It seems like 1-2 million new vinyl records are sold every year....up some years and down others....and who knows how many previously owned vinyl records have changed hands. In the midst of all the arguments over which has the better sound, it's easy to forget a primary distinction.
Going back in time, people used to compare radio sound, recorded sound, and live sound. All of it was "analog," whatever that means.
Consider the vinyl record. Even though it is mass produced, the sound comes from grooves cut in the record. Compared to a CD, or mp3, or wav or wma, it IS LIVE MUSIC. The record is making that music. What happened before the record was made may have involved tape or even digital mastering, but the RECORD IS PLAYING MUSIC.
The digital file, by contrast, is re-constructing music which resides in digital code. And, it's truly amazing how this has become the primary way of listening to music. People love it, while at the same time, it has laid waste to the whole business of music distribution and live performance.
The art of the club DJ was once about the vinyl record. Now software can do just about the same thing.
Selling records since 1997, we seldom know the age or motivations of our buyers. We've been selling books the same amount of time and most years, records are more popular than books.
Records--- bulky, labor-intensive, delicate--- are a big export from the USA to other countries.
And perhaps many people play them only once.
But, the intensity of that one play experience cannot be denied. The record, the music, the effort that went into it, and its cultural significance are handy stimulants available to anyone for a dollar and up.
The most fun of records is going back in time. Most people do not realize that before the late 1940s, records were mostly documents of a performance, rather than a corporate concoction in a studio that started out with the "raw materials" of musicians playing.
Many record fans are eventually led back to the 1920s and 1930s when recording was often a game of 'catch as catch can'.
Perhaps one day digital re-creations will display their lineage of romance and culture. It's probably a matter of demographics.
One artist who worked well with the detritus of analog imagery, including records and TV, was Nam June Paik.
The vinyl record has earned its place in the fields of mass production AND art.
Friday, February 19, 2010
Wednesday, February 10, 2010
Toyota, chain saws, and war
I was going to put a picture of my Toyota and my chain saw side by side, but that's just dumb. You can guess which one prompted a visit to the "walk-in" clinic the other day.
I had been wondering about these facilities and how they advertise as sort of a convenience store for minor medical conditions, etc. As I walked in, around 9 in the morning, three people were having an office tete-a-tete around the water cooler in the reception area. They were drinking little paper funnels of water as fast as they could. They seemed to have come from the same workplace, but were surprised to see each other there.
One guy said, "last time, I had a week's notice." The girl said, "They just called me last night." Then she said, "I could sure use a beer right now."
That little encounter helped me speculate one use for the walk-in clinic. It helped me, too. Ever been to a walk-in clinic? First I was seen by an RN, who prepped me for stitches. Then came an MD, who declined to suture. Finally, an EMT, who gave me a tetanus shot.
The MD who wouldn't stitch together my palm wound said, "Chain saws are the next most dangerous thing to war."
Nice emphasis, doctor.
And, food for thought. Because he left out..... automobiles.
Having driven Toyotas since the early 1980s, I haven't lost any sleep over not being a "Chevy man" (default position in 1960s and 1970s) any more.
Others might prefer the safe haven of a Volvo or a Suburban but I drive "tin cans" because they use less fossil fuel.
Many Toyota owners are hearing about problems with this car company, voiced loudly by the current managers of General Motors--- the U.S. Government. It seems Toyota-- according to the U.S. Dept of Transportation-- was not too quick to take the blame for random acceleration of their cars.
Actually I applaud them for hesitating to put the blame on an inanimate object, considering tort reform is not happening any time soon. And, even considering that the inanimate object is of their own manufacture.
Word the wise: Internal combustion engines are the next most dangerous thing to war.
Stepping on a gas pedal is done by a human.
Lest we forget, there are not too many things a car can do by itself that are against the law. In some places, being in your front lawn without a current registration is one of them.
Most problems with cars seem to involve a driver.
I was sitting in front of an old glass-front 7-11 back in the 1980s, in a rented Ford Pinto. I was not very familiar with the car. I put it in drive instead of reverse, hit the gas, and you know the rest.
Got lucky and only broke the glass.
As busy as most drivers can be, doing things that do not contribute to driving, we are fair game for the notion of a "runaway car."
How do you tell if you have a runaway car? Perhaps if you turn off the ignition and it doesn't go off?
I had a fussy gas pedal once and I learned how to stick the tip of my foot under the pedal and pull it back.
OK, driving a car that is about to be recalled isn't for everybody. Nor is using a chain saw, even with all the necessary safety accoutrements.
Which I have now bought, by the way. Shout out to the folks at Windy Ridge in Tamworth.
And, I look forward to a real good deal on my next Toyota. Anybody got a Tundra they don't trust? I live dangerously.
I had been wondering about these facilities and how they advertise as sort of a convenience store for minor medical conditions, etc. As I walked in, around 9 in the morning, three people were having an office tete-a-tete around the water cooler in the reception area. They were drinking little paper funnels of water as fast as they could. They seemed to have come from the same workplace, but were surprised to see each other there.
One guy said, "last time, I had a week's notice." The girl said, "They just called me last night." Then she said, "I could sure use a beer right now."
That little encounter helped me speculate one use for the walk-in clinic. It helped me, too. Ever been to a walk-in clinic? First I was seen by an RN, who prepped me for stitches. Then came an MD, who declined to suture. Finally, an EMT, who gave me a tetanus shot.
The MD who wouldn't stitch together my palm wound said, "Chain saws are the next most dangerous thing to war."
Nice emphasis, doctor.
And, food for thought. Because he left out..... automobiles.
Having driven Toyotas since the early 1980s, I haven't lost any sleep over not being a "Chevy man" (default position in 1960s and 1970s) any more.
Others might prefer the safe haven of a Volvo or a Suburban but I drive "tin cans" because they use less fossil fuel.
Many Toyota owners are hearing about problems with this car company, voiced loudly by the current managers of General Motors--- the U.S. Government. It seems Toyota-- according to the U.S. Dept of Transportation-- was not too quick to take the blame for random acceleration of their cars.
Actually I applaud them for hesitating to put the blame on an inanimate object, considering tort reform is not happening any time soon. And, even considering that the inanimate object is of their own manufacture.
Word the wise: Internal combustion engines are the next most dangerous thing to war.
Stepping on a gas pedal is done by a human.
Lest we forget, there are not too many things a car can do by itself that are against the law. In some places, being in your front lawn without a current registration is one of them.
Most problems with cars seem to involve a driver.
I was sitting in front of an old glass-front 7-11 back in the 1980s, in a rented Ford Pinto. I was not very familiar with the car. I put it in drive instead of reverse, hit the gas, and you know the rest.
Got lucky and only broke the glass.
As busy as most drivers can be, doing things that do not contribute to driving, we are fair game for the notion of a "runaway car."
How do you tell if you have a runaway car? Perhaps if you turn off the ignition and it doesn't go off?
I had a fussy gas pedal once and I learned how to stick the tip of my foot under the pedal and pull it back.
OK, driving a car that is about to be recalled isn't for everybody. Nor is using a chain saw, even with all the necessary safety accoutrements.
Which I have now bought, by the way. Shout out to the folks at Windy Ridge in Tamworth.
And, I look forward to a real good deal on my next Toyota. Anybody got a Tundra they don't trust? I live dangerously.
Monday, January 18, 2010
Amateur on a pro stage
I've had plenty of luck, I’m just not talented. I'm suited to finding and offering items online at moneyblows books and music. I've often helped the store by playing music gigs, but the pay has gotten so minimal that my music-playing has joined the culture of "we play but don't look down on us because we have other livelihoods."
When I moved to New England at the age of 54, it was a revelation to me that music playing is divided between pros and amateurs. The point was driven home last night by the leader of the group I played with, at the Press Room in Portsmouth, NH.
There seemed to be a ritual modesty in place. The leader started out the evening with a lecture to the audience that we are a group who will play for weddings, but we mostly play for fun. When I think of playing for fun, I think Albert Ayler must have been having fun. Coltrane must have been having fun. Sun Ra must have had fun. But playing Route 66 or Girl from Ipanema for fun? Where I come from, that was for money.
I'm taken back to when playing for fun was also full of promise. There was one time when my audience actually included Bob Dylan and Joni Mitchell. T-Bone Burnett could tell you more about this. We actually had notice a week in advance it was going to happen. Every Friday and Saturday we played at the New Bluebird Night Club on Horne Street in Fort Worth. This would have been in 1975 or 76, when the Rolling Thunder Revue came through to play the Tarrant County Convention Center. Part of the Rolling Thunder Revue was J. Henry Burnett, a Fort Worth producer and performer who had just finished producing a live album at this location with Robert Ealey and the Five Careless Lovers. When I joined the band, it made more than five, so our lead guitarist, Little Junior One Hand, renamed the band Robert Ealey and the Drifting Heartbreaks. With no specific number we could also add Johnny Reno to make two saxes and others as needed.
The weekend before this happened, T-Bone Burnett sent word. That began a week of hell for me, wondering how I might contribute to making this a good diversion for T-Bone's illustrious friends. I could barely play the sax enough to stay on the Robert Ealey gig, and look who was coming to see it? The day they were supposed to come, I must have started drinking beer early, for I was plastered by the time the gig began at about 10 p.m. Surely enough after the Rolling Thunder Revue got off their Tarrant County Convention Center show, a limo with Bob and Joni somehow found its way down to Horne Street, in the Como section of Fort Worth, and the New Bluebird Night Club. They pulled up in front on the corner of Horne and Wellesley and came in while we were playing “Ill Take You There.” You could spot each of them, Bob Dylan and Joni Mitchell, by their hats.
I wished for the ghost of Willie Lee Johnson to take over my sax. He was a local guy who had played with Ray Charles for awhile and was being seen sporadically around Como and the Trinity River Bottoms in the mid-1970s. He came to the Bluebird once while I was playing. I let him borrow my tenor and during his solo he threw the sax up in the air with one hand and caught it with the other. I thought, if I lose my sax to Willie Lee Johnson, there are more expensive lessons out there in life. Because that cat could wail. He didn't drop the horn but there was a second when I thought he might. After his solo he basically passed out and a few weeks later we heard he passed for good.
The Bluebird had a motto "Everybody's Somebody at the Bluebird." Nobody was pros or amateurs. I've tried to maintain that illusion about music playing, but reality doesn't bear it out. I hosted a jazz jam for many years. As time went by the students sounded more like students and the pros were astounding. Folks like B.J. Crosby or Marchel Ivery were a regular occurrence. Over time, with fewer pros out there on live gigs, the music I've played has been taken over by students and teachers. Many teachers are also pros. Last night in Portsmouth, we announced ourselves as amateurs, "truth in packaging." None of us teach or depend on venues for our groceries. And it wasn't Willie Lee Johnson who came to mind in my sax playing. I visualized a local guy, a well known sax player, who triggers excitement around these parts by playing a lot of notes. He's a pro. I thought of him and pleasing the audience the way he does.
So, I played a lot of notes. Even amateurs can play a lot of notes!!!
When I moved to New England at the age of 54, it was a revelation to me that music playing is divided between pros and amateurs. The point was driven home last night by the leader of the group I played with, at the Press Room in Portsmouth, NH.
There seemed to be a ritual modesty in place. The leader started out the evening with a lecture to the audience that we are a group who will play for weddings, but we mostly play for fun. When I think of playing for fun, I think Albert Ayler must have been having fun. Coltrane must have been having fun. Sun Ra must have had fun. But playing Route 66 or Girl from Ipanema for fun? Where I come from, that was for money.
I'm taken back to when playing for fun was also full of promise. There was one time when my audience actually included Bob Dylan and Joni Mitchell. T-Bone Burnett could tell you more about this. We actually had notice a week in advance it was going to happen. Every Friday and Saturday we played at the New Bluebird Night Club on Horne Street in Fort Worth. This would have been in 1975 or 76, when the Rolling Thunder Revue came through to play the Tarrant County Convention Center. Part of the Rolling Thunder Revue was J. Henry Burnett, a Fort Worth producer and performer who had just finished producing a live album at this location with Robert Ealey and the Five Careless Lovers. When I joined the band, it made more than five, so our lead guitarist, Little Junior One Hand, renamed the band Robert Ealey and the Drifting Heartbreaks. With no specific number we could also add Johnny Reno to make two saxes and others as needed.
The weekend before this happened, T-Bone Burnett sent word. That began a week of hell for me, wondering how I might contribute to making this a good diversion for T-Bone's illustrious friends. I could barely play the sax enough to stay on the Robert Ealey gig, and look who was coming to see it? The day they were supposed to come, I must have started drinking beer early, for I was plastered by the time the gig began at about 10 p.m. Surely enough after the Rolling Thunder Revue got off their Tarrant County Convention Center show, a limo with Bob and Joni somehow found its way down to Horne Street, in the Como section of Fort Worth, and the New Bluebird Night Club. They pulled up in front on the corner of Horne and Wellesley and came in while we were playing “Ill Take You There.” You could spot each of them, Bob Dylan and Joni Mitchell, by their hats.
I wished for the ghost of Willie Lee Johnson to take over my sax. He was a local guy who had played with Ray Charles for awhile and was being seen sporadically around Como and the Trinity River Bottoms in the mid-1970s. He came to the Bluebird once while I was playing. I let him borrow my tenor and during his solo he threw the sax up in the air with one hand and caught it with the other. I thought, if I lose my sax to Willie Lee Johnson, there are more expensive lessons out there in life. Because that cat could wail. He didn't drop the horn but there was a second when I thought he might. After his solo he basically passed out and a few weeks later we heard he passed for good.
The Bluebird had a motto "Everybody's Somebody at the Bluebird." Nobody was pros or amateurs. I've tried to maintain that illusion about music playing, but reality doesn't bear it out. I hosted a jazz jam for many years. As time went by the students sounded more like students and the pros were astounding. Folks like B.J. Crosby or Marchel Ivery were a regular occurrence. Over time, with fewer pros out there on live gigs, the music I've played has been taken over by students and teachers. Many teachers are also pros. Last night in Portsmouth, we announced ourselves as amateurs, "truth in packaging." None of us teach or depend on venues for our groceries. And it wasn't Willie Lee Johnson who came to mind in my sax playing. I visualized a local guy, a well known sax player, who triggers excitement around these parts by playing a lot of notes. He's a pro. I thought of him and pleasing the audience the way he does.
So, I played a lot of notes. Even amateurs can play a lot of notes!!!
Wednesday, December 16, 2009
Facebook has a bouncer now
I was bounced at the door of Facebook. All my credentials were in order but I didn't pass the intelligence test, which consists of a wizard giving two choices: "Recommended settings" and "Old settings." Accepting the recommended settings involves accepting "everyone" into my FB life, and I'm not sure I ever intended that. Accepting the "old settings" calls for a response equal in semantic complexity, and I can't remember my old settings anyway. It's like asking me to accept the results of a high school algebra test, 40 years later, without knowing what grade I got at the time, or whether the grade still stands, or whether algebra itself has changed.
I'm making too much of this, I know. But if you were bounced at the door from a nightclub and all your friends got in, you'd brood a little too.
Every now and then I will sign in and see if anything changes. I know, it's just a pass/fail test with no consequences and up til now I've failed. This has been building up... as you owners of Facebook are aware, I've lurked on my friends' pages and posted disagreeable comments a number of times. For all I know I've been unfriended a time or two but life is like that as well.
I remember waiting to get my teeth cleaned about 15 years ago when the receptionist presented me with a form. I said I would take it home and read it but she said I'd have to re-schedule if I couldn't sign it right then. It was a required form and it had to do with..... I believe "privacy" is the term that was used. Right about that time, the term "privacy" was getting its new definition, which I take to mean "universal disclosure."
Anyway, I'll keep trying to get into Facebook and maybe eventually they'll lower the bar to include people who can't remember their old settings or people who don't know what "everyone" means. If you're an "old" FB friend and you're reading this, you now know why the proprietor of moneyblows books and music hasn't been there lately.
I'm making too much of this, I know. But if you were bounced at the door from a nightclub and all your friends got in, you'd brood a little too.
Every now and then I will sign in and see if anything changes. I know, it's just a pass/fail test with no consequences and up til now I've failed. This has been building up... as you owners of Facebook are aware, I've lurked on my friends' pages and posted disagreeable comments a number of times. For all I know I've been unfriended a time or two but life is like that as well.
I remember waiting to get my teeth cleaned about 15 years ago when the receptionist presented me with a form. I said I would take it home and read it but she said I'd have to re-schedule if I couldn't sign it right then. It was a required form and it had to do with..... I believe "privacy" is the term that was used. Right about that time, the term "privacy" was getting its new definition, which I take to mean "universal disclosure."
Anyway, I'll keep trying to get into Facebook and maybe eventually they'll lower the bar to include people who can't remember their old settings or people who don't know what "everyone" means. If you're an "old" FB friend and you're reading this, you now know why the proprietor of moneyblows books and music hasn't been there lately.
Tuesday, December 15, 2009
Original Master Recordings by Mobile Fidelity
The 1979 card insert in Mobile Fidelity audiophile albums included the essay "An Audiophile's Dream Come True." Disregarding that this is one of the most abused claims in our fair language, the mfsl folks discuss why this is particularly true for their products.
They trace their lineage in severe and conscientious quality control, limited supply (200,000 or fewer per release), and half-speed mastering using the original stereo master tape.
As they say, "the disc cutter turntable is driven at 16 2/3 rpm, and the master tape is played at exactly one-half the actual recorded speed. When the completed disc is played back at real time (normal 33 1/3 rpm), the program is heard as though nothing unusual had occurred, except that the musical accuracy, clarity and imaging is truly startling!" What follows is detail on headroom and compression/limiting, as well as other refinements to the mastering process.
Equally important, according to mfsl, are the plating of the master, the mother and the stampers. That's why they sent off to JVC to meet their specifications for masterings and test pressings.
Finally, mfsl used "Super Vinyl," for which they make equally "startling" claims. Best of all-- and what makes an mfsl recording worth every penny, is the manifesto of their work:
"As is evidenced, our standards for making records are quite different from those used in the commercial record industry. We are not concerned with mass-media performances or use of our records. We are only concerned with producing an exact sonic replica of the original master tape on vinyl and with how that record will perform in your listening room. The first part requires painstaking attention to minute details to make the master lacquer right; the second part is verified on our own reference equipment which is representative of the finest audio gear available in the world today."
We're thrilled to introduce some of these previously-owned rarities into our store. Just check New Arrival LP Albums.
Tuesday, November 17, 2009
Tens of thousands of vinyl records
I saw an old fashioned record feeding frenzy this past weekend, in the Tanglewood neighborhood of Fort Worth, Texas. The estate of a jazz and classical record collector was opened to all comers. Dealers or scouts from around the country must have heard about it, they were swarming all over the records. Still, thousands must have been left. I stopped by on Tuesday and the proprietors of the estate sale told me the remaining records were all donated to the Friends of the Library in a Metroplex town about 20 miles over yonder. Many fine trad, big band, and combo jazz reissues, record club issues, even Woody Herman Mars 45 rpms. Someone swept up all the 78 rpms while I was there, presumably for one "haul-away" price. I picked up a keepsake which has the name and address sticker of one Martin Williams, a Freddie Keppard single which must have once resided in that eminent scholar's collection.
Here's is a rating and review received recently by moneyblows books & music, it's interesting enough to share:
Here's is a rating and review received recently by moneyblows books & music, it's interesting enough to share:
Overall Rating: Excellent
Excellent transaction experience
I have to say (as most reviewers probably do) that the vendor's name threw me when I first saw it. However, I came around quickly when I opened the narrow, sqare package that describes an LP mailer and experienced the contents. "Eydie Swings the Blues" (1957, ABC-Paramount) is a 52-year old LP, and the sound is just gorgeous. Even more impressive is the condition of the album jacket. Amazing that it all kept so well. Everything described in the Gemm entry for this album is true, and delivery was prompt to boot. I hope to do more business with Moneyblows Records in the future.
Take a moment to check out the handmade totes.
Thursday, September 3, 2009
Three passings from the world of music: Chris Connor, Ellie Greenwich, Marie Knight
Music passes in three departures this week. Ellie Greenwich of the Barry & Greenwich songwriting team, was in her late sixties. Among the hits she is known for writing are Chapel of Love and Be My Baby. She was a "Brill Building" writer, known for writing hits that would first appear on records rather in live performance. They were part of a manufacturing chain that would extend wherever there was a radio or record player. Considering it was the 1960s, many of the ears connected to those appliances belonged to teens. People still buy records from that era, and moneyblows books & music still sells them!
Jazz singer Chris Connor passed away at the age of 81. "I Miss You So" from 1956 was one of her biggest hits. Her career began singing with the bands of Claude Thornhill and Stan Kenton. She was considered in the same jazz "school" as Anita O'Day, June Christy, Chet Baker and Julie London. From the time she left the Atlantic label in 1963, her career was eclipsed by rock 'n roll. She sang with romance, feeling, and cool, using little vibrato. The album shown above, He Loves Me, He Loves Me Not, is from her Atlantic era.
Finally, Marie Knight was 89 when she passed this week. A gospel superstar since the 1940s, she worked in the rhythm & blues idiom in the 1950s, dabbled in soul in the 1960s, and returned to gospel recording in the 1970s. We have an extremely rare copy of her 1965 release, You Lie So Well / A Little Too Lonely, which has become a Northern Soul classic. It's on the Musicor label and even has similar arrangements to another artist on that label, Gene Pitney.
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