. "Song For My Father " includes Salvador Santana's rendition of "Evil Ways" and Devon Allman's version of "Midnight Rider."
In 1980, The Doobie Brothers' "What a Fool Believes" wins a Grammy Award for both Record of the Year and Song of the Year, while Billy Joel's "52nd Street" wins both Album of the Year and Best Male Pop Vocal Performance.
Paul McCartney and Stevie Wonder recorded "Ebony and Ivory" in 1981, which will top both the Billboard Pop chart and the Adult Contemporary chart during a 15 week run.
Tuesday, February 26, 2008
Sony's New Toy For Consumers
LAS VEGAS, Feb 26, 2008 /PRNewswire
Providing a clever approach for converting vinyl records to digital files, Sony today unveiled a turntable system with USB output. Got a stack of old records that you would like to get onto your iPod? Sony's PS-LX300USB may be just what you need. The turntable can be connected to any standard Windows PC via a USB cable, where your 33 1/3rpm albums or 45rpm singles can be captured and edited via the included Sound Forge Audio Studio software. Prefer to listen the old-fashioned way? The PS-LX300USB also works as a standard record player--just connect it to a receiver with a dedicated phono input (or, with the help of a phono preamp, any standard stereo input will do).
It offers a belt drive system for reduced motor noise and rotational stability, in addition to a static balance tone arm with a bonded diamond stylus for precise tracking and low record wear. A supplied moving-magnet phonograph cartridge and built-in phonograph pre-amp allows for compatibility with A/V receivers without a phonograph input.
The turntable is packaged with Sound Forge Audio Studio software for simple professional-quality audio editing and production on a home computer, allowing for MP3 playback on portable music players.
How does it compare with USB turntables from Ion and Stanton? We'll find out when the $150 PS-LX300USB hits stores in March
Providing a clever approach for converting vinyl records to digital files, Sony today unveiled a turntable system with USB output. Got a stack of old records that you would like to get onto your iPod? Sony's PS-LX300USB may be just what you need. The turntable can be connected to any standard Windows PC via a USB cable, where your 33 1/3rpm albums or 45rpm singles can be captured and edited via the included Sound Forge Audio Studio software. Prefer to listen the old-fashioned way? The PS-LX300USB also works as a standard record player--just connect it to a receiver with a dedicated phono input (or, with the help of a phono preamp, any standard stereo input will do).
It offers a belt drive system for reduced motor noise and rotational stability, in addition to a static balance tone arm with a bonded diamond stylus for precise tracking and low record wear. A supplied moving-magnet phonograph cartridge and built-in phonograph pre-amp allows for compatibility with A/V receivers without a phonograph input.
The turntable is packaged with Sound Forge Audio Studio software for simple professional-quality audio editing and production on a home computer, allowing for MP3 playback on portable music players.
How does it compare with USB turntables from Ion and Stanton? We'll find out when the $150 PS-LX300USB hits stores in March
Album Cover Art History
Forty Years That Changed Society
by Robert Benson
In part two of our four-part discussion with Vinyl Record Day Founder and vinyl businessman Gary Freiberg (www.RockArtPictureShow.com & www.VinylRecordDay.org), we focus our attention on the history of album cover art.
CDs and computer files fail to give an artist or group a proper canvas in which to display their visual art, to help create an image of who the group is. After all, not everyone buys a record strictly for the music.
“Album cover art historically catered to recognizing some customers will purchase an album just for the cover art,” said Gary Freiberg. “Now this commercial pursuit, perhaps the most creative product packaging there has ever been, has become an American art form with significant social importance.”
“Album cover art is a unique depiction of the evolution of our society,” explained Gary. “Since it was first introduced in 1939-40 it has evolved both in format and subject matter. Initially album covers were drawn illustrations; Alex Steinweiss, the creator of the art form, has a strong European poster influence. Steinweiss covers are among the few that are “signed” by the artist; his name is typically along the right side edge on the front of the album cover he designed. In the fifties technology advancements in photography replaced illustrated covers with head shots and scenes depicting “typical” life at the time, everyone was white, wore a tie or cocktail dress and had perfect children. It was Sgt. Pepper that changed it all graphically, creativity zoomed after that release and compared to what had been, the gloves came off on what was acceptable.”
Freiberg continues, “However; regardless of the graphic method, album cover art has always depicted our social values, racial attitudes, lifestyles, fashion and political views in a way that is only seen in the art form. It reflected who we were, who we were supposed to be, and at times, led who we became.”
Discussing the roots of album cover art Gary Freiberg adds, “When Alex Steinweiss was hired by newly formed Columbia Records to be their art director, he was the first in the industry to create advertising material to promote a company’s musicians. His background was in poster art and was heavily influenced by French and German artists. Steinweiss had a logical idea; he suggested discerning different artists and their music by having art on the paper packaging in place of the plain brown paper packaging that was customary when individual records were first introduced. The brown wrapped records promoted the record company; there was no promotion for the artist or the music other than the hole in the center that allowed reading what the record was. The idea had merit since there were no record stores, records were sold in the back of appliance stores. Steinweiss argued an art cover would make the customer stop, pick up and want to look at the record. Thus a better likelihood they would buy it. One of the first attempts, a record of Beethoven ‘hits’ had an 800% increase in sales.”
“History has shown this was pure genius, not just because it revolutionized the marketing of music, but for the accidental visual recording of a society that dramatically changed in the forty year tenure of album cover art.”
Continuing, Freiberg says, “Steinweiss may have been the catalyst to change the visual representation in album cover art but it was the record companies that brought the social changes into visual form. Several record companies, Specialty Records, who gave Little Richard, Larry Williams and others their break, the Jazz label Bluenote and later Motown, were particularly influential in promoting civil rights when this country was experiencing race relation changes that had been building for years.”
“Like Specialty, Bluenote was distinctive in that they did not hide their black artists on the album cover. It was common, with some exception, for record companies to hide black artists from public view,” said Gary.
“Were they racist or just reflecting society?” Freiberg rhetorically asked. “Having a black artist on the cover was very socially controversial at the time.” He then quickly adds, “But doing so was a reflection of what was happening in society at large and was a part of the puzzle that coalesced into legislation changing racial equality.”
Asked about the influence of the respected Bluenote label, Freiberg explains what made this company revered among record companies.
“They had a very, very unique and cohesive integration; the recording, the pressing and album cover art were all combined to present the product. There leadership was not confined to who they put on the album cover. Designer Reed Miles was the primary graphic artist and he wanted to know the mood and the intent of each one of the records that Bluenote produced. His goal was to then integrate the cover art so that it would reflect and be consistent with the mood of the music. It was a step forward that other companies emulated but perhaps not until Sgt. Pepper accomplished.”
In our next article, we will discuss the Beatles’ majestic and historic Sgt. Pepper album with Gary and why it is so popular and innovative, as well its role in the historic album covers of all time.
LOOK FOR PART THREE WITH OUR DISCUSSION WITH GARY FREIBERG TOMORROW!
by Robert Benson
In part two of our four-part discussion with Vinyl Record Day Founder and vinyl businessman Gary Freiberg (www.RockArtPictureShow.com & www.VinylRecordDay.org), we focus our attention on the history of album cover art.
CDs and computer files fail to give an artist or group a proper canvas in which to display their visual art, to help create an image of who the group is. After all, not everyone buys a record strictly for the music.
“Album cover art historically catered to recognizing some customers will purchase an album just for the cover art,” said Gary Freiberg. “Now this commercial pursuit, perhaps the most creative product packaging there has ever been, has become an American art form with significant social importance.”
“Album cover art is a unique depiction of the evolution of our society,” explained Gary. “Since it was first introduced in 1939-40 it has evolved both in format and subject matter. Initially album covers were drawn illustrations; Alex Steinweiss, the creator of the art form, has a strong European poster influence. Steinweiss covers are among the few that are “signed” by the artist; his name is typically along the right side edge on the front of the album cover he designed. In the fifties technology advancements in photography replaced illustrated covers with head shots and scenes depicting “typical” life at the time, everyone was white, wore a tie or cocktail dress and had perfect children. It was Sgt. Pepper that changed it all graphically, creativity zoomed after that release and compared to what had been, the gloves came off on what was acceptable.”
Freiberg continues, “However; regardless of the graphic method, album cover art has always depicted our social values, racial attitudes, lifestyles, fashion and political views in a way that is only seen in the art form. It reflected who we were, who we were supposed to be, and at times, led who we became.”
Discussing the roots of album cover art Gary Freiberg adds, “When Alex Steinweiss was hired by newly formed Columbia Records to be their art director, he was the first in the industry to create advertising material to promote a company’s musicians. His background was in poster art and was heavily influenced by French and German artists. Steinweiss had a logical idea; he suggested discerning different artists and their music by having art on the paper packaging in place of the plain brown paper packaging that was customary when individual records were first introduced. The brown wrapped records promoted the record company; there was no promotion for the artist or the music other than the hole in the center that allowed reading what the record was. The idea had merit since there were no record stores, records were sold in the back of appliance stores. Steinweiss argued an art cover would make the customer stop, pick up and want to look at the record. Thus a better likelihood they would buy it. One of the first attempts, a record of Beethoven ‘hits’ had an 800% increase in sales.”
“History has shown this was pure genius, not just because it revolutionized the marketing of music, but for the accidental visual recording of a society that dramatically changed in the forty year tenure of album cover art.”
Continuing, Freiberg says, “Steinweiss may have been the catalyst to change the visual representation in album cover art but it was the record companies that brought the social changes into visual form. Several record companies, Specialty Records, who gave Little Richard, Larry Williams and others their break, the Jazz label Bluenote and later Motown, were particularly influential in promoting civil rights when this country was experiencing race relation changes that had been building for years.”
“Like Specialty, Bluenote was distinctive in that they did not hide their black artists on the album cover. It was common, with some exception, for record companies to hide black artists from public view,” said Gary.
“Were they racist or just reflecting society?” Freiberg rhetorically asked. “Having a black artist on the cover was very socially controversial at the time.” He then quickly adds, “But doing so was a reflection of what was happening in society at large and was a part of the puzzle that coalesced into legislation changing racial equality.”
Asked about the influence of the respected Bluenote label, Freiberg explains what made this company revered among record companies.
“They had a very, very unique and cohesive integration; the recording, the pressing and album cover art were all combined to present the product. There leadership was not confined to who they put on the album cover. Designer Reed Miles was the primary graphic artist and he wanted to know the mood and the intent of each one of the records that Bluenote produced. His goal was to then integrate the cover art so that it would reflect and be consistent with the mood of the music. It was a step forward that other companies emulated but perhaps not until Sgt. Pepper accomplished.”
In our next article, we will discuss the Beatles’ majestic and historic Sgt. Pepper album with Gary and why it is so popular and innovative, as well its role in the historic album covers of all time.
LOOK FOR PART THREE WITH OUR DISCUSSION WITH GARY FREIBERG TOMORROW!
YouTube Videos
YouTube has some fascinating videos and I will share a few that have captured my interest:
THE DOORS
KING CRIMSON
GREAT ALBUM COVERS
THE DOORS
KING CRIMSON
GREAT ALBUM COVERS
Wearing their art on their sleeve
As I have stated before, every now and then I read a great article and like to share it with my readers. Author Joe Burns was kind enough to allow me to reprint his wonderful article about picture sleeves. Joe's article originally was printed here: www.wickedlocal.com/
Wearing their art on their sleeve
By Joe Burns
YARMOUTH - It was never just for the record.
Back when vinyl was the final word in music marketing, the picture sleeves that covered the doughnut-hole 45 RPMs served as more than dust protectors; they were colorful come-ons designed not only to sell the single, but the artist as well.
Less common and more fragile than their LP cover cousins, they’ve become scarcer over the years. Ripped, discarded, soiled and written on, many didn’t make it past the ‘50s and ‘60s. Fortunately some survived and were rescued by Chip Bishop of West Dennis, who’ll be exhibiting items from his collection of pop culture artifacts starting Feb. 20 at the Cultural Center of Cape Cod in South Yarmouth.
Bishop’s introduction to record sleeve art began 51 years ago, in Woonsocket, R.I, when he was 12-years-old.
“I wanted to have a career in radio,” Bishop says, recalling his boyhood ambitions. “For Christmas I got a tiny little radio transmitter and I set up my own radio station in the basement of my parents’ home. Bishop’s AM radio signal reached about a mile, but that was far enough to find an audience, and soon he was getting requests.
“I started collecting records for my little pirate radio station, whatever I could afford. It was 79 cents a record at the time. I could afford maybe one or two a week,” Bishop says. “And that’s how it started.”
When he was 15 Bishop began hanging out at a real radio station — WWON in Rhode Island, which proved to be a boon for his record collection.
“The manager of the radio station would give me all the records that they weren’t going to play. They were an adult music station and they weren’t going to play Little Richard, Fats Domino and Elvis so he gave me the records,” Bishop says. “That led to a lifetime of collecting that was interrupted by college and getting married and raising a family. But I got back to it and started hitting yard sales and flea markets.”
Picture sleeves weren’t on Bishop’s mind when he was a boy.
“That was a bonus,” he says.
But by the 1970s Bishop’s interest in the art that accompanied the records was piqued by collectors’ magazines that began to feature them.
“It turns out that the sleeves are more valuable than the records because relatively few of them survived,” Bishop says.
At one time his collection of 45s was up to 4,000. That number has since been sliced nearly in half. The large majority of those records don’t have picture sleeves. Most are protected with the more common paper jacket with the hole in the middle to display the record label. Bishop says the less common picture sleeves came into their own in the era of the teen idols, when girls would buy records and pin the pictures up on their walls.
“It started for real with the coming of Elvis in the mid-‘50s. They were marketing tools, often times to introduce an artist who people weren’t familiar with,” Bishop says, noting that as rock and pop stars were being turned into movie stars, the sleeves were also a means of promoting movies such as “High School Confidential” (Jerry Lee Lewis) and “Where The Boy Are” (Connie Francis).
”It took off again in the mid-‘60s when The Beatles came on to the scene, because Americans didn’t know who these British lads were,” says Bishop whose collection also includes art from that period as well.
Picture sleeves didn’t end with that era, those 7-inch squares of art are still found today, protecting, new vinyl recordings, but you won’t find them in Bishop’s collection. He’ll be showing about 200 sleeves mostly from the ‘50s and the ‘60s and across a wide range of music from Little Richard to Annette and everything in between. Also on display will be a vintage record player from the era. CDs custom made by Bishop for the occasion will provide musical accompaniment.
The covers, along with the vinyl discs that they protected, provided something that, in this day of iPods and MP3s, most miss out on – the sensory experience that comes from handling a record and admiring the artwork.
“In this word of downloading music they don’t get that,” says Bishop, using a non-monetary measure in determining their value.
“They’re old friends from my youth,” he says. “Great memories from a much simpler time.”
Wearing their art on their sleeve
By Joe Burns
YARMOUTH - It was never just for the record.
Back when vinyl was the final word in music marketing, the picture sleeves that covered the doughnut-hole 45 RPMs served as more than dust protectors; they were colorful come-ons designed not only to sell the single, but the artist as well.
Less common and more fragile than their LP cover cousins, they’ve become scarcer over the years. Ripped, discarded, soiled and written on, many didn’t make it past the ‘50s and ‘60s. Fortunately some survived and were rescued by Chip Bishop of West Dennis, who’ll be exhibiting items from his collection of pop culture artifacts starting Feb. 20 at the Cultural Center of Cape Cod in South Yarmouth.
Bishop’s introduction to record sleeve art began 51 years ago, in Woonsocket, R.I, when he was 12-years-old.
“I wanted to have a career in radio,” Bishop says, recalling his boyhood ambitions. “For Christmas I got a tiny little radio transmitter and I set up my own radio station in the basement of my parents’ home. Bishop’s AM radio signal reached about a mile, but that was far enough to find an audience, and soon he was getting requests.
“I started collecting records for my little pirate radio station, whatever I could afford. It was 79 cents a record at the time. I could afford maybe one or two a week,” Bishop says. “And that’s how it started.”
When he was 15 Bishop began hanging out at a real radio station — WWON in Rhode Island, which proved to be a boon for his record collection.
“The manager of the radio station would give me all the records that they weren’t going to play. They were an adult music station and they weren’t going to play Little Richard, Fats Domino and Elvis so he gave me the records,” Bishop says. “That led to a lifetime of collecting that was interrupted by college and getting married and raising a family. But I got back to it and started hitting yard sales and flea markets.”
Picture sleeves weren’t on Bishop’s mind when he was a boy.
“That was a bonus,” he says.
But by the 1970s Bishop’s interest in the art that accompanied the records was piqued by collectors’ magazines that began to feature them.
“It turns out that the sleeves are more valuable than the records because relatively few of them survived,” Bishop says.
At one time his collection of 45s was up to 4,000. That number has since been sliced nearly in half. The large majority of those records don’t have picture sleeves. Most are protected with the more common paper jacket with the hole in the middle to display the record label. Bishop says the less common picture sleeves came into their own in the era of the teen idols, when girls would buy records and pin the pictures up on their walls.
“It started for real with the coming of Elvis in the mid-‘50s. They were marketing tools, often times to introduce an artist who people weren’t familiar with,” Bishop says, noting that as rock and pop stars were being turned into movie stars, the sleeves were also a means of promoting movies such as “High School Confidential” (Jerry Lee Lewis) and “Where The Boy Are” (Connie Francis).
”It took off again in the mid-‘60s when The Beatles came on to the scene, because Americans didn’t know who these British lads were,” says Bishop whose collection also includes art from that period as well.
Picture sleeves didn’t end with that era, those 7-inch squares of art are still found today, protecting, new vinyl recordings, but you won’t find them in Bishop’s collection. He’ll be showing about 200 sleeves mostly from the ‘50s and the ‘60s and across a wide range of music from Little Richard to Annette and everything in between. Also on display will be a vintage record player from the era. CDs custom made by Bishop for the occasion will provide musical accompaniment.
The covers, along with the vinyl discs that they protected, provided something that, in this day of iPods and MP3s, most miss out on – the sensory experience that comes from handling a record and admiring the artwork.
“In this word of downloading music they don’t get that,” says Bishop, using a non-monetary measure in determining their value.
“They’re old friends from my youth,” he says. “Great memories from a much simpler time.”
Monday, February 25, 2008
This Day In Music History- Feb 25
The late George Harrison was born in 1943.
In 1957, Buddy Holly recorded "That'll Be the Day" at Norman Petty's studio in Clovis, New Mexico. The single is released on the Brunswick label (a Decca subsidiary) and credited to the Crickets.
Van Halen hits their first #1 with "Jump" in 1984.
The Beatles first U.S. single ("Please Please Me"/"Ask Me Why" on Chicago's Vee-Jay Records) was released (and Dick Biondi of WLS radio in Chicago plays the "A" side-- the first U.S. DJ to play a Beatles tune) in 1963.
Elvis Presley performed his first post-Army concert (and first since 1957), a charity benefit in Memphis in 1961.
Today in 1995 the song "Take a Bow," by Madonna topped the charts and stayed there for 7 weeks.
In 2004, Chicago-based blues saxophonist, vocalist, songwriter and bandleader A.C. Reed dies from cancer complications. He was 77. Reed played with the likes of Albert Collins, Buddy Guy, Bonnie Raitt, and Stevie Ray Vaughan.
A wig reported to cost $10,000 is stolen from Cher's dressing room during the Richmond, Va., stop of her Living Proof tour in 2003. The wig is returned two weeks later. (She does have hair, doesn’t she?)
Also in 2003, Paul McCartney and his band performed at the 50th birthday of fan Wendy Whitworth in San Diego. Whitworth's husband paid $1 million to McCartney, who donated his fee to the Adopt-a-Minefield charity.
In 1998, Bob Dylan won three Grammys, including Best Album for his career renaissance Time out of Mind. While performing a song from the album, he is interrupted by a rogue performance artist with the words "soy bomb" painted on his chest. (Soy Bomb? How about “Hi Mom?”)
In 1990, Johnnie Ray, the Sultan of Sob, dies of liver failure at age 63. Despite having to wear a hearing aid since he was 14, Ray was one of the '50s' most popular vocalists, recording the No. 2 hit "Just Walking in the Rain."
In 1965, The Rolling Stones performed their just-released single "The Last Time" on the British rock show Ready! Steady! Go!.
Bluegrass titan Ralph Stanley was born in Stratton, Va. in 1927.
Toy Caldwell, lead singer for The Marshall Tucker band on their 1977 million seller, "Heard It In A Love Song", died in his sleep on February 25th at the age of 45 in 1993.
The first musical choreography score was copyrighted in 1952. It was Cole Porter's "Kiss Me Kate".
It was announced that Britney Spears would be releasing her own brand of bubble gum, "Britney Spears CD Bubble Gum", in March of 2000. (So that’s how she has made her money!)
Drummer Dennis Diken (The Smithereens) started his life in 1957.
"The Grand Illusion" peaks at #6 in 1978. It’s the first platinum album for Styx.
U2 began their first full U.S. tour in 1985.
In 2005, Shinedown and Tesla headline a benefit concert in Providence, RI, for survivors of the February 2003 fire at the Station nightclub.
The Alarm’s vocalist/guitarist Mike Peters was born 1959.
Nancy Sinatra received her first gold record in 1966 for "These Boots Are made for Walkin'". Her second was shared with her father Frank in 1967 for "Something Stupid".
In 1957, Buddy Holly recorded "That'll Be the Day" at Norman Petty's studio in Clovis, New Mexico. The single is released on the Brunswick label (a Decca subsidiary) and credited to the Crickets.
Van Halen hits their first #1 with "Jump" in 1984.
The Beatles first U.S. single ("Please Please Me"/"Ask Me Why" on Chicago's Vee-Jay Records) was released (and Dick Biondi of WLS radio in Chicago plays the "A" side-- the first U.S. DJ to play a Beatles tune) in 1963.
Elvis Presley performed his first post-Army concert (and first since 1957), a charity benefit in Memphis in 1961.
Today in 1995 the song "Take a Bow," by Madonna topped the charts and stayed there for 7 weeks.
In 2004, Chicago-based blues saxophonist, vocalist, songwriter and bandleader A.C. Reed dies from cancer complications. He was 77. Reed played with the likes of Albert Collins, Buddy Guy, Bonnie Raitt, and Stevie Ray Vaughan.
A wig reported to cost $10,000 is stolen from Cher's dressing room during the Richmond, Va., stop of her Living Proof tour in 2003. The wig is returned two weeks later. (She does have hair, doesn’t she?)
Also in 2003, Paul McCartney and his band performed at the 50th birthday of fan Wendy Whitworth in San Diego. Whitworth's husband paid $1 million to McCartney, who donated his fee to the Adopt-a-Minefield charity.
In 1998, Bob Dylan won three Grammys, including Best Album for his career renaissance Time out of Mind. While performing a song from the album, he is interrupted by a rogue performance artist with the words "soy bomb" painted on his chest. (Soy Bomb? How about “Hi Mom?”)
In 1990, Johnnie Ray, the Sultan of Sob, dies of liver failure at age 63. Despite having to wear a hearing aid since he was 14, Ray was one of the '50s' most popular vocalists, recording the No. 2 hit "Just Walking in the Rain."
In 1965, The Rolling Stones performed their just-released single "The Last Time" on the British rock show Ready! Steady! Go!.
Bluegrass titan Ralph Stanley was born in Stratton, Va. in 1927.
Toy Caldwell, lead singer for The Marshall Tucker band on their 1977 million seller, "Heard It In A Love Song", died in his sleep on February 25th at the age of 45 in 1993.
The first musical choreography score was copyrighted in 1952. It was Cole Porter's "Kiss Me Kate".
It was announced that Britney Spears would be releasing her own brand of bubble gum, "Britney Spears CD Bubble Gum", in March of 2000. (So that’s how she has made her money!)
Drummer Dennis Diken (The Smithereens) started his life in 1957.
"The Grand Illusion" peaks at #6 in 1978. It’s the first platinum album for Styx.
U2 began their first full U.S. tour in 1985.
In 2005, Shinedown and Tesla headline a benefit concert in Providence, RI, for survivors of the February 2003 fire at the Station nightclub.
The Alarm’s vocalist/guitarist Mike Peters was born 1959.
Nancy Sinatra received her first gold record in 1966 for "These Boots Are made for Walkin'". Her second was shared with her father Frank in 1967 for "Something Stupid".
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