Posts Tagged ‘Discount Records’

Big Maybelle

Thursday, November 28th, 2013

Listen: I’m Getting ‘long Alright / Big Maybelle
BigMaybelleGettingLong.mp3

I can not lie. I get weak around any Okeh single, particularly in it’s matching stock sleeve. This certainly must have something to do with purple foil and paper wrapped chocolate bars from that first trip to Ireland when only in my single digits. We spent the summer with my aunt and grandmother in the house where my Mom grew up. Ballymoney, County Antrim. I don’t recall much, except for getting caught dipping my hand into a neighbor’s purse. The result was most unpleasant, but I needed a Cadbury marzipan bar, a flavor long since discontinued. The experience dented my brain permanently.

This Big Maybelle single from 1954 still glistens as a true visual artifact of color and design, and it’s a frequent choice when flipping through the wall shelves looking for something to play.

As with Bessie Smith, I became smitten by Big Maybelle soon after discovering both Janis Joplin and Tracy Nelson. Big Brother & The Holding Company were just releasing their first singles on Mainstream Records then, with Mother Earth, Tracy Nelson’s band also based out of San Fransisco, doing the same on Mercury shortly thereafter. Given they repeatedly name checked Bessie Smith and Big Maybelle as inspirational influences, my curiosity ran high.

Big Maybelle singles were easy and inexpensive finds for years. Album culture was fully prevalent during the late 60′s so singles simply became passé to most music aficionados of the day. This presented me with great joy as the pickings were euphoric. Marked down 7″ records being commonplace meant you could acquire the most amazing titles for a nickel or a dime. This single was one such find.

Her voice, great. The sound quality of these recordings, great. The subject matter, wow. So many Big Maybelle singles just reeked of sex. And comically presented. Surprisingly, Janis Joplin never nicked the idea, or more likely, conservative Columbia Records wouldn’t allow it.

I have to believe a sausage lyric version exists somewhere, with this cleaned up chicken take recorded specifically for the single, given ‘I’m Getting ‘long Alright’ was it’s A side.

Listen: My Big Mistake / Big Maybelle
My

‘My Big Mistake’, being formula bar room blues, allowed her to stomp and bully through the song in presumably very few takes. I recall hearing Fred Perry and Harry Fagenbaum play this straight into Mother Earth’s ‘Down So Low’ on their overnight college radio show, when underground album rock began overtaking the FM dial. WAER, Syracuse University’s student station gave all night shifts to nocturnal speed freak students who thankfully proceeded to pollute our ears with the wildest and most eclectic records around.

I bought Mother Earth’s LIVING WITH THE ANIMALS album the very next afternoon, a Sunday. We made our weekly trip to the SU campus, hanging around Discount Records or Record Runner on Marshall Street for hours, juggling what to buy. It became my purchase choice that weekend. Once home I discovered Mother Earth had modeled the majority of the album after Big Maybelle’s delivery style on records like ‘My Big Mistake’. maybe even that very song.

The Scaffold

Thursday, January 12th, 2012

Listen: Liverpool Lou / The Scaffold
Liverpool

Never modeling themselves as a band, but instead three guys basically doing comedy and poetry routines set to music, gave The Scaffold an out of jail free card in the image department. The fairly logical result of Liverpool and British themed material afforded The Scaffold a very local sound, and became pretty appealing to the Anglophile trait some of us had.

It was with great surprise to suddenly be hearing their first big UK hit, ‘Thank U Very Much’ on American Top 40 stations in the spring of ’68, and somehow it did okay. Probably the last very British sounding record, bar possibly The Kinks ‘Come Dancing’, that performed as such.

Fast forward to ’74, Warner Brothers US issues ‘Liverpool Lou’ that summer. Having lost no part of the pub/soccer singalong characteristics common to most Scaffold singles, it was most likely Paul McCartney’s production that promoted such decision, and the fact that Wings were the backup band.

It has often been said, you never win or lose the race until you enter, so why not give a current UK Top 10 single with Wings in the wings a shot here.

I heard it a lot in Discount Records that summer, where I worked, and at home. Beyond that, not an airing in sight.

Eddie Harris

Saturday, September 10th, 2011

Listen: Is It In (Mono) / Eddie Harris
Is

In the early 70′s, a lot of these credible jazz players leaned disco or dance-y, I assume looking for more mainstream exposure. After all, Deodato had hit big on Top 40 with ‘Also Sprach Zarathustra’ while with CTI, actually getting to #2 on BILLBOARD. It was an audio oasis on the AM dial at the time.

So guys like Wes Montgomery, Grover Washington, Jr. and Eddie Harris either made attempts at singles, or their respective labels would edit down longer album tracks in hopes of some pop airplay.

I was working for DISCOUNT RECORDS in Syracuse at the time. All the label’s sales guys would donate their boxes of promo 7″ allocations my way, given that no one else at any of their accounts wanted them. The store managers and clerks were generally album whores. It was a God-send for me.

‘Is It In’ became a big hit, well in our store that is. We had a sturdy Garrard stacking turntable behind the counter, and I played it ad nauseam, resulting in some LP sales. At home, even Corinne found the lyrics amusing in a sort of risque way and ended up tolerating it, an anomaly for her when it came to anything jazz.

King Crimson

Thursday, August 18th, 2011

Listen: Cat Food / King Crimson
Cat Food / King Crimson

They’d probably cringe, but even the most hardened album acts like King Crimson made a decent single from time to time. Or the labels, back before creative control was bestowed on the artist, may have heard a hook in the thick of an opus, thereby being able to edit/rearrange a twelve minute album piece into three and change for a 7″ single.

Not sure if that’s the case with ‘Cat Food’. King Crimson’s albums never did hold my attention through a whole side, so I’m not positive if this is the full version. But I sure did love this song when it got some concentrated play from the local college station, WAER. What a surprise to walk into Discount Records, on the Syracuse University campus, and find a few copies of the single in their racks.

That store was a shrine in the late 60′s, when record buying was in full, and I do mean full swing. A beehive of white drugged up students with money to spend on white drugged up rock music made for the ultimate market. Box lots of all the latest releases by Ten Years After, The Nice, Spirit, Pink Floyd and whatnot seemingly evaporated into thin air.

I’d bet the stunning cover art on those King Crimson albums drew in more than one spontaneous purchase. So too did this 7″ picture sleeve, in those days unheard of, particularly from the UK. Between both it’s mini album construction, and the pink inner sleeve housing a matching pink labelled pressing, I found myself committing an exorbitant $1.98 to the cause. Excellent investment, as it turned out.

Eno

Thursday, December 23rd, 2010

Listen: Seven Deadly Finns / Eno Eno7.mp3

Eno seemed to release ‘Seven Deadly Finns’ minutes after leaving Roxy Music, or maybe being a kid meant my time perspective was messy. Dissonance, already his calling card, many times verged on suffocating song endings, like here. In a few short years, it would be married to oscillation and the resultant metal clanging made a perfect fit for David Bowie’s Berlin period recordings. In ’74 though, this Eno single was about the hippest form of chaos you could hope to have on a 7″. We stocked and sold many at Discount Records that summer.

Listen: King’s Lead Hat / Brian Eno EnoKings.mp3

I could swear, since ’77, the ‘King’s Lead Hat’ that closed side one of BEFORE AND AFTER SCIENCE was a very different, and superior, version to it’s 7″ counterpart. Mentioning this to Duane a weekend or two back, the comment was met with a slightly confused but assured disagreement. Wrong, they’re the same.

A few hours later, prior to checking, his email arrived with the affirmation. The two versions are the same. It was just enough reason to pull the 7″ and give it a play. He was right.

Probably my favorite Eno track ever, discovering 33 years later this preferred version existed as a single, one which I’ve owned the whole time, was a most pleasing and scary senior moment.

Tomita

Tuesday, April 27th, 2010

TomitaUSA, Tomita, RCA, Snowflakes Are Dancing

Tomita, Tomita, RCA, Snowflakes Are Dancing

Listen: Arabesque No. 1 / Tomita TomitaArabesque.mp3

Born in 1932 and still active today, Isao Tomita began composing for film and television as early as ’55. By the late 60′s, he turned his attention to electronic pieces after hearing Walter Carlos, whereby he performed classical music on the Moog synthesizer. Isao acquired a Moog III and began building a home studio. He started arranging Claude Debussy’s pieces for synthesizer and, in ’74, transformed those works into SNOWFLAKES ARE DANCING. When the album was released; it became a worldwide success, even in the US.

Corinne and I worked at Discount Records on the Syracuse University campus then. She ended up overseeing the classical department. This was in the day when record stores, particularly Discount, stocked very deep catalog titles. Classical music collectors are as eccentric as we pop hoarders. They would come in daily, she had a real following, almost groupie-like. I was never intimidated though. Talk about nut jobs – one guy was even a priest and super hysterical. With a sense of humor like no other, he made constant fun of the nuns, and had us round the parish a few times for some home cooked dinners. We scraped by in those days, preferring to spend cash on drinks and of course records. Those invites were God-sends, so to speak. It was a real blast of a summer though.

During that period, Tomita’s album started to gain traction. There was always a diverse in-store playlist variety going on. Everyone employed was a record crazy of some sort – all with extreme and bizarre musical tastes, yours truly included.

I couldn’t believe my eyes when the RCA salesman came in and handed me a bunch of Tomita 7′s, on red vinyl, a real anomaly in those days. All those sales guys gave me their promo singles, NO ONE else wanted singles. It was heaven.

TomitaSnowflakes, Tomita, RCA, Snowflakes Are Dancing

Listen: Snowflakes Are Dancing / Tomita TomitaSnowflakesAreDancing.mp3

She started spinning SNOWFLAKES ARE DANCING, and that baby would fly out of the shop as a result. A bunch of us were into Tangerine Dream and Faust, Amon Duul II, Can and of course Kraftwerk.

Think about it, ‘Autobahn’ was a hit single then. Would that happen on crap US radio now? And we thought it was bad then…anyways, Tomita fit right in. Everyone was content, which many times wasn’t the case, particularly as the night hours wore on and we all started getting buzzed.

This guy was, well still is, amazing. In 1984, he released CANON OF THE THREE STARS, featuring classical pieces renamed for astronomical objects. Rightly so, he credits himself with inventing The Plasma Symphony Orchestra, a computer synthesizer process using the wave forms of electromagnetic emanations from various stars and constellations for the sonics of that album.

Tomita has performed a number of outdoor Sound Cloud concerts, with speakers surrounding the audience in what else, a ‘cloud of sound’. He did a serious ass concert in ’84 at the annual Ars Electronica Festival in Linz, Austria called Mind Of The Universe, get this: mixing tracks live in a glass pyramid suspended over an audience of 80,000 people.

He performed another concert in New York two years later to celebrate the Statue Of Liberty centennial (Back To The Earth) as well as one in Sydney for the ’88 Australian Bicentennial. That performance was part of a $7 million gift from Japan to New South Wales, which included the largest ever fireworks display at that time, six fixed sound and lighting systems — one of those on a moored barge in the centre of a bay, the other flown in by Chinook helicopter — for the relevant parts of the show. A fleet of barges with Japanese cultural performances, including kabuki fire drumming, passed by at various times.

His most recent Sound Cloud event was in Nagoya, Japan in ’97 featuring guest performances by Ray Charles, Dionne Warwick, and Rick Wakeman.

Of course we knew nothing of any Tomita history back in ’74. We just loved SNOWFLAKES ARE DANCING. Hopefully he’ll come back to New York one more time. We will not miss it.