What 365 albums look like.
That is 2 full shelves of a Billy Bookshelf by IKEA, plus 62 album improperly stored on the top shelf, plus the first, last and a personal favorite from the past year. I promise that I only set the 62 albums down on their sides for a minute for the photograph and then properly stored them on the lower shelf. I just spent a year creating this collection, there is no way I want them to start getting ring wear now!
I know virtually everyone in the record world today is talking about the 50th anniversary of the release of Sgt. Pepper’s Lonely Hearts Club Band, but I went record shopping and spent my last dollar on Mrs. Miller’s Greatest Hits. Very few people celebrated the 51st anniversary of this record last month, and I wanted this blog to be more about the Mrs. Millers of the world. If you’ve never heard this record, please know that your $1 copy is out there somewhere, and it will make a nice warm up to a Florence Foster Jenkins watch party.
I never got to do a theme week of classic soul albums that used stock photos of white people to sell records.
I never got to show the lengths some people went to sell records, even when they had no business being in the record business.
I never got to do a side by side comparison of two records and poll my readers on which record was scarier. The answer would have interesting.
I do the warning label on the Falwell record though. Keep away from Excessive Heat like molten rivers of lava, swarms of locusts and plagues.
But I think I did manage to avoid a cheesy ending. Record collecting is a lifetime pursuit for me, and a lifetime pursuit doesn’t end after one year. I still have the first records I bought with my own money 40 years ago, and I hope I’ll be collecting for 40 more. From time to time, I’ll be blogging about my finds, so, please stay tuned.
The Soul Survivors, When The Whistle Blows Anything Goes, Crimson CR-502, 1967
For record #365, I’ve chosen a semi-rare album from a semi-on hit wonder. The Soul Survivors were a New York band fronted by a pair of brothers, Charles and Richard Ingui. According to the liner notes on their one Crimson release, on March 19, 1966 two cars had an accident on the New Jersey Turnpike. Both were bands on their way to gigs, and they decided to form a Soul band together. Clever as they were, The Soul Survivors were born.
Frankly, the charts in the Spring of 1966 were dominated by two records, The Righteous Brothers (You’re My) Soul & Inspiration, and The Young Rascals Good Lovin’. This album sounds like it was performed by both of those groups. The #4 smash Expressway To Your Heart is absolutely the best Rascals song not performed by The Rascals. They do a note for note cover of The Rascals cover of The Marvelttes’ Too Many Fish In The Sea. The Album closes with The Rydle, a/k/a I Gave My Love A Cherry, done with a clear nod to the the Righteous way Bobby Hatfield sang standards like Unchained Melody and Ebb Tide.
Crimson is also a one hit wonder of sorts. This record represents half of their entire output as a label, with Crimson 501 being a bizarre DJ concept album with no artist or song credits that was designed as a quiz for people curious enough to buy. Needless to say, this was the only Crimson album to chart. Despite the bizarre Philadelphia based company background, The Soul Survivors project was the first hit for the production team of Kenny Gamble and Leon Huff. They went on to start Philadelphia International Records which surpassed Motown as the premiere creative Black label in the 70s. Not a bad way to end a blog…
Cost: $10, $1 Remaining
$191 Spent, $6.16 per record
The Grateful Dead, American Beauty, Warner Brothers WS-1893, 1970
For the 364th album that I am featuring during this year long exercise, I’ve chosen something by The Grateful Dead. The perennially touring San Francisco based band that made a career out of touring and selling a peaceful laid back vibe for 30 years rarely had a hit record, but this one came close. In classic Deadhead style, American Beauty took four years to achieve Gold status, and 16 years to reach Platinum. The Grateful Dead never worked well with a deadline….
1970 was the year of the twin classic Dead albums. Workingman’s Dead came out in February, while American Beauty was released in November. Both are highly influenced by Country and Bluegrass, along with a healthy dose of hanging out with Crosby, Stills Nash & Young. For a while there the drugs were somewhat under control, and the band decided to really focus on writing and recording, in part to impress their new label, Warner Brothers. When Rolling Stone last updated their Top 500 Albums list, Workingman’s Dead came in at #262 and American Beauty came in at #258. They really are fraternal twins.
Perhaps this record came in a tad higher because of the “hit” single Trucking’. I always loved the fact that The Dead were so popular despite the fact that for years the #64 high chart position of Trucking’ was the biggest single the band ever had. It wasn’t until A Touch Of Grey from In The Dark hit #9 in 1987 that Trucking’ was finally surpassed. Because they have always been in demand, Grateful Dead albums are truly collectible today. Finding this record for $8 is a minor miracle, especially given its condition. Generally I try to play a record once before writing about it, but this clean copy of this amazing piece of Dead memorabilia has been in high rotation on my turntable since I found it.
Cost: $8, $11 Remaining
Van Morrison, Moondance, Warner Brothers WS-1835, 1970
Sometimes a remarkable album comes out by someone you’d least expect from. Yes, Van Morrison had made bit of a name for himself as the lead singer of Them, and with a slightly bubblegum-ish 1967 hit single, Brown Eyed Girl. But who knew he had THIS in him? Brown Eyed Girl was a big enough hit that he got a major label deal with Warner Brothers, and Morrison spent most of 1968 preparing his Warner’s debut, Astral Weeks. It was a very jazzy and abstract record that was a hit with musicians and critics but didn’t really sell.
Moondance was the follow-up, and Morrison spent most of 1969 writing and recording it in Woodstock New York. When a half million hippies rolled into town, Morrison left for the city where he finished the record. Dropping a needle on side one, the record opens with And It Stoned Me, a song that literally jumps out at you. From there, you’re drawn in deeper and deeper until it ends. Crazy Love, Moondance, and Into The Mystic are classics of their-or any other-era. Yes, I love this record.
Oddly, there were no hit singles from Moondance. Come Running and Crazy Love were both released as singles, but neither charted. For some bizarre reason, Moondance was released as a single at the height of the Disco era in 1977, when it climbed all the way to #92. The album only reached #29 on the charts, but despite failing in all of the traditional measures of a hit album, Moondance still sold over three million copies. It has probably never been out of print. Naturally, I held out for an original Warner Brothers copy, with its gatefold cover and extensive liner notes.
Cost: $7, $19 Remaining
Miriam Makeba, Pata Pata, Reprise RS-6274, 1967
There is a world of possibilities waiting for a vinyl collector in the world music bins. Sure, you’ll find some junk, but you’ll also find some incredible experiences that you might not ever find out about any other way. I think most people know about The Beatles struggles-as an English speaking group no less- to be taken seriously in the US, so imagine how incredible a non English speaking international recording star had to be to even get a record release in this country. They would have to be well established and yet still able to create new music. It would be one thing to perform in a language somewhat familiar to Americans like French, Italian, or Portuguese, but it would be miraculous for a record sung in the Southern African language of Xhosa to catch on. Yet here one is.
It’s just a real shame that an artist with the stature of Miriam Makeba was subjected to the liner notes that Reprise came up with to sell this record. “Mama Africa”, her unofficial nickname given to her by an adoring continent would probably be surprised to know that she was “as splashy as Victoria Falls”. Still, it probably wasn’t as hard to overcome as growing up in poverty in Apartheid in South Africa. On her own since she was a young teen, it was a fortuitous meeting in London with Harry Belafonte in 1959 that led her to international fame, even though she never set foot in her homeland until the 1990s. Along the way, she became a leading voice for the struggles of black South Africans and performed around the world spreading the message.
This was by far her biggest hit in the US. While there are horns, a big beat, and amazing background singers, this is not an R&B or Soul record. Xhosa is indecipherable to understand a word of, but its clicking sounds and vocal pops create an incredible rhythm. It’s both foreign and familiar in a way, and a real joy to listen to. Almost every decent record store has an international section, and I’ve found some very interesting things in those bins. And they are much cheaper than international travel.
Cost: $6, $26 Remaining
The Beatles, The Beatles Again (a/k/a Hey Jude), Apple SW-385, 1970
This is a really weird one. Generally, a Beatles album is an example of a well crafted piece of pop music that will always stand the test of time. The Beatles never took the easy road, they we always expanding horizons. At least until this record came out. In case you couldn’t tell from the cover photography, these are four Beatles who are not exactly comfortable in their surroundings and seem lost in what they are doing. As it turns out, these pictures were taken at the last photo shoot the group ever had. As another sign of the band’s problems, the photo shoot was in August 1969 at John Lennon’s estate and this album was released at the end of February 1970. Apple was rotting at the core.
The not so creative force behind this record was Alan Klein, John Lennon’s choice to run the group’s business affairs. Mick Jagger had once remarked how Klein had saved The Stones from some British taxes, and that was good enough for John (and George & Ringo) to choose him to run their affairs (over Paul’s objections). With sales of Abbey Road slowing down, and with no new recording going on or any idea when Phil Spector might be done editing the Get Back/Let It Be sessions for release, Klein needed a “new” album in stores to keep up cash flows and justify his existence. The only thing to do was to look back to the group’s biggest hit, Hey Jude, and build an album of already released songs to go along with it.
Ah, but what songs! Since Hey Jude was never released on an album, the idea was to put it out with other past singles that had also never been released on an album in the US. While they didn’t look as far back as Vee-Jay released songs like Misey, There’s A Place, and Love Me Do, they did start with the six year old Can’t Buy Me Love. That song and I Should Have Known Better were both in A Hard Day’s Night, but that album was a United Artists release. 1966’s Paperback Writer and Rain are the other true oldies, with the rest of the songs being A and B sides from some non album singles. But the whole package reeks of a cash in, and it came along at a time when tempers were high with the group. This move didn’t help the internal struggles and three months later Paul announced he left the group. This album was a nail in the coffin.
Cost: $5, $32 Remaining
Little Anthony & The Imperials, We Are…, End 303, 1959
Not to sound like a broken record, but I always buy any reasonably priced 50s record. Not just because I usually get one home and find a pleasant surprise when I look it up in my trusty Goldmine Record Album Price Guide, but also because they are really fun to listen to. This record was a little bit of both.
There were two price tags on this record. While I knew this record would be valuable, the $100 price tag meant I would never get to know what it sounded like. Then I noticed the second price tag. At $5, I didn’t have to think twice about buying it. But what price tag was right? The clerk charged me $5, and I didn’t question him, so I raced home with it to look it up. It turns out that this little $5 record would also be a value at $100. Goldmine values We Are The Imperials at $250 for a good copy.
Sure, there is some hiss, but the record is a very good copy. The hit, Tears On My Pillow lead it off, but the whole album is filled with that classic New York Doo-Wop sound. Eagle-Eyed Neil Sedaka fans will notice The Diary on here. Sedaka was thrilled to present his best song to The Imperials for this record as a follow up to Tears…, but it didn’t chart. The failure of it was a shock to him to the point where he recorded it himself. It was his first single as an artist, and a pretty good sized hit. But trivia aside, I found a real gem $245 under value!
Cost: $5, $37 Remaining