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3/15/24

Lush String Sounds Of Dean Franconi & His Orchestra- Featuring Movie Themes: Strangers In The Night/Day In The Life Of A Fool/Born Free



Design Records, Pickwick's inaugural LP record line, holds a distinct place in the history of music. The initial releases under this label featured liner notes, jackets that bore the album title on the spine, and inner sleeves. During 1957-1958, budget record labels, such as Design Records, enjoyed a golden age marked by exceptional product quality.

In the later-end of the 1950s, an era dominated by "Tops/Mayfair," a prominent player in the budget music industry, every budget label aimed to meet consumers' heightened production standards and expectations, offering high-quality pressings and meticulously crafted jackets and sleeves. It was a period when quality and affordability went hand in hand.

However, as time progressed, there was a noticeable shift. Budget labels began predominantly releasing albums in subpar jackets with inexpensive, often noisy vinyl in just a few years after that illustrious period. "Lush String Sounds Of Dean Franconi & His Orchestra," a release from the 1960s, falls into this category.

The album comprises a selection of melodious tracks that have left an imprint on the hearts of music enthusiasts. From the captivating "Strangers In The Night (Theme From A Man Could Get Killed)" to the evocative "Espana Cani," the orchestra's lush string sounds offer a timeless experience.

Notably, Keel Record Manufacturing of Canada Limited pressed the album's recordings.

As we delve into the legacy of "Lush String Sounds Of Dean Franconi & His Orchestra," we glimpse a fascinating chapter in the world of budget record labels and their evolving standards. While the album may have been born during a time of shifting priorities in the industry, its enduring melodies resonate with those who appreciate the beauty of string orchestration.

Tracklist:
  • A1 Strangers In The Night (Theme from "A Man Could Get Killed")
  • A2 A Day In The Life Of A Fool (Theme from Black Orpheus)
  • A3 Oh Marie
  • A4 La Mer
  • A5 La Paloma
  • B1 Born Free
  • B2 Londonderry Air
  • B3 Over The Waves
  • B4 Treasure Waltz
  • B5 Espana Cani

3/4/24

The Collecting of Budget Records: Why Do I Collect Them?


If you are reading this blog right now, you will likely know that I collect budget record albums. I imagine you would ask, "What is so appealing about budget records to the point you would fork over real money to buy these junk records"? The answer lies in the stories behind the various budget labels and the purposes for which the records were made. I find them to be endlessly fascinating. I am what you could call a history buff and enjoy the why and how of anything, so I find the research and the "field" research very entertaining. How do you get interested in this field of record collecting, you ask? Sadly, I can't give you a straight answer, as it grew on me until it became the primary focus of my collecting. Try it, and it may grow on you, too. I have also loved specific budget record labels, mainly Crown and other Modern Records-operated, Royale and other Record Corporation of America, Wyncote and Golden Tone, and other P.R.I worked labels.

Budget records need to be more understood in the record-collecting community. A guy once asked me as I was flipping through some records concerning what I ordered. I told him I collected budget records. At this point, he asked, "Who made those"? I answered his questions by explaining that budget records are a category, not a brand name, primarily manufactured between the '50s and '70s. Afterward, I was shocked that people knew so little about these fascinating records.

I will tell you the good and the bad about these records. First, there is a lot of junk out there (Easy listening to music, polka, etc.)! Some of this junk is worthwhile, such as some select 101-string albums and tribute albums. One of the suitable types of budget records is albums with name artists, the real fun being that the artist in small print usually makes up the majority of the album! Another great type of budget album is a knock-off record covering pop hits or albums of the day. These knock-off records' quality depend on how well the artist covered the record; some are good, and some are paint peeling awful, so listen carefully.

I now ask you a question, what do you collect, and what makes you manage it? Please put your answer in the comment section. I can't wait to hear what you have to say.

3/1/24

Ray Charles "Meets" Jimmy Witherspoon On Crown Records Album CST-418 (1964)


The album "Ray Charles Meets Jimmy Witherspoon," released in 1964 on Crown Records, holds an interesting place in the annals of music history. At first glance, the title may suggest a momentous meeting between two legendary artists. However, a closer look reveals that this album is, in fact, a compilation of tracks by Ray Charles and Jimmy Witherspoon, neither of whom shared a recording studio for any of the songs featured.

This album is noteworthy, though, because of its iconic "Fazzio" album artwork. During the early 1960s, Fazzio, an artist renowned for his innovative airbrushing technique, graced numerous Crown Records releases with his distinctive touch. He had a knack for transforming photographs of artists into striking oil-painting-like portraits. As the last wave of Fazzio cover art rolled out, his mastery of the craft became increasingly evident.

However, the story takes a twist with Crown Records' dramatic rebranding shortly after this release. The back cover transitioned to feature images of suggested record albums and slogans like "Music for every mood" and "The best high-quality record value today." Whether these claims were entirely accurate remains a subject of debate.

Interestingly, despite the rebranding efforts, "Ray Charles Meets Jimmy Witherspoon" and two other albums adorned with Fazzio's cover art continued to be listed as examples of the label's "quality" offerings. Crown Records, founded by the controversial Bihari brothers, had a history that raised eyebrows in the music industry.

The Bihari brothers initially ran a semi-reputable R&B label through Modern Records before venturing into the realm of Crown Records. Their questionable practices included crediting themselves as co-writers when copyrighting their artists' music before releasing records, a practice that hinted at their profit-focused approach. They retained a significant portion of the record sales revenue, often at the expense of the talented artists featured on their label.

Between 1957 and 1972, Crown Records produced approximately 740 distinct album releases. Most of these albums have found their way online, typically claimed by those asserting ownership rights to the material. The label's catalog spanned various music genres, featuring both obscure artists and older material from more prominent names. Crown Records' strategy was to produce a high volume of records and offer them at affordable prices, making it relatively common to stumble upon a Crown Record in a thrift store.

In summary, "Ray Charles Meets Jimmy Witherspoon" is not just an album; it's a testament to the intriguing history of Crown Records, a label with a controversial legacy in the music industry. Their business practices and Fazzio's captivating cover art continue to pique the curiosity of collectors and music enthusiasts alike, preserving a unique chapter in the world of vinyl records.

Tracklist:
A1  Walkin' And Talkin'
A2  I'm Wondering And Wondering
A3  Done Found Out
A4  Sweet Lovin' Baby
A5  Evil Woman
B1  I Found My Baby There
B2  Good Money Blues
B3  Having A Ball
B4  Better Luck Next Time
B5  That's Why I'm Feeling Blue

2/15/24

Echoes of the Originals: The Sensational Ink Spots on Crown Records

Crown Records, a name that conjures up images of cheap vinyl and the notorious Bihari brothers, presents us with an album that is as much an echo of a legendary past as it is a symbol of the era's recording industry paradoxes. "More Ink Spots" features the vocal stylings of Charlie Owen's ensemble, dubbed an "Imposter" group for their lack of original Ink Spots members. Yet, their sound is undeniably reminiscent of the classic harmonies that once captivated audiences worldwide.

The album cover for "More Ink Spots" is a vibrant display, with the group, dressed to the nines, frozen mid-performance against a striking red backdrop. Their joyous expressions and dynamic postures leap from the jacket, inviting listeners to experience the music beyond the vinyl. The simplicity of the design, with bold lettering and a clear, striking photograph, reflects the straightforward approach of Crown Records – to deliver music in its most accessible form.

The tracklist, a melange of beloved standards and nostalgic tunes, is brought to life by the distinct timbres of George Bledsoe (baritone vocals), John Dix (bass vocals), Charlie Owens (lead vocals), and Stanley Morgan (2nd tenor). From the ethereal "Stardust" to the comforting strains of "Home On The Range" and the whimsical "Clementine," each song is a thread in the tapestry of American music heritage.

Crown Records, under the Bihari brothers, became a juggernaut in the budget record industry from 1957 to 1972, releasing approximately 740 albums. While often criticized, their business practices reflect a certain cunning emblematic of the music industry's more shadowed corners. These albums, like the one you may serendipitously uncover in a thrift store bin, hold stories of a bygone era, of artists whose voices resonated through less-than-ideal circumstances.

"More Ink Spots" stands as a testament to the complex legacy of Crown Records – a blend of exploitation and exposure. Like many from the Crown catalog, this album might have been sold cheap, but the memories it revokes are rich and enduring.

As you dust off this album and let the needle drop, you're not just listening to a forgotten group trying to capture the magic of the original Ink Spots. You're uncovering a piece of history, one that is intertwined with the struggle, survival, and spirit of the music that defines an era. Listen here, and let the past come alive once more.
Tracklist:

A1 Stardust
A2 Home On The Range
A3 Clementine
A4 East Side West Side
B1 I'll Never Smile Again
B2 Cuddle Up A Little Closer
B3 Honeymoon
B4 My Wild Irish Side



2/14/24

A Basic Guide To Shopping For Vinyl Records At Thrift Stores (With Post-COVID Edits/Additions)

This is a revised and somewhat expanded edition of an article I first wrote for this blog in 2011. A lot has happened since then, so it was time to edit the article, given my grown-up understanding, and acknowledge significant changes in the vinyl collection world in recent years. Besides updating some statements of fact, grammar has also been corrected, which is now updated to reflect my current level of education, not the high-schooler who wrote the earlier edition.
ChatGPT 4 (DALL·E 3 Tool) generated an image (with the most obvious/glaring gibberish text spot removed) based on this article's original text as the basis of the prompt resulting in this image. Teenage me would have done just about anything to have access to the digital AI powered tools we have now.

Here are some tips and insights to help you discover outstanding vinyl records while browsing thrift stores:
  1. Begin by researching all the thrift stores in your area (or where you are visiting) and reading reviews [2024 Edit: consider using online AI-powered chat models, like ChatGPT 4, to do the heavy lifting if one is pinched for time]. Avoid stores with consistently poor reviews, as they may not offer worthwhile finds. Pricing can vary, but high across-the-board prices are generally a factor to consider. Don't dismiss a store based solely on subjective opinions about organization or staff quality; being too selective might cause you to overlook hidden gems.
  2. Vinyl records are typically located in or near the media section of thrift stores, although they may sometimes be found elsewhere. If you need help locating them, ask the owner or an employee for assistance- sometimes they are in an obscure corner of the shop one might not have thought to look otherwise. [2024 edit: many thrift stores are either not selling or trashing the majority of what they get record-wise, keeping and selling only records in good condition they feel have any decent chance of selling... sadly, this is the new normal, and seasoned collectors have good reason to mourn this trend. Also, many people are becoming either inclined to sell the records of deceased relatives online or to a record dealer directly, or hold onto them, as their recent resurgence over the past decade has made many records boomers purchased desirable to own on vinyl.]
  3. When pricing isn't displayed, inquire with the owner or staff. If the asking price seems excessive, take a moment to scan the selection for any exceptional finds. A reasonable price range is typically between $0.25 to $1.00 per record. While exceptions exist for rare or sought-after releases, anything priced above $2.00 may not offer sufficient value [2024 edit: $2 is now typically the average "reasonable" base price for albums, with $1 being reserved for garden variety single-length records at most places I visit these days. I have not seen records for a quarter a pop at any thrift store in many years, and likely I never will again]. Remember, regional pricing norms vary; what's considered a good deal for me may differ elsewhere- be flexible. Online comparisons, such as eBay listings, can provide context for assessing thrift store prices. [Edit 2024: Keep in mind that online auctions typically require one to pay for shipping, which makes even a $2-3 dollar price tag on an individual record one desire on hand at a physical store more economical overall- plus you are helping to support a charity or local business].
  4. Set clear objectives and budget constraints before browsing. Avoid impulse purchases based solely on affordability; not all records are rare or worth acquiring. Stay focused on your preferences to ensure you don't end up with records you won't actually enjoy listening to.
    1. [2024 edit: I like to go after material I have good reason to suspect is not already online in readily accessible digital format. Basically, I buy records to play once to transfer them to digital format, which I, in turn, clean up and share as much as possible- this has changed how I approach going crate-digging or going through the stacks, whatever you want to call it, if I know with at least 99% certainty I could type the song or album title with artist name and pull up the recording(s) featured on a record and listen to it, I don't bother purchasing it (although if there is alternate cover art then what is found online I will take a picture of it before putting it back into the crate or shelf it is in. I now go through several hundred records and typically take a half-dozen to the counter to purchase at most one time (and that is on a very good day). This contrasts quite a bit with my purchasing habits when I was younger (like when I first wrote this blog post/article in 2011); I often came home with a dozen or more records... ah, the good old days- except when it came time to move to another house... moving them all was a royal pain, which led to a massive chunk of them being forced to donate when I went to college after graduating high school and serving a church mission.]
  5. Scan through the stacks of records, separating them by format (78s, 45s, and LPs) when possible. While they're typically sorted into distinct categories, sometimes they're mixed together, so thorough browsing is essential.
  6. Always inspect records housed in sleeves or jackets that obscure the label. It's not uncommon to find mismatched records mistakenly placed on album covers. This attention to detail can lead to pleasant surprises if both albums containing swapped records are donated together and placed on the sales floor simultaneously.
  7. Take the time to flip through the records individually, pulling out any that catches your eye. After reviewing the entire selection, reassess your choices to ensure your satisfaction.
  8. Trust your instincts when deciding whether to purchase an item. If you need more clarification, prioritize what matters most to you now. It's better to be cautious than regretful. Once selected, proceed to the checkout counter to complete your purchase.
  9. Remember to bring sufficient cash with you, as some thrift stores may not accept cards [2024 edit: this is much less of a problem post-COVID than in years prior]. This ensures you won't miss any desirable records due to payment limitations.
  10. Finally, enjoy listening to your newly acquired records. If you discover an artist or group you love, watch for their releases during future crate-digging adventures.
  11. [2024 edit: Take time to periodically purge your collection of releases that no longer interest you, especially if you have been collecting for a long time and your interests in various genres have shifted significantly. Finding or making digital copies really helps one let go of excessive records in one's collection- and yes, my dear teenage me who wrote the original version of this article in 2011 when I was a naive little sophomore, it is possible to have too many records for one's own good.]

Happy hunting!

2/1/24

Forgotten Sounds: Andy Wiswell & His "Hits A Poppin" Orchestra with Vocal Stars of Radio & Television

In the American music industry's vibrant landscape, hidden gems are waiting to be unearthed, waiting to tell their stories. One such treasure trove was Parade Records, a budget label born in the heart of New Jersey in 1950 under the visionary guidance of Wally Wolsky. While its name might not immediately conjure up memories of chart-topping hits, Parade Records holds a significant place in the annals of music history, intertwined with other labels like Pirouette Records and Spin-O-Rama.

Picture this: dusty shelves in a forgotten thrift store tucked away in the quiet corners of Idaho. Amidst the clutter, a worn-out LP album catches the eye. Its cover is adorned with promises of melodies and lyrics long lost to time. This album, a relic of Parade Records, offers a glimpse into a bygone era of music.

Tracklist in hand, we delve into the musical journey offered by Parade Records:
A1 Here
Written-By – Cochran*, Grant*
A2 Little Things Mean A Lot
Written-By – Stutz*, Lindeman*
A3 If You Love Me (Really Love Me)
Written-By – Parsons*, Monnot*
A4 Poor Butterfly
Written-By – Golden*, Hubbell*
B1 The Man Upstairs
Written-By – Morgan*, Stanley*, Manners*
B2 Jilted
Written By – Colby, Manning
B3 The Man With the Banjo
Written-By – Reichel*, Mellin*
B4 Answer Me, My Love
Written-By – Sigman*, Rauch*, Winkler*

Yet, nostalgia mingles with disappointment as the needle scratches against the vinyl. The sound, once vibrant and alive, now echoes with the wear and tear of time. Though laden with potential, the tracks bear the scars of neglect, their true essence obscured by the passage of years.

Apologies are offered for the over-processed sound, a result of early attempts to salvage the album's treasures. In hindsight, it's a decision regretted, a realization that these melodies deserved better treatment. The original copy, plucked from obscurity in that Idaho thrift store has since been relinquished, leaving behind only echoes of what could have been.

And yet, amidst the static and imperfections, there lies a beauty that transcends the limitations of technology. These tracks, imperfect as they may be, serve as a testament to the resilience of music and its ability to endure through the ages.

As we bid farewell to Parade Records and its fleeting moments captured in sound, let us remember that, sometimes, imperfections make the music genuinely unforgettable. And who knows? Perhaps, somewhere out there, another copy of that elusive album awaits, ready to be rediscovered and cherished once more.


1/31/24

Seeburg 1000 Industrial Background Music Library 16 2/3 RPM Record- N 15- Place In Use 4-1-1964




Seeburg put out their famous Seeburg 1000 background music system starting in 1959 and lasting until 1986. This system utilized special background recordings pressed onto nine-inch, 16 2/3 rpm vinyl records, each with a two-inch center spindle hole. These were designed to be played on a special record player that could hold twenty-five records and play both sides before moving on to the next record in the stack, rotating through them in a cycle. The idea was that you would have heard at least 1000 tunes by the whole stack was completed. Given that the average record side's playing time is about forty-five minutes long, ~ninety minutes per record, and with twenty-five (later 28) discs in a machine at a time, there was more than enough to go the entire day, and some without hearing any repeats.

The records in each machine were initially rotated in sets of seven records quarterly, with the frequency of replacement sets decreasing to bi-annual replacement sets. The number of active records per Seeburg 1000 unit was bumped up to twenty-eight in the late 1960s.

Seeburg background records were issued on subscription, and all of them were supposed to be returned to Seeburg to be destroyed after they were rotated out. However, many of them still made it to the present, for they are akin to all those V-Discs from WW2, which were not supposed to survive past the war but are still around as a hot collector's item. One can expect to pay around ten to twenty dollars per disk if one wishes to own one of these records these days.

There was a series of "libraries" that offered the subscriber various "flavors" of music. The Mood series was made for restaurants and upscale establishments; it was as lush and posh as possible. The Basic series was a little more upbeat but mostly made for shopping malls and supermarkets. The Industrial series was made for factories and was typically upbeat and rather varied.