Sept 7 MI, Roseville. Metro Detroit Record Show at VFW Hall, 25671 Gratiot Ave. SH: 10am-4pm. Adm: $3. Records, oldies to current. Plus, cd's and music memorabilia. Info: (586) 759-5133 or www.michiganrecords.com
Sept 7 MO, St. Louis. Record & CD Show at American Czech Hall, 4690 Landsdowne at Kings Hwy. SH: 10am-4pm, F: $35., Adm: $2.50. Info: Jim Ronat, (618) 654-3049 or Carl, (314) 821-9121.
Sept 13 NJ, Wayne. 2nd Saturday Record & CD Collectors Show at Firemen's Convention Center. 97 Parish Dr. (north of Rt. 46& Rt. 80) @ Rt. 23 & Rt. 202S, by Bus take NJT #195 from Port Authority to Route 23/Fairfield Rd (after WillowbrookMall). SH: 10am 4pm. Up to 100 tables. Adm: $6.00 (Children under 12 free). Info: F. Falk, 2nd Saturday, PO Box 251,Hamburg, NJ 07419-0251 or Ph: (973) 209 6067, Email: fred@nji.com or www.showsandexpos.com
Sept 13 MN, Minneapolis. MSP Music Expo, Tri-City American Legion. 400 Old Highway #8 NW, New Brighton, MN. SH: 10am-4pm, Tables: 8’, $35., Adm: $3. Info: Tim at (651) 373-0065 or www.mspmusicexpo.com
Sept 14 PA, Lancaster. Pennsylvania Music Expo, Jaycees Bingo Hall. 2460 New Holland Pike (PA Rt 23). SH: 9am-3pm, Tables: 95-6’, $35. Adm: FREE. Keystone Record Collectors, Ph: (717) 898-1246 or www.recordcollectors.org
Sept 14 IL, Hillside. Chicagoland Record & CD Collectors Show at Chicago Hillside Hotel, 4400 Frontage Road, Hillside. Adm: $3, SH: 9am-4pm. Early Birds 7:00am. (630) 898-1533. 85 dealer tables.
Sept 14 NJ, Springfield. Greater NJ Record & CD Show Holiday Inn, Route 22 West. SH: 10am-5pm. Adm:$6. Info: (908) 541-0511 or e-mail GNJRecordShows@yahoo.com
Sept 14 MA, Dedham. Original New England Compact Disc and Record Show at the Holiday Inn at the junctions of RT #95/128 & RT #1. Exit 15A. SH: 10am - 4pm, Adm: $4. Includes lots of free parking. Featuring 50 vendors - some of which have participated 30 years. Info: call (781) 986-4538. Other 2008 dates: Nov 9.
Sept 20 NY, New York City. New York City Record & CD Collectors Expo, The Holiday Inn (formerly the Days Inn), 440 West 57th Street (between 9th & 10th Avenues). SH: 10am 4pm. Up to 100 tables. Adm: $6.00 (children under 12 free). FREE CD to First 100 Customers. Info: F. Falk, NYC Record Show, PO Box 251, Hamburg, NJ 07419-0251. Ph: (973) 209 6067, email: fred@nji.com or www.showsandexpos.com
Sep 20 PA, Allentown. Original 19th Semi-Annual 45-78 RPM Record Expo, Merchants Square. 12th & Vultee Sts. SH: 10am-?, Adm: $3. Tables: 8’ $55 in advance, $65 after. Surround Sound Prods, (610)-530-7606 or (797)-7743 day of show.
Sept 21 PA, Allentown. Fall 2008 Lehigh Valley Music Expo, Merchants Square. 12th & Vultee Sts. SH: 10am-?, Adm: $3. Tables: 8’ $55 in advance, $65 after. Surround Sound Prods, (610)-530-7606 or (797)-7743 day of show.
Sept 28 MA, Boston. Record & CD Collectors Show, Radisson Hotel. 200 Stuart St., 6th floor, SH: 10am-4pm, Tables: 100-8’, Adm: $6. Info: (978) 388-6576 or www.primatepromotions.com
Sept 28 OH, Fairview Park. Record & CD Convention at American Legion Hall, 22001 Brookpark Rd.(I-480, Exit 9 Grayton Rd.) SH: 10am-4pm, Adm: $3. Info: Lawrence, Ph (330) 242-4499 or lpsound@webtv.net
Sept 28 CA, Buena Park. Greater Orange County Record Show at the UFCW Union Hall, 8530 Stanton Ave. SH: 10am - 3pm, Adm $3. T: 8’, F: $65 Early bird admission $8.00 at 7:00am. Info: Steve Brunner (626) 963-9717 or or www.asavinyl.com.
Wednesday, September 3, 2008
Les Paul to Receive Rock Hall's American Music Masters Award
One of the greatest innovators of the last sixty years (and the most overlooked on the "great guitarists" lists), Les Paul, will be honored by the Rock and Roll Hall of Fame at the annual American Music Masters series. The week-long tribute starts on November 10 and will include a tribute concert on the 15th.
Rock Hall President and CEO Terry Stewart said "You have an inductee who in some ways maybe has had one of the biggest influences of all our inductees with the creation of his solid-body guitar, overdubbing ... not to mention his musical styling and his ability to play. He's become an idol and an icon to people in the rock world, as well as people in jazz and popular music."
"It's not just his innovation and his musical playing, but sort of the residual effects of that guitar. It's become the beginning point for so many people in music, particularly rock music."
Paul, who is 93, is attributed with not only the development of the solid-body electric guitar, but also developed numerous innovations in the recording studio. As a guitarist, he is best known for his early-50's hits with then-wife Mary Ford (How High the Moon, Mockingbird Hill). He continues to play today, even after having to relearn the instrument after a stroke, on Monday's at the Iridium Jazz Club in New York.
Paul was originally inducted as an early influence in 1988. His American Masters Award is only the second time that it has been given to a living musician, following Jerry Lee Lewis last year.
SOURCE: http://winkscollectibles.blogspot.com
Rock Legends Queen + Paul Rodgers to Release The Cosmos Rocks
QUEEN'S FIRST STUDIO ALBUM SINCE 1995 DUE OCT. 28 BURBANK, Calif., Sept. 2
BURBANK, Calif., Sept. 2 /PRNewswire/ -- Hollywood Records have announcedan October 28th release date for "The Cosmos Rocks," the highly-anticipated new album from rock legends Queen + Paul Rodgers. The album, Queen's first new studio release in nearly a decade and a half, features 13 brand-new songs entirely written, produced and performed by guitarist Brian May, drummer Roger Taylor and vocalist Paul Rodgers, with Rodgers and May sharing bass duties. The album's lead single, "C-lebrity," arrives at radio on September 9th.
Recorded at Taylor's home studio, The Priory, in Puttenham, England, The
Cosmos Rocks recalls the sound and vision of classic 1970s-era Queen. As the
band says, "We believe that this is an album in the old sense of the
word -- something you can put on and listen to all the way through, and it
takes you on a journey. The subjects and moods in it are widely spaced, but
nevertheless, a challenge to the listener to put his day on hold for an hour
or so, be drawn in, make connections, and experience something new." The
album's dedication to legendary Queen front man Freddie Mercury shows the band still feel his presence strongly enough to dedicate this entirely new work to him, nearly 13 years after Queen's last studio album.
In the case of Rodgers, who takes control as main vocalist on all thirteen
tracks, he can stand assured in the fact that Mercury rated him as one of the
best rock voices of his time. Freddie would make a point of dropping into
various London venues where Rodgers was performing with his band Free and had often acknowledged Free's Fire and Water as one of the albums that most influenced Queen.
The Cosmos Rocks was recorded and mixed between November 2007 and August 2008, and co-produced and engineered by Joshua J Macrae, Justin Shirley-Smith and Kris Fredriksson. It marks the first album of newly recorded material from Queen + Paul Rodgers since they first set out on the road in 2005, and the first Queen studio album since 1995.
The lead single from the album is "C-lebrity" (which features guest backing vocals by Foo Fighters drummer Taylor Hawkins) and according to Roger Taylor -- and in keeping with many tracks on The Cosmos Rocks -- is the writer's skew on the times in which we live: "'C-lebrity' is really a comment on the current concept of fame, success and all that goes with it. Getting your face on TV is enough -- talent doesn't really enter into the equation. 'Celebrity' is an overused and devalued word today. I think the song shows we have lost none of the humor of Queen."
Other tracks on The Cosmos Rocks include "Cosmos Rockin'," "Time To Shine," "Still Burnin'" (a mission statement of why artists are compelled to create), "Small," "Warboys," "We Believe," "Call Me," "Voodoo," "Some Things That Glitter," "Through The Night," "Say It's Not True," (a new version of the track donated to Nelson Mandela's 46664 HIV Aids campaign), and "Surf's Up ... School's Out!"
The album will be released in two physical formats: standard CD and in double gate-fold vinyl. It will also have a special digital release.
"There's a lot of guitar orchestras and some of our old trademarks, but at the core of it you'll hear the three of us playing," says May. "People really,truly playing together in the studio -- you don't get that much these days."
Queen + Paul Rodgers embark on the first leg of their world tour with a 33-date Europe and Northern Eurasia run beginning mid-September. The tour reaches the UK on October 10 with 11 dates including two at London 02 and the tour's first leg final date at Wembley Arena on November 8. The tour hits North America in early 2009 -- dates and venues to be announced shortly.
This past June, Queen + Paul Rodgers gave thousands of fans a sneak preview of their new songs with an electrifying show-stopping set at Nelson Mandela's 90th birthday concert in London's Hyde Park.
Members of the Rock and Roll Hall of Fame, Queen formed in 1971, and over the ensuing 20 years wrote and recorded such multi-platinum albums as News of the World, The Game, A Night at the Opera, A Day At The Races, A Kind of Magic and Live Killers. Their timeless hits include "Bohemian Rhapsody," "Killer Queen," "We Will Rock You," "We are the Champions" and "Under Pressure." Queen has sold more than 40 million albums in the United States and bands like Foo Fighters, Red Hot Chili Peppers, Green Day and My Chemical Romance have all cited Queen as a major musical influence.
Singer Paul Rodgers first burst on the music scene at age 18 with Free's "All Right Now," co-written by Rodgers. The song became a #1 hit in 20 countries. In 1973 Rodgers formed Bad Company, and as the main songwriter he wrote and produced six multi-platinum albums with the band. Their hits include "Feel Like Makin'Love," "Rock & Roll Fantasy," Shooting Star" and "Bad Company." In the 80s, Rodgers partnered with Led Zeppelin guitarist Jimmy Page in The Firm. They released two hit CDs and had two top-grossing world tours.
May and Taylor joined forces with Rodgers in late 2004 when they performed
at the first annual U.K. Music Hall of Fame Awards. In 2005 Queen + Paul
Rodgers launched their first tour, which crossed the globe and included 32
sold-out dates across Europe and the U.K., ending with a spectacular show in
London's Hyde Park. They followed this the following spring with a 23-date
tour of the U.S. and Canada as well as Asia/Japan. During the tour, the band
released a live concert DVD and CD release, Return of the Champions.
Queen + Paul Rodgers dedicate The Cosmos Rocks to legendary Queen vocalist
Freddie Mercury, who passed away in 1991.
Track listing:
1. Cosmos Rockin' (4:10)
2. Time To Shine (4:23)
3. Still Burnin' (4:04)
4. Small (4:39)
5. Warboys (3:18)
6. We Believe (6:08)
7. Call Me (2:59)
8. Voodoo (4:27)
9. Some Things That Glitter (4:03)
10. C-lebrity (3:38)
11. Through The Night (4:54)
12. Say It's Not True (4:00)
13. Surf's Up ... School's Out! (5:38)
14. Small reprise (2:05)
Produced and performed by Brian May, Paul Rodgers and Roger Taylor
Co-produced and engineered by Joshua J Macrae, Justin Shirley-Smith and
Kris Fredriksson
All tracks written by Queen + Paul Rodgers
Extra backing vocals on "C-lebrity": Taylor Hawkins courtesy of RCA
Records
This album is dedicated to Freddie Mercury
http://www.queenpluspaulrodgers.com
http://www.queenonline.com
http://www.paulrodgers.com
SOURCE Hollywood Records
BURBANK, Calif., Sept. 2 /PRNewswire/ -- Hollywood Records have announcedan October 28th release date for "The Cosmos Rocks," the highly-anticipated new album from rock legends Queen + Paul Rodgers. The album, Queen's first new studio release in nearly a decade and a half, features 13 brand-new songs entirely written, produced and performed by guitarist Brian May, drummer Roger Taylor and vocalist Paul Rodgers, with Rodgers and May sharing bass duties. The album's lead single, "C-lebrity," arrives at radio on September 9th.
Recorded at Taylor's home studio, The Priory, in Puttenham, England, The
Cosmos Rocks recalls the sound and vision of classic 1970s-era Queen. As the
band says, "We believe that this is an album in the old sense of the
word -- something you can put on and listen to all the way through, and it
takes you on a journey. The subjects and moods in it are widely spaced, but
nevertheless, a challenge to the listener to put his day on hold for an hour
or so, be drawn in, make connections, and experience something new." The
album's dedication to legendary Queen front man Freddie Mercury shows the band still feel his presence strongly enough to dedicate this entirely new work to him, nearly 13 years after Queen's last studio album.
In the case of Rodgers, who takes control as main vocalist on all thirteen
tracks, he can stand assured in the fact that Mercury rated him as one of the
best rock voices of his time. Freddie would make a point of dropping into
various London venues where Rodgers was performing with his band Free and had often acknowledged Free's Fire and Water as one of the albums that most influenced Queen.
The Cosmos Rocks was recorded and mixed between November 2007 and August 2008, and co-produced and engineered by Joshua J Macrae, Justin Shirley-Smith and Kris Fredriksson. It marks the first album of newly recorded material from Queen + Paul Rodgers since they first set out on the road in 2005, and the first Queen studio album since 1995.
The lead single from the album is "C-lebrity" (which features guest backing vocals by Foo Fighters drummer Taylor Hawkins) and according to Roger Taylor -- and in keeping with many tracks on The Cosmos Rocks -- is the writer's skew on the times in which we live: "'C-lebrity' is really a comment on the current concept of fame, success and all that goes with it. Getting your face on TV is enough -- talent doesn't really enter into the equation. 'Celebrity' is an overused and devalued word today. I think the song shows we have lost none of the humor of Queen."
Other tracks on The Cosmos Rocks include "Cosmos Rockin'," "Time To Shine," "Still Burnin'" (a mission statement of why artists are compelled to create), "Small," "Warboys," "We Believe," "Call Me," "Voodoo," "Some Things That Glitter," "Through The Night," "Say It's Not True," (a new version of the track donated to Nelson Mandela's 46664 HIV Aids campaign), and "Surf's Up ... School's Out!"
The album will be released in two physical formats: standard CD and in double gate-fold vinyl. It will also have a special digital release.
"There's a lot of guitar orchestras and some of our old trademarks, but at the core of it you'll hear the three of us playing," says May. "People really,truly playing together in the studio -- you don't get that much these days."
Queen + Paul Rodgers embark on the first leg of their world tour with a 33-date Europe and Northern Eurasia run beginning mid-September. The tour reaches the UK on October 10 with 11 dates including two at London 02 and the tour's first leg final date at Wembley Arena on November 8. The tour hits North America in early 2009 -- dates and venues to be announced shortly.
This past June, Queen + Paul Rodgers gave thousands of fans a sneak preview of their new songs with an electrifying show-stopping set at Nelson Mandela's 90th birthday concert in London's Hyde Park.
Members of the Rock and Roll Hall of Fame, Queen formed in 1971, and over the ensuing 20 years wrote and recorded such multi-platinum albums as News of the World, The Game, A Night at the Opera, A Day At The Races, A Kind of Magic and Live Killers. Their timeless hits include "Bohemian Rhapsody," "Killer Queen," "We Will Rock You," "We are the Champions" and "Under Pressure." Queen has sold more than 40 million albums in the United States and bands like Foo Fighters, Red Hot Chili Peppers, Green Day and My Chemical Romance have all cited Queen as a major musical influence.
Singer Paul Rodgers first burst on the music scene at age 18 with Free's "All Right Now," co-written by Rodgers. The song became a #1 hit in 20 countries. In 1973 Rodgers formed Bad Company, and as the main songwriter he wrote and produced six multi-platinum albums with the band. Their hits include "Feel Like Makin'Love," "Rock & Roll Fantasy," Shooting Star" and "Bad Company." In the 80s, Rodgers partnered with Led Zeppelin guitarist Jimmy Page in The Firm. They released two hit CDs and had two top-grossing world tours.
May and Taylor joined forces with Rodgers in late 2004 when they performed
at the first annual U.K. Music Hall of Fame Awards. In 2005 Queen + Paul
Rodgers launched their first tour, which crossed the globe and included 32
sold-out dates across Europe and the U.K., ending with a spectacular show in
London's Hyde Park. They followed this the following spring with a 23-date
tour of the U.S. and Canada as well as Asia/Japan. During the tour, the band
released a live concert DVD and CD release, Return of the Champions.
Queen + Paul Rodgers dedicate The Cosmos Rocks to legendary Queen vocalist
Freddie Mercury, who passed away in 1991.
Track listing:
1. Cosmos Rockin' (4:10)
2. Time To Shine (4:23)
3. Still Burnin' (4:04)
4. Small (4:39)
5. Warboys (3:18)
6. We Believe (6:08)
7. Call Me (2:59)
8. Voodoo (4:27)
9. Some Things That Glitter (4:03)
10. C-lebrity (3:38)
11. Through The Night (4:54)
12. Say It's Not True (4:00)
13. Surf's Up ... School's Out! (5:38)
14. Small reprise (2:05)
Produced and performed by Brian May, Paul Rodgers and Roger Taylor
Co-produced and engineered by Joshua J Macrae, Justin Shirley-Smith and
Kris Fredriksson
All tracks written by Queen + Paul Rodgers
Extra backing vocals on "C-lebrity": Taylor Hawkins courtesy of RCA
Records
This album is dedicated to Freddie Mercury
http://www.queenpluspaulrodgers.com
http://www.queenonline.com
http://www.paulrodgers.com
SOURCE Hollywood Records
Tuesday, September 2, 2008
R.I.P Jerry Reed
Jerry Reed (1937-2008)
Singer/guitarist/songwriter/actor Jerry Reed passed away on Monday due to complications from emphysema at the age of 71.
Reed got his start in music when he dropped out of high school to tour with Ernest Tubb and Faron Young and, in 1955 at the age of 18, was signed by publisher and producer Bill Lowery. His first record, "If the Good Lord's Willing and the Creeks Don't Rise," was released that same year and was followed by a series of country and rockabilly recordings.
Reed's first real success came when Gene Vincent covered his song "Crazy Legs" in 1958 and, while he was in the military, his name continued to grow when Brenda Lee recorded "That's All You Gotta Do."
Once out of the service, Reed moved to Nashville where he became known not only for his songwriting, but also for his guitar playing. He worked as a session man through the middle of the decade while trying to jump start a recording career, which finally happened in 1967 when his "Tupelo Mississippi Flash" made it to number 15 on the country charts.
Reed had six more records that peaked in the top 20 over the next three years, including "Amos Moses," which hit number 16, but went all the way to number eight on the pop charts. It was the next single that would finally solidify his recording career when "When You're Hot, You're Hot" went all the way to number one on the country charts for five weeks in mid-1971, along with peaking at number nine on the pop charts. Throughout the balance of the 70's to the mid-80's, Reed would have a total of 28 more top 40 country hits, including the number ones "Lord, Mr. Ford" and "She Got the Goldmine (I Got the Shaft)."
As a guitarist, Reed was known as a fine session man and was a regular on The Glen Campbell Goodtime Hour. In addition, he did a number of recordings with another guitar great, Chet Atkins.
Reed was also known for acting in a number of films, starting with "W.W. & the Dixie Dance Kings" with pal Burt Reynolds and followed by "Gator," all three "Smokey and the Bandit" films and, most recently, "The Waterboy" with Adam Sandler.
Major singles:
Amos Moses (1970/#8 pop/#16 country)
When You're Hot, You're Hot (1971/#9 pop/#1 country)
Lord, Mr. Ford (1973/#1 country)
East Bound and Down (1977/#2 country)
(I Love You) What Can I Say (1978/#10 country)
She Got the Goldmine (I Got the Shaft) (1982/#1 country)
The Bird (1982/#2 country)
Major albums:
Ko-Ko Joe (1971/#7 country)
When You're Hot, You're Hot (1971/#2 country)
The Best of Jerry Reed (1972/#4 country)
Hot A' Mighty! (1973/#9 country)
Lord, Mr. Ford (1973/#4 country)
East Bound and Down (1977/#10 country)
Grammy Awards:
Me & Jerry (with Chet Atkins) (1970/Best Country Instrumental Performance)
Sneakin' Around (with Chet Atkins) (1992/Best Country Instrumental Performance)
Major songs recorded by other artists:
A Thing Called Love (Johnny Cash, Elvis Presley)
Baby, What You Want Me to Do (Stray Cats)
Crazy Legs (Gene Vincent)
Georgia Sunshine (Dean Martin)
Girl of Mine (Elvis Presley)
Guitar Man (Elvis Presley)
If the Good Lord's Willing (Johnny Cash)
Misery Loves Company (Porter Wagoner)
Talk About the Good Times (Elvis Presley)
That's All You Gotta Do (Brenda Lee)
U.S. Male (Elvis Presley)
Ashbrook Haynes
Written by Robert Benson
As I continue to review bands for www.ilike2rock.net Internet Radio, I have heard some fantastic music by some very talented artists. One particular band immediately caught my ears: the acoustic mastery and folk-rock sounds of Ashbrook Haynes.
For a band that had its start as a “side” project, the Leominster, Massachusetts-based group has certainly progressed into a finely meshed songwriting team. Their second CD release, “One Long Chase,” is full of catchy guitar licks, impeccable harmonies and well-crafted folk/pop rock.
For many years band members Marc Rines (vocals, guitars) and drummer Bob Soar collaborated, writing 80’s/90’s rock songs with the group Badger. Bob went on to work in studio projects while Marc played bass in a group called The Installers, which released two CDs. After seven years, Marc decided to focus on songwriting and honing his guitar skills. Karen Stanley played with The Luckless Pedestrians and then with the classic rock band The Next Five before concentrating her efforts and energy on songwriting. Paul Bradley had been playing bass with the 60’s rock band Cornerstone before joining Ashbrook Haynes. Dan Stanley was added to the mix, expertly playing lead guitar, while Paul Bradley added his signature bass lines and vocal harmonies to tie it all together. Shawn McCann’s eloquent keyboard work completes the group.
Some cuts on “One Long Chase” certainly stand out, including the infectious “How To Love,” an acoustic ditty with stellar vocal harmonies and expert musicianship. The lead-in bass lines of the funky number “Telephone Song,” immediately reel you in, and the cut progresses into a dazzling bluesy guitar break that is sure to please. “You Make Me Smile” is an instant classic, filled with old-fashioned, fun rock that is sure to get the shiest wallflower up and grooving on the dance floor. “Hold Me,” with its tight-structured guitar work, interwoven harmonies and expert lead guitar licks is another fine, acoustic pop gem.
As a creative change of pace, “When Love Finds You” is a slow-tempo, melodic cut with an exhilarating sweetness and irresistible flavor. “Restless Wind” is delicate, yet strong, and is played with obvious acoustic zest. “Today’s Another Day,” with its reflective lyrics, is an instant “fall in love the first time you hear it” song, with impeccable piano work and interwoven harmonies. It is every bit as infectious as it is original.
All in all the release “One Long Chase” is filled with catchy choruses, tasty contributions from all the band members and seductive acoustic pop. Kudos to all who had a hand in this marvelous, easily digestible pop rock masterpiece!
BAND MEMBERS:
Paul Bradley – Bass, Vocals
Shawn McCann – Keyboards, Vocals
Marc Rines – Vocals, Guitars
Bob Soar – Drums
Dan Stanley – Guitars
Karen Stanley – Vocals, Percussion
Visit the Band:
http://www.ilike2rock.net/members/150/
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=313047974
As I continue to review bands for www.ilike2rock.net Internet Radio, I have heard some fantastic music by some very talented artists. One particular band immediately caught my ears: the acoustic mastery and folk-rock sounds of Ashbrook Haynes.
For a band that had its start as a “side” project, the Leominster, Massachusetts-based group has certainly progressed into a finely meshed songwriting team. Their second CD release, “One Long Chase,” is full of catchy guitar licks, impeccable harmonies and well-crafted folk/pop rock.
For many years band members Marc Rines (vocals, guitars) and drummer Bob Soar collaborated, writing 80’s/90’s rock songs with the group Badger. Bob went on to work in studio projects while Marc played bass in a group called The Installers, which released two CDs. After seven years, Marc decided to focus on songwriting and honing his guitar skills. Karen Stanley played with The Luckless Pedestrians and then with the classic rock band The Next Five before concentrating her efforts and energy on songwriting. Paul Bradley had been playing bass with the 60’s rock band Cornerstone before joining Ashbrook Haynes. Dan Stanley was added to the mix, expertly playing lead guitar, while Paul Bradley added his signature bass lines and vocal harmonies to tie it all together. Shawn McCann’s eloquent keyboard work completes the group.
Some cuts on “One Long Chase” certainly stand out, including the infectious “How To Love,” an acoustic ditty with stellar vocal harmonies and expert musicianship. The lead-in bass lines of the funky number “Telephone Song,” immediately reel you in, and the cut progresses into a dazzling bluesy guitar break that is sure to please. “You Make Me Smile” is an instant classic, filled with old-fashioned, fun rock that is sure to get the shiest wallflower up and grooving on the dance floor. “Hold Me,” with its tight-structured guitar work, interwoven harmonies and expert lead guitar licks is another fine, acoustic pop gem.
As a creative change of pace, “When Love Finds You” is a slow-tempo, melodic cut with an exhilarating sweetness and irresistible flavor. “Restless Wind” is delicate, yet strong, and is played with obvious acoustic zest. “Today’s Another Day,” with its reflective lyrics, is an instant “fall in love the first time you hear it” song, with impeccable piano work and interwoven harmonies. It is every bit as infectious as it is original.
All in all the release “One Long Chase” is filled with catchy choruses, tasty contributions from all the band members and seductive acoustic pop. Kudos to all who had a hand in this marvelous, easily digestible pop rock masterpiece!
BAND MEMBERS:
Paul Bradley – Bass, Vocals
Shawn McCann – Keyboards, Vocals
Marc Rines – Vocals, Guitars
Bob Soar – Drums
Dan Stanley – Guitars
Karen Stanley – Vocals, Percussion
Visit the Band:
http://www.ilike2rock.net/members/150/
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=313047974
New Vinyl Releases
NEW LP's
A Perfect Circle - Mer De Noms [2 LP] (180 Gram Vinyl in Gatefold Satin Stock Jacket) (LIMITED EDITION)
Alice Cooper - Along Came A Spider [2 LP]
Amy Macdonald - This Is The Life [LP]
Beach Boys - Pet Sounds [LP] (180 Gram Vinyl) (LIMITED EDITION)
Birdmonster - From The Mountain To The Sea [2LP]
Boz Scaggs - Boz Scaggs (1969 Self-Titled) [LP] (180 Gram Vinyl and 1/2-Speed Mastered)
Coldplay - A Rush Of Blood To The Head [LP] (180 Gram Vinyl) (LIMITED EDITION)
Coldplay - Parachutes [LP] (180 Gram Vinyl) (LIMITED EDITION)
Coldplay - X&Y [2 LP] (180 Gram Vinyl in Gatefold Jacket includes 2-sided poster) (LIMITED EDITION)
Dream Theater - Systematic Chaos [2 LP] (180 Gram Vinyl in Gatefold Jacket)
Game - LAX [2 LP]
Kenny Larkin - Keys Strings and Tamourines [2 LP]
Led Zeppelin - Mothership [4 LP] (180 Gram Vinyl Box Set)
Machine Head - The Blackening [2 LP] (in Gatefold Jacket)
Motorhead - Motorizer [2 LP]
Prisonshake - Dirty Moons [2LP]
R.E.M. - Document [LP] [180 Gram Vinyl] [LIMITED EDITION]
Radiohead - Amnesiac [2-10'' LP] (140 Gram Vinyl in Gatefold Jacket) (LIMITED EDITION)
Radiohead - Hail To The Thief [2 LP] (180 Gram Vinyl in Gatefold Jacket) (LIMITED EDITION)
Radiohead - Kid A [2-10'' LP] (140 Gram Vinyl in Gatefold Jacket) (LIMITED EDITION)
Radiohead - OK Computer [2 LP] (180 Gram Vinyl in Gatefold Jacket) (LIMITED EDITION)
Radiohead - Pablo Honey [LP] (180 Gram Vinyl) (LIMITED EDITION)
Radiohead - The Bends [LP] (180 Gram Vinyl) (LIMITED EDITION)
Real Mckenzies - Off The Leash [LP] (Includes CD Insert)
Sigh - A Tribute To Venom [2LP]
Slipknot - Vol 3. The Subliminal Verses [2 LP] (in Gatefold Jacket)
Steve Miller Band - Greatest Hits 1974-78 [LP] (180 Gram Vinyl) (LIMITED EDITION)
Toxic Holocaust - An Overdose Of Death [2LP]
Urges - Psych Ward [2LP]
Verve - Forth [LP] (Includes CD AND DVD in Gatefold Jacket)
NEW 12" SINGLES
E-40 - Wake It Up (feat. Akon)
Madonna - Give It 2 Me [12'' Picture Disc] (in a Clear Plastic Sleeve)
Madonna - Give It 2 Me [Double 12'']
Tony Lionni - Mamadu EP
T-Pain - Can't Believe (ft. Lil Wayne)
NEW 7" SINGLES
Madonna - 4 Minutes / Ring My Bell / Give It 2 Me [Double 7''] (WHITE Vinyl in Gatefold Board Sleeve)
This Date In Music History- Sept 2
Birthdays:
Rosalyn Ashford, best known as one of the Vandellas behind Martha Reeves, was born in Detroit in 1943.
Jimmy Clanton ("A Million To One") turns 68.
Bobby Dickey of James & Bobby Purify ("I'm Your Puppet") is 69.
Joe Simon ("Drowning In The Sea Of Love") turns 65.
Sam Gooden of the Impressions ("For Your Precious Love") is 69.
Drummer Buddy Miles (Electric Flag & Band Of Gypsys with Jimi Hendrix) was born in 1946.
History:
The Rock 'n' Roll Hall of Fame opened in Cleveland in 1995.
In 1965, the Beatles released "Yesterday." The Paul McCartney song becomes one of the world's most-played records.
In 1970, Genesis ran an advertisement for a drummer in the English magazine Melody Maker. Former child actor-turned-skins beater Phil Collins answers and convinced the band to hire him by revealing that he played bongos on George Harrison's "All Things Must Pass."
The Angels become the first white all-female group to have a No.1 record in 1963. The song was "My Boyfriend's Back."
The popular Lubbock, Texas duo of Buddy Holly and Bob Montgomery auditioned for radio station KDAV's Sunday Party in 1953. They earned a time slot on Sunday afternoon that became known as The Bob and Buddy Show.
Alan Freed's First Anniversary Rock 'n Roll Party kicked off at the Paramount Theater in Brooklyn, New York in 1955. Among those appearing on the bill are Chuck Berry, Tony Bennett, the Nutmegs, the Rhythmettes, the Cardinals and the Four Voices.
In 1956, 19 year old Jerry Lee Lewis arrived at Sun Records hoping for an audition, only to find that owner Sam Phillips was on vacation in Florida. Jerry Lee recorded some demos that Phillips heard when he got back.
Tommy Roe had his first number one hit in 1962 when "Sheila" reached the top of the US Pop chart. The record was a re-recorded version of a song that was first released in 1960 when Roe was part of a group called The Satins. Roe's recording success would continue until 1971, during which time he had five more Top 10 hits.
In 1977, Blondie, featuring former Playboy Bunny Debra Harry, signed their first major record company contract with Chrysalis Records.
It had been twenty-four years since Tina Turner had been on Billboard's Hot 100 with a song she recorded with her husband Ike called "A Fool In Love". Now she was back with the number one song in the US in 1984, "What's Love Got To Do With It.” The record would go on to win Grammy Awards for Record Of The Year, Pop Vocal Performance - Female and Rock Vocal Performance - Female.
Barry Cowsill, bass guitarist for The Cowsills, died on or about September 1, 2005 from injuries believed to be caused by Hurricane Katrina. His body was not recovered until December 28th, 2005, from the Chartres Street Wharf, New Orleans. He was 51.
Ozzy Osbourne was charged with threatening to kill his wife Sharon in 1989. Ozzy was released on the condition that he immediately went into detox, the case was latter dropped when the couple decide to reconcile.
2005, Mariah Carey became only the fifth act ever to hold the top two positions in the US Hot 100 singles chart. The singer's ‘We Belong Together’ notched a 10th consecutive week at number one on the Billboard chart while ‘Shake It Off’ jumped two places to second place. The feat puts Carey in a select group of acts to hold the top two with Nelly, OutKast, The Bee Gees and The Beatles. ‘We Belong Together’ was Carey's 16th number one, giving her the third highest number of chart-toppers in the US behind the Beatles and Elvis Presley.
Born on this day in 1925, Hugo Montenegro, composer, died 6th Feb 1981, (1968 UK No.1 & US No.2 single 'The Good The Bad And The Ugly', from the soundtrack to the Clint Eastwood spaghetti western film).
Rosalyn Ashford, best known as one of the Vandellas behind Martha Reeves, was born in Detroit in 1943.
Jimmy Clanton ("A Million To One") turns 68.
Bobby Dickey of James & Bobby Purify ("I'm Your Puppet") is 69.
Joe Simon ("Drowning In The Sea Of Love") turns 65.
Sam Gooden of the Impressions ("For Your Precious Love") is 69.
Drummer Buddy Miles (Electric Flag & Band Of Gypsys with Jimi Hendrix) was born in 1946.
History:
The Rock 'n' Roll Hall of Fame opened in Cleveland in 1995.
In 1965, the Beatles released "Yesterday." The Paul McCartney song becomes one of the world's most-played records.
In 1970, Genesis ran an advertisement for a drummer in the English magazine Melody Maker. Former child actor-turned-skins beater Phil Collins answers and convinced the band to hire him by revealing that he played bongos on George Harrison's "All Things Must Pass."
The Angels become the first white all-female group to have a No.1 record in 1963. The song was "My Boyfriend's Back."
The popular Lubbock, Texas duo of Buddy Holly and Bob Montgomery auditioned for radio station KDAV's Sunday Party in 1953. They earned a time slot on Sunday afternoon that became known as The Bob and Buddy Show.
Alan Freed's First Anniversary Rock 'n Roll Party kicked off at the Paramount Theater in Brooklyn, New York in 1955. Among those appearing on the bill are Chuck Berry, Tony Bennett, the Nutmegs, the Rhythmettes, the Cardinals and the Four Voices.
In 1956, 19 year old Jerry Lee Lewis arrived at Sun Records hoping for an audition, only to find that owner Sam Phillips was on vacation in Florida. Jerry Lee recorded some demos that Phillips heard when he got back.
Tommy Roe had his first number one hit in 1962 when "Sheila" reached the top of the US Pop chart. The record was a re-recorded version of a song that was first released in 1960 when Roe was part of a group called The Satins. Roe's recording success would continue until 1971, during which time he had five more Top 10 hits.
In 1977, Blondie, featuring former Playboy Bunny Debra Harry, signed their first major record company contract with Chrysalis Records.
It had been twenty-four years since Tina Turner had been on Billboard's Hot 100 with a song she recorded with her husband Ike called "A Fool In Love". Now she was back with the number one song in the US in 1984, "What's Love Got To Do With It.” The record would go on to win Grammy Awards for Record Of The Year, Pop Vocal Performance - Female and Rock Vocal Performance - Female.
Barry Cowsill, bass guitarist for The Cowsills, died on or about September 1, 2005 from injuries believed to be caused by Hurricane Katrina. His body was not recovered until December 28th, 2005, from the Chartres Street Wharf, New Orleans. He was 51.
Ozzy Osbourne was charged with threatening to kill his wife Sharon in 1989. Ozzy was released on the condition that he immediately went into detox, the case was latter dropped when the couple decide to reconcile.
2005, Mariah Carey became only the fifth act ever to hold the top two positions in the US Hot 100 singles chart. The singer's ‘We Belong Together’ notched a 10th consecutive week at number one on the Billboard chart while ‘Shake It Off’ jumped two places to second place. The feat puts Carey in a select group of acts to hold the top two with Nelly, OutKast, The Bee Gees and The Beatles. ‘We Belong Together’ was Carey's 16th number one, giving her the third highest number of chart-toppers in the US behind the Beatles and Elvis Presley.
Born on this day in 1925, Hugo Montenegro, composer, died 6th Feb 1981, (1968 UK No.1 & US No.2 single 'The Good The Bad And The Ugly', from the soundtrack to the Clint Eastwood spaghetti western film).
Monday, September 1, 2008
Memphis dealer-collector finds joy in grooves of old vinyl
By Jonathan Devin
Ron Hall's face still lights up when he comes across an album with his favorite song, "Gloria," on it.
"It's the best song ever written," said Hall, 58, a longtime collector and seller of vinyl records. "The band Them did it with Van Morrison singing in '66; that was really good. Then Jimi Hendrix did a version of it. Now everyone's done it."
Ron Hall has 2,000 albums in his personal collection, 8,000 to 10,000 stored for sale, and as many as 2,000 popular titles that sell well at the Memphis Flea Market, where he has sold for 27 years.
Ron Hall is not only a big collector of vinyl albums and related music memorabilia, he is also the author of two books about the Memphis garage band scene in the 1960s and '70s.
In addition to vinyl albums, Hall has big collection of cardboard music advertising cutouts.
Shelves groan under the weight of the thousands of albums in Ron Hall's collection. He likes "oddball" treasures with great cover artwork, virtually unknown music and personal connections.
Even though an entire generation born in the late 1970s and '80s grew up with nothing but CDs, Hall cautions those who claim vinyl is a dinosaur. For the past 27 years, he has been a fixture at the Memphis Flea Market ("The BIG One"), selling crates full of records to eager young buyers who Hall said are learning to appreciate the art of vinyl, if not the technology.
"Sometimes I'll see something at a yard sale and just go nuts over it," Hall said.
Hall worked for record distributors Record Sales in Whitehaven, and later Stan's Distributing, based in Shreveport, La., through the 1970s, when recorded music rivaled television in the entertainment industry.
Records, he said, were conversation starters and reasons for people to get together and have fun.
"Friends of mine can come over here and pull stuff off the rack, and it seems like so many of these records have a story with it," he said. "There's a reason I have it."
A shift in vinyl sales came about, Hall said, when major distributors started buying up smaller ones. Columbia, Capitol Records, RCA, and more recently, Warner Brothers, swallowed smaller labels to cash in on their signature styles. With control of the industry in just a few hands, the need for traveling salesmen dried up as well.
"It was rough. The whole thing changed. It got down to like five major labels who controlled everything."
Hall took a job with the U.S. Postal Service in 1985, after 13 years in record distributing, but continued selling records on his own. In addition to the flea market, he sells on eBay under the handle "waxwatcher."
He describes his love of vinyl records as a never-ending search for "oddball" treasures with great cover artwork, virtually unknown music and personal connections. While many collectors delight in legends like Elvis or The Beatles, Hall's prizes are the kind that are available only on vinyl records.
"I've got an album by the group Title Unit that they cut in a roller rink in Millington," said Hall. "They couldn't have pressed many, probably 300 to 400, and sold them mostly when they played, so most of their albums left the area. I've only talked to one or two other guys that have that record."
Hall is also fond of his autographed album covers, because he can remember the stories that led to the signatures.
He recalled chauffeuring the New York Dolls before and after their Memphis concert in the late '70s. Hall's co-worker refused to drive the makeup-wearing, big-haired glam rock group, but Hall jumped at the chance.
"I'd bought their album and got them all to sign it," he said, displaying the cover proudly. "When you get something signed, that has something that you can remember, a whole story behind it. I wouldn't get rid of that for anything."
Hall's collection consists of about 2,000 albums that he keeps for himself, between 8,000 and 10,000 in storage for sale, and as many as 2,000 popular titles that sell well at the flea market. He charges about $3 per album on average, though some rare ones go for as much as $50-$60.
Music celebrities have been customers at the flea market, including Scott Bomar of the Bo-Keys, who scored Craig Brewer's "Hustle & Flow" and "Black Snake Moan." The late Paul Burlison, guitarist of Johnny Burnette's Rock and Roll Trio, showed up from time to time in the early '80s.
In 2001, Hall put his knowledge and experience to paper, writing "Playing For a Piece of the Door: A History of Garage and Frat Bands in Memphis 1960-75," an encyclopedia of facts about his favorite genre, garage rock. The book was featured on WKNO's "Memphis Memoirs" series.
He followed "History" in 2003 with a second volume, "The Memphis Garage Rock Yearbook." Both were published by Shangri-la Projects.
Some collectors shop Hall's flea market booth looking for album art. Customers ask for albums with motorcycles, Corvettes or certain names on them. (Hall admits he buys albums with the name "Sue" in the title for his wife, Sue).
Something about local music, though, just sings to Hall, a Frayser High graduate, who moved to Memphis in the fourth grade.
"You put on an old Muddy Waters album, it doesn't bother me at all if it crackles and everything, because I can just see him -- see some old sharecropper sitting around a crank-up Victrola in a shotgun shack listening to the old blues records, hearing them crackle."
SOURCE: http://www.commercialappeal.com
Ron Hall's face still lights up when he comes across an album with his favorite song, "Gloria," on it.
"It's the best song ever written," said Hall, 58, a longtime collector and seller of vinyl records. "The band Them did it with Van Morrison singing in '66; that was really good. Then Jimi Hendrix did a version of it. Now everyone's done it."
Ron Hall has 2,000 albums in his personal collection, 8,000 to 10,000 stored for sale, and as many as 2,000 popular titles that sell well at the Memphis Flea Market, where he has sold for 27 years.
Ron Hall is not only a big collector of vinyl albums and related music memorabilia, he is also the author of two books about the Memphis garage band scene in the 1960s and '70s.
In addition to vinyl albums, Hall has big collection of cardboard music advertising cutouts.
Shelves groan under the weight of the thousands of albums in Ron Hall's collection. He likes "oddball" treasures with great cover artwork, virtually unknown music and personal connections.
Even though an entire generation born in the late 1970s and '80s grew up with nothing but CDs, Hall cautions those who claim vinyl is a dinosaur. For the past 27 years, he has been a fixture at the Memphis Flea Market ("The BIG One"), selling crates full of records to eager young buyers who Hall said are learning to appreciate the art of vinyl, if not the technology.
"Sometimes I'll see something at a yard sale and just go nuts over it," Hall said.
Hall worked for record distributors Record Sales in Whitehaven, and later Stan's Distributing, based in Shreveport, La., through the 1970s, when recorded music rivaled television in the entertainment industry.
Records, he said, were conversation starters and reasons for people to get together and have fun.
"Friends of mine can come over here and pull stuff off the rack, and it seems like so many of these records have a story with it," he said. "There's a reason I have it."
A shift in vinyl sales came about, Hall said, when major distributors started buying up smaller ones. Columbia, Capitol Records, RCA, and more recently, Warner Brothers, swallowed smaller labels to cash in on their signature styles. With control of the industry in just a few hands, the need for traveling salesmen dried up as well.
"It was rough. The whole thing changed. It got down to like five major labels who controlled everything."
Hall took a job with the U.S. Postal Service in 1985, after 13 years in record distributing, but continued selling records on his own. In addition to the flea market, he sells on eBay under the handle "waxwatcher."
He describes his love of vinyl records as a never-ending search for "oddball" treasures with great cover artwork, virtually unknown music and personal connections. While many collectors delight in legends like Elvis or The Beatles, Hall's prizes are the kind that are available only on vinyl records.
"I've got an album by the group Title Unit that they cut in a roller rink in Millington," said Hall. "They couldn't have pressed many, probably 300 to 400, and sold them mostly when they played, so most of their albums left the area. I've only talked to one or two other guys that have that record."
Hall is also fond of his autographed album covers, because he can remember the stories that led to the signatures.
He recalled chauffeuring the New York Dolls before and after their Memphis concert in the late '70s. Hall's co-worker refused to drive the makeup-wearing, big-haired glam rock group, but Hall jumped at the chance.
"I'd bought their album and got them all to sign it," he said, displaying the cover proudly. "When you get something signed, that has something that you can remember, a whole story behind it. I wouldn't get rid of that for anything."
Hall's collection consists of about 2,000 albums that he keeps for himself, between 8,000 and 10,000 in storage for sale, and as many as 2,000 popular titles that sell well at the flea market. He charges about $3 per album on average, though some rare ones go for as much as $50-$60.
Music celebrities have been customers at the flea market, including Scott Bomar of the Bo-Keys, who scored Craig Brewer's "Hustle & Flow" and "Black Snake Moan." The late Paul Burlison, guitarist of Johnny Burnette's Rock and Roll Trio, showed up from time to time in the early '80s.
In 2001, Hall put his knowledge and experience to paper, writing "Playing For a Piece of the Door: A History of Garage and Frat Bands in Memphis 1960-75," an encyclopedia of facts about his favorite genre, garage rock. The book was featured on WKNO's "Memphis Memoirs" series.
He followed "History" in 2003 with a second volume, "The Memphis Garage Rock Yearbook." Both were published by Shangri-la Projects.
Some collectors shop Hall's flea market booth looking for album art. Customers ask for albums with motorcycles, Corvettes or certain names on them. (Hall admits he buys albums with the name "Sue" in the title for his wife, Sue).
Something about local music, though, just sings to Hall, a Frayser High graduate, who moved to Memphis in the fourth grade.
"You put on an old Muddy Waters album, it doesn't bother me at all if it crackles and everything, because I can just see him -- see some old sharecropper sitting around a crank-up Victrola in a shotgun shack listening to the old blues records, hearing them crackle."
SOURCE: http://www.commercialappeal.com
Audiophiles' Delight: Vinyl LPs Still Sell
Those old-fashioned analog platters (with the warm sound) aren't back from the dead; they were never quite buried in the first place
by Carl Winfield
Rising LP sales are proving that every fashion comes back if you stick around long enough. The Recording Industry Association of America (RIAA) reports that shipments of vinyl records, measured by dollar value, increased 36.6% from 2006 to 2007. But, while demand for albums has increased, record sales remain significantly lower than those of compact discs and digital media. More than half a billion CDs were purchased in 2007, compared with about 1.3 million vinyl LPs.
"Demand for records has grown, but it's kind of like the dandelion in the weed patch," says Geoff Mayfield, chart director at Billboard magazine. "Growth is high because the base is so small." The RIAA declined to comment.
Despite the minuscule retail figures, the format's popularity has never wavered over the decades among audiophiles, LP enthusiasts, and serious music collectors. Vinyl is often praised as the medium of warmth and richness, delivering playback that most closely represents a live musical experience. Purists sniff that digital routinely registers as cold and antiseptic. CDs can also suffer from a reduced spatial sense in a listener's soundstage. "Digital audio systems are mere easy-to-use devices for people who have yet to discover the joy of live music. It can be said that such systems are deflating music," according to the Web site of Samurai International, a Tokyo company that distributes high-end turntable tonearms and cartridges.
Ear Addiction
But for audiophiles, the sonic warmth of analog vinyl often comes with a hefty price tag. Some state-of-the-art turntables, such as Goldmund's Reference II model from Switzerland, sell for as much as $300,000. No matter—for some people, good audio is worth any price. "When you hear a song you know that sounds better than you've ever heard before, it's addictive," says Robert Harley, editor of The Absolute Sound, a monthly magazine covering high-performance audio. "You have to have it."
When it comes to the cutting edge of vinyl playback, the sky is truly the limit. A turntable can soar into the hundreds of thousands of dollars. A needle cartridge designed by Japan's Koetsu can set an audiophile back $15,000. Even the records themselves are subject to higher prices. Retail rates for heavier, and therefore more durable, albums weighing 180 to 200 grams start at $18.99. But, with the addition of art and specialty packaging, the cost of a 200-gram, limited-edition Japanese import of The Police classic Ghost in the Machine or Bob Marley's Burnin' can go for as much as $60, plus shipping costs.
While the higher tiers of advanced sound playback can induce wallet-clutching shock and awe, music lovers of modest means don't have to take out a second mortgage to enjoy a fine vinyl experience. "High-end buyers represent the extreme tip of the market," says Jonathan Atkinson, editor-in-chief of SourceMedia's Stereophile.com. That's not to say that great sound cannot be had with a pair of $600 speakers, a $500 turntable, and an amplifier costing less than $1,000, he adds.
Different audio media, such as eight-track and cassette tapes, have come and gone. And, as compact discs are increasingly supplanted by digital downloads, some speculate that even the mighty CD could one day fade into obscurity. However, if unit sales are any indication, vinyl, it seems, may indeed be forever.
Winfield is a reporter for BusinessWeek.
SOURCE: http://www.businessweek.com
by Carl Winfield
Rising LP sales are proving that every fashion comes back if you stick around long enough. The Recording Industry Association of America (RIAA) reports that shipments of vinyl records, measured by dollar value, increased 36.6% from 2006 to 2007. But, while demand for albums has increased, record sales remain significantly lower than those of compact discs and digital media. More than half a billion CDs were purchased in 2007, compared with about 1.3 million vinyl LPs.
"Demand for records has grown, but it's kind of like the dandelion in the weed patch," says Geoff Mayfield, chart director at Billboard magazine. "Growth is high because the base is so small." The RIAA declined to comment.
Despite the minuscule retail figures, the format's popularity has never wavered over the decades among audiophiles, LP enthusiasts, and serious music collectors. Vinyl is often praised as the medium of warmth and richness, delivering playback that most closely represents a live musical experience. Purists sniff that digital routinely registers as cold and antiseptic. CDs can also suffer from a reduced spatial sense in a listener's soundstage. "Digital audio systems are mere easy-to-use devices for people who have yet to discover the joy of live music. It can be said that such systems are deflating music," according to the Web site of Samurai International, a Tokyo company that distributes high-end turntable tonearms and cartridges.
Ear Addiction
But for audiophiles, the sonic warmth of analog vinyl often comes with a hefty price tag. Some state-of-the-art turntables, such as Goldmund's Reference II model from Switzerland, sell for as much as $300,000. No matter—for some people, good audio is worth any price. "When you hear a song you know that sounds better than you've ever heard before, it's addictive," says Robert Harley, editor of The Absolute Sound, a monthly magazine covering high-performance audio. "You have to have it."
When it comes to the cutting edge of vinyl playback, the sky is truly the limit. A turntable can soar into the hundreds of thousands of dollars. A needle cartridge designed by Japan's Koetsu can set an audiophile back $15,000. Even the records themselves are subject to higher prices. Retail rates for heavier, and therefore more durable, albums weighing 180 to 200 grams start at $18.99. But, with the addition of art and specialty packaging, the cost of a 200-gram, limited-edition Japanese import of The Police classic Ghost in the Machine or Bob Marley's Burnin' can go for as much as $60, plus shipping costs.
While the higher tiers of advanced sound playback can induce wallet-clutching shock and awe, music lovers of modest means don't have to take out a second mortgage to enjoy a fine vinyl experience. "High-end buyers represent the extreme tip of the market," says Jonathan Atkinson, editor-in-chief of SourceMedia's Stereophile.com. That's not to say that great sound cannot be had with a pair of $600 speakers, a $500 turntable, and an amplifier costing less than $1,000, he adds.
Different audio media, such as eight-track and cassette tapes, have come and gone. And, as compact discs are increasingly supplanted by digital downloads, some speculate that even the mighty CD could one day fade into obscurity. However, if unit sales are any indication, vinyl, it seems, may indeed be forever.
Winfield is a reporter for BusinessWeek.
SOURCE: http://www.businessweek.com
Blue Note Reissue Series
"You don’t have to be a musician to understand jazz. All you have to do is be able to feel. If you pass through life without hearing this music, you’ve missed a great deal." - Art Blakey
The Definitive 45 rpm Blue Note Reissue Series
You listen, you look, you’re there...
For nearly 70 years, the name Blue Note has been synonymous with the finest in recorded jazz music. The combination of producer Alfred Lion, photographer Francis Wolff, (his partner in Blue Note), and recording engineer Rudy Van Gelder resulted in a near perfect team for documenting the greatest jazz musicians of the time. If Alfred and Rudy were responsible for the Blue Note sound, Francis Wolff could be said to be the man behind the Blue Note look. These men, along with graphic designer Reid Miles, made Blue Note into a label with artistic level, sound fidelity and graphic presentation that set the gold standard for all jazz labels to come.
An often repeated story has Prestige Records producer Bob Porter claiming that “the difference between Prestige and Blue Note is two days of rehearsal.” He was partially right, but the truth is more fundamental than that. Alfred Lion was a perfectionist in his attitude towards the music. Getting it right before it hit the grooves was a major part of the Blue Note success story.
Getting it right is also a single minded passion for Music Matters Ltd. Blue Note has played a significant role in the lives of Ron Rambach and Joe Harley, the core of Music Matters today. We have treasured these records for so long that bringing them back to life again in this new form is like meeting an old friend in new clothes. The work is being carried out with respect, dedication to quality and the realization that being a part of the long Blue Note heritage is both a great honor and a daunting responsibility.
Discussions to do a no holds barred reissue of Blue Note began in May of 2005, though final negotiations with EMI, (parent company to Blue Note), didn’t conclude until July of 2007. Now the dream begins...to honor the work of Alfred, Francis, Rudy, and the musicians themselves by presenting definitive new editions of the Blue Note label on vinyl.
It was decided early on to use the mastering skills of Kevin Gray and Steve Hoffman at Acoustech Mastering to do the all important transfer work for these sessions. After being impressed with the recent series of 45RPM audiophile releases from the Prestige/Riverside vault by Acoustic Sounds, it was also determined that the records should be presented as 45RPM 180-gram limited edition LP sets.
To honor the work of Francis Wolff and others who created the Blue Note “look”, we feel that these magnificent Blue Note sessions warrant the finest graphic presentation possible. Great care has been taken in choosing the cardboard stock and thick lamination for the jackets. The inclusion of the brilliant photography of Francis Wolff was a given for this series. The original issued Blue Note albums sometimes included thumbnail sized session photos on the LP jacket backs but we decided to give these photos the high resolution treatment they deserve via a proper gatefold. We can never thank Blue Note man extraordinaire, Michael Cuscuna, enough for his help in obtaining these wonderful session photos, and for his overall guidance and support with this project.
It is our sincere hope that you get as much joy listening to these masterworks, (and looking at the session photos) as we do in presenting them.
With the music in mind… Enjoy!
SOURCE: http://www.musicmattersjazz.com/titles.html
The Definitive 45 rpm Blue Note Reissue Series
You listen, you look, you’re there...
For nearly 70 years, the name Blue Note has been synonymous with the finest in recorded jazz music. The combination of producer Alfred Lion, photographer Francis Wolff, (his partner in Blue Note), and recording engineer Rudy Van Gelder resulted in a near perfect team for documenting the greatest jazz musicians of the time. If Alfred and Rudy were responsible for the Blue Note sound, Francis Wolff could be said to be the man behind the Blue Note look. These men, along with graphic designer Reid Miles, made Blue Note into a label with artistic level, sound fidelity and graphic presentation that set the gold standard for all jazz labels to come.
An often repeated story has Prestige Records producer Bob Porter claiming that “the difference between Prestige and Blue Note is two days of rehearsal.” He was partially right, but the truth is more fundamental than that. Alfred Lion was a perfectionist in his attitude towards the music. Getting it right before it hit the grooves was a major part of the Blue Note success story.
Getting it right is also a single minded passion for Music Matters Ltd. Blue Note has played a significant role in the lives of Ron Rambach and Joe Harley, the core of Music Matters today. We have treasured these records for so long that bringing them back to life again in this new form is like meeting an old friend in new clothes. The work is being carried out with respect, dedication to quality and the realization that being a part of the long Blue Note heritage is both a great honor and a daunting responsibility.
Discussions to do a no holds barred reissue of Blue Note began in May of 2005, though final negotiations with EMI, (parent company to Blue Note), didn’t conclude until July of 2007. Now the dream begins...to honor the work of Alfred, Francis, Rudy, and the musicians themselves by presenting definitive new editions of the Blue Note label on vinyl.
It was decided early on to use the mastering skills of Kevin Gray and Steve Hoffman at Acoustech Mastering to do the all important transfer work for these sessions. After being impressed with the recent series of 45RPM audiophile releases from the Prestige/Riverside vault by Acoustic Sounds, it was also determined that the records should be presented as 45RPM 180-gram limited edition LP sets.
To honor the work of Francis Wolff and others who created the Blue Note “look”, we feel that these magnificent Blue Note sessions warrant the finest graphic presentation possible. Great care has been taken in choosing the cardboard stock and thick lamination for the jackets. The inclusion of the brilliant photography of Francis Wolff was a given for this series. The original issued Blue Note albums sometimes included thumbnail sized session photos on the LP jacket backs but we decided to give these photos the high resolution treatment they deserve via a proper gatefold. We can never thank Blue Note man extraordinaire, Michael Cuscuna, enough for his help in obtaining these wonderful session photos, and for his overall guidance and support with this project.
It is our sincere hope that you get as much joy listening to these masterworks, (and looking at the session photos) as we do in presenting them.
With the music in mind… Enjoy!
SOURCE: http://www.musicmattersjazz.com/titles.html
Sunday, August 31, 2008
Support The Campaign For Real Music
written by Robert Benson
For those of us who are tired of the same old music being played on radio stations around the world, a novel concept called the Campaign For Real Music (www.campaignforrealmusic.com) is here to help us. The concept is the brainchild of the people at Radio Cafe (www.radiocafe.com), a site that is set up to promote the very best in quality music.
I spoke with one of the founders of Radio Café and Campaign For Real Music, Paul Langford about the goals and formation of these websites.
“I founded the sites with a few friends who feel the same way as I do,” detailed Paul. “It started around four years ago, has evolved quite a lot, but the aim has remained the same throughout- to try and promote real music, and musicians, that simply do not get the exposure elsewhere that they deserve. There are so many artists who, for whatever reason, no longer get radio airplay; therefore, a whole generation is missing out on a wealth of wonderful music.”
“Conversely, there are also numerous fantastic young musicians and singers who haven’t had the chance that their talents deserve. We want to raise their profile and we do this primarily by featuring them on this site, featuring them in our shows and getting them directly involved. We also are slowly building up a happy family of supporters who share the same or a similar ethos.”
“We hope the Campaign will help radio music schedulers appreciate the many types of music that are not being well represented on the airwaves. We’d particularly like the BBC, which offers some fantastic shows on some of its local radio stations, to review its DAB and national radio offering, and provide a broader mix of music for all,” explained Paul. “At the moment, there seems to be so many stations playing the same mix of music, and many popular genres of music have little to no airplay at all.”
I inquired as to what kind of music he is referring to and just how exactly does Campaign For Real Music promote their artists?
“We focus on the quality of the music; irresponsible of age, what counts is the effect, craft and end quality of the music. We promote the music by creating an artist ‘profile’ and we are happy to profile any music which involves time, effort, art and quality - our definition of "real music" - and which has been overlooked,” detailed Paul. “Initially we saw certain genres which are clearly not being catered for on mainstream radio in the UK (although the situation appears to be a little better in the US), as follows:
"Light music" - now known as "beautiful music" in some quarters – gets absolutely no airplay in the UK at all. But not all that long ago it formed the mainstay of British music radio, and the BBC produced masses of this type of music through its own orchestras. Sadly, the 1980s saw its demise and the last dedicated hour of light music on the BBC was cancelled last year.”
"Soul" is also a dying genre. These days it has been replaced by the confusingly named "R&B", aka "Urban", and the focus and sound is far removed from the incredible production and musical talents that provided so much great music during the 70s and 80s.”
"Classic vocalists" - some might call this "crooners". These days yes, we do have fantastic singers like Diana Krall and Michael Buble. But frustratingly this appears to be at the expense of the likes of Vic Damone, Jack Jones and Julie London, who get very little airplay in the UK other than a few chosen tracks. In fact, this would lead a listener to think that these were the only recordings that these artists ever produced - for example, Julie London released dozens of albums, yet we rarely hear anything other than "Cry Me A River" on the radio these days.”
"Jazzy tunes" - while jazz has a huge following, select areas such as dance bands, big bands, jump jive and jazz funk have little to no airplay on mainstream radio. These wonderful forms of music deserve much greater profile.”
“We also include an "other" category so that we capture any artists who deserve a greater profile but do not fit into the above genre.”
I was curious as to what the criteria were for a musician to be selected and to be profiled?
“The criteria are simple: the musician or artist or broadcaster has talent, but does not get the recognition they deserve, or has been overlooked or forgotten,” said Paul.
How can a person get involved with what you are trying to achieve?
“We're pleased to hear from anyone who would like to support the Campaign For Real Music. A number of musicians and artists have been in contact, ranging from funk legend Don Blackman (of "Blackman" fame as well as numerous 1980s adverts) to pop star Leo Sayer ("When I Need You" and "You Make Me Feel Like Dancing") to composer Neil Richardson (most famous perhaps for the "Mastermind" TV theme tune, but a man who has done so very much more). But it's really anyone who is passionate about real music that we are keen to hear from. And everyone can have their say and join in at www.campaignforrealmusic.com.”
So there you have it. Music lovers, who want to not only promote the music that they love, but also new music that has the quality and spirit to be loved. And, that my friends, is what music is supposed to be all about.
Copyright 2008 Robert Benson
www.collectingvinylrecords.com
For those of us who are tired of the same old music being played on radio stations around the world, a novel concept called the Campaign For Real Music (www.campaignforrealmusic.com) is here to help us. The concept is the brainchild of the people at Radio Cafe (www.radiocafe.com), a site that is set up to promote the very best in quality music.
I spoke with one of the founders of Radio Café and Campaign For Real Music, Paul Langford about the goals and formation of these websites.
“I founded the sites with a few friends who feel the same way as I do,” detailed Paul. “It started around four years ago, has evolved quite a lot, but the aim has remained the same throughout- to try and promote real music, and musicians, that simply do not get the exposure elsewhere that they deserve. There are so many artists who, for whatever reason, no longer get radio airplay; therefore, a whole generation is missing out on a wealth of wonderful music.”
“Conversely, there are also numerous fantastic young musicians and singers who haven’t had the chance that their talents deserve. We want to raise their profile and we do this primarily by featuring them on this site, featuring them in our shows and getting them directly involved. We also are slowly building up a happy family of supporters who share the same or a similar ethos.”
“We hope the Campaign will help radio music schedulers appreciate the many types of music that are not being well represented on the airwaves. We’d particularly like the BBC, which offers some fantastic shows on some of its local radio stations, to review its DAB and national radio offering, and provide a broader mix of music for all,” explained Paul. “At the moment, there seems to be so many stations playing the same mix of music, and many popular genres of music have little to no airplay at all.”
I inquired as to what kind of music he is referring to and just how exactly does Campaign For Real Music promote their artists?
“We focus on the quality of the music; irresponsible of age, what counts is the effect, craft and end quality of the music. We promote the music by creating an artist ‘profile’ and we are happy to profile any music which involves time, effort, art and quality - our definition of "real music" - and which has been overlooked,” detailed Paul. “Initially we saw certain genres which are clearly not being catered for on mainstream radio in the UK (although the situation appears to be a little better in the US), as follows:
"Light music" - now known as "beautiful music" in some quarters – gets absolutely no airplay in the UK at all. But not all that long ago it formed the mainstay of British music radio, and the BBC produced masses of this type of music through its own orchestras. Sadly, the 1980s saw its demise and the last dedicated hour of light music on the BBC was cancelled last year.”
"Soul" is also a dying genre. These days it has been replaced by the confusingly named "R&B", aka "Urban", and the focus and sound is far removed from the incredible production and musical talents that provided so much great music during the 70s and 80s.”
"Classic vocalists" - some might call this "crooners". These days yes, we do have fantastic singers like Diana Krall and Michael Buble. But frustratingly this appears to be at the expense of the likes of Vic Damone, Jack Jones and Julie London, who get very little airplay in the UK other than a few chosen tracks. In fact, this would lead a listener to think that these were the only recordings that these artists ever produced - for example, Julie London released dozens of albums, yet we rarely hear anything other than "Cry Me A River" on the radio these days.”
"Jazzy tunes" - while jazz has a huge following, select areas such as dance bands, big bands, jump jive and jazz funk have little to no airplay on mainstream radio. These wonderful forms of music deserve much greater profile.”
“We also include an "other" category so that we capture any artists who deserve a greater profile but do not fit into the above genre.”
I was curious as to what the criteria were for a musician to be selected and to be profiled?
“The criteria are simple: the musician or artist or broadcaster has talent, but does not get the recognition they deserve, or has been overlooked or forgotten,” said Paul.
How can a person get involved with what you are trying to achieve?
“We're pleased to hear from anyone who would like to support the Campaign For Real Music. A number of musicians and artists have been in contact, ranging from funk legend Don Blackman (of "Blackman" fame as well as numerous 1980s adverts) to pop star Leo Sayer ("When I Need You" and "You Make Me Feel Like Dancing") to composer Neil Richardson (most famous perhaps for the "Mastermind" TV theme tune, but a man who has done so very much more). But it's really anyone who is passionate about real music that we are keen to hear from. And everyone can have their say and join in at www.campaignforrealmusic.com.”
So there you have it. Music lovers, who want to not only promote the music that they love, but also new music that has the quality and spirit to be loved. And, that my friends, is what music is supposed to be all about.
Copyright 2008 Robert Benson
www.collectingvinylrecords.com
Springsteen ends world tour at Harley celebration
I enjoyed watching the Harley parade on TV commemorating their 105th anniversary. It certainly lets the world know just how down-to-earth and friendly that both the people of this area are-as well as the thousands of bikers who filled the city.
There is a certain aura, a true happiness, when all people can come together like this. There are no whites, Hispanics, blacks, or any minorities, for that matter. There is no hate- just the love and appreciation of this wonderful machine. If only world peace could be this easy......
And the "Boss' made an appearance (better than the 100th when some yahoo had Elton John perform) and here is a story about his concert:
By CARRIE ANTLFINGER,
Associated Press Writer
MILWAUKEE - Bruce Springsteen ended his world tour over the weekend, toned down but revved up.
Springsteen played more than 30 songs over 3 1/2 hours Saturday night on Milwaukee's lakefront for Harley-Davidson's 105th anniversary celebration. He made few comments between songs.
Only for a few moments before "Livin' in the Future" did the rocker — who often brings his liberal-leaning political comments to the stage — stray into politics.
Springsteen performed to a crowd not unlike the one that gave Republican presidential candidate John McCain a warm welcome Aug. 4 at the Sturgis Motorcycle Rally in South Dakota. Many roared their motorcycles during McCain's speech.
Springsteen said "Livin' in the Future" was about what was happening now: cheese, Harley-Davidson motorcycles (tailoring it to his Wisconsin crowd), transfats, "500 channels of nothing on" and the Bill of Rights.
But he also mentioned wire tapping and rendition — the secret transport of terror suspects from one country to another.
"Things that basically at the heart are un-American," he said. The crowd gave spattered groans but mostly stayed silent.
He did not play "Born in the U.S.A," his anthem about the difficulties Vietnam war veterans faced, or the anti-war ballad "Devils and Dust" about Iraq.
Springsteen's Saturday performance was his last stop on his tour. His Web site said Springsteen and the E Street Band have performed 100 concerts for more than 2 million fans.
Milwaukee-based Harley-Davidson expected more than 100,000 people from around the nation and world to participate in the four-day celebration that officially started Thursday in Milwaukee and its suburbs. It included a parade through the city, a party along the lake, activities at the new Harley-Davidson Museum, a special exhibit at Discovery World and other big-name bands.
SOURCE: http://news.yahoo.com
There is a certain aura, a true happiness, when all people can come together like this. There are no whites, Hispanics, blacks, or any minorities, for that matter. There is no hate- just the love and appreciation of this wonderful machine. If only world peace could be this easy......
And the "Boss' made an appearance (better than the 100th when some yahoo had Elton John perform) and here is a story about his concert:
By CARRIE ANTLFINGER,
Associated Press Writer
MILWAUKEE - Bruce Springsteen ended his world tour over the weekend, toned down but revved up.
Springsteen played more than 30 songs over 3 1/2 hours Saturday night on Milwaukee's lakefront for Harley-Davidson's 105th anniversary celebration. He made few comments between songs.
Only for a few moments before "Livin' in the Future" did the rocker — who often brings his liberal-leaning political comments to the stage — stray into politics.
Springsteen performed to a crowd not unlike the one that gave Republican presidential candidate John McCain a warm welcome Aug. 4 at the Sturgis Motorcycle Rally in South Dakota. Many roared their motorcycles during McCain's speech.
Springsteen said "Livin' in the Future" was about what was happening now: cheese, Harley-Davidson motorcycles (tailoring it to his Wisconsin crowd), transfats, "500 channels of nothing on" and the Bill of Rights.
But he also mentioned wire tapping and rendition — the secret transport of terror suspects from one country to another.
"Things that basically at the heart are un-American," he said. The crowd gave spattered groans but mostly stayed silent.
He did not play "Born in the U.S.A," his anthem about the difficulties Vietnam war veterans faced, or the anti-war ballad "Devils and Dust" about Iraq.
Springsteen's Saturday performance was his last stop on his tour. His Web site said Springsteen and the E Street Band have performed 100 concerts for more than 2 million fans.
Milwaukee-based Harley-Davidson expected more than 100,000 people from around the nation and world to participate in the four-day celebration that officially started Thursday in Milwaukee and its suburbs. It included a parade through the city, a party along the lake, activities at the new Harley-Davidson Museum, a special exhibit at Discovery World and other big-name bands.
SOURCE: http://news.yahoo.com
Record Spree!
Passing Out Needles, Or: How To Stop Worrying And Love Your Vinyl Again
Record Collectors: Start Your Engines
Undoubtedly, you’ve heard vinyl is back. Maybe, to you, it never went away. There were rumors, however, that the traditional LP was a relic, abandoned for much shinier and more-portable storage units called compact discs. Fifteen to 20 years ago people dumped entire record collections at yard sales and flea markets, propping up the major labels by re-purchasing albums they already owned, electing greatest-hits sets over crisp 45s.
The 12-inch beasts and their 7-inch minions still do good business for local record shops and Ebay sellers, though, and since 1990, they’ve been the dominant mover at the bi-monthly Chicagoland Record & CD Collectors Show. The word “CD” might cameo in the proper name, but it’s largely a concession to modernity.
“It was all CDs,” recalls owner John Govi. “CDs were introduced in what, ‘83 or ‘84? By the time 1990 rolled around, everyone was getting rid of their vinyl — it was passé. Records were not the format of choice at that time. They were still around, but CDs were the way to go.”
So why would Govi, an Aurora native, continue selling horses and buggies when cars were the way to go? “I still had a good amount of dealers who wanted to do vinyl. The other shows were primarily CDs, so I stuck with it.”
When tables start going up on September 14th at the Best Western Chicago-Hillside (the old Holiday Inn), a line of customers will start snaking into the nearby church parking lot. Govi’s gamble — which began at the Willowbrook Holiday Inn with a brief stop in Oak Brook’s Marriott — ballooned to the largest and most-popular such venture in the Midwest.
“We’re in Bloomington-Normal,” says North Street Records’ Rob Streibich, “so I’m in the center of the state. Sometimes we’ll do St. Louis, John’s show in Hillside, we’ve done Indianapolis, Peoria, and Champaign, and Milwaukee. John’s is the one we just do not miss.”
Ken Price, a South Bend, Indianan, traverses huge swaths to peddle in his home state, Michigan, and Ohio. Yet he makes a point of creeping up the west coast of Lake Michigan for five of Govi’s six annual bazaars.
“I set up at about 45,” he says, having picked a choice number. “I now run five different shows: South Bend, Kalamazoo, Lansing, Ann Arbor, and Fort Wayne. What happened was the guy who used to run the shows, about three years ago — for a variety of reasons — decided to get out of it. I was doing well at all his shows, [and] he asked me if I wanted to take them over. I really didn’t want to, but if I didn’t they were gonna disappear.”
It doesn’t seem like the Hillside show will vanish. “I have six shows,” says Govi. “I can’t see doing any more shows than that. There are times when I’m sold out and I’m sending dealers away. I’d like to give space to everybody. November, January, March I have to push dealers away. One half of the year I’m not big enough; the other half I’m just right.”
Far from the perception of record shows meeting comic-book-convention levels of nerdiness, the most commonly purchased albums are all-time classics, picked up by those who are newly building collections. “Most records we have are mainstream,” Govi admits. “Don’t get me wrong — we have rare stuff. The records that never fail to go are Pink Floyd Dark Side Of The Moon, the first four Led Zeppelin albums, The Doors — gotta have Jim Morrison — and if you’ve got original pressings of The Beatles’ albums you will always sell out.”
Streibich agrees, stocking up on such records because they’re hot back at the store. “Led Zeppelin, Beatles, Pink Floyd, Rolling Stones — stuff we cannot keep in stock.” In fact, North Street often go back home with more than they’ve sold. “There are certain artists we just cannot get enough in used. I could sell them all day. When we’re up there we do a lot of shopping to bring back to Central Illinois.”
Both Govi and Price are quick to mention the 60-percent spike in vinyl sales last year — the only physical format whose figures rose. And though Price agrees those figures reflect a very small base, there’s no reason to believe it won’t continue to surge.
He says, “It’s just a general trend. As far as the used-vinyl market, we’re always getting some kids who find it’s an inexpensive way to get into vinyl. There’s nostalgia involved, even for kids who grew up in the ’90s. There’s been a general shift away from ’50s and ’60s music; you’re seeing mid- to late-’60s, ’70s and early ’80s — people who grew up in that period are getting a nostalgia thing and going back and collecting the vinyl they might have missed the first time through; music that kind of was a forerunner to current music starts to do better. People look for metal and punk, look for older electronic music.”
Govi says his own daughter surprised him with what goes on in her college residence hall (and it didn’t involve a case of airplane glue). “She said turntables are all over her dorms and kids are buying used vinyl. Not CDs — REO Speedwagon, The Beatles.”
As such, a new booth will pop up in November sporting nothing but turntables and such accessories. “We’re gonna be pushing needles,” he jokes, saying they’ll fit right alongside record supplies, posters, programs, sheet music, autographed photos, DVDs, and those pesky CDs.
Of course, families of four wearing Colgate smiles and pushing shopping carts full of records aren’t the norm yet. The core business comes from a dedicated cadre of collectors still searching for the elusive gaps in their anthologies. Price is convinced some of his hardest targets will have to come upon him by accident, so thorough has his four decades of crate-digging proven. But Govi remembers a particular collectors-only surprise.
“You know Jerry Butler?” he asks, referring to the former Impressions member who became The Iceman. “His first big hit, ‘For Your Precious Love,’ was on a label called Abner. But the first pressing was on Vee-Jay, limited to 500 copies. Finding that first press is almost impossible. A couple years ago at a show in Indiana, this man approached us and wanted to know who our high-dollar buyers were. I pointed him out to one and he had a mint copy of ‘For Your Precious Love’ on Vee-Jay. He wanted $5,000 for it — he saw that price in a guide. It was eventually bargained for $3,500, but there you go: He just showed up, knew it was worth money, and we had the right guy to make a deal with.”
It’s the magic of vinyl that CDs will never attain.
“My parents bought records, my brothers bought records,” Govi says. “It’s in our blood. I treasure all my Beatles records; I have first pressings on every one.”
Then why keep this up when satisfaction has been had?
“I do run around a lot,” he laughs. “It’s a labor of love.”
written by Steve Forstneger
SOURCE: http://illinoisentertainer.com
Record Collectors: Start Your Engines
Undoubtedly, you’ve heard vinyl is back. Maybe, to you, it never went away. There were rumors, however, that the traditional LP was a relic, abandoned for much shinier and more-portable storage units called compact discs. Fifteen to 20 years ago people dumped entire record collections at yard sales and flea markets, propping up the major labels by re-purchasing albums they already owned, electing greatest-hits sets over crisp 45s.
The 12-inch beasts and their 7-inch minions still do good business for local record shops and Ebay sellers, though, and since 1990, they’ve been the dominant mover at the bi-monthly Chicagoland Record & CD Collectors Show. The word “CD” might cameo in the proper name, but it’s largely a concession to modernity.
“It was all CDs,” recalls owner John Govi. “CDs were introduced in what, ‘83 or ‘84? By the time 1990 rolled around, everyone was getting rid of their vinyl — it was passé. Records were not the format of choice at that time. They were still around, but CDs were the way to go.”
So why would Govi, an Aurora native, continue selling horses and buggies when cars were the way to go? “I still had a good amount of dealers who wanted to do vinyl. The other shows were primarily CDs, so I stuck with it.”
When tables start going up on September 14th at the Best Western Chicago-Hillside (the old Holiday Inn), a line of customers will start snaking into the nearby church parking lot. Govi’s gamble — which began at the Willowbrook Holiday Inn with a brief stop in Oak Brook’s Marriott — ballooned to the largest and most-popular such venture in the Midwest.
“We’re in Bloomington-Normal,” says North Street Records’ Rob Streibich, “so I’m in the center of the state. Sometimes we’ll do St. Louis, John’s show in Hillside, we’ve done Indianapolis, Peoria, and Champaign, and Milwaukee. John’s is the one we just do not miss.”
Ken Price, a South Bend, Indianan, traverses huge swaths to peddle in his home state, Michigan, and Ohio. Yet he makes a point of creeping up the west coast of Lake Michigan for five of Govi’s six annual bazaars.
“I set up at about 45,” he says, having picked a choice number. “I now run five different shows: South Bend, Kalamazoo, Lansing, Ann Arbor, and Fort Wayne. What happened was the guy who used to run the shows, about three years ago — for a variety of reasons — decided to get out of it. I was doing well at all his shows, [and] he asked me if I wanted to take them over. I really didn’t want to, but if I didn’t they were gonna disappear.”
It doesn’t seem like the Hillside show will vanish. “I have six shows,” says Govi. “I can’t see doing any more shows than that. There are times when I’m sold out and I’m sending dealers away. I’d like to give space to everybody. November, January, March I have to push dealers away. One half of the year I’m not big enough; the other half I’m just right.”
Far from the perception of record shows meeting comic-book-convention levels of nerdiness, the most commonly purchased albums are all-time classics, picked up by those who are newly building collections. “Most records we have are mainstream,” Govi admits. “Don’t get me wrong — we have rare stuff. The records that never fail to go are Pink Floyd Dark Side Of The Moon, the first four Led Zeppelin albums, The Doors — gotta have Jim Morrison — and if you’ve got original pressings of The Beatles’ albums you will always sell out.”
Streibich agrees, stocking up on such records because they’re hot back at the store. “Led Zeppelin, Beatles, Pink Floyd, Rolling Stones — stuff we cannot keep in stock.” In fact, North Street often go back home with more than they’ve sold. “There are certain artists we just cannot get enough in used. I could sell them all day. When we’re up there we do a lot of shopping to bring back to Central Illinois.”
Both Govi and Price are quick to mention the 60-percent spike in vinyl sales last year — the only physical format whose figures rose. And though Price agrees those figures reflect a very small base, there’s no reason to believe it won’t continue to surge.
He says, “It’s just a general trend. As far as the used-vinyl market, we’re always getting some kids who find it’s an inexpensive way to get into vinyl. There’s nostalgia involved, even for kids who grew up in the ’90s. There’s been a general shift away from ’50s and ’60s music; you’re seeing mid- to late-’60s, ’70s and early ’80s — people who grew up in that period are getting a nostalgia thing and going back and collecting the vinyl they might have missed the first time through; music that kind of was a forerunner to current music starts to do better. People look for metal and punk, look for older electronic music.”
Govi says his own daughter surprised him with what goes on in her college residence hall (and it didn’t involve a case of airplane glue). “She said turntables are all over her dorms and kids are buying used vinyl. Not CDs — REO Speedwagon, The Beatles.”
As such, a new booth will pop up in November sporting nothing but turntables and such accessories. “We’re gonna be pushing needles,” he jokes, saying they’ll fit right alongside record supplies, posters, programs, sheet music, autographed photos, DVDs, and those pesky CDs.
Of course, families of four wearing Colgate smiles and pushing shopping carts full of records aren’t the norm yet. The core business comes from a dedicated cadre of collectors still searching for the elusive gaps in their anthologies. Price is convinced some of his hardest targets will have to come upon him by accident, so thorough has his four decades of crate-digging proven. But Govi remembers a particular collectors-only surprise.
“You know Jerry Butler?” he asks, referring to the former Impressions member who became The Iceman. “His first big hit, ‘For Your Precious Love,’ was on a label called Abner. But the first pressing was on Vee-Jay, limited to 500 copies. Finding that first press is almost impossible. A couple years ago at a show in Indiana, this man approached us and wanted to know who our high-dollar buyers were. I pointed him out to one and he had a mint copy of ‘For Your Precious Love’ on Vee-Jay. He wanted $5,000 for it — he saw that price in a guide. It was eventually bargained for $3,500, but there you go: He just showed up, knew it was worth money, and we had the right guy to make a deal with.”
It’s the magic of vinyl that CDs will never attain.
“My parents bought records, my brothers bought records,” Govi says. “It’s in our blood. I treasure all my Beatles records; I have first pressings on every one.”
Then why keep this up when satisfaction has been had?
“I do run around a lot,” he laughs. “It’s a labor of love.”
written by Steve Forstneger
SOURCE: http://illinoisentertainer.com
This Date In Music History- August 31
Birthdays:
Van Morrison was born in 1945.
Jerry Allison of the Crickets (he married the real Peggy Sue) turns 69.
Tony DeFranco of the DeFranco Family ("Heartbeat- It's A Lovebeat") is 48.
Drummer Gina Schock of the Go-Go's was born in Baltimore in 1957.
Happy 51st birthday to Glenn Tilbrook of Squeeze.
Debbie Gibson was born in Merrick, N.Y. in 1970.
It's guitarist Rudolf Schenker's (Scorpions) 60th birthday.
History:
'Bad,' by Michael Jackson - the follow-up to Thriller and therefore the most hotly anticipated album in history - was released in 1987. It topped the charts for eight weeks and yielded seven hit singles.
In 1976, George Harrison was found guilty of "subconscious plagiarism" of "He's So Fine" in writing "My Sweet Lord.” To add insult to injury (besides costing ol’ George $587,000 in damages), the Chiffons regrouped and recorded a medley of "He`s So Fine/My Sweet Lord."
The final "Partridge Family" episode aired on ABC-TV in 1974.
In 1955, a London judge fined Sidney Turner three pounds, ten shillings for, "creating an abominable noise" after Turner threatened his neighbors by saying, "I will drive you mad." Turner played Bill Haley & His Comets' "Shake Rattle & Roll" as loud as possible from 2 p.m. to 4:30 p.m.
In 1974, John Lennon testified that President Richard Nixon tried to have him deported after he joined anti-war demonstrations outside the 1972 Republican National Convention. He also suspected his phones were tapped and that he was under surveillance by government agents. He was right.
Elton John never struck anyone (except Harley-Davidson marketing people) as a motorcycle lover, but he played the 100th birthday celebrations of Harley-Davidson in Milwaukee anyway, along with Tim McGraw and Kid Rock. I am from the area and watched it on TV. It was deplorable, many, many biker’s left with the ‘thumbs down’ or another finger of choice prominently displayed.
In 1968 Decca Records released what has been called The Rolling Stones most political song, "Street Fighting Man.” The number was written after Mick Jagger attended a March 1968 anti-war rally at London's US embassy, during which mounted police attempted to control a crowd of 25,000. The single proved to be very popular but was kept out of the US Top 40 (reaching #48) because many radio stations refused to play it based on what were perceived as subversive lyrics.
In 2005, soldier-turned-singer/songwriter James Blunt topped the U.K. singles and album charts with his debut Back to Bedlam and the song "You're Beautiful."
Metallica's self-titled album debuted at No. 1 on Billboard's pop album chart in 1991.
Following manager Brian Epstein`s death in 1967, The Beatles announced they will handle their own business affairs. But soon control of the group`s business interests devolves into a struggle between Allen Klein (representing John, George & Ringo) and Lee and John Eastman (representing Paul).
Cream`s debut album "Fresh Cream" entered the LP charts in 1968. With Eric Clapton, Jack Bruce and Ginger Baker, the group is heralded as the first Rock super group. The album is known for "I Feel Free" and Baker`s five-minute drum solo on "Toad."
In 2004, Joe Barry, a leading member of the "swamp pop" scene, who scored a 1960 hit with ""I'm a Fool to Care," died in New Orleans. He was 65.
Van Morrison was born in 1945.
Jerry Allison of the Crickets (he married the real Peggy Sue) turns 69.
Tony DeFranco of the DeFranco Family ("Heartbeat- It's A Lovebeat") is 48.
Drummer Gina Schock of the Go-Go's was born in Baltimore in 1957.
Happy 51st birthday to Glenn Tilbrook of Squeeze.
Debbie Gibson was born in Merrick, N.Y. in 1970.
It's guitarist Rudolf Schenker's (Scorpions) 60th birthday.
History:
'Bad,' by Michael Jackson - the follow-up to Thriller and therefore the most hotly anticipated album in history - was released in 1987. It topped the charts for eight weeks and yielded seven hit singles.
In 1976, George Harrison was found guilty of "subconscious plagiarism" of "He's So Fine" in writing "My Sweet Lord.” To add insult to injury (besides costing ol’ George $587,000 in damages), the Chiffons regrouped and recorded a medley of "He`s So Fine/My Sweet Lord."
The final "Partridge Family" episode aired on ABC-TV in 1974.
In 1955, a London judge fined Sidney Turner three pounds, ten shillings for, "creating an abominable noise" after Turner threatened his neighbors by saying, "I will drive you mad." Turner played Bill Haley & His Comets' "Shake Rattle & Roll" as loud as possible from 2 p.m. to 4:30 p.m.
In 1974, John Lennon testified that President Richard Nixon tried to have him deported after he joined anti-war demonstrations outside the 1972 Republican National Convention. He also suspected his phones were tapped and that he was under surveillance by government agents. He was right.
Elton John never struck anyone (except Harley-Davidson marketing people) as a motorcycle lover, but he played the 100th birthday celebrations of Harley-Davidson in Milwaukee anyway, along with Tim McGraw and Kid Rock. I am from the area and watched it on TV. It was deplorable, many, many biker’s left with the ‘thumbs down’ or another finger of choice prominently displayed.
In 1968 Decca Records released what has been called The Rolling Stones most political song, "Street Fighting Man.” The number was written after Mick Jagger attended a March 1968 anti-war rally at London's US embassy, during which mounted police attempted to control a crowd of 25,000. The single proved to be very popular but was kept out of the US Top 40 (reaching #48) because many radio stations refused to play it based on what were perceived as subversive lyrics.
In 2005, soldier-turned-singer/songwriter James Blunt topped the U.K. singles and album charts with his debut Back to Bedlam and the song "You're Beautiful."
Metallica's self-titled album debuted at No. 1 on Billboard's pop album chart in 1991.
Following manager Brian Epstein`s death in 1967, The Beatles announced they will handle their own business affairs. But soon control of the group`s business interests devolves into a struggle between Allen Klein (representing John, George & Ringo) and Lee and John Eastman (representing Paul).
Cream`s debut album "Fresh Cream" entered the LP charts in 1968. With Eric Clapton, Jack Bruce and Ginger Baker, the group is heralded as the first Rock super group. The album is known for "I Feel Free" and Baker`s five-minute drum solo on "Toad."
In 2004, Joe Barry, a leading member of the "swamp pop" scene, who scored a 1960 hit with ""I'm a Fool to Care," died in New Orleans. He was 65.
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