Bo Diddly/I’m a man
Shelac/Clay 78 RPM single. Circa 1955.
This is one of my favorite pieces from my personal collection. Pressed into a remarkably brittle clay, this is the quintessential song of early rock and R&B.
I’ve been sitting on this one for a while. I picked it up a few years ago at an estate sale, because it was too awesome to pass up, but I’ve never owned a record player that was designed for playing 78s.
I’ve still got it. I’ve only listened to it twice, the first time shortly after I purchased it, the second time last night as I recorded audio samples using a friends turntable. To be frank, it was amazing. 78s sound… just different. What they lack in fidelity they make up for in character, in force. They transform familiar songs into something wholly other.
On the table we used it played through without skipping. It was a bit noisy, but that is the way of these things. As I said, I’ve recorded some audio samples, and I will post them soon.
I honestly don’t want to get rid of it. I’m even less inclined to upon hearing it again, but I can’t justify keeping it without the ability to listen to it.
I’m planning on selling it, but I’d like to avoid eBay and the like. It’s a really cool, and rather obscure find, and I thought I’d give the folks here at tumblr the first crack at it.
I’m asking $50 for the record, plus shipping. We can handle payment through paypal or google checkout.
More photos (and an audio sample) available upon request.
And if my advertising has offended your delicate sensibilities, let me know that too. I don’t want to alienate any of my followers.
Radio Shack/Tandy Realistic Changer (and radio.)
Took a lot of work to get it up and running again, but I did it. (and DAMN it sounds nice.)
Spooky Tooth - Spooky Two
I think wikipedia says it all:
Spooky Two is the second album released by Spooky Tooth. It was released on Island Recordsin 1969 (licensed to A&M in the USA). According to one reviewer, “Spooky Two is this British blues-rock band’s pièce de résistance. All eight of the tracks compound free-styled rock and loose-fitting guitar playing, resulting in some fantastic raw music. …their smooth, relaxed tempos and riffs mirrored bands like Savoy Brown and, at times, even the Yardbirds. …Although Spooky Tooth lasted about seven years, their other albums never really contained the same passion or talented collaborating by each individual musician as Spooky Two.”
How do you argue with praise like that?
British Blues Rock is my favorite genre. Savoy Brown is among my favorite bands in any genre. I’m inhumanly excited about this record.
This is the A&M release. It isn’t nearly as rare as the original british release on Island (and it has a different cover. )
I am firmly of the opinion that John Mayall is the greatest curator of Rock Guitarists of all time. The man himself was never exceptionally famous. If it wasn’t for the people he played with, I might not even know he of him. (Which is a shame, he is a fantastic musician that frequently played with some kickass bands) He has discovered, groomed, and let go, more rock musicians than anyone else that I know of.
I found this “Family tree” in an album that I purchased today (John Mayall and Some Memorable Men—Back to the Roots.) I thought it too perfect not to share.
The text on the left reads:
This genealogical tree purports to show, by way of its branches, the musicians who played in the various Mayall bands over a period of seven years. Below is a list of their names and where their individual careers led them. Due to the ever-changing movement of musicians from group to group this tree is only up to date to the beginning of 1971. The roots and the tree remain stable, but the branches will always be growing, spreading, and producing new offshoots.
Larry Taylor & Harvey Mandel (1971) – with the current Mayall band
Sugarcane Harris (1971) – Solo career
Jon Mark & Johnny Almond (1970) – a band called Mark-Almond
Steve Thompson (1970) – open for business at this time
Alex Dmochowsky (1970) – with Peter Green
Colin Allen (1969) – Stone The Crows
Mick Taylor (1969) – The Rolling Stones
Jon Hiseman (1968) – leader of Collosseum
Tony Reeves (1968) – Collosseum
Dick Heckstall-Smith (1968) – Collosseum
Andy Fraser (1968) – The Free
Keef Hartley (1968) – leader of the Keef Hartley Band
Henry Lowther (1968) – Keef Hartley Band
Chris Mercer (1968) – Juicy Lucy
Peter Green (1967) – a wandering minstrel
John McVie (1967) – Fleetwood Mac
Mick Fleetwood (1967) – Fleetwood Mac
Aynsley Dunbar (1966) – The Mothers Of Invention
Eric Clapton (1965) – Derek And The Dominos
Jack Bruce (1965) – Tony Williams’ Lifetime
Roger Dean (1965) – Whereabouts unknown
Hughie Flint (1964) – McGuinness-Flint
Musicians who played in the earlier bands during the pre-1964 period included Bernie Watson, John Werder, Jeff Kirbit, Martin Hart, Peter Ward, Brian Mayall…
J.H. Mosley - Memories and Pain
I can’t find any information about this LP except for this listing. It’s a private pressing, it was produced as an advertisement for the musicians featured on the album. I’ll probably write a lot more about this one as I get the chance to listen to it.
Intrigued? I am
Herb Alpert - Whipped cream and other delights
This album is a masterpiece. It is iconic, both in it’s imagery and it’s music. I like to use it as a demonstration record, when people ask me why I still listen to vinyl. The CD just pales in comparison to the big, full, rich sound of the record. It’s an album that everyone should own. From the first, unmistakable bar of A Taste of Honey, all the way to the last note of the closing track, this album is a masterpiece.
It is neither terribly rare, nor particularly sought after. Every goodwill I’ve ever been to has had at least one copy (although finding one in good condition is occasionally tricky.) It is Big Band, Brass Band, Jazz Band music for people who don’t like any of those things. It is an icon, a legend, and it deserves the place it holds in history.
I couldn’t include a photo of this album without including some of the many parodies and homages that have been made over the years. Has any other album cover been so often emulated? Clearly there is beauty in the simplicity and the timelessness of the design.
Also, it has boobs. I’ve been told that is important to some people.
Head to youtube, sample the music. Then head to goodwill and buy a copy because the music (and the cover) just aren’t done justice by digital representations.