I am continuing our new feature: Ask "Mr. Music." Now in its 23rd year of syndication (1986-2008), Jerry Osborne's weekly Q&A feature will be a regular post every Wednesday from now on. Be sure to stop by Jerry's site (www.jerryosborne.com) for more Mr. Music archives, record price guides, anything Elvis, buy & sell collectibles, record appraisals and much more. I thank Jerry for allowing the reprints.
DEAR JERRY: There is a comedy routine from the 1950s that I just can't get out of my mind.
I know it came out on a 45 rpm and is a parody of the Ed Sullivan Show. This comedian's name finally dawned on me, and it is Will Jordan.
I'd love to get a copy play it on my “Warped Records Radio Show,” which I have been doing for nearly 10 years locally on WSVA 550.
—Jim Bishop, Harrisonburg, Va.
DEAR JIM: As you likely recall, the original title of Ed Sullivan's Sunday night show was “Toast of the Town.”
Ed's distinctive style and mannerisms made him a favorite target of most impressionists. However, Will Jordan's Sullivan act was so good that Ed frequently booked him on “Toast of the Town.
One such Jordan parody routine did come out as a single in 1956, titled “Roast of the Town: Shnook Magazine TV Awards, Part 1” backed with “Roast of the Town: Shnook Magazine TV Awards, Part 2” (Jubilee 900). This must be the recording your mind can't discharge.
Billed as “Will Jordan Starring in a One Man Mimicry Show” on this record's picture sleeve, he lampoons other TV celebrities besides Ed Sullivan, specifically Dean Martin & Jerry Lewis; Jackie Gleason; Arthur Godfrey; Groucho Marx; Wally Cox; Lucille Ball & Desi Arnaz; and Liberace.
Jordan made other comedy albums in the 1950s and '60s, but Will's most marketable product remained his Sullivan impersonation.
I spotted “Roast of the Town” recently on eBay for about $12, including picture sleeve. While not close to near-mint, it probably would meet “Warped Records Radio Show” requirements.
Congratulations on 10 years of entertaining the beautiful Shenandoah Valley!
DEAR JERRY: Thoroughly enjoyed learning how many single-letter film titles exist, 23 to be exact.
Using various movie references I can confirm all except the N-movie.
Please resolve this cinematic mystery for me.
—Jill Stillman, Hanover, Pa.
DEAR JERRY: Regarding your list of single-letter movie titles. My co-workers dispute there is a 2005 movie titled “N.” Please restore my standing in the officeplace trivia rankings!
—Jim Chandler, Fraser, Mich
DEAR JILL & JIM: “N” is a 2005 German film, an 82-minute historical documentary.
Though “N” is the complete English title, it is better known to Germans as “N wie niemand” (translation: “N as no one”).
You can find it listed accordingly on both the U.S. and German language Internet Movie Database sites.
DEAR JERRY: Did Judy Collins ever record “Wedding Song (There Is Love)”?
I used to hear it on a radio station in Mexico, and I am pretty sure that it was presented like that. Still, after looking for years, I cannot find this song by Judy Collins.
Am I perhaps mistaken about the singer's identity?
—Alfonso de Leon, Mexico City
DEAR ALFONSO: Since I also find no recording of “Wedding Song (There Is Love)” by Judy Collins, one of two possibilities exist:
Either you have the title right and the wrong artist, or the song you recall is “Wedding Song,” a completely different song which is by Judy Collins, from her 1980 LP, “Running for My Life” (Elektra 253).
What has me leaning toward the first option is you clearly mention the complete title, “The Wedding Song (There Is Love).” Judy's “Wedding Song” makes no reference to “There Is Love.”
Three versions of “Wedding Song (There Is Love)” do exist by well-known female stars: Petula Clark (1972); Captain & Tennille, featuring Toni Tennille (1976); and Mary MacGregor (1978).
There is a good chance it is one of these you seek.
Paul Stookey, formerly of Peter, Paul and Mary, wrote “Wedding Song (There Is Love),” and his is the top selling and most famous version. It became a Top 25 hit in 1971.
IZ ZAT SO? Completely different than Judy Collins' 1980 “Wedding Song,” and still nothing like “Wedding Song (There Is Love),” is “Wedding Song (Song for Louis).”
This selection is from Judy's 2005 album, “Portrait of an American Girl.”
Wednesday, April 8, 2009
Music News & Notes
Sir Paul & Ringo?
An unnamed source, has said that Paul McCartney and Ringo Starr are ready to head into the studio. "It has been a long time since Ringo played drums on any of Paul's songs but they've decided they can work together again. They had a fantastic time in New York, and realize they still work well together. They're now getting together later in the year to work on some of Paul's new songs."
=================================
Vinyl Collective News
Here is the latest from my friend Virgil over at www.vinylcollective.com- stop on by and pick up some great vinyl!
Due to a number of factors (me laid up in bed sick since Thurday and still sick today, it being spring, us having way too many records in our warehouse, and my higher than normal balances with my vinyl and cd pressing plants), I have decided to start putting together the Spring Cleaning sale to to end all Spring Cleaning sales. Every release is subject to be put on sale, test pressings will be sold, and we might dig out some out of print records, too. The sales will begin as early as tomorrow and the sales will go through the entire month of April.
It is our goal to make room for all the new records that we are having pressed. We hope to offer some insane prices on our records passing the savings onto you. I see everyday on the message board where folks are always complaining about their cash flow situation, well, this is going to be the month that you better make sure you have at least a few bucks set aside.
If you have any suggestions for a sale, we might even add a few of your ideas to our list of sales.
Vinyl Collective Top 10 Sales of the past Week
1. Jawbreaker - Etc. double LP (out of stock right now)
2. THE SIDEKICKS “So Long, Soggy Dog” LP powder blue vinyl
3. RISE AGAINST “S/T” 7″
4. COBRA SKULLS “Sitting Army” LP transparent green vinyl
5. THE GASLIGHT ANTHEM “New Jersey” Coffee Mug
6. COBRA SKULLS “Sitting Army” LP set of both colors
7. JONAH MATRANGA/ FRANK TURNER split LP clear yellow vinyl
8. POLAR BEAR CLUB “Sometimes Things Just Disappear” LP green vinyl w/ CD
9. COBRA SKULLS “Sitting Army” LP opaque yellow vinyl
10. BULLET TREATMENT “Designated Vol 1″ 7″
10. THE LAWRENCE ARMS “Apathy & Exhaustion” LP
10. Suburban Home Pick 5 for $25 Sale (CDs, Vinyl, Pint Glasses)
=================================
Michael Schenker Releases New CD / Vinyl
Gipsy Lady”, the first album from the Michael Schenker-Gary Barden Acoustic Project, will be available on CD and vinyl on May 19. Gary Barden’s vocals give the cleverly arranged songs just the touch of soul they need for full impact… The long-term Schenker collaborator wrote the lyrics virtually off the top of his head. Also on board is Michael Voss, an experienced producer, and second guitarist, who also provides background vocals. Kai Luennemann on percussion completes the team.
===================================
Second and Third Destroyer Albums To Get Vinyl Reissue
Nominal Records, the label responsible for the excellent Emergency Room Volume 1 compilation, has announced that it will be continuing to spread its love of Vancouver with two Destroyer reissues. The label will release City of Daughters and Thief, the second and third Destroyer records, on vinyl this month.
In a statement, the label explained its reasoning for the reissues, saying, “The original City of Daughters LP suffered from frequency related glitches, which caused it to skip on many turntables. The original Thief mix was never satisfying and the LP/CD was shoddily mastered into mono.”
The albums have been remixed and mastered by the original production team of Dan Bejar, Dave Carswell and John Collins at JC/DC studios, and their artwork has been reworked to fit on a fancy gatefold jacket.Tthe original pressing will only feature 1026 copies.
=================================
The Hours Album Cover
The new album of The Hours will be released on April 20th. “See The Light” is not only much anticipated because of the music, but also because the album cover art has been created by none other than British artist Damien Hirst. Both the CD and the LP cover art were designed by the artist.
An unnamed source, has said that Paul McCartney and Ringo Starr are ready to head into the studio. "It has been a long time since Ringo played drums on any of Paul's songs but they've decided they can work together again. They had a fantastic time in New York, and realize they still work well together. They're now getting together later in the year to work on some of Paul's new songs."
=================================
Vinyl Collective News
Here is the latest from my friend Virgil over at www.vinylcollective.com- stop on by and pick up some great vinyl!
Due to a number of factors (me laid up in bed sick since Thurday and still sick today, it being spring, us having way too many records in our warehouse, and my higher than normal balances with my vinyl and cd pressing plants), I have decided to start putting together the Spring Cleaning sale to to end all Spring Cleaning sales. Every release is subject to be put on sale, test pressings will be sold, and we might dig out some out of print records, too. The sales will begin as early as tomorrow and the sales will go through the entire month of April.
It is our goal to make room for all the new records that we are having pressed. We hope to offer some insane prices on our records passing the savings onto you. I see everyday on the message board where folks are always complaining about their cash flow situation, well, this is going to be the month that you better make sure you have at least a few bucks set aside.
If you have any suggestions for a sale, we might even add a few of your ideas to our list of sales.
Vinyl Collective Top 10 Sales of the past Week
1. Jawbreaker - Etc. double LP (out of stock right now)
2. THE SIDEKICKS “So Long, Soggy Dog” LP powder blue vinyl
3. RISE AGAINST “S/T” 7″
4. COBRA SKULLS “Sitting Army” LP transparent green vinyl
5. THE GASLIGHT ANTHEM “New Jersey” Coffee Mug
6. COBRA SKULLS “Sitting Army” LP set of both colors
7. JONAH MATRANGA/ FRANK TURNER split LP clear yellow vinyl
8. POLAR BEAR CLUB “Sometimes Things Just Disappear” LP green vinyl w/ CD
9. COBRA SKULLS “Sitting Army” LP opaque yellow vinyl
10. BULLET TREATMENT “Designated Vol 1″ 7″
10. THE LAWRENCE ARMS “Apathy & Exhaustion” LP
10. Suburban Home Pick 5 for $25 Sale (CDs, Vinyl, Pint Glasses)
=================================
Michael Schenker Releases New CD / Vinyl
Gipsy Lady”, the first album from the Michael Schenker-Gary Barden Acoustic Project, will be available on CD and vinyl on May 19. Gary Barden’s vocals give the cleverly arranged songs just the touch of soul they need for full impact… The long-term Schenker collaborator wrote the lyrics virtually off the top of his head. Also on board is Michael Voss, an experienced producer, and second guitarist, who also provides background vocals. Kai Luennemann on percussion completes the team.
===================================
Second and Third Destroyer Albums To Get Vinyl Reissue
Nominal Records, the label responsible for the excellent Emergency Room Volume 1 compilation, has announced that it will be continuing to spread its love of Vancouver with two Destroyer reissues. The label will release City of Daughters and Thief, the second and third Destroyer records, on vinyl this month.
In a statement, the label explained its reasoning for the reissues, saying, “The original City of Daughters LP suffered from frequency related glitches, which caused it to skip on many turntables. The original Thief mix was never satisfying and the LP/CD was shoddily mastered into mono.”
The albums have been remixed and mastered by the original production team of Dan Bejar, Dave Carswell and John Collins at JC/DC studios, and their artwork has been reworked to fit on a fancy gatefold jacket.Tthe original pressing will only feature 1026 copies.
=================================
The Hours Album Cover
The new album of The Hours will be released on April 20th. “See The Light” is not only much anticipated because of the music, but also because the album cover art has been created by none other than British artist Damien Hirst. Both the CD and the LP cover art were designed by the artist.
Collectors take vinyl for another spin in tactile music revival
By Sandra Dick
THAT couple of pounds of pocket money would be scorching a hole in your pocket, the tranny radio would be pressed to your ear and, naturally, your tiger feet would be taking you in just one direction.
Saturday mornings spent hanging out at the local record shop, flicking through thousands of albums for the hundredth time, tuning in to the latest single releases through a massive set of headphones . . . it was where a whole generation of music-loving kids got their kicks.
Hard to imagine the MP3 MySpace generation of today being able to remember their first ever download with great relish.
But for yesterday's youngsters – a growing number of them now middle aged record collectors – the joy of walking out the high street record shop swinging a 7in-square plastic bag containing the 45rpm single was a childhood rite of passage.
At home came the ritual of sliding the shiny black vinyl from its sleeve before placing it delicately on the old Decca portable record player. Tinny music would flood from the sole speaker while the sleeve notes were studied and then consigned to memory.
On the downside, the needle had a habit of jumping if you walked past in your clumpy platform shoes, within weeks it would be scratched or warped, the cover ripped by an overzealous little brother.
Perhaps no wonder the onset of the mighty and allegedly indestructible Compact Disc spelled the skip for many of our vinyl collections.
This year marks the 60th anniversary of Eddy Arnold's Texarkana Baby – the world's first seven-inch 45rpm single. Yet, ironically, while the CD boom of the '90s spelled the demise of the 45rpm single and their 12in 33rpm vinyl cousins, it is the CD that is suffering a lingering death of its own at the hands of the digital age. . . and for some it's good old vinyl that is back. In fact, as World Record Shop Day looms later this month and the golden era of vinyl is celebrated with the release of The Boat That Rocked – based on a pirate radio ship in the 1970s – there are those who say they never really went away.
"Okay, vinyl nearly died," laughs Bruce Findlay, who ran independent record shops before managing bands such as Simple Minds and China Crisis in the '80s. "But now it's like someone cloned it, used the DNA and now it's back.
"Agreed, it's not the way it was when everyone had a record player and that's all you could buy. Today it's collectible and it's what a lot of people want."
Indeed, today's artists are learning to cash in on the fans' love of a classic vinyl disc.
Duffy, the Pet Shop Boys and a string of modern artists have released tracks on vinyl, aware that the ethereal qualities of digital sounds cannot match the thrill of actually "owning" a piece of music. World Record Shop Day is being marked by a string of vinyl releases from artists such as The Smiths, Joy Division and Tom Waits.
"No matter how many people are on a band's MySpace page or download their music, it's not a real measure of success," explains Kevin Buckle, boss of Avalanche Records in Cockburn Street, one of Edinburgh's longest established independent record dealers. "It doesn't really translate to how many people actually go to their concerts or buy their CDs.
"The great thing about a record is you can put it on and play it to your friends. The trouble is, kids are so used to listening to music through headphones that they hardly know what it's like to sit to listen any other way."
The other problem with vinyl is the dearth of anything to actually play it on. For as CDs took over the world, record players – and the collections of discs once lovingly catalogued, polished and played – were mostly consigned to the tip.
"I've had young kids coming in to buy a vinyl record and saying that they were going off to their grandfather's house to play it because he was the only person in the family with a record player," adds Kevin.
"Record companies are obsessed with kids and computers and mobile phones and everything they do is geared towards that. They think no-one under 25 buys music, but I get plenty of kids in the shop who want more than just a song on an MP3 player. They want badges, posters, stuff that's more tactile than just the song."
It's a rising trend for a modern "antique" which is helping ensure the survival of an endangered species – the independent record shop. Once a feature on every high street, they were hit by the rise of the record superstores such as Our Price, HMV and Virgin.
Yet, just as vinyl is enjoying a revival at the expense of the CD, small record shops insist they are holding their own as the digital revolution engulfs the music superstores that once threatened their very survival.
Today there are around 300 independent record shops trading in Britain, and around half a dozen – the oldest of them Ripping Records at South Bridge, Avalanche and Vinyl Villains in Elm Row – in the Edinburgh area.
Tommy Robertson of second-hand record shop Back Track Music in Tollcross, admits business is still a struggle but with an increasing number of people seeing the potential rarity value in vinyl, there is hope.
"Some actually prefer the snap, crackle and pop of a vinyl disc," he explains. "Others like the fact it's something solid that you can hold, and you can read the sleeve notes better than you can on a CD.
"These days it's a throwaway society. But back then there was something very real about saving your pennies and buying a particular record."
David Griffen of second-hand record and book store Elvis and Shakespeare in Leith Walk, agrees. "There's a completely different aesthetic from vinyl to CD. I get people in the shop much older than me who just come in to look longingly at the stock and touch the covers."
Author Nick Hornby touched on the fascination of vinyl among collectors in his novel High Fidelity. "They're as close to being mad as makes no difference," he wrote.
Music impresario Bruce Findlay can identify with that. "There are a lot of 'anoraks' out there, and I'm one," he laughs, after quoting the catalogue numbers of a string of rare discs off the top of his head. "The music industry is going through massive change and the demise of the superstore means record shops have an opportunity.
"What's emerging is a cottage industry with new artists working in collectives, signing to local labels and bringing out limited numbers of vinyl records to sell in these independent stores.
"I wouldn't have said it two or three years ago but if I was a teenager leaving school just now, I know what I'd do," he adds with a grin. "Yeah, I'd definitely open a record shop."
RECORD PROFITS
HAVE you got any of these in your dusty record collection?
• The BEATLES White Album (1968): The plain white cover of the first pressings carried a unique number. In November number 0000005 sold for nearly £20,000.
• THE SEX PISTOLS God Save the Queen (1977): Released on A&M records. Expect to get in the region of £13,000.
• THE ROLLING STONES 7in Street Fighting Man (US version) It recently fetched $15,200 at auction.
• A promo of JUNIOR McCANT'S King, sold for $15,000. Last month the Scottish Parliament was asked to save a Fife collectors' copy of Do I Love You (Indeed I do) by FRANK WILSON for the nation. It's expected to reach up to £75,000.
&149 Other rarities include THE BEATLES' Yesterday and Today "Butcher" sleeve (£19,250); BOB DYLAN'S The Freewheelin' Bob Dylan, with extra four tracks (£17,500) and LONG CLEVE REED & LITTLE HARVEY HULL'S Stack O'Lee Blues, worth £15,000.
SOURCE: http://edinburghnews.scotsman.com
THAT couple of pounds of pocket money would be scorching a hole in your pocket, the tranny radio would be pressed to your ear and, naturally, your tiger feet would be taking you in just one direction.
Saturday mornings spent hanging out at the local record shop, flicking through thousands of albums for the hundredth time, tuning in to the latest single releases through a massive set of headphones . . . it was where a whole generation of music-loving kids got their kicks.
Hard to imagine the MP3 MySpace generation of today being able to remember their first ever download with great relish.
But for yesterday's youngsters – a growing number of them now middle aged record collectors – the joy of walking out the high street record shop swinging a 7in-square plastic bag containing the 45rpm single was a childhood rite of passage.
At home came the ritual of sliding the shiny black vinyl from its sleeve before placing it delicately on the old Decca portable record player. Tinny music would flood from the sole speaker while the sleeve notes were studied and then consigned to memory.
On the downside, the needle had a habit of jumping if you walked past in your clumpy platform shoes, within weeks it would be scratched or warped, the cover ripped by an overzealous little brother.
Perhaps no wonder the onset of the mighty and allegedly indestructible Compact Disc spelled the skip for many of our vinyl collections.
This year marks the 60th anniversary of Eddy Arnold's Texarkana Baby – the world's first seven-inch 45rpm single. Yet, ironically, while the CD boom of the '90s spelled the demise of the 45rpm single and their 12in 33rpm vinyl cousins, it is the CD that is suffering a lingering death of its own at the hands of the digital age. . . and for some it's good old vinyl that is back. In fact, as World Record Shop Day looms later this month and the golden era of vinyl is celebrated with the release of The Boat That Rocked – based on a pirate radio ship in the 1970s – there are those who say they never really went away.
"Okay, vinyl nearly died," laughs Bruce Findlay, who ran independent record shops before managing bands such as Simple Minds and China Crisis in the '80s. "But now it's like someone cloned it, used the DNA and now it's back.
"Agreed, it's not the way it was when everyone had a record player and that's all you could buy. Today it's collectible and it's what a lot of people want."
Indeed, today's artists are learning to cash in on the fans' love of a classic vinyl disc.
Duffy, the Pet Shop Boys and a string of modern artists have released tracks on vinyl, aware that the ethereal qualities of digital sounds cannot match the thrill of actually "owning" a piece of music. World Record Shop Day is being marked by a string of vinyl releases from artists such as The Smiths, Joy Division and Tom Waits.
"No matter how many people are on a band's MySpace page or download their music, it's not a real measure of success," explains Kevin Buckle, boss of Avalanche Records in Cockburn Street, one of Edinburgh's longest established independent record dealers. "It doesn't really translate to how many people actually go to their concerts or buy their CDs.
"The great thing about a record is you can put it on and play it to your friends. The trouble is, kids are so used to listening to music through headphones that they hardly know what it's like to sit to listen any other way."
The other problem with vinyl is the dearth of anything to actually play it on. For as CDs took over the world, record players – and the collections of discs once lovingly catalogued, polished and played – were mostly consigned to the tip.
"I've had young kids coming in to buy a vinyl record and saying that they were going off to their grandfather's house to play it because he was the only person in the family with a record player," adds Kevin.
"Record companies are obsessed with kids and computers and mobile phones and everything they do is geared towards that. They think no-one under 25 buys music, but I get plenty of kids in the shop who want more than just a song on an MP3 player. They want badges, posters, stuff that's more tactile than just the song."
It's a rising trend for a modern "antique" which is helping ensure the survival of an endangered species – the independent record shop. Once a feature on every high street, they were hit by the rise of the record superstores such as Our Price, HMV and Virgin.
Yet, just as vinyl is enjoying a revival at the expense of the CD, small record shops insist they are holding their own as the digital revolution engulfs the music superstores that once threatened their very survival.
Today there are around 300 independent record shops trading in Britain, and around half a dozen – the oldest of them Ripping Records at South Bridge, Avalanche and Vinyl Villains in Elm Row – in the Edinburgh area.
Tommy Robertson of second-hand record shop Back Track Music in Tollcross, admits business is still a struggle but with an increasing number of people seeing the potential rarity value in vinyl, there is hope.
"Some actually prefer the snap, crackle and pop of a vinyl disc," he explains. "Others like the fact it's something solid that you can hold, and you can read the sleeve notes better than you can on a CD.
"These days it's a throwaway society. But back then there was something very real about saving your pennies and buying a particular record."
David Griffen of second-hand record and book store Elvis and Shakespeare in Leith Walk, agrees. "There's a completely different aesthetic from vinyl to CD. I get people in the shop much older than me who just come in to look longingly at the stock and touch the covers."
Author Nick Hornby touched on the fascination of vinyl among collectors in his novel High Fidelity. "They're as close to being mad as makes no difference," he wrote.
Music impresario Bruce Findlay can identify with that. "There are a lot of 'anoraks' out there, and I'm one," he laughs, after quoting the catalogue numbers of a string of rare discs off the top of his head. "The music industry is going through massive change and the demise of the superstore means record shops have an opportunity.
"What's emerging is a cottage industry with new artists working in collectives, signing to local labels and bringing out limited numbers of vinyl records to sell in these independent stores.
"I wouldn't have said it two or three years ago but if I was a teenager leaving school just now, I know what I'd do," he adds with a grin. "Yeah, I'd definitely open a record shop."
RECORD PROFITS
HAVE you got any of these in your dusty record collection?
• The BEATLES White Album (1968): The plain white cover of the first pressings carried a unique number. In November number 0000005 sold for nearly £20,000.
• THE SEX PISTOLS God Save the Queen (1977): Released on A&M records. Expect to get in the region of £13,000.
• THE ROLLING STONES 7in Street Fighting Man (US version) It recently fetched $15,200 at auction.
• A promo of JUNIOR McCANT'S King, sold for $15,000. Last month the Scottish Parliament was asked to save a Fife collectors' copy of Do I Love You (Indeed I do) by FRANK WILSON for the nation. It's expected to reach up to £75,000.
&149 Other rarities include THE BEATLES' Yesterday and Today "Butcher" sleeve (£19,250); BOB DYLAN'S The Freewheelin' Bob Dylan, with extra four tracks (£17,500) and LONG CLEVE REED & LITTLE HARVEY HULL'S Stack O'Lee Blues, worth £15,000.
SOURCE: http://edinburghnews.scotsman.com
Tuesday, April 7, 2009
Bird & Animal Names In Rock & Roll History- part seven
In our continuing series about “bird” and “animal” groups and artists in rock and roll history, let’s continue with our “bird” theme.
In the early 50's there was a boon of “bird groups” including the famous doo wop group the Penguins. The group was formed in 1954 when members Cleveland Duncan (lead vocal), Bruce Tate, Dexter Tisby and Curtis Williams were attending high school in Los Angles. Their only Top 40 Billboard hit is one of the most classic doo wop tunes of all time: “Earth Angel” (it is estimated to have sold more than 10 million copies worldwide).
Surprisingly, the song “Earth Angel” was the B-side of the record with the up tempo song “Hey Senorita” as the A-side. Upon its release in late 1954, radio stations were receiving more requests for “Earth Angel,” and by the beginning of 1955 the single had reached the national charts, spending three weeks at the number one position on the rhythm and blues charts and peaking at number eight on the Billboard Top 40.
For the next several years the group toured (the Penguins were a popular member of Alan Freed’s Rock ‘N’ Roll Jubilee) and continued to release singles (switching record labels several times). They scored another Top 20 hit on the rhythm and blues charts with the song “Pledge Of Love” in the summer of 1957 and in that same year released their only album called “The Cool, Cool Penguins.”
The vocal group broke up in 1959 and Cleveland Duncan has led various incarnations of the group on the oldie’s circuit and reunion tours. Interestingly, in 1963 the Penguins recorded a song which was written by future Mothers of Invention members Frank Zappa and Ray Collins called “Memories Of El Monte” (the song failed to make an impact).
A groundbreaking rhythm and blues vocal group called the Orioles was one of the first black vocal groups to sing music directly to a black audience. Fusing pop songs with gospel overtones and enriching them with blues and smooth harmonies, the Orioles scored a number one hit on the r & b charts in late summer of 1948 with the song “It’s Too Soon To Know.” The song also crossed over to reach number thirteen on the pop charts. (It was known back then as a “race” record).
This was a major accomplishment, as the Orioles were the first black group to do this and subsequently they became stars. Based in Baltimore (and no they were not named after the baseball team), the Orioles were Sonny Til (lead vocals), Alexander Sharp (tenor vocals), George Nelson (baritone), Johnny Reed (bass vocals) and guitarist Tommy Gaither. The group caught the attention of a local merchant and song writer named Deborah Chessler, who became their manager and would also write many of the group’s subsequent hits.
Originally named the Vibranaires, they performed on Arthur Godfrey’s “Talent Scouts” television show and caught the ear of record executive Jerry Blaine, who signed the group to a recording contract and they changed their name to the Orioles.
After the success of their debut ballad (the previously mentioned “It’s Too Soon To Know”), the group scored a top ten hit with the seasonal tune “(It’s Gonna Be A) Lonely Christmas” at the end of 1948. They scored another r & b chart topper in the spring of 1949 with a splendid song called “Tell Me So.” That began a streak of six charted r & b singles, including “A Kiss And A Rose,” “I Challenge Your Kiss,” “Forgive And Forget” as well as a re-release of their Christmas hit and another seasonal tune called “What Are You Doing New Year’s Eve” (which was the B-side of “Lonely Christmas”).
Tragedy followed in 1950 when Gaither, Nelson and Reed were involved in an auto accident that killed Gaither and severely injured Reed and Nelson. Nelson left the group later in that year and as Reed recovered, the group added guitarist Ralph Williams and vocalist Gregory Carroll. The new line up scored a hit in 1952 with the sophisticated song “Baby Please Don’t Go” (number eight on the r & b charts). The following year the vocal group had their biggest hit, the wonderfully crafted tune called “Crying In The Chapel” (number eleven on the pop charts and number one on the r & b charts), a tune that Elvis Presley would record twelve years later. Their last hit before the group disbanded in 1954 was the tune “In The Mission of St. Augustine.”
Sonny Til tried to keep the band going with several different reincarnations, but the group didn’t gain much attention after their last hit. However, the groundwork had been laid and the Orioles were an historic, influential vocal group and were inducted into the Rock & Roll Hall of Fame in 1993.
Many consider the Flamingos one of the most prolific and seminal vocal ensembles ever to record and certainly one of the best doo wop groups of all time. Their inventive singing and elegant harmonies were impeccable, and they influenced many future rhythm and blues groups, including the Four Tops and Temptations.
The vocal group was formed in 1950 by cousins, Jake and Zeke Carey, who subsequently met Paul Wilson and Johnny Carter at The Church of God and Saints of Christ Congregation in Baltimore. They all sang in the church choir and met up with Earl Lewis, who also joined the group. But before they recorded anything, Earl Lewis left to join the Echoes and he was replaced by lead singer Sollie McElroy. They originally called themselves the Swallows, but they had to switch the name because there was another Baltimore group using that moniker. Carter suggested they call themselves the El Flamingos, which was changed to the Five Flamingos and then they all agreed to shorten the name to the Flamingos.
In 1953, the Flamingos recorded the song “If I Can’t Have You” (Chance Records) which attracted some attention, especially on the East Coast and in the Midwest. They also recorded songs like “That’s My Desire” and the vocally adventurous “Golden Teardrops,” but these numbers failed to gain any national attention nor appear on the r & b charts.
McElroy left the group, being replaced by Nate Nelson and the group soon enjoyed their first chart success in the 1956 with the Top Ten r & b hit “I’ll be Home.” The group disbanded, but reformed in 1957 with members Nate Nelson, Jake Carey, Paul Wilson and Tommy Hunt. In 1958, Zeke Carey returned and the Flamingos secured their biggest hit and the one they are most associated with, a wonderful ballad called “I Only Have Eyes For You.”
For the next two years, the Flamingos had a few minor hits, such as “I Was Such A Fool” and “Nobody Loves Me Like You Do” (1960) as well as “Time Was” (1961). They later recorded for several record labels, including four albums for END, also recording albums for Phillips, Julman and Polydor, but could not capitalize on their previous success. Cousins Zeke and Jake continued with various incarnations of the band well into the 90's and this legendary vocal group was inducted into the Rock & Roll Hall of Fame in 2001.
We will continue with our series on Thursday, again discussing “bird” groups in the next article.
Penguin Tidbits:
In a common practice of the time, radio stations frequently featured segregated playlists. Thus, "Earth Angel" was simultaneously recorded by the white group, The Crew-Cuts, in 1955. The Crew-Cuts cover peaked at #3 on the Hot 100 chart, five spots higher than the Penguins version. The single's success launched the Crew-Cuts' own successful career of recording "crossover"-friendly covers of R&B hits.
The Penguins were one of a number of doo-wop groups of the period named after birds. One of the members smoked Kool cigarettes, which, at the time, had "Willie the Penguin" as its cartoon advertising character. They considered themselves "cool," and accordingly decided to call themselves "The Penguins."
The Penguins were inducted into The Vocal Group Hall of Fame in 2004.
Orioles Tidbits:
In performance, The Orioles were a phenomenon, with girls in the audiences screaming, fainting, and attempting to reach their idol Sonny Til in particular.
Til recorded briefly as a solo artist before putting together the third Orioles group, with members Delton McCall, Billy Taylor, and Gerald Gregory, former bass of The Spaniels.
The Vibra-Naires changed their name to The Orioles in honor of the state bird of Maryland and in emulation of another popular group, The Ravens.
Flamingos Tidbits:
In recent times, the group has seen time in the courtroom. Current Flamingos member J.C. Carey, along with Terry Johnson, Tommy Hunt, and descendants of Nate Nelson and Paul Wilson, sued PepsiCo for allegedly using "I Only Have Eyes For You" in a 1998 television commercial without consulting the group. The group was awarded $250,000.
The Flamingos received the Rhythm & Blues Foundation Pioneer Award in 1996 (where Terry Johnson, Jake Carey, Zeke Carey, Tommy Hunt and Johnny Carter performed) and were inducted into the Vocal Group Hall of Fame in 2000 and the Doo-Wopp Hall of Fame in 2004. In 2003, The Flamingos recording of "I Only Have Eyes For You" was inducted into the Grammy Award Hall of Fame.
In the early 50's there was a boon of “bird groups” including the famous doo wop group the Penguins. The group was formed in 1954 when members Cleveland Duncan (lead vocal), Bruce Tate, Dexter Tisby and Curtis Williams were attending high school in Los Angles. Their only Top 40 Billboard hit is one of the most classic doo wop tunes of all time: “Earth Angel” (it is estimated to have sold more than 10 million copies worldwide).
Surprisingly, the song “Earth Angel” was the B-side of the record with the up tempo song “Hey Senorita” as the A-side. Upon its release in late 1954, radio stations were receiving more requests for “Earth Angel,” and by the beginning of 1955 the single had reached the national charts, spending three weeks at the number one position on the rhythm and blues charts and peaking at number eight on the Billboard Top 40.
For the next several years the group toured (the Penguins were a popular member of Alan Freed’s Rock ‘N’ Roll Jubilee) and continued to release singles (switching record labels several times). They scored another Top 20 hit on the rhythm and blues charts with the song “Pledge Of Love” in the summer of 1957 and in that same year released their only album called “The Cool, Cool Penguins.”
The vocal group broke up in 1959 and Cleveland Duncan has led various incarnations of the group on the oldie’s circuit and reunion tours. Interestingly, in 1963 the Penguins recorded a song which was written by future Mothers of Invention members Frank Zappa and Ray Collins called “Memories Of El Monte” (the song failed to make an impact).
A groundbreaking rhythm and blues vocal group called the Orioles was one of the first black vocal groups to sing music directly to a black audience. Fusing pop songs with gospel overtones and enriching them with blues and smooth harmonies, the Orioles scored a number one hit on the r & b charts in late summer of 1948 with the song “It’s Too Soon To Know.” The song also crossed over to reach number thirteen on the pop charts. (It was known back then as a “race” record).
This was a major accomplishment, as the Orioles were the first black group to do this and subsequently they became stars. Based in Baltimore (and no they were not named after the baseball team), the Orioles were Sonny Til (lead vocals), Alexander Sharp (tenor vocals), George Nelson (baritone), Johnny Reed (bass vocals) and guitarist Tommy Gaither. The group caught the attention of a local merchant and song writer named Deborah Chessler, who became their manager and would also write many of the group’s subsequent hits.
Originally named the Vibranaires, they performed on Arthur Godfrey’s “Talent Scouts” television show and caught the ear of record executive Jerry Blaine, who signed the group to a recording contract and they changed their name to the Orioles.
After the success of their debut ballad (the previously mentioned “It’s Too Soon To Know”), the group scored a top ten hit with the seasonal tune “(It’s Gonna Be A) Lonely Christmas” at the end of 1948. They scored another r & b chart topper in the spring of 1949 with a splendid song called “Tell Me So.” That began a streak of six charted r & b singles, including “A Kiss And A Rose,” “I Challenge Your Kiss,” “Forgive And Forget” as well as a re-release of their Christmas hit and another seasonal tune called “What Are You Doing New Year’s Eve” (which was the B-side of “Lonely Christmas”).
Tragedy followed in 1950 when Gaither, Nelson and Reed were involved in an auto accident that killed Gaither and severely injured Reed and Nelson. Nelson left the group later in that year and as Reed recovered, the group added guitarist Ralph Williams and vocalist Gregory Carroll. The new line up scored a hit in 1952 with the sophisticated song “Baby Please Don’t Go” (number eight on the r & b charts). The following year the vocal group had their biggest hit, the wonderfully crafted tune called “Crying In The Chapel” (number eleven on the pop charts and number one on the r & b charts), a tune that Elvis Presley would record twelve years later. Their last hit before the group disbanded in 1954 was the tune “In The Mission of St. Augustine.”
Sonny Til tried to keep the band going with several different reincarnations, but the group didn’t gain much attention after their last hit. However, the groundwork had been laid and the Orioles were an historic, influential vocal group and were inducted into the Rock & Roll Hall of Fame in 1993.
Many consider the Flamingos one of the most prolific and seminal vocal ensembles ever to record and certainly one of the best doo wop groups of all time. Their inventive singing and elegant harmonies were impeccable, and they influenced many future rhythm and blues groups, including the Four Tops and Temptations.
The vocal group was formed in 1950 by cousins, Jake and Zeke Carey, who subsequently met Paul Wilson and Johnny Carter at The Church of God and Saints of Christ Congregation in Baltimore. They all sang in the church choir and met up with Earl Lewis, who also joined the group. But before they recorded anything, Earl Lewis left to join the Echoes and he was replaced by lead singer Sollie McElroy. They originally called themselves the Swallows, but they had to switch the name because there was another Baltimore group using that moniker. Carter suggested they call themselves the El Flamingos, which was changed to the Five Flamingos and then they all agreed to shorten the name to the Flamingos.
In 1953, the Flamingos recorded the song “If I Can’t Have You” (Chance Records) which attracted some attention, especially on the East Coast and in the Midwest. They also recorded songs like “That’s My Desire” and the vocally adventurous “Golden Teardrops,” but these numbers failed to gain any national attention nor appear on the r & b charts.
McElroy left the group, being replaced by Nate Nelson and the group soon enjoyed their first chart success in the 1956 with the Top Ten r & b hit “I’ll be Home.” The group disbanded, but reformed in 1957 with members Nate Nelson, Jake Carey, Paul Wilson and Tommy Hunt. In 1958, Zeke Carey returned and the Flamingos secured their biggest hit and the one they are most associated with, a wonderful ballad called “I Only Have Eyes For You.”
For the next two years, the Flamingos had a few minor hits, such as “I Was Such A Fool” and “Nobody Loves Me Like You Do” (1960) as well as “Time Was” (1961). They later recorded for several record labels, including four albums for END, also recording albums for Phillips, Julman and Polydor, but could not capitalize on their previous success. Cousins Zeke and Jake continued with various incarnations of the band well into the 90's and this legendary vocal group was inducted into the Rock & Roll Hall of Fame in 2001.
We will continue with our series on Thursday, again discussing “bird” groups in the next article.
Penguin Tidbits:
In a common practice of the time, radio stations frequently featured segregated playlists. Thus, "Earth Angel" was simultaneously recorded by the white group, The Crew-Cuts, in 1955. The Crew-Cuts cover peaked at #3 on the Hot 100 chart, five spots higher than the Penguins version. The single's success launched the Crew-Cuts' own successful career of recording "crossover"-friendly covers of R&B hits.
The Penguins were one of a number of doo-wop groups of the period named after birds. One of the members smoked Kool cigarettes, which, at the time, had "Willie the Penguin" as its cartoon advertising character. They considered themselves "cool," and accordingly decided to call themselves "The Penguins."
The Penguins were inducted into The Vocal Group Hall of Fame in 2004.
Orioles Tidbits:
In performance, The Orioles were a phenomenon, with girls in the audiences screaming, fainting, and attempting to reach their idol Sonny Til in particular.
Til recorded briefly as a solo artist before putting together the third Orioles group, with members Delton McCall, Billy Taylor, and Gerald Gregory, former bass of The Spaniels.
The Vibra-Naires changed their name to The Orioles in honor of the state bird of Maryland and in emulation of another popular group, The Ravens.
Flamingos Tidbits:
In recent times, the group has seen time in the courtroom. Current Flamingos member J.C. Carey, along with Terry Johnson, Tommy Hunt, and descendants of Nate Nelson and Paul Wilson, sued PepsiCo for allegedly using "I Only Have Eyes For You" in a 1998 television commercial without consulting the group. The group was awarded $250,000.
The Flamingos received the Rhythm & Blues Foundation Pioneer Award in 1996 (where Terry Johnson, Jake Carey, Zeke Carey, Tommy Hunt and Johnny Carter performed) and were inducted into the Vocal Group Hall of Fame in 2000 and the Doo-Wopp Hall of Fame in 2004. In 2003, The Flamingos recording of "I Only Have Eyes For You" was inducted into the Grammy Award Hall of Fame.
Music News & Notes
With A Little Help From Their Friends
KISS has announced a partnership with social media company Eventful in order to allow their fans to vote where they will play on their next tour.
“No matter where the fans say – from stadiums to cornfields – if there are enough votes, KISS will be there!” according to a statement from the band.
The final determination will not be made just on votes but, to give small towns a fair chance, on the ratio of total population to number of votes. Fans who let their opinion be known will also have first shot at the pre-sale of tickets to the show.
=============================
Aerosmith LP Delayed Again
Aerosmith's new album has been delayed once again. The band had to change the date when Joe Perry had to have surgery for a knee replacement and again last month when Steven Tyler came down with pneumonia. According to Perry, that left too little time to finish anything before they went out on tour.
=============================
Rogers Guitar Sells For Big Bucks
Singing Cowboy Roy Rogers' OM-45 Deluxe Martin Guitar was sold last week at auction to an anonymous bidder for $460,000. The guitar was #1 of only 15 produced and was purchased in 1933 by a young Rogers for $30.
=============================
All You Need Are The Beatles
After a nearly 22-year wait, digitally remastered versions of all of the Beatles studio albums will be released on September 9, a press release has confirmed. Each album will feature the track listings and artwork as it was originally released in the U.K. and come with expanded booklets including original and newly written liner notes and rare photos.
The Beatles Remasters:
Please Please Me
With the Beatles
A Hard Day’s Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper’s Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (The White Album)
Abbey Road
Let It Be
Past Masters
Yellow Submarine
KISS has announced a partnership with social media company Eventful in order to allow their fans to vote where they will play on their next tour.
“No matter where the fans say – from stadiums to cornfields – if there are enough votes, KISS will be there!” according to a statement from the band.
The final determination will not be made just on votes but, to give small towns a fair chance, on the ratio of total population to number of votes. Fans who let their opinion be known will also have first shot at the pre-sale of tickets to the show.
=============================
Aerosmith LP Delayed Again
Aerosmith's new album has been delayed once again. The band had to change the date when Joe Perry had to have surgery for a knee replacement and again last month when Steven Tyler came down with pneumonia. According to Perry, that left too little time to finish anything before they went out on tour.
=============================
Rogers Guitar Sells For Big Bucks
Singing Cowboy Roy Rogers' OM-45 Deluxe Martin Guitar was sold last week at auction to an anonymous bidder for $460,000. The guitar was #1 of only 15 produced and was purchased in 1933 by a young Rogers for $30.
=============================
All You Need Are The Beatles
After a nearly 22-year wait, digitally remastered versions of all of the Beatles studio albums will be released on September 9, a press release has confirmed. Each album will feature the track listings and artwork as it was originally released in the U.K. and come with expanded booklets including original and newly written liner notes and rare photos.
The Beatles Remasters:
Please Please Me
With the Beatles
A Hard Day’s Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper’s Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (The White Album)
Abbey Road
Let It Be
Past Masters
Yellow Submarine
Vinyl Aid
Every now and then you run across a story that shows the true meaning of vinyl collecting, we all stick together, as this story explains:
Kawkawlin resident gives record collection to man who lost his to fire
By Patti Brandt
With the help of Kawkawlin resident Alex Doan, Bay City's John Sanchez is back in the groove.
Sanchez lost his record collection last month when his house burned down. On Saturday, Doan turned his collection of vintage vinyl over to Sanchez, who's been collecting records since he was 15.
On March 20, Sanchez stood outside his home at 607 N. Sheridan St. smelling burning vinyl as the entire collection went up in smoke.
Temporarily living in a hotel apartment in Saginaw, Sanchez, 61, said he had too many records to count, though he estimates there were about 800. And the collection contained all kinds of music, from country to rock.
''Most of them were oldies and popular music,'' he said.
Doan, 76, recently put his entire collection - 288 records in all - on disc, using a CD recorder.
''I just got through transferring them all and I saw this article in the paper,'' Doan said.
He knew right away what he would do.
''Here's a man that lost everything,'' he said. ''I thought, 'Why don't I just give him what I've got?' If it makes him feel better, fine.''
And though Sanchez doesn't yet have a record player - his was lost in the fire - he's looking forward to listening to Doan's collection.
''I feel real good about it,'' he said.
Doan said all his records are in excellent condition - no warps or scratches. That's because he never stacked them up on a record player, he said, which is the key to keeping them pristine.
Plus, the records were off limits to all the little fingers in his family of seven children and their progeny.
''My children and my grandchildren have never touched these records.''
Doan's favorite group is Santo & Johnny, the Brooklyn brothers who recorded the instrumental ''Sleep Walk.'' And while Doan likes instrumentals, his collection also contains country and western records, easy listening and big band and polka music.
''My type of music is something that I can sit back, close my eyes, and just listen to,'' Doan said.
The collection - which numbered 400 records at one time - once contained several Elvis and Beatles records. But family members already snapped those up, he said.
SOURCE: http://www.mlive.com/news
Kawkawlin resident gives record collection to man who lost his to fire
By Patti Brandt
With the help of Kawkawlin resident Alex Doan, Bay City's John Sanchez is back in the groove.
Sanchez lost his record collection last month when his house burned down. On Saturday, Doan turned his collection of vintage vinyl over to Sanchez, who's been collecting records since he was 15.
On March 20, Sanchez stood outside his home at 607 N. Sheridan St. smelling burning vinyl as the entire collection went up in smoke.
Temporarily living in a hotel apartment in Saginaw, Sanchez, 61, said he had too many records to count, though he estimates there were about 800. And the collection contained all kinds of music, from country to rock.
''Most of them were oldies and popular music,'' he said.
Doan, 76, recently put his entire collection - 288 records in all - on disc, using a CD recorder.
''I just got through transferring them all and I saw this article in the paper,'' Doan said.
He knew right away what he would do.
''Here's a man that lost everything,'' he said. ''I thought, 'Why don't I just give him what I've got?' If it makes him feel better, fine.''
And though Sanchez doesn't yet have a record player - his was lost in the fire - he's looking forward to listening to Doan's collection.
''I feel real good about it,'' he said.
Doan said all his records are in excellent condition - no warps or scratches. That's because he never stacked them up on a record player, he said, which is the key to keeping them pristine.
Plus, the records were off limits to all the little fingers in his family of seven children and their progeny.
''My children and my grandchildren have never touched these records.''
Doan's favorite group is Santo & Johnny, the Brooklyn brothers who recorded the instrumental ''Sleep Walk.'' And while Doan likes instrumentals, his collection also contains country and western records, easy listening and big band and polka music.
''My type of music is something that I can sit back, close my eyes, and just listen to,'' Doan said.
The collection - which numbered 400 records at one time - once contained several Elvis and Beatles records. But family members already snapped those up, he said.
SOURCE: http://www.mlive.com/news
Monday, April 6, 2009
Top 5 eBay Vinyl Record Sales
Week Ending 04/04/2009
1. 78 - Harmonica Frank "Rockin' Chair Daddy" / "The Great Medical Menagerist" Sun - $3,606.00 - Start: $700.00 - Bids: 33
2. LP - The Beatles "Yesterday And Today" 1st State Stereo Butcher Cover - $3,000.00 - Start: $3,900.00 - Bids: Best Offer
LP - The Beatess "Yesterday And Today" 2nd State Stereo Butcher Cover - $3,000.00 - Start: $499.99 - Bids: 12
3. 45 - Tommy & The Derby's "Don't Play That Role" / "Handy Andy" Swing - $2,651.00 - Start: $49.99 - Bids: 13
4. LP - The Beatles "Yesterday And Today" 1 State Stereo Butcher Cover - $2,400.00 - Start: $3,000 - Bids: Best Offer
5. 45 - The Rolling stones "Wild Horses" / "Sway" Japanese Pic Sleeve - $1,999.99 - Start: $1,999.99 - Bids: 1
More Beatles make the list this week, offering an amazing opportunity to look at the state of The Beatles' Butcher Cover.
But before we get into Beatles and baby dolls, the #1 must be recognized. This week the top spot goes to Harmonica Frank and a Sun Records' 78 RPM, which bids past $3.6k.
The #2 spot is the most interesting on the list this week, a tie at exactly $3k of two Butcher Covers. Each comes from a different seller. Both are stereo and one is a 1st State, the other a 2nd state cover. The 1st State LP sells from a seller who has sold a half dozen or so Butcher's over the past month. In his ads, this seller has stated that he is selling his many Butcher Covers for health reasons. The 2nd LP in the tie comes with a Perry Cox authentication certificate.
So here occurs an amazing convergence - the eBay market, which many consider the only true measure of a collectible's value, in a negative adjective laden economy (if I've confused you just insert "screwed up" for "negative adjective laden") causes a tie between an Average Joe seller posting his own stuff and a Perry Cox (think Christie's of the Beatles market) authenticated record.
What does the convergence tell us?
Mainly, I've been proved kinda sorta wrong. About a year ago, I posted numerous times that the Butcher Cover was getting far less on the eBay market than the book value (either Goldmine or Osborne's), and I speculated that the Beatles' market was beginning a decline. The book value for these two records are respectively, $5k for the 1st state cover and $2.5k for the 2nd state cover, taking into account the grading given by each seller. The $3k for the 1st state cover is exactly what would be expected for a non-dealer sale. By this I mean an item sold by someone who doesn't sell records for a living, and who would be selling it on eBay, or taking it into a store or convention for that matter. The $3k for the 2nd State cover is $1k more than the book price, which shows just how valuable is a Perry Cox authentication. And more importantly, this convergence demonstrates that collectible records are a damn stable market in this economy.
Record Store Day is coming up this month, and I'll be posting my annual list of top monthly sales for the past year and graphing the last two years of top monthly sales. This will show further that vinyl collecting is in no danger of extinction.
Now, on with the list. In the #3 spot sits an old friend on this list, the Tommy & The Derby's Northern Soul rarity sells for a dollar more than halfway over $2.6k.
From the same seller as the #2 1st state Butcher Cover, the #4 item this week sells on a Best Offer for $2.4k.
And last, a Rolling Stones 45 with pic sleeve from Japan gets its asking price at a penny less than $2k.
As alway, thanks to Norm at Counter Clock Records (http://ccdiscoveries.blogspot.com) for this great material!
1. 78 - Harmonica Frank "Rockin' Chair Daddy" / "The Great Medical Menagerist" Sun - $3,606.00 - Start: $700.00 - Bids: 33
2. LP - The Beatles "Yesterday And Today" 1st State Stereo Butcher Cover - $3,000.00 - Start: $3,900.00 - Bids: Best Offer
LP - The Beatess "Yesterday And Today" 2nd State Stereo Butcher Cover - $3,000.00 - Start: $499.99 - Bids: 12
3. 45 - Tommy & The Derby's "Don't Play That Role" / "Handy Andy" Swing - $2,651.00 - Start: $49.99 - Bids: 13
4. LP - The Beatles "Yesterday And Today" 1 State Stereo Butcher Cover - $2,400.00 - Start: $3,000 - Bids: Best Offer
5. 45 - The Rolling stones "Wild Horses" / "Sway" Japanese Pic Sleeve - $1,999.99 - Start: $1,999.99 - Bids: 1
More Beatles make the list this week, offering an amazing opportunity to look at the state of The Beatles' Butcher Cover.
But before we get into Beatles and baby dolls, the #1 must be recognized. This week the top spot goes to Harmonica Frank and a Sun Records' 78 RPM, which bids past $3.6k.
The #2 spot is the most interesting on the list this week, a tie at exactly $3k of two Butcher Covers. Each comes from a different seller. Both are stereo and one is a 1st State, the other a 2nd state cover. The 1st State LP sells from a seller who has sold a half dozen or so Butcher's over the past month. In his ads, this seller has stated that he is selling his many Butcher Covers for health reasons. The 2nd LP in the tie comes with a Perry Cox authentication certificate.
So here occurs an amazing convergence - the eBay market, which many consider the only true measure of a collectible's value, in a negative adjective laden economy (if I've confused you just insert "screwed up" for "negative adjective laden") causes a tie between an Average Joe seller posting his own stuff and a Perry Cox (think Christie's of the Beatles market) authenticated record.
What does the convergence tell us?
Mainly, I've been proved kinda sorta wrong. About a year ago, I posted numerous times that the Butcher Cover was getting far less on the eBay market than the book value (either Goldmine or Osborne's), and I speculated that the Beatles' market was beginning a decline. The book value for these two records are respectively, $5k for the 1st state cover and $2.5k for the 2nd state cover, taking into account the grading given by each seller. The $3k for the 1st state cover is exactly what would be expected for a non-dealer sale. By this I mean an item sold by someone who doesn't sell records for a living, and who would be selling it on eBay, or taking it into a store or convention for that matter. The $3k for the 2nd State cover is $1k more than the book price, which shows just how valuable is a Perry Cox authentication. And more importantly, this convergence demonstrates that collectible records are a damn stable market in this economy.
Record Store Day is coming up this month, and I'll be posting my annual list of top monthly sales for the past year and graphing the last two years of top monthly sales. This will show further that vinyl collecting is in no danger of extinction.
Now, on with the list. In the #3 spot sits an old friend on this list, the Tommy & The Derby's Northern Soul rarity sells for a dollar more than halfway over $2.6k.
From the same seller as the #2 1st state Butcher Cover, the #4 item this week sells on a Best Offer for $2.4k.
And last, a Rolling Stones 45 with pic sleeve from Japan gets its asking price at a penny less than $2k.
As alway, thanks to Norm at Counter Clock Records (http://ccdiscoveries.blogspot.com) for this great material!
Music News & Notes
Sabbath News
Bill Ward has stated that another reunion of the original lineup of Black Sabbath is not out of the question.
“I have an open mind when it comes to Sabbath. We just haven’t done anything for the last three years. But the door’s wide open as far as Black Sabbath is concerned. Playing, doing anything with the original band, that’s where I would like to be.”
====================================
Nothingface To Re-Release Classic Self-Titled Album on Vinyl and Digitally
Washington, D.C. based metalers NOTHINGFACE will release their sought after original debut album recorded in 1995 through indie labels, SICK6 Records and Play The Assassin, later this spring.
Limited to 500 vinyl copies worldwide, the 10 song self-titled Nothingface debut (re-mastered by Drew Mazurek (Hellyeah, Linkin Park, GWAR) will be released on a 140 gram clear vinyl with blood splatter imprints on Tuesday, May 26th. Six of the tracks would show up on the band's DCide Records label debut, "Pacifier," while the other 4 have gone unheard until now.
The album will also be available via iTunes and other digital outlets through SICK6 Records.
The orignal line-up, Matt Holt (vocals), Tom Maxwell (guitars), Bill Gaal (bass), and Chris Houck (drums) are currently writing and recording their first new music with the original lineup since 2000’s TVT release, "Violence," and the last recorded output since 2003’s "Skeletons." The band hopes to have a full length ready for release before the end of the 2009.
====================================
McCartney, Starr Wow The Audience
On Saturday, April 4th, Paul McCartney finally uttered the phrase that the 6,000 people in New York’s Radio City Music Hall had been anticipating to hear.
“At this point,” McCartney said, “we’d would like to introduce to you — someone you know, ladies and gentlemen, Billy Shears!”
Then Ringo Starr bounded onstage — to sing “With a Little Help From My Friends” with McCartney and his band and the crowd finally witnessed the closest thing to a Beatles reunion in 2009.
====================================
Al Jardine Recording New Album With Famous Friends
Ex-Beach Boy Al Jardine has been very busy in the studio working on his new album, "Post Card From California," which he anticipates to be released this summer.
Jardine recruiteda who's who group of friends to perform on the album, including Neil Young, Brian Wilson, Steve Miller, Flea from the Red Hot Chili Peppers, Glen Campbell and Stephen Stills. The singer told Billboard:
"They've all been great. Steve Miller flew up, diverted his jet to Monterey to be on it. (Young) wanted to play but the track was done. But he was very generous; we spent all day on it."
====================================
CMA Awards
Carrie Underwood won Entertainer of the Year at the 44th Academy of Country Music awards in Las Vegas on Sunday, ending Brad Paisley’s four-year winning streak in the category, Reuters reported. Underwood also took home Top Female Vocalist, while Taylor Swift received Album of the Year for Fearless and a “crystal milestone” trophy for being country’s top-seller in 2008.
Bill Ward has stated that another reunion of the original lineup of Black Sabbath is not out of the question.
“I have an open mind when it comes to Sabbath. We just haven’t done anything for the last three years. But the door’s wide open as far as Black Sabbath is concerned. Playing, doing anything with the original band, that’s where I would like to be.”
====================================
Nothingface To Re-Release Classic Self-Titled Album on Vinyl and Digitally
Washington, D.C. based metalers NOTHINGFACE will release their sought after original debut album recorded in 1995 through indie labels, SICK6 Records and Play The Assassin, later this spring.
Limited to 500 vinyl copies worldwide, the 10 song self-titled Nothingface debut (re-mastered by Drew Mazurek (Hellyeah, Linkin Park, GWAR) will be released on a 140 gram clear vinyl with blood splatter imprints on Tuesday, May 26th. Six of the tracks would show up on the band's DCide Records label debut, "Pacifier," while the other 4 have gone unheard until now.
The album will also be available via iTunes and other digital outlets through SICK6 Records.
The orignal line-up, Matt Holt (vocals), Tom Maxwell (guitars), Bill Gaal (bass), and Chris Houck (drums) are currently writing and recording their first new music with the original lineup since 2000’s TVT release, "Violence," and the last recorded output since 2003’s "Skeletons." The band hopes to have a full length ready for release before the end of the 2009.
====================================
McCartney, Starr Wow The Audience
On Saturday, April 4th, Paul McCartney finally uttered the phrase that the 6,000 people in New York’s Radio City Music Hall had been anticipating to hear.
“At this point,” McCartney said, “we’d would like to introduce to you — someone you know, ladies and gentlemen, Billy Shears!”
Then Ringo Starr bounded onstage — to sing “With a Little Help From My Friends” with McCartney and his band and the crowd finally witnessed the closest thing to a Beatles reunion in 2009.
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Al Jardine Recording New Album With Famous Friends
Ex-Beach Boy Al Jardine has been very busy in the studio working on his new album, "Post Card From California," which he anticipates to be released this summer.
Jardine recruiteda who's who group of friends to perform on the album, including Neil Young, Brian Wilson, Steve Miller, Flea from the Red Hot Chili Peppers, Glen Campbell and Stephen Stills. The singer told Billboard:
"They've all been great. Steve Miller flew up, diverted his jet to Monterey to be on it. (Young) wanted to play but the track was done. But he was very generous; we spent all day on it."
====================================
CMA Awards
Carrie Underwood won Entertainer of the Year at the 44th Academy of Country Music awards in Las Vegas on Sunday, ending Brad Paisley’s four-year winning streak in the category, Reuters reported. Underwood also took home Top Female Vocalist, while Taylor Swift received Album of the Year for Fearless and a “crystal milestone” trophy for being country’s top-seller in 2008.
On the record IN A CHANGING INDUSTRY, MUSIC STORES STRUGGLE AND TRANSFORM TO STAY PROFITABLE
BY KEVIN KINDER ~ Northwest Arkansas Times
Where does one get from Aardvark to Zebra? Or from ABBA to ZZ Top? Or from And You Will Know Us By The Trail of The Dead to Zorro and the Blue Footballs?
At a record store, of course.
They are the type of place that serve as a mecca for the criminally obsessed, a place a dedicated collector can, and will, spend hours a day flipping excitedly through rack after rack of square-shaped cardboard sleeves with frayed edges, hoping to find something they don't already own.
While many would argue that all that one needs, musically speaking, can be found in big-box retail stores, there are just as many who believe that obscure CDs and vinyl records are best purchased from local independent stores. That's the idea behind National Record Store Day, which takes place April 18 at stores across the globe. It is a day filled with special, day-of-only items and in-store deals and performances.
And it's promoting what might be a dying breed. In a time of change in the record industry - and the global economic situation in general - records stores find themselves in desperate times. Stores throughout the country are closing their doors, moving online or simply folding, and that's a trend that has been echoed in Northwest Arkansas with two of the more prominent stores in the area - Clunk Records and Spun Records - closing in the past five years.
Which leaves one store, downtown Fayetteville's Sound Warehouse, now celebrating its 25th year, as the only independent music-centric store in the area.
But even such a well-established business, and one participating in Record Store Day, knows the very industry they are supporting is shaking under their feet.
Slumping sales Regardless of the reasons people may cite, such as poor music quality, the growth of digital swapping of music on the Internet or other theories, a fact remains: less music is being purchased year after year.
According to data from Nielsen SoundScan, which tracks music sales, U.S. consumers bought more than 785 million albums in 2000. By 2006, that number had fallen to just more than 588 million albums, a number that included both physical and electronic copies of albums.
The top artists aren't immune from the crunch, either. Nielsen reports the top 10 selling albums of 2000 were purchased a combined total of 60 million times. The 10 top sellers in 2006 sold just 25 million copies.
According to market analyst NPD Group's annual Digital Music Study, the trend continued in 2008, with a 19-percent decrease in CD sales.
As music buyers abandon the CD, many of them are heading toward digital formats, a trend expedited when companies began offering digital rights management-free (DRM) singles, giving the purchaser the ability to transfer the songs from computer to computer or to a portable player, such as an iPod, with ease.
In 2008, according the NPD, the number of Internet users paying for digital music increased more than 8 million to 36 million and the number of downloads rose 29 percent in 2008.
And although it represents a very small part of the overall music sales market, another format - once killed off by CDs - is experiencing a comeback.
According to Time magazine, just fewer than 1 million vinyl albums were sold in 2007, a 15.4 percent increase from the 858,000 that were sold in 2006.
To capitalize on that market, indie and bigname record labels alike are beginning to offer more artists on vinyl, often with offers for free digital downloads of the songs included with the purchase.
At Sound Warehouse, where store manager Randy Thomas sells new vinyl from indie rock artists such as Animal Collective, the Kings of Leon, Beck and hometown favorites such as Lucinda Williams, sales have certainly picked up.
"We can't keep it on the shelves," he said.
Something physical While he works to expand the rack space for new vinyl, Thomas also acknowledges one of his biggest challenges is trying to guess what people want.
Often times, it isn't CDs. Although the narrow building on Block Avenue has a long wall of new CDs for purchase, that isn't where the store makes money, he said. He compares CD sales to convenience stores selling gasoline. They don't make money on gasoline, but rather on the chips, drinks and trinkets inside. Likewise, some of Sound Warehouse's more profitable items aren't the albums sold there but the T-shirts, books, tobacco accessories and other items the store also carries.
As for music, the store carries tunes from a wide range of indie rock, bluegrass, country and local acts.
"You've got to throw a lure, and see what bites," he said.
Which is becoming increasingly tough as musicians diversify and music buyers have other options for obtaining new sounds.
Corbin Otwell, a University of Arkansas journalism major, said he finds himself buying more music online than through other formats, although he also collects CDs and vinyl records.
As someone who often discovers new music from online music blogs, it's often tough to find underground or indie artists in stores, Otwell said.
"That's part of the reason that I turned to the digital medium. ... I wanted a little more instant gratification."
Although he does buy physical albums, especially at live shows or as he visits stores while traveling, Otwell said he is content purchasing music in a digital format only.
Which would never appease some collectors.
Roger Barrett, a member of local rock band The Counterlife and an avid collector of punk and emo records from the '90s, always buys physical copies of music.
"I never [just buy digital music]. I'm a music nerd. I like to look at the music, the artwork," he said.
For him, it goes beyond the thought of just owning the music. In the age of uber-portable digital music players, elevator music and 100-plus-channel surfable satellite radio, he tries to make an effort to listen to songs.
"There is something about the act of sitting down in your room and putting on a record," he said.
He stands behind that in his own music, too. Last year, The Counterlife released a split album with local band Man The Helm available on 7-inch, goldcolored vinyl.
Sounding off But even though Barrett feels there will always be a market for music because of collectors and audiophiles like himself, he's not blind to the changes in the industry.
He worked at Clunk Records in Fayetteville, a store owned by Chris Selby. The music store, which specialized in the independent and obscure, opened in the '90s and was associated for many years with Clunk Music Hall, a music venue on College Avenue in Fayetteville.
The music hall changed ownership in 2002, but the music store remained open in another College Avenue location until late 2006. As an avid collector, musician and former record store clerk, Barrett has certainly seen the fading of sales. He only got the position at Clunk Records after Selby had to take another job to support the store and could no longer staff all the hours, Barrett said.
Barrett said that his music purchasing has also waned in recent years, and he is not optimistic that music sales - his or otherwise - will pick up anytime soon.
Clunk is certainly not the only record store in the area that could not endure the changing market, even within the past few years. Spun Records, which was located on Township Street in Fayetteville, sold its inventory and closed its doors in July 2007.
There are several places in Fayetteville that do sell music, of course, with opportunities at Best Buy, Wal-Mart (who has in recent years worked to secure exclusive deals with topname artists) and Hastings, which also has a collection of new vinyl. As for vinyl, places such as the Flying Dog, Sydney's Emporium, Vintage Stock, the Salvation Army and several other businesses and flea markets in the area do carry used vinyl.
Opportunities As for National Record Store Day, designed to promote indepen-, only has two official participants: Arkansas Record And CD Exchange in North Little Rock and Sound Warehouse in Fayetteville.
The Fayetteville store, which opened in 1983, has gone through several incarnations, which is to be understood in an industry that is so constantly and rapidly changing. It started as a vinyl and cassette store in the Evelyn Hills shopping center on College Avenue.
It has been located in downtown Fayetteville for the past six years, starting not long prior to brothers Randy and Chris Thomas taking over the store.
At that time, vinyl sales were no long in vogue, and the business had become a marketplace for CDs only.
Not long after he began working the store, however, Randy Thomas bought a box of used vinyl from a customer and promptly re-sold much of it, he said.
"It's turned into a really good seller," he said.
So has new vinyl, which barely stays on the shelves. Which is exactly what Sound Warehouse will be offering on Record Store Day. It's special purchase will be a vinyl-only solo offering from Omar Rodriguez-Lopez, guitarist for indie prog rockers The Mars Volta.
CDs, on the other hand, aren't going anywhere.
"No one can sell CDs" he said.
Even though that may be the case, Thomas said the store has seen constant, if modest, sales growth. He attributes that to a diverse product base, and also to the local flavor the store has strove to maintain. The store remains the only place where the releases of many local bands can be purchased in a physical format.
Instead of challenges, Thomas sees opportunities in the economy, specifically in regards to the sale of used vinyl.
"I can buy vinyl at a cheap price, and I can sell it at a good price," he said.
Considering the size of the store, Thomas said he's had to be selective about what vinyl he can buy - the shelves are at their capacity.
The business may change in the future, as he and his brother are exploring the possibility of offering online sales, which would expand their market to the rest of the world.
But as for Fayetteville?
"We're not going anywhere," Thomas said.
Source: http://nwanews.com
Where does one get from Aardvark to Zebra? Or from ABBA to ZZ Top? Or from And You Will Know Us By The Trail of The Dead to Zorro and the Blue Footballs?
At a record store, of course.
They are the type of place that serve as a mecca for the criminally obsessed, a place a dedicated collector can, and will, spend hours a day flipping excitedly through rack after rack of square-shaped cardboard sleeves with frayed edges, hoping to find something they don't already own.
While many would argue that all that one needs, musically speaking, can be found in big-box retail stores, there are just as many who believe that obscure CDs and vinyl records are best purchased from local independent stores. That's the idea behind National Record Store Day, which takes place April 18 at stores across the globe. It is a day filled with special, day-of-only items and in-store deals and performances.
And it's promoting what might be a dying breed. In a time of change in the record industry - and the global economic situation in general - records stores find themselves in desperate times. Stores throughout the country are closing their doors, moving online or simply folding, and that's a trend that has been echoed in Northwest Arkansas with two of the more prominent stores in the area - Clunk Records and Spun Records - closing in the past five years.
Which leaves one store, downtown Fayetteville's Sound Warehouse, now celebrating its 25th year, as the only independent music-centric store in the area.
But even such a well-established business, and one participating in Record Store Day, knows the very industry they are supporting is shaking under their feet.
Slumping sales Regardless of the reasons people may cite, such as poor music quality, the growth of digital swapping of music on the Internet or other theories, a fact remains: less music is being purchased year after year.
According to data from Nielsen SoundScan, which tracks music sales, U.S. consumers bought more than 785 million albums in 2000. By 2006, that number had fallen to just more than 588 million albums, a number that included both physical and electronic copies of albums.
The top artists aren't immune from the crunch, either. Nielsen reports the top 10 selling albums of 2000 were purchased a combined total of 60 million times. The 10 top sellers in 2006 sold just 25 million copies.
According to market analyst NPD Group's annual Digital Music Study, the trend continued in 2008, with a 19-percent decrease in CD sales.
As music buyers abandon the CD, many of them are heading toward digital formats, a trend expedited when companies began offering digital rights management-free (DRM) singles, giving the purchaser the ability to transfer the songs from computer to computer or to a portable player, such as an iPod, with ease.
In 2008, according the NPD, the number of Internet users paying for digital music increased more than 8 million to 36 million and the number of downloads rose 29 percent in 2008.
And although it represents a very small part of the overall music sales market, another format - once killed off by CDs - is experiencing a comeback.
According to Time magazine, just fewer than 1 million vinyl albums were sold in 2007, a 15.4 percent increase from the 858,000 that were sold in 2006.
To capitalize on that market, indie and bigname record labels alike are beginning to offer more artists on vinyl, often with offers for free digital downloads of the songs included with the purchase.
At Sound Warehouse, where store manager Randy Thomas sells new vinyl from indie rock artists such as Animal Collective, the Kings of Leon, Beck and hometown favorites such as Lucinda Williams, sales have certainly picked up.
"We can't keep it on the shelves," he said.
Something physical While he works to expand the rack space for new vinyl, Thomas also acknowledges one of his biggest challenges is trying to guess what people want.
Often times, it isn't CDs. Although the narrow building on Block Avenue has a long wall of new CDs for purchase, that isn't where the store makes money, he said. He compares CD sales to convenience stores selling gasoline. They don't make money on gasoline, but rather on the chips, drinks and trinkets inside. Likewise, some of Sound Warehouse's more profitable items aren't the albums sold there but the T-shirts, books, tobacco accessories and other items the store also carries.
As for music, the store carries tunes from a wide range of indie rock, bluegrass, country and local acts.
"You've got to throw a lure, and see what bites," he said.
Which is becoming increasingly tough as musicians diversify and music buyers have other options for obtaining new sounds.
Corbin Otwell, a University of Arkansas journalism major, said he finds himself buying more music online than through other formats, although he also collects CDs and vinyl records.
As someone who often discovers new music from online music blogs, it's often tough to find underground or indie artists in stores, Otwell said.
"That's part of the reason that I turned to the digital medium. ... I wanted a little more instant gratification."
Although he does buy physical albums, especially at live shows or as he visits stores while traveling, Otwell said he is content purchasing music in a digital format only.
Which would never appease some collectors.
Roger Barrett, a member of local rock band The Counterlife and an avid collector of punk and emo records from the '90s, always buys physical copies of music.
"I never [just buy digital music]. I'm a music nerd. I like to look at the music, the artwork," he said.
For him, it goes beyond the thought of just owning the music. In the age of uber-portable digital music players, elevator music and 100-plus-channel surfable satellite radio, he tries to make an effort to listen to songs.
"There is something about the act of sitting down in your room and putting on a record," he said.
He stands behind that in his own music, too. Last year, The Counterlife released a split album with local band Man The Helm available on 7-inch, goldcolored vinyl.
Sounding off But even though Barrett feels there will always be a market for music because of collectors and audiophiles like himself, he's not blind to the changes in the industry.
He worked at Clunk Records in Fayetteville, a store owned by Chris Selby. The music store, which specialized in the independent and obscure, opened in the '90s and was associated for many years with Clunk Music Hall, a music venue on College Avenue in Fayetteville.
The music hall changed ownership in 2002, but the music store remained open in another College Avenue location until late 2006. As an avid collector, musician and former record store clerk, Barrett has certainly seen the fading of sales. He only got the position at Clunk Records after Selby had to take another job to support the store and could no longer staff all the hours, Barrett said.
Barrett said that his music purchasing has also waned in recent years, and he is not optimistic that music sales - his or otherwise - will pick up anytime soon.
Clunk is certainly not the only record store in the area that could not endure the changing market, even within the past few years. Spun Records, which was located on Township Street in Fayetteville, sold its inventory and closed its doors in July 2007.
There are several places in Fayetteville that do sell music, of course, with opportunities at Best Buy, Wal-Mart (who has in recent years worked to secure exclusive deals with topname artists) and Hastings, which also has a collection of new vinyl. As for vinyl, places such as the Flying Dog, Sydney's Emporium, Vintage Stock, the Salvation Army and several other businesses and flea markets in the area do carry used vinyl.
Opportunities As for National Record Store Day, designed to promote indepen-, only has two official participants: Arkansas Record And CD Exchange in North Little Rock and Sound Warehouse in Fayetteville.
The Fayetteville store, which opened in 1983, has gone through several incarnations, which is to be understood in an industry that is so constantly and rapidly changing. It started as a vinyl and cassette store in the Evelyn Hills shopping center on College Avenue.
It has been located in downtown Fayetteville for the past six years, starting not long prior to brothers Randy and Chris Thomas taking over the store.
At that time, vinyl sales were no long in vogue, and the business had become a marketplace for CDs only.
Not long after he began working the store, however, Randy Thomas bought a box of used vinyl from a customer and promptly re-sold much of it, he said.
"It's turned into a really good seller," he said.
So has new vinyl, which barely stays on the shelves. Which is exactly what Sound Warehouse will be offering on Record Store Day. It's special purchase will be a vinyl-only solo offering from Omar Rodriguez-Lopez, guitarist for indie prog rockers The Mars Volta.
CDs, on the other hand, aren't going anywhere.
"No one can sell CDs" he said.
Even though that may be the case, Thomas said the store has seen constant, if modest, sales growth. He attributes that to a diverse product base, and also to the local flavor the store has strove to maintain. The store remains the only place where the releases of many local bands can be purchased in a physical format.
Instead of challenges, Thomas sees opportunities in the economy, specifically in regards to the sale of used vinyl.
"I can buy vinyl at a cheap price, and I can sell it at a good price," he said.
Considering the size of the store, Thomas said he's had to be selective about what vinyl he can buy - the shelves are at their capacity.
The business may change in the future, as he and his brother are exploring the possibility of offering online sales, which would expand their market to the rest of the world.
But as for Fayetteville?
"We're not going anywhere," Thomas said.
Source: http://nwanews.com
Sunday, April 5, 2009
This Week In Music History April 5 – April 11
I am starting a new weekly feature called “This Week In Music History,” which will be posted every Sunday. I will list the birthdays first and then assorted dates and historic events, some interesting, some amusing and some that may be sad. Obviously, my time and space is limited so this will not be an all-inclusive list, but I hope that everyone finds this to be an interesting feature. That said - let’s roll with the first of many:
Sunday April 5
Mike McCready - Pearl Jam (1966)
Dave Holland - Judas Priest (1944)
Crispian St. Peters - "Pied Piper" turns 65
Billy Bland is 77
Agnetha Faltskog - ABBA is 59
In 1981, Canned Heat vocalist Bob "the Bear" Hite died from a heart attack at the age of 36. He helped bring the sound of American blues to rock music.
R.E.M. guitarist Peter Buck was acquitted of air rage charges in 2002. Buck was alleged to have gone on a drunken rampage after drinking 15 glasses of wine during a transatlantic flight to London in 2001.
In 2002, Layne Staley died of a drug overdose, eight years to the day after Kurt Cobain committed suicide. The Alice in Chains singer's body was not found until several days later.
Kurt Cobain (Nirvana) killed himself with a shotgun in 1994. He was found three days later.
In 2005, Aberdeen, Wash., added the legend "Come As You Are" to their "Welcome to Aberdeen" sign on the 11th anniversary of Kurt Cobain's death.
The late Tony Williams of the Platters ("Only You") was born in 1928.
Gene Pitney died of a heart attack while on tour in Wales in 2006.
In Danny Rapp of Danny & the Juniors ("At The Hop") died of a self-inflicted gunshot.
A tornado killed 235 people in Tupelo, Mississippi in 1936. Significant? Certainly was, because one year-old Elvis Presley and his family survived.
The Searchers appeared on "The Ed Sullivan Show" in 1964. They were the first British Invasion group to appear on the show after the Beatles. It was the Searchers' U.S. debut.
Led Zeppelin released their seventh studio album, "Presence" in 1976.
In 1985, an estimated 5,000 radio stations around the world simultaneously played the song "We Are the World."
Construction began on the Rock and Roll Hall of Fame in Cleveland in 1993.
Colin "Cozy" Powell died in a car crash in 1998. He was 50 years old.
Monday April 6
Markku Lappalainen – Hoobastank (1973)
Frank Black - The Pixies (1965)
Michelle Phillips -The Mamas and the Papas (1944)
John Stax -The Pretty Things (1944)
Merle Haggard (1937)
Capitol Tower, the home of Capitol Records in Hollywood, CA, was dedicated in 1956. It was the first circular office tower designed in America. It is 13 stories tall and 92 feet in diameter.
Elvis Presley's "All Shook Up" was released in 1957.
Apple Corps Ltd., the Beatles' record company and management and publishing firm, opened in 1968.
In 1968, Pink Floyd announced founder Syd Barrett had officially left the group due to his suffering from psychiatric disorders compounded by drug use.
Wendy O. Williams (The Plasmatics) committed suicide in 1998.
"Ladies and Gentlemen: The Rolling Stones" opened at New York City's Ziegfeld Theatre in 1974. It was the first concert film to feature a soundtrack in quadraphonic sound.
The Rolling Stones record label (with the infamous "lips" logo) debuts in 1971.
Guitarist Niki Sullivan, a one-time member of Buddy Holly & the Crickets, died in his sleep in Sugar Creek, Michigan in 2004. He was 66.
Billy Joel cracks the top 40 for the first time in 1974 with "Piano Man."
The Beatles' Anthology Volume 2 went to #1 on the U.S. albums chart in 1996.
The first lady of country music, Tammy Wynette, died in 1998 (age 56).
In 2000, the Black Crowes were sued by an Ohio teenager who claimed he suffered permanent hearing damage from sitting in the second row of a 1999 concert by the band. Uh, it’s a concert, the music is supposed to be loud.
The Beach Boys recorded "California Girls" in 1965.
The Kingsmen recorded "Louie Louie" in 1963.
In 1962, the Russian newspaper, Pravda warned Communist youth about the dangers of doing the twist.
Tuesday April 7
The late Bruce Gary -The Knack (1952)
Grateful Dead drummer Bill Kreutzmann was born today in 1946.
John Oates -Hall and Oates (1949)
Mick Abrahams -Blodwyn Pig, Jethro Tull (1942)
Patricia Bennett - The Chiffons (1947)
Billie Holiday - Jazz singer (1915)
Ravi Shankar - sitarist, was George Harrison's sitar teacher (1920)
Bobby Bare ("Detroit City") was born in 1935.
Janis Ian ("Society's Child") turns 58.
In 1988, Alice Cooper nearly hangs himself for real at a concert rehearsal when a safety rope breaks.
Ritchie Blackmore leaves Deep Purple to form Rainbow in 1975.
Mick Jagger & Keith Richards meet Brian Jones for the first time in 1962 at a London jazz club.
"Raindrops Keep Falling On My Head" from "Butch Cassidy And The Sundance Kid" wins the Academy Award for Best Original Song in 1970.
America braced itself for an electronica invasion in 1997 as the Chemical Brothers released their second album, Dig Your Own Hole. It peaked at #14 in the Billboard chart.
John Lennon recorded "Give Peace a Chance" in his Toronto hotel room in 1969. It becomes his first solo single.
In1987, after preacher Oral Roberts informs his TV congregation that God will kill him if he doesn't raise $1 million in donations, rock funnyman Ozzy Osbourne sends him a dollar to be put toward psychiatric treatment.
In 2004, The International Federation of the Phonographic Industry reported that global music sales fell 7.6 percent over the last year. They blamed the slump on piracy, poor economic performance, and the rise in DVD and video game sales.
An Amsterdam university began offering a course entitled "Madonna 101” in 1997.
In 1956, CBS Radio premiered Rock 'n' Roll Dance Party, hosted by DJ Alan Freed. It's the first nationally broadcast rock 'n' roll radio show.
Wednesday April 8
Izzy Stradlin - Gun's 'N Roses (1962)
Julian Lennon (1963)
Dave Rountree - Blur (1963)
Peter Case - Yes (1947)
Steve Howe - Yes, Asia (1947)
Mel Schacher - Grand Funk Railroad (1951)
Chris Frantz - Talking Heads, Tom Tom Club (1951)
J.J. Jackson ("But It's Alright") is 68
In 1994, Kurt Cobain (Nirvana) was found dead at the age of 27. He had committed suicide three days before.
In 1971, Chicago became the first rock group to sell out a week of shows at Carnegie Hall in New York City.
Neil Young premiered his home movie collection Journey Through the Past today at the U.S. Film Festival in Dallas in 1973. Young explained the film as "a collection of thoughts," adding that "every scene meant something to me - although with some of them I can't say what."
Aerosmith released "Toys in the Attic" in 1975.
Wango Tango- In 1996, In Lansing, Mich., rocker Ted Nugent gives an archery demonstration. He says the sport is an excellent distraction for kids, as opposed to taking drugs.
In 1977, the Damned became the first English punk group to play New York's famed club CBGB. At their hotel, they discover that the Rolling Stones have left them a birthday cake, seven meringue pies, and three prostitutes.
Van Halen began their first world tour in 1979.
Forty-nine year old Laura Nyro died of ovarian cancer at her home in Danbury, Conn in 1997. A profound concert artist, she also wrote an array of hits for others, including "And When I Die," "Stoned Soul Picnic," "Stoney End," and "Eli's Comin'."
The Supremes recorded "Where Did Our Love Go" (their first #1 single) in 1964.
Thursday April 9
Kevin Martin - Candlebox (1969)
Joe Peters - Grant Lee Buffalo (1965)
Mark Kelly – Marillion (1961)
Hal Ketchum - Country singer (1953)
Les Gray - Mud (1946)
The late Carl Perkins ("Blue Suede Shoes") was born in 1932
Emil Stucchio of the Classics ("Till Then") is 64
Percy Sledge's "When A Man Loves A Woman" was released in 1966.
In 1984, R.E.M. released their second album,” Reckoning.”
At the Oscars in 1984, Irene Cara's "Flashdance ... What a Feeling" wins Best Original Song.
In 1973, Paul McCartney released the song "My Love."
Queen had its debut performance in 1973 at the Marquee Theater in London.
In 1976, renowned protest singer Phil Ochs hangs himself at his sister's house in the Far Rockaway section of New York. He was 35.
Gene Vincent recorded "Be-Bop-a-Lula" in 1956.
King Crimson made their live debut in 1969 at London's Speakeasy.
In 2004, lawyers for "Cheeseburgers in Paradise" singer Jimmy Buffett force a Maryland hamburger stand owner to change the name of his eaterie from "Cheeseburgers 'n' Paradise" to "Beef 'n' Buns 'n' Paradise."
In 2003, Linkin Park retained the #1 spot for a second week with their Meteora album. Detroit rockers the White Stripes have the highest new entry with Elephant lumbering in at #6.
That’s just sick #1- In 1989, Rolling Stones bassist Bill Wyman, 52, announced that he was engaged to 19-year-old Mandy Smith, whom he had been dating for six years.
That’s just sick #2 – In 1998 Former Wham! singer George Michael was arrested at Will Rogers Park in Beverly Hills, Calif., after allegedly performing in a lewd act in a public restroom.
Dave Prater of Sam & Dave ("Soul Man") dies in a car crash near Sycamore, Georgia, 1988
Paul McCartney quits the Beatles in 1970 (the group's breakup was announced to the press the next day).
In 1964, Capitol Records reached an out-of-court settlement with Vee-Jay Records over Beatles records it claimed the latter did not have the right to release.
Friday April 10
Reni - Stone Roses (1964)
Brian Setzer - Stray Cats (1959)
Steven Gustafson - 10,000 Maniacs (1957)
Dave Peveret – Foghat (1950)
Innovative Funkadelic guitarist Eddie Hazel, who wrote the band's classic "Maggot Brain," was born in Brooklyn, N.Y. in 1950.
Tim "Herb" Alexander – Primus (1965)
Kenneth "Babyface" Edmonds was born in Indianapolis in 1959. As well as having hits of his own like 1994's "When Can I See You," he has written songs for Boyz II Men, Mariah Carey, Mary J. Blige, Paula Abdul, and many others.
Bunny Wailer, one of the original Wailers, who kicked off a successful solo career with the 1976 album Black Heart Man, was born Neville O'Reilly Livingstone in Kingston, Jamaica in 1947.
Original Beatle Stuart Sutcliffe died in Hamburg in 1962. His artistic ideas and close friendship with John Lennon had a lasting influence on the band. In fact, Sutcliffe's picture appears on the cover of Sgt. Pepper.
In 1970, Doors frontman Jim Morrison asked a concert audience if they would like something belonging to him that rhymes with "sock." Fortunately, Ray Manzarek carries him off stage before he can find what he's alluding to.
Bobby Darin recorded "Splish Splash” in 1958.
Mickey Hart joined the Grateful Dead in 1968
Leo Fender patented the Stratocaster guitar in 1956.
Chuck Willis died of peritonitis in 1958. As well as popularizing the rock anthem "C.C. Rider," the self-styled "King of Stroll" wore a turban on stage.
Isaac Hayes won an Oscarin 1972 for the Best Music, Original Song award for the song "Shaft.”
In 2000, Sony Music Entertainment announced that it planned to make its first commercial digital downloads available to U.S. consumers. Sony said it would offer about 50 hit songs from Lauryn Hill, Pearl Jam, Michael Jackson, Mary Chapin Carpenter, and others.
The late Sheb Wooley ("Purple People Eater") was born in 1921.
Little Eva ("The Loco-Motion") died of cervical cancer in 2003.
Emerson, Lake & Palmer was formed in 1970.
Peter Frampton's Frampton Comes Alive! topped the album chart in 1976, where it will remain for the next 10 weeks.
In 1994, in Seattle, 10,000 people gathered for a vigil for the late Kurt Cobain.
Courtney Love thanks them for their support and tearfully reads from Cobain's suicide note.
Saturday April 11
Chris Difford – Squeeze (1954)
Neville Staple - The Specials (1956)
Dylan Keefe - Marcy Playground (1970)
Joss Stone (1987)
The SPEBSQSA (Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America) was founded in 1936. I did not know that. Why not just call it MNWTH (Music Nobody Wants To Hear)?
James Brown debuts on the R&B charts in 1956 with "Please, Please, Please."
In 1961, Bob Dylan makes his first live performance in New York, opening for John Lee Hooker. The venue was Gerde's Folk City. Dylan airs some new material, including "Blowin' in the Wind."
Peter Green announced that he would be leaving Fleetwood Mac in 1970.
Savage Garden released their self-titled debut album in 1997.
Nirvana's In Utero album was certified double-platinum in 1994.
In 1967, on the way back from visiting the Beach Boys' Smile sessions, Paul McCartney dreams up the idea for the Beatles' film Magical Mystery Tour.
The late Richard Berry was born in 1935. He originally wrote and recorded the controversial frat anthem "Louie Louie," which became one of the most-covered songs in rock.
June Pointer of the Pointer Sisters ("Fairytale") died of cancer in 2006.
Paul McCartney gave a twenty-minute concert from the roof of a building he owns in London in 1997.
Big Brother & the Holding Company made their national TV debut on ABC's "Hollywood Palace" in 1968.
Ringo Starr guests on Fox-TV's "The Simpsons" in 1991.
Shooby-be-doo-be-doo-Frank Sinatra recorded "Strangers In The Night" in 1966.
Sunday April 5
Mike McCready - Pearl Jam (1966)
Dave Holland - Judas Priest (1944)
Crispian St. Peters - "Pied Piper" turns 65
Billy Bland is 77
Agnetha Faltskog - ABBA is 59
In 1981, Canned Heat vocalist Bob "the Bear" Hite died from a heart attack at the age of 36. He helped bring the sound of American blues to rock music.
R.E.M. guitarist Peter Buck was acquitted of air rage charges in 2002. Buck was alleged to have gone on a drunken rampage after drinking 15 glasses of wine during a transatlantic flight to London in 2001.
In 2002, Layne Staley died of a drug overdose, eight years to the day after Kurt Cobain committed suicide. The Alice in Chains singer's body was not found until several days later.
Kurt Cobain (Nirvana) killed himself with a shotgun in 1994. He was found three days later.
In 2005, Aberdeen, Wash., added the legend "Come As You Are" to their "Welcome to Aberdeen" sign on the 11th anniversary of Kurt Cobain's death.
The late Tony Williams of the Platters ("Only You") was born in 1928.
Gene Pitney died of a heart attack while on tour in Wales in 2006.
In Danny Rapp of Danny & the Juniors ("At The Hop") died of a self-inflicted gunshot.
A tornado killed 235 people in Tupelo, Mississippi in 1936. Significant? Certainly was, because one year-old Elvis Presley and his family survived.
The Searchers appeared on "The Ed Sullivan Show" in 1964. They were the first British Invasion group to appear on the show after the Beatles. It was the Searchers' U.S. debut.
Led Zeppelin released their seventh studio album, "Presence" in 1976.
In 1985, an estimated 5,000 radio stations around the world simultaneously played the song "We Are the World."
Construction began on the Rock and Roll Hall of Fame in Cleveland in 1993.
Colin "Cozy" Powell died in a car crash in 1998. He was 50 years old.
Monday April 6
Markku Lappalainen – Hoobastank (1973)
Frank Black - The Pixies (1965)
Michelle Phillips -The Mamas and the Papas (1944)
John Stax -The Pretty Things (1944)
Merle Haggard (1937)
Capitol Tower, the home of Capitol Records in Hollywood, CA, was dedicated in 1956. It was the first circular office tower designed in America. It is 13 stories tall and 92 feet in diameter.
Elvis Presley's "All Shook Up" was released in 1957.
Apple Corps Ltd., the Beatles' record company and management and publishing firm, opened in 1968.
In 1968, Pink Floyd announced founder Syd Barrett had officially left the group due to his suffering from psychiatric disorders compounded by drug use.
Wendy O. Williams (The Plasmatics) committed suicide in 1998.
"Ladies and Gentlemen: The Rolling Stones" opened at New York City's Ziegfeld Theatre in 1974. It was the first concert film to feature a soundtrack in quadraphonic sound.
The Rolling Stones record label (with the infamous "lips" logo) debuts in 1971.
Guitarist Niki Sullivan, a one-time member of Buddy Holly & the Crickets, died in his sleep in Sugar Creek, Michigan in 2004. He was 66.
Billy Joel cracks the top 40 for the first time in 1974 with "Piano Man."
The Beatles' Anthology Volume 2 went to #1 on the U.S. albums chart in 1996.
The first lady of country music, Tammy Wynette, died in 1998 (age 56).
In 2000, the Black Crowes were sued by an Ohio teenager who claimed he suffered permanent hearing damage from sitting in the second row of a 1999 concert by the band. Uh, it’s a concert, the music is supposed to be loud.
The Beach Boys recorded "California Girls" in 1965.
The Kingsmen recorded "Louie Louie" in 1963.
In 1962, the Russian newspaper, Pravda warned Communist youth about the dangers of doing the twist.
Tuesday April 7
The late Bruce Gary -The Knack (1952)
Grateful Dead drummer Bill Kreutzmann was born today in 1946.
John Oates -Hall and Oates (1949)
Mick Abrahams -Blodwyn Pig, Jethro Tull (1942)
Patricia Bennett - The Chiffons (1947)
Billie Holiday - Jazz singer (1915)
Ravi Shankar - sitarist, was George Harrison's sitar teacher (1920)
Bobby Bare ("Detroit City") was born in 1935.
Janis Ian ("Society's Child") turns 58.
In 1988, Alice Cooper nearly hangs himself for real at a concert rehearsal when a safety rope breaks.
Ritchie Blackmore leaves Deep Purple to form Rainbow in 1975.
Mick Jagger & Keith Richards meet Brian Jones for the first time in 1962 at a London jazz club.
"Raindrops Keep Falling On My Head" from "Butch Cassidy And The Sundance Kid" wins the Academy Award for Best Original Song in 1970.
America braced itself for an electronica invasion in 1997 as the Chemical Brothers released their second album, Dig Your Own Hole. It peaked at #14 in the Billboard chart.
John Lennon recorded "Give Peace a Chance" in his Toronto hotel room in 1969. It becomes his first solo single.
In1987, after preacher Oral Roberts informs his TV congregation that God will kill him if he doesn't raise $1 million in donations, rock funnyman Ozzy Osbourne sends him a dollar to be put toward psychiatric treatment.
In 2004, The International Federation of the Phonographic Industry reported that global music sales fell 7.6 percent over the last year. They blamed the slump on piracy, poor economic performance, and the rise in DVD and video game sales.
An Amsterdam university began offering a course entitled "Madonna 101” in 1997.
In 1956, CBS Radio premiered Rock 'n' Roll Dance Party, hosted by DJ Alan Freed. It's the first nationally broadcast rock 'n' roll radio show.
Wednesday April 8
Izzy Stradlin - Gun's 'N Roses (1962)
Julian Lennon (1963)
Dave Rountree - Blur (1963)
Peter Case - Yes (1947)
Steve Howe - Yes, Asia (1947)
Mel Schacher - Grand Funk Railroad (1951)
Chris Frantz - Talking Heads, Tom Tom Club (1951)
J.J. Jackson ("But It's Alright") is 68
In 1994, Kurt Cobain (Nirvana) was found dead at the age of 27. He had committed suicide three days before.
In 1971, Chicago became the first rock group to sell out a week of shows at Carnegie Hall in New York City.
Neil Young premiered his home movie collection Journey Through the Past today at the U.S. Film Festival in Dallas in 1973. Young explained the film as "a collection of thoughts," adding that "every scene meant something to me - although with some of them I can't say what."
Aerosmith released "Toys in the Attic" in 1975.
Wango Tango- In 1996, In Lansing, Mich., rocker Ted Nugent gives an archery demonstration. He says the sport is an excellent distraction for kids, as opposed to taking drugs.
In 1977, the Damned became the first English punk group to play New York's famed club CBGB. At their hotel, they discover that the Rolling Stones have left them a birthday cake, seven meringue pies, and three prostitutes.
Van Halen began their first world tour in 1979.
Forty-nine year old Laura Nyro died of ovarian cancer at her home in Danbury, Conn in 1997. A profound concert artist, she also wrote an array of hits for others, including "And When I Die," "Stoned Soul Picnic," "Stoney End," and "Eli's Comin'."
The Supremes recorded "Where Did Our Love Go" (their first #1 single) in 1964.
Thursday April 9
Kevin Martin - Candlebox (1969)
Joe Peters - Grant Lee Buffalo (1965)
Mark Kelly – Marillion (1961)
Hal Ketchum - Country singer (1953)
Les Gray - Mud (1946)
The late Carl Perkins ("Blue Suede Shoes") was born in 1932
Emil Stucchio of the Classics ("Till Then") is 64
Percy Sledge's "When A Man Loves A Woman" was released in 1966.
In 1984, R.E.M. released their second album,” Reckoning.”
At the Oscars in 1984, Irene Cara's "Flashdance ... What a Feeling" wins Best Original Song.
In 1973, Paul McCartney released the song "My Love."
Queen had its debut performance in 1973 at the Marquee Theater in London.
In 1976, renowned protest singer Phil Ochs hangs himself at his sister's house in the Far Rockaway section of New York. He was 35.
Gene Vincent recorded "Be-Bop-a-Lula" in 1956.
King Crimson made their live debut in 1969 at London's Speakeasy.
In 2004, lawyers for "Cheeseburgers in Paradise" singer Jimmy Buffett force a Maryland hamburger stand owner to change the name of his eaterie from "Cheeseburgers 'n' Paradise" to "Beef 'n' Buns 'n' Paradise."
In 2003, Linkin Park retained the #1 spot for a second week with their Meteora album. Detroit rockers the White Stripes have the highest new entry with Elephant lumbering in at #6.
That’s just sick #1- In 1989, Rolling Stones bassist Bill Wyman, 52, announced that he was engaged to 19-year-old Mandy Smith, whom he had been dating for six years.
That’s just sick #2 – In 1998 Former Wham! singer George Michael was arrested at Will Rogers Park in Beverly Hills, Calif., after allegedly performing in a lewd act in a public restroom.
Dave Prater of Sam & Dave ("Soul Man") dies in a car crash near Sycamore, Georgia, 1988
Paul McCartney quits the Beatles in 1970 (the group's breakup was announced to the press the next day).
In 1964, Capitol Records reached an out-of-court settlement with Vee-Jay Records over Beatles records it claimed the latter did not have the right to release.
Friday April 10
Reni - Stone Roses (1964)
Brian Setzer - Stray Cats (1959)
Steven Gustafson - 10,000 Maniacs (1957)
Dave Peveret – Foghat (1950)
Innovative Funkadelic guitarist Eddie Hazel, who wrote the band's classic "Maggot Brain," was born in Brooklyn, N.Y. in 1950.
Tim "Herb" Alexander – Primus (1965)
Kenneth "Babyface" Edmonds was born in Indianapolis in 1959. As well as having hits of his own like 1994's "When Can I See You," he has written songs for Boyz II Men, Mariah Carey, Mary J. Blige, Paula Abdul, and many others.
Bunny Wailer, one of the original Wailers, who kicked off a successful solo career with the 1976 album Black Heart Man, was born Neville O'Reilly Livingstone in Kingston, Jamaica in 1947.
Original Beatle Stuart Sutcliffe died in Hamburg in 1962. His artistic ideas and close friendship with John Lennon had a lasting influence on the band. In fact, Sutcliffe's picture appears on the cover of Sgt. Pepper.
In 1970, Doors frontman Jim Morrison asked a concert audience if they would like something belonging to him that rhymes with "sock." Fortunately, Ray Manzarek carries him off stage before he can find what he's alluding to.
Bobby Darin recorded "Splish Splash” in 1958.
Mickey Hart joined the Grateful Dead in 1968
Leo Fender patented the Stratocaster guitar in 1956.
Chuck Willis died of peritonitis in 1958. As well as popularizing the rock anthem "C.C. Rider," the self-styled "King of Stroll" wore a turban on stage.
Isaac Hayes won an Oscarin 1972 for the Best Music, Original Song award for the song "Shaft.”
In 2000, Sony Music Entertainment announced that it planned to make its first commercial digital downloads available to U.S. consumers. Sony said it would offer about 50 hit songs from Lauryn Hill, Pearl Jam, Michael Jackson, Mary Chapin Carpenter, and others.
The late Sheb Wooley ("Purple People Eater") was born in 1921.
Little Eva ("The Loco-Motion") died of cervical cancer in 2003.
Emerson, Lake & Palmer was formed in 1970.
Peter Frampton's Frampton Comes Alive! topped the album chart in 1976, where it will remain for the next 10 weeks.
In 1994, in Seattle, 10,000 people gathered for a vigil for the late Kurt Cobain.
Courtney Love thanks them for their support and tearfully reads from Cobain's suicide note.
Saturday April 11
Chris Difford – Squeeze (1954)
Neville Staple - The Specials (1956)
Dylan Keefe - Marcy Playground (1970)
Joss Stone (1987)
The SPEBSQSA (Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America) was founded in 1936. I did not know that. Why not just call it MNWTH (Music Nobody Wants To Hear)?
James Brown debuts on the R&B charts in 1956 with "Please, Please, Please."
In 1961, Bob Dylan makes his first live performance in New York, opening for John Lee Hooker. The venue was Gerde's Folk City. Dylan airs some new material, including "Blowin' in the Wind."
Peter Green announced that he would be leaving Fleetwood Mac in 1970.
Savage Garden released their self-titled debut album in 1997.
Nirvana's In Utero album was certified double-platinum in 1994.
In 1967, on the way back from visiting the Beach Boys' Smile sessions, Paul McCartney dreams up the idea for the Beatles' film Magical Mystery Tour.
The late Richard Berry was born in 1935. He originally wrote and recorded the controversial frat anthem "Louie Louie," which became one of the most-covered songs in rock.
June Pointer of the Pointer Sisters ("Fairytale") died of cancer in 2006.
Paul McCartney gave a twenty-minute concert from the roof of a building he owns in London in 1997.
Big Brother & the Holding Company made their national TV debut on ABC's "Hollywood Palace" in 1968.
Ringo Starr guests on Fox-TV's "The Simpsons" in 1991.
Shooby-be-doo-be-doo-Frank Sinatra recorded "Strangers In The Night" in 1966.
Music Industry Has Evolved
I was guided by the net to an interesting post and I certainly want to thank Marissa for allowing me to reprint her material. Obviously, things have changed since her post, but there are some very important and relevant points that are still true today. And Virgil, over at Suburban Home Records has turned into a mogul of sorts in the indie music scene and his love for vinyl is never so obvious. Thankfully the music industry has people like him and the indie artists that he works so hard to promote. Yes, vinyl records are here to stay....Here is the post in its entirety:
I filled out a resume for the Daily Camera today. In the process of filling out the resume I looked through some old articles.
This is an article I wrote for class in December of 2007.
local music and technology: what is the future?
Colorado’s Place in the Changing Music Scene
The living room at Rhinoceropolis would be pitch black if it weren’t for the Christmas lights strung from the rafters. The venue, which acts as a home in north Denver by day, could seem baron if it weren’t for the paintings hung on the wall. The building will get drafts of cold air, however, it’s hard to notice with each room filled with art, records, instruments and ashtrays. The body heat of dozens of young people crammed in the small living room acts as a barrier to the cold ridden outside. The audience sits still, watching in awe as a young man and woman sit on stools in front of them stroking acoustic guitars.
If music is dying, like many record industry officials have said, no one informed the crowd that braved the winter air to see the show. If music is dying, then local shows are making its last grasps powerful ones. Record industry officials say that the sky is falling, however, for local musicians and fans the sky is the limit.
According to USA Today, CD sales dropped 8% from 2004 to 2006, as downloaded tracks raised by 150%. In the first quarter of 2007 CD sales plunged by 20% compared to the first quarter of 2006. The sales drops have left record industry executives shaking in their boots.
RIAA president Gary Sherman told the San Francisco Gate, “”It’s obvious we have a very serious problem. Those are the revenue streams that have financed this industry, and they are shrinking.”
The record industry has done little to embrace the digitalization of music, in fact, record executives have fought to suppress it. Co-founder of What Are Records? and Vice President of Business Development for iggli.com, a music streaming website in the works, Ted Guggenhiem, , believes that the industry’s stubbornness put major labels in the boat they are in.
“They said, ‘here’s how you listen to music’, and they spent years trying to get peer to peer shut down. They lost control.” Guggenhiem said, “They fundamentally tried to force people to listen to albums, and they lost it.”
According to Guggenhiem, record labels sinking sales aren’t the only thing record labels need to worry about. They need to worry about their role in general. Since Radiohead self released their album in a digital format, the function of record labels has been in question.
“The record industry is dead,” Guggenhiem said, “Major Labels will be gone and indies will be in a similar boat.”
Players in the local music scene have been faced with drastic changes in the industry that pays their bills. Local record labels, musicians and innovators are coming up with ways to weather the changing tide in music, to keep their businesses alive and to embrace the digital revolution.
THE INTERNET AND THE EXPLODING LOCAL MUSIC SCENE.
Inaiah Lujan has been a local musician in Pueblo, CO for years. He has traveled across the country to play music multiple times, and played everywhere from bars in Athens, GA to sidewalks in Minnesota. Lujan has a long list of musical endeavors that include his solo work , his folk band with his girlfriend Desirae Garcia and sister Chela Lujan called the Haunted Windchimes, A Poor Substitute- his punk band and an electronic project called DJ Flow Nase.
Lujan, like many other local musicians, has used the Internet to benefit his musical projects. He said that his music has reached people beyond Colorado, in part because of touring but also because of myspace.
“There are people who contact me on daily basis that I don’t know and aren’t from here,” Lujan said, “I’ll ask them how they found me, and a lot of the time it’s through myspace, because they saw me on the friends list of a band they liked or something.”
Lujan recently played a house show with A Poor Substitute that brought 100 fans out to support his music. Lujan didn’t make a physical flier for the show, he just posted a bulletin on Myspace.
Lujan does see a downside to the exposure local shows are getting via Myspace. In his eyes, it has brought a lot of people into the scene that are not in it for the right reasons.
“There are two types of people at local shows. The type that are accustomed to word of mouth and go to see good bands and the type that sit on the internet all day and read bulletins. People are there these days that do not care about the music. It’s become bubblegum in a way,” Lujan said, “But it’s helped the scene by getting more heads in the show.”
Lujan continues to get bigger audiences and at the same time get more Myspace friends.
“There are things I am weary of with the Internet.” Lujan said, “Like where my music is going to and who’s in control of it. But I know that my music will always be in the good hands of people that appreciate it.”
COLORADO’S RECORD LABELS VS. THE INTERNET?
Suburban Home
Local record label, Suburban Home Records is home to a multitude of local and non-regional bands. Avail front man Tim Barry, The Laymen Terms, Drag the River and Love Me Destroyer are just a few acts signed to the indie label. Suburban Home began in 1995 and acted as an outlet for Virgil Dickerson to put out ‘7 records for bands he liked. The first ‘7 inch he put out was for the Fairlanes, who are now signed to Suburban Home. Dickerson opened Bakamono, an indie record store, in the late 1990’s. At that point in time the label was mainly a hobby. However, the label was bringing in as much money as his business, so he closed Bakamono and focused solely on Suburban Home Records.
The headquarters of Suburban Home records is also the Edgewater, CO home of Dickerson, his wife and his toddler. His home has a backroom with a stock of all of the albums the label has released. Also in the backroom is a press to make t-shirts for Suburban Home’s t-shirt company, Super Fantastic Clothing. There is a bookshelf in the living room that covers an entire wall, filled with records that Suburban Home is carrying on their online vinyl store, vinylcollective.com. Dickerson said that this is the busiest he’s ever been. According to Dickerson, at Suburban Home they are always trying to rethink their business model to answer to the changing industry.
“The industry is on a downward slope,” Dickerson said, “so we’ve been doing other things. Vinyl Collective is a big part of what we do.”
Vinyl Collective is an online store that carries vinyl records from a number of different artists including My Morning Jacket, Belle and Sebastian, Bright Eyes and the Shins.
“Digital is such a soul less format,” Dickerson said, “Music is just one part of the art of the album. We live in a fucked up, fast paced world and there is something therapeutic about sitting down and putting a needle on a record.”
Vinyl is the only physical music form, Dickerson said, that has increased since peer-to-peer sharing shaped the market at the beginning of the decade. Dickerson said that their digital sales on websites like iTunes, eMusic and Rhapsody have increased as well, however, digital sales have not yet made up for the revenue lost in sinking cd sales.
Next year Suburban Home plans to release all of their albums in a digital format. A few of their releases will be released on-line only.
“Peer to Peer greatly affects how music is purchased I’m all for it as a way for people to sample music. People listen to music now more than ever. People are excited about music now more than ever,” Dickerson said.
Despite the loss of cd revenue, in some ways the Internet has helped Dickerson’s label. The Internet has made it easier for Suburban Home to do press releases and send newsletters to fans. It also has leveled the playing field for indie labels and acts to compete with major labels.
“Digital Distribution has leveled the playing field. Majors always had the upperhand when it came to distribution, but now it’s all even,” Dickerson said.
The cheapness of recording technology and the exposure that the internet brings has leveled the playing field for bands with out a label. Increasingly, the necessity of a record label is being questioned.
“There are a lot of people saying that record labels are obsolete. I think about my future and it is possible that our bands could do their own thing,” Dickerson said, “However, we have a core audience, where a lot of fans check out a band because they’re on the label. There are things we can offer to a band that they can’t do on their own.”
Despite the changing industry Dickerson stays optimistic about his future in music. Suburban Home’s side companies act as a safety net to dropping sales and concerns about the role of the record label.
“It’s a scary time,” Dickerson said, “but I’m having more fun now than ever. I’m putting out records I love. In our own little way, we’re doing alright.”
What Are Records?
Boulder’s What Are Records was started by Rob Gordon 17 years ago. What Are Records was home to popular bands such as Big Head Todd and the Monsters and The Samples. W.A.R. now includes a number of musical acts and comedians. Artsits such as The Swayback, Zepperella and David Wilcox are signed to W.A.R.
W.A.R. has seen a shift in the industry and has heard the questions about the necessity of a record label in a digital world. In order to maintain an important role, W.A.R. is turning more to career development, something they’ve always dabbled in, signing 360 deals with bands. Many major record labels have been signing 360 deals, which give the label the responsibility of promotion, marketing and booking. In turn, the label gets a percentage of the bands profits outside of record sales. According to Jeff Palmer, W.A.R.’s media official, because of career development W.A.R. is more than a record label, and that’s how it will survive in the changing industry.
Palmer said that while physical copies of their albums make up for 70% of their sales, the ratio between c.d sales and downloads has decreased. To embrace the Internet, W.A.R. reaches out to blogs and online retailers that carry W.A.R. artists. In Palmer’s opinion, the Internet has not terribly hurt the label.
“CD sales are falling across the board,” Palmer said, “Majors are depending on one or two artists to sell millions of records that doesn’t happen anymore. The sky is falling, but it is falling a lot more for them.”
Palmer said that the internet has actually helped W.A.R. is some ways because it has helped expose the artists and given everyone access to a variety of music.
“The days of the superstar are over,” Jeff said, “Everyone has access to music and not everyone is looking at tastemakers like the radio and MTV. A band can come along that’s so great it becomes popular based on the strength of the music.”
THE FUTURE?
According to Guggenhiem, who is working on a free music streaming website in Boulder, people ages 13-24 have a made a decision- and that decision is that music should be free. Guggenhiem’s website, iggli.com, will have a huge library of music that people to stream for free on demand. Listeners will not be able to save the music to their hard-drives or iPods. Iggli will also act as social networking website for people to post record reviews and show reviews. The ad revenue of the website will support it and the artists and labels that are being listened to. Money will be distributed to bands based on how many times there song is streamed.
“Music has to feel like free,” Guggenhiem said.
According to Guggenhiem record labels have jumped on board with Iggli. Unsigned bands will be able to upload material onto the site, as well.
“Nobody knows how this will turn out. I think it remains to be seen,” Guggenhiem said, “Our company can play a role in the future of music, that’s what we’re hoping for.”
No one knows if websites like Iggli are the future of music, no one knows if the sky is actually falling for record labels and no one knows if the internet has helped or hurt music. Technology, is a double edged sword swinging away at the structures we once held as certain.
Thousands of miles away from the booming entertainment industry in New York and Los Angeles, Colorado has been affected greatly by the digital music revolution. Whether the local innovators like Ted Guggenhiem, the record labels like Suburban Home and W.A.R., and musicians like Inaiah Lujan will rise from the wreckage of an industry that is potentially headed toward disaster is yet to be seen.
“Maybe our idea of what the music industry is needs to die,” Lujan said, “If so, rest in peace.”
-marissa malouff
http://littlehappyclouds.wordpress.com
I filled out a resume for the Daily Camera today. In the process of filling out the resume I looked through some old articles.
This is an article I wrote for class in December of 2007.
local music and technology: what is the future?
Colorado’s Place in the Changing Music Scene
The living room at Rhinoceropolis would be pitch black if it weren’t for the Christmas lights strung from the rafters. The venue, which acts as a home in north Denver by day, could seem baron if it weren’t for the paintings hung on the wall. The building will get drafts of cold air, however, it’s hard to notice with each room filled with art, records, instruments and ashtrays. The body heat of dozens of young people crammed in the small living room acts as a barrier to the cold ridden outside. The audience sits still, watching in awe as a young man and woman sit on stools in front of them stroking acoustic guitars.
If music is dying, like many record industry officials have said, no one informed the crowd that braved the winter air to see the show. If music is dying, then local shows are making its last grasps powerful ones. Record industry officials say that the sky is falling, however, for local musicians and fans the sky is the limit.
According to USA Today, CD sales dropped 8% from 2004 to 2006, as downloaded tracks raised by 150%. In the first quarter of 2007 CD sales plunged by 20% compared to the first quarter of 2006. The sales drops have left record industry executives shaking in their boots.
RIAA president Gary Sherman told the San Francisco Gate, “”It’s obvious we have a very serious problem. Those are the revenue streams that have financed this industry, and they are shrinking.”
The record industry has done little to embrace the digitalization of music, in fact, record executives have fought to suppress it. Co-founder of What Are Records? and Vice President of Business Development for iggli.com, a music streaming website in the works, Ted Guggenhiem, , believes that the industry’s stubbornness put major labels in the boat they are in.
“They said, ‘here’s how you listen to music’, and they spent years trying to get peer to peer shut down. They lost control.” Guggenhiem said, “They fundamentally tried to force people to listen to albums, and they lost it.”
According to Guggenhiem, record labels sinking sales aren’t the only thing record labels need to worry about. They need to worry about their role in general. Since Radiohead self released their album in a digital format, the function of record labels has been in question.
“The record industry is dead,” Guggenhiem said, “Major Labels will be gone and indies will be in a similar boat.”
Players in the local music scene have been faced with drastic changes in the industry that pays their bills. Local record labels, musicians and innovators are coming up with ways to weather the changing tide in music, to keep their businesses alive and to embrace the digital revolution.
THE INTERNET AND THE EXPLODING LOCAL MUSIC SCENE.
Inaiah Lujan has been a local musician in Pueblo, CO for years. He has traveled across the country to play music multiple times, and played everywhere from bars in Athens, GA to sidewalks in Minnesota. Lujan has a long list of musical endeavors that include his solo work , his folk band with his girlfriend Desirae Garcia and sister Chela Lujan called the Haunted Windchimes, A Poor Substitute- his punk band and an electronic project called DJ Flow Nase.
Lujan, like many other local musicians, has used the Internet to benefit his musical projects. He said that his music has reached people beyond Colorado, in part because of touring but also because of myspace.
“There are people who contact me on daily basis that I don’t know and aren’t from here,” Lujan said, “I’ll ask them how they found me, and a lot of the time it’s through myspace, because they saw me on the friends list of a band they liked or something.”
Lujan recently played a house show with A Poor Substitute that brought 100 fans out to support his music. Lujan didn’t make a physical flier for the show, he just posted a bulletin on Myspace.
Lujan does see a downside to the exposure local shows are getting via Myspace. In his eyes, it has brought a lot of people into the scene that are not in it for the right reasons.
“There are two types of people at local shows. The type that are accustomed to word of mouth and go to see good bands and the type that sit on the internet all day and read bulletins. People are there these days that do not care about the music. It’s become bubblegum in a way,” Lujan said, “But it’s helped the scene by getting more heads in the show.”
Lujan continues to get bigger audiences and at the same time get more Myspace friends.
“There are things I am weary of with the Internet.” Lujan said, “Like where my music is going to and who’s in control of it. But I know that my music will always be in the good hands of people that appreciate it.”
COLORADO’S RECORD LABELS VS. THE INTERNET?
Suburban Home
Local record label, Suburban Home Records is home to a multitude of local and non-regional bands. Avail front man Tim Barry, The Laymen Terms, Drag the River and Love Me Destroyer are just a few acts signed to the indie label. Suburban Home began in 1995 and acted as an outlet for Virgil Dickerson to put out ‘7 records for bands he liked. The first ‘7 inch he put out was for the Fairlanes, who are now signed to Suburban Home. Dickerson opened Bakamono, an indie record store, in the late 1990’s. At that point in time the label was mainly a hobby. However, the label was bringing in as much money as his business, so he closed Bakamono and focused solely on Suburban Home Records.
The headquarters of Suburban Home records is also the Edgewater, CO home of Dickerson, his wife and his toddler. His home has a backroom with a stock of all of the albums the label has released. Also in the backroom is a press to make t-shirts for Suburban Home’s t-shirt company, Super Fantastic Clothing. There is a bookshelf in the living room that covers an entire wall, filled with records that Suburban Home is carrying on their online vinyl store, vinylcollective.com. Dickerson said that this is the busiest he’s ever been. According to Dickerson, at Suburban Home they are always trying to rethink their business model to answer to the changing industry.
“The industry is on a downward slope,” Dickerson said, “so we’ve been doing other things. Vinyl Collective is a big part of what we do.”
Vinyl Collective is an online store that carries vinyl records from a number of different artists including My Morning Jacket, Belle and Sebastian, Bright Eyes and the Shins.
“Digital is such a soul less format,” Dickerson said, “Music is just one part of the art of the album. We live in a fucked up, fast paced world and there is something therapeutic about sitting down and putting a needle on a record.”
Vinyl is the only physical music form, Dickerson said, that has increased since peer-to-peer sharing shaped the market at the beginning of the decade. Dickerson said that their digital sales on websites like iTunes, eMusic and Rhapsody have increased as well, however, digital sales have not yet made up for the revenue lost in sinking cd sales.
Next year Suburban Home plans to release all of their albums in a digital format. A few of their releases will be released on-line only.
“Peer to Peer greatly affects how music is purchased I’m all for it as a way for people to sample music. People listen to music now more than ever. People are excited about music now more than ever,” Dickerson said.
Despite the loss of cd revenue, in some ways the Internet has helped Dickerson’s label. The Internet has made it easier for Suburban Home to do press releases and send newsletters to fans. It also has leveled the playing field for indie labels and acts to compete with major labels.
“Digital Distribution has leveled the playing field. Majors always had the upperhand when it came to distribution, but now it’s all even,” Dickerson said.
The cheapness of recording technology and the exposure that the internet brings has leveled the playing field for bands with out a label. Increasingly, the necessity of a record label is being questioned.
“There are a lot of people saying that record labels are obsolete. I think about my future and it is possible that our bands could do their own thing,” Dickerson said, “However, we have a core audience, where a lot of fans check out a band because they’re on the label. There are things we can offer to a band that they can’t do on their own.”
Despite the changing industry Dickerson stays optimistic about his future in music. Suburban Home’s side companies act as a safety net to dropping sales and concerns about the role of the record label.
“It’s a scary time,” Dickerson said, “but I’m having more fun now than ever. I’m putting out records I love. In our own little way, we’re doing alright.”
What Are Records?
Boulder’s What Are Records was started by Rob Gordon 17 years ago. What Are Records was home to popular bands such as Big Head Todd and the Monsters and The Samples. W.A.R. now includes a number of musical acts and comedians. Artsits such as The Swayback, Zepperella and David Wilcox are signed to W.A.R.
W.A.R. has seen a shift in the industry and has heard the questions about the necessity of a record label in a digital world. In order to maintain an important role, W.A.R. is turning more to career development, something they’ve always dabbled in, signing 360 deals with bands. Many major record labels have been signing 360 deals, which give the label the responsibility of promotion, marketing and booking. In turn, the label gets a percentage of the bands profits outside of record sales. According to Jeff Palmer, W.A.R.’s media official, because of career development W.A.R. is more than a record label, and that’s how it will survive in the changing industry.
Palmer said that while physical copies of their albums make up for 70% of their sales, the ratio between c.d sales and downloads has decreased. To embrace the Internet, W.A.R. reaches out to blogs and online retailers that carry W.A.R. artists. In Palmer’s opinion, the Internet has not terribly hurt the label.
“CD sales are falling across the board,” Palmer said, “Majors are depending on one or two artists to sell millions of records that doesn’t happen anymore. The sky is falling, but it is falling a lot more for them.”
Palmer said that the internet has actually helped W.A.R. is some ways because it has helped expose the artists and given everyone access to a variety of music.
“The days of the superstar are over,” Jeff said, “Everyone has access to music and not everyone is looking at tastemakers like the radio and MTV. A band can come along that’s so great it becomes popular based on the strength of the music.”
THE FUTURE?
According to Guggenhiem, who is working on a free music streaming website in Boulder, people ages 13-24 have a made a decision- and that decision is that music should be free. Guggenhiem’s website, iggli.com, will have a huge library of music that people to stream for free on demand. Listeners will not be able to save the music to their hard-drives or iPods. Iggli will also act as social networking website for people to post record reviews and show reviews. The ad revenue of the website will support it and the artists and labels that are being listened to. Money will be distributed to bands based on how many times there song is streamed.
“Music has to feel like free,” Guggenhiem said.
According to Guggenhiem record labels have jumped on board with Iggli. Unsigned bands will be able to upload material onto the site, as well.
“Nobody knows how this will turn out. I think it remains to be seen,” Guggenhiem said, “Our company can play a role in the future of music, that’s what we’re hoping for.”
No one knows if websites like Iggli are the future of music, no one knows if the sky is actually falling for record labels and no one knows if the internet has helped or hurt music. Technology, is a double edged sword swinging away at the structures we once held as certain.
Thousands of miles away from the booming entertainment industry in New York and Los Angeles, Colorado has been affected greatly by the digital music revolution. Whether the local innovators like Ted Guggenhiem, the record labels like Suburban Home and W.A.R., and musicians like Inaiah Lujan will rise from the wreckage of an industry that is potentially headed toward disaster is yet to be seen.
“Maybe our idea of what the music industry is needs to die,” Lujan said, “If so, rest in peace.”
-marissa malouff
http://littlehappyclouds.wordpress.com
Audiophile Audition Review
I want to thank John over at http://www.audaud.com/index.php for the exclusive rights to reprint this great review!
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
Vinyl Accessories and
Useful Tools for LP Playback – Part I
Beginning a series on useful products for the analog vinyl enthusiast.
Published on March 10, 2009
Vinyl Accessories and
Useful Tools for LP Playback
Part I
The amount of products available to the analog record enthusiast is simply mind-boggling. I will try to cover the major areas with the exception of support furniture and feet. Whatever turntable you use it is important for it to be level and on a stable and non-resonant base. The options for table support range widely so they won’t be covered in this article. I separated the article into three parts: one with adjustment/setup tools, one with care and accessory products and one with tweaks.
Levels. In order to check for a level surface a circular bubble level is a good device to have. Rather than trying to adjust the table or support in two directions (one at a time with a conventional level) it is nice to see how far off you are in both directions at once. I haven’t personally tried these, so take that under advisement. Here are the ones that look recommendable:
1) Home Depot used to sell a small plastic circular level for a few bucks. It doesn’t look like they carry such a thing anymore online, but the stores may still have one and other hardware stores may have a similar item. Online I found a Johnson Bubble Level for $2 or a Bullseye Level for $6.50. Both of these are plastic circular levels and the Bullseye has two rings in the center as opposed to one.
2) The Clearaudio bubble level is metal and looks very substantial. It sells for $60.
3) The Avid level 45 is a circular level and 45rpm adapter at the same time and sells for $100. Like the Bullseye it offers two rings to help with the adjustment.
4) The Cartridge man is a digital level that measures in two directions and looks like one serious piece of gear! It has a bright digital readout and sells for $429.
Protractors. Once the playing surface is level the next step is usually to set up the arm of the turntable. This is normally done in conjunction with the cartridge that will be mounted to it. With radial/pivot arms there are a number of adjustments that need to be set. Arm height is first on the list and then, with a pivoting (radial) arm, we need to adjust the angle of the cartridge. Looking down on the cartridge we can adjust it clockwise or counter-clockwise. This is the offset. Looking from the front of the cartridge this adjustment is called azimuth. And looking from the side the adjustment is called VTA (Vertical Tracking Angle).
Rough VTA is set by adjusting the arm height. Azimuth can be set with a mirror (if this adjustment is available on the arm) to make sure the cartridge is leaning to one side or the other when looking at it from the front. Offset is what we need a protractor or similar device to set. On the record surface the ideal would to have the stylus and shaft parallel to the record groove at all times. Only a tangential/linear tracking tonearm can accomplish this feat. With pivot arms we try to adjust for a particular offset angle to have no tracking error at two points on the record surface. (Some products adjust at one point and use a different method.) Everywhere else will be a compromise. The longer the length of the arm, the less the compromise.
Many turntables come with a small sheet/piece of paper that slips over the spindle and has a grid in one or two places for adjustment. You can also download alignment sheets and then print them from the web. The ones I found I couldn’t print to the right size, so I couldn’t use them. Better options are:
1) DB Systems DBP-10 Phono Alignment Protractor. $49. DB Systems was nice enough to send me a sample of the DBP-10 along with a review from 1979! It is constructed of plastic and comes housed in a soft case. There is a white plate with the two measurement points at 2.6” and 4.76”. A transparent plate with lines running across it is placed on top. After aligning those lines parallel with the cartridge housing at both points you can systematically move the cartridge forwards and backwards. Once they are close enough together, the instructions indicate which way to twist the cartridge. For super-fine tuning you turn the white plate over and there is a fine cross grid. There are even null point suggestions for 8” records at 2.253” and 3.02”. I was really impressed with the ease of this tool and its cost is very reasonable.
2) The Feickert Protractor - $250. I tried to email Feickert on two occasions and never got a response to my request for a review sample. Perhaps someone will see this and send me one for a followup review. This product is considered by many to be the crème de le crème of protractors and has a measuring post to adjust for effective arm length and overhang. It looks to be well made and has all that is needed to properly adjust offset.
Scales/Stylus Force Gauges. The next adjustment is stylus pressure force for which a good scale is essential. The simplest method (and least accurate) involves adjusting the weight on the tonearm until the tonearm balances and stays parallel with the record surface. Then turn the appropriate weight on. Much better choices are:
1) Shure SFG-2 mechanical scale—on loan from Shure. $36. The Shure can measure between 1-3 grams and claims accuracy of .1 grams within .5 to 1.5 grams. To operate the scale you slide the indicator up and down the numbers (in grams), set the needle on the 1x or 2x indented line and see if the end of the scale lines up with the preset plastic piece while looking in the little mirror. It works well, but requires some work on the user’s part and it doesn’t measure weight at record height. It is important to determine if your tonearm height affects weight. If not, then no problem.
2) Steve Blinn Designs Digital Stylus Gauge—on loan from Steve Blinn. $89. A 100-gram calibration weight is an option for $6. This scale started its life as a Jennings Mini-300 scale. Jennings makes precision scales and this one is accurate up to 300 grams with accuracy of .1 gram. What Steve does is add a small holder on the side for the stylus with an upside down rubber dimple. This means that measurement takes place very close to record height. The scale comes with a plastic box and instructions on how to calibrate it from Jennings. Setting proper stylus force with this scale was much easier than with the Shure. It runs on 3 LR44 batteries. I used the Blinn most often for the quickest and easiest measuring.
3) Many budget audiophiles suggest that a good conventional scale is perfectly fine for measuring stylus force and cost is much less than “audio” scales. Tanita is one of those well-known scale manufacturers and they were very accommodating with my scale request. They sent a 1579D scale and a 200 gram weight for calibration = $90. If a scale offers no way to calibrate it, then it will be impossible to correct it once it is in your hands. It came in a very nice case. It is accurate up to 200 grams, accuracy is .01 grams(!) and it runs on two CR2032 batteries or an AC adapter. The box says that the adapter is included but my sample did not come with it. When I received the scale it was not reading correctly, but after calibration (a procedure that takes seconds) it read the 100 gram and 200 gram weights within 1/100th of a gram. The scale does not measure anywhere close to record height, so to get it close you’ll need to remove the platter—not really a big deal—and then raise it to the right height—possibly a big deal depending on the height of your platter. The area where the needle sits is quite large and shallow. I would recommend putting a pad on it so the needle stays in place. Although not ideal for its use, the Tanita was incredibly cheap considering its accuracy compared to “audio” scales.
4) Mapleshade Phonophile Nuance Tracking Force Scale. $75. I contacted Mapleshade, but never heard back about a review sample, so I never got a chance to try what would seem to be a huge audio bargain. A scale that measures at record height, handles up to 100 grams, is accurate to .01 gram and only costs $75!
Test Discs. Records can serve as wonderful tools to help set up and assess the performance of turntables as well. The best one currently available may be the Analogue Productions “The Ultimate Analogue Test LP.” After all, what is beyond the ultimate?! I requested one of these and let me tell you, it is chock full of tests including adjustments to azimuth, anti-skate, VTA, cartridge demagnetizing and resonance checks, RIAA adjustments for a phono preamplifier/equalizer and a silent groove to check for rumble and resonance. The kicker is that you really need to have a bunch of different test equipment to make all the adjustments. This one is not for the average hobbyist.
Guides. Rather than break something, consult your knowledgeable neighborhood audio dealer [if you still have one around...Ed]. If you are willing to give it a go yourself you might want to do some reading or invest in a setup guide. I found it very enlightening to read the interview with turntable setup guru Brooks Berdan in The Audio Perfectionist Journal. He goes into all the necessary adjustments required to set up both suspension and non-suspension tables as well as different types of arms (in proper order). It is a good read even for the experienced calibrator. Michael Fremer has an Analog Set-Up DVD. [We reviewed it Here...Ed]
Oscilloscopes. Considering that some of the analog setups out there are quite expensive a decent scope shouldn’t be out of the question for the serious calibrator. With the proper test record it will be an essential tool to properly adjust anti-skate as well as observe other anomalies which can then be corrected by making the necessary adjustments. A conventional oscilloscope can be had new in the lower range of $200-300. For audio purposes, these should be sufficient. For anyone with a decent audio line input in their computer you can get software that will emulate the function of an oscilloscope. The two that I found on the web are:
1) Zelscope offers one for $10 with a 15 day evaluation period. It has controls like a conventional scope and has an easy way to display both channels or difference signals.
2) Visual Analyser 8.14 has even more options including a frequency response display with noise readings, etc. It is free! This should make adjusting anti-skate a piece of cake.
Aside from some basic tools like screwdrivers and a set of small pinch-nosed pliers, this is all you’ll need (along with a good set of ears!) to get your turntable up and running. Good luck!
- Brian Bloom big_brian_b@hotmail.com
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
Vinyl Accessories and
Useful Tools for LP Playback – Part I
Beginning a series on useful products for the analog vinyl enthusiast.
Published on March 10, 2009
Vinyl Accessories and
Useful Tools for LP Playback
Part I
The amount of products available to the analog record enthusiast is simply mind-boggling. I will try to cover the major areas with the exception of support furniture and feet. Whatever turntable you use it is important for it to be level and on a stable and non-resonant base. The options for table support range widely so they won’t be covered in this article. I separated the article into three parts: one with adjustment/setup tools, one with care and accessory products and one with tweaks.Levels. In order to check for a level surface a circular bubble level is a good device to have. Rather than trying to adjust the table or support in two directions (one at a time with a conventional level) it is nice to see how far off you are in both directions at once. I haven’t personally tried these, so take that under advisement. Here are the ones that look recommendable:
1) Home Depot used to sell a small plastic circular level for a few bucks. It doesn’t look like they carry such a thing anymore online, but the stores may still have one and other hardware stores may have a similar item. Online I found a Johnson Bubble Level for $2 or a Bullseye Level for $6.50. Both of these are plastic circular levels and the Bullseye has two rings in the center as opposed to one.
2) The Clearaudio bubble level is metal and looks very substantial. It sells for $60.
3) The Avid level 45 is a circular level and 45rpm adapter at the same time and sells for $100. Like the Bullseye it offers two rings to help with the adjustment.
4) The Cartridge man is a digital level that measures in two directions and looks like one serious piece of gear! It has a bright digital readout and sells for $429.
Protractors. Once the playing surface is level the next step is usually to set up the arm of the turntable. This is normally done in conjunction with the cartridge that will be mounted to it. With radial/pivot arms there are a number of adjustments that need to be set. Arm height is first on the list and then, with a pivoting (radial) arm, we need to adjust the angle of the cartridge. Looking down on the cartridge we can adjust it clockwise or counter-clockwise. This is the offset. Looking from the front of the cartridge this adjustment is called azimuth. And looking from the side the adjustment is called VTA (Vertical Tracking Angle).
Rough VTA is set by adjusting the arm height. Azimuth can be set with a mirror (if this adjustment is available on the arm) to make sure the cartridge is leaning to one side or the other when looking at it from the front. Offset is what we need a protractor or similar device to set. On the record surface the ideal would to have the stylus and shaft parallel to the record groove at all times. Only a tangential/linear tracking tonearm can accomplish this feat. With pivot arms we try to adjust for a particular offset angle to have no tracking error at two points on the record surface. (Some products adjust at one point and use a different method.) Everywhere else will be a compromise. The longer the length of the arm, the less the compromise.
Many turntables come with a small sheet/piece of paper that slips over the spindle and has a grid in one or two places for adjustment. You can also download alignment sheets and then print them from the web. The ones I found I couldn’t print to the right size, so I couldn’t use them. Better options are:
1) DB Systems DBP-10 Phono Alignment Protractor. $49. DB Systems was nice enough to send me a sample of the DBP-10 along with a review from 1979! It is constructed of plastic and comes housed in a soft case. There is a white plate with the two measurement points at 2.6” and 4.76”. A transparent plate with lines running across it is placed on top. After aligning those lines parallel with the cartridge housing at both points you can systematically move the cartridge forwards and backwards. Once they are close enough together, the instructions indicate which way to twist the cartridge. For super-fine tuning you turn the white plate over and there is a fine cross grid. There are even null point suggestions for 8” records at 2.253” and 3.02”. I was really impressed with the ease of this tool and its cost is very reasonable.
2) The Feickert Protractor - $250. I tried to email Feickert on two occasions and never got a response to my request for a review sample. Perhaps someone will see this and send me one for a followup review. This product is considered by many to be the crème de le crème of protractors and has a measuring post to adjust for effective arm length and overhang. It looks to be well made and has all that is needed to properly adjust offset.
Scales/Stylus Force Gauges. The next adjustment is stylus pressure force for which a good scale is essential. The simplest method (and least accurate) involves adjusting the weight on the tonearm until the tonearm balances and stays parallel with the record surface. Then turn the appropriate weight on. Much better choices are:
1) Shure SFG-2 mechanical scale—on loan from Shure. $36. The Shure can measure between 1-3 grams and claims accuracy of .1 grams within .5 to 1.5 grams. To operate the scale you slide the indicator up and down the numbers (in grams), set the needle on the 1x or 2x indented line and see if the end of the scale lines up with the preset plastic piece while looking in the little mirror. It works well, but requires some work on the user’s part and it doesn’t measure weight at record height. It is important to determine if your tonearm height affects weight. If not, then no problem.
2) Steve Blinn Designs Digital Stylus Gauge—on loan from Steve Blinn. $89. A 100-gram calibration weight is an option for $6. This scale started its life as a Jennings Mini-300 scale. Jennings makes precision scales and this one is accurate up to 300 grams with accuracy of .1 gram. What Steve does is add a small holder on the side for the stylus with an upside down rubber dimple. This means that measurement takes place very close to record height. The scale comes with a plastic box and instructions on how to calibrate it from Jennings. Setting proper stylus force with this scale was much easier than with the Shure. It runs on 3 LR44 batteries. I used the Blinn most often for the quickest and easiest measuring.
3) Many budget audiophiles suggest that a good conventional scale is perfectly fine for measuring stylus force and cost is much less than “audio” scales. Tanita is one of those well-known scale manufacturers and they were very accommodating with my scale request. They sent a 1579D scale and a 200 gram weight for calibration = $90. If a scale offers no way to calibrate it, then it will be impossible to correct it once it is in your hands. It came in a very nice case. It is accurate up to 200 grams, accuracy is .01 grams(!) and it runs on two CR2032 batteries or an AC adapter. The box says that the adapter is included but my sample did not come with it. When I received the scale it was not reading correctly, but after calibration (a procedure that takes seconds) it read the 100 gram and 200 gram weights within 1/100th of a gram. The scale does not measure anywhere close to record height, so to get it close you’ll need to remove the platter—not really a big deal—and then raise it to the right height—possibly a big deal depending on the height of your platter. The area where the needle sits is quite large and shallow. I would recommend putting a pad on it so the needle stays in place. Although not ideal for its use, the Tanita was incredibly cheap considering its accuracy compared to “audio” scales.
4) Mapleshade Phonophile Nuance Tracking Force Scale. $75. I contacted Mapleshade, but never heard back about a review sample, so I never got a chance to try what would seem to be a huge audio bargain. A scale that measures at record height, handles up to 100 grams, is accurate to .01 gram and only costs $75!
Test Discs. Records can serve as wonderful tools to help set up and assess the performance of turntables as well. The best one currently available may be the Analogue Productions “The Ultimate Analogue Test LP.” After all, what is beyond the ultimate?! I requested one of these and let me tell you, it is chock full of tests including adjustments to azimuth, anti-skate, VTA, cartridge demagnetizing and resonance checks, RIAA adjustments for a phono preamplifier/equalizer and a silent groove to check for rumble and resonance. The kicker is that you really need to have a bunch of different test equipment to make all the adjustments. This one is not for the average hobbyist.
Guides. Rather than break something, consult your knowledgeable neighborhood audio dealer [if you still have one around...Ed]. If you are willing to give it a go yourself you might want to do some reading or invest in a setup guide. I found it very enlightening to read the interview with turntable setup guru Brooks Berdan in The Audio Perfectionist Journal. He goes into all the necessary adjustments required to set up both suspension and non-suspension tables as well as different types of arms (in proper order). It is a good read even for the experienced calibrator. Michael Fremer has an Analog Set-Up DVD. [We reviewed it Here...Ed]
Oscilloscopes. Considering that some of the analog setups out there are quite expensive a decent scope shouldn’t be out of the question for the serious calibrator. With the proper test record it will be an essential tool to properly adjust anti-skate as well as observe other anomalies which can then be corrected by making the necessary adjustments. A conventional oscilloscope can be had new in the lower range of $200-300. For audio purposes, these should be sufficient. For anyone with a decent audio line input in their computer you can get software that will emulate the function of an oscilloscope. The two that I found on the web are:
1) Zelscope offers one for $10 with a 15 day evaluation period. It has controls like a conventional scope and has an easy way to display both channels or difference signals.
2) Visual Analyser 8.14 has even more options including a frequency response display with noise readings, etc. It is free! This should make adjusting anti-skate a piece of cake.
Aside from some basic tools like screwdrivers and a set of small pinch-nosed pliers, this is all you’ll need (along with a good set of ears!) to get your turntable up and running. Good luck!
- Brian Bloom big_brian_b@hotmail.com
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