Showing posts with label 1957. Show all posts
Showing posts with label 1957. Show all posts

Thursday, April 02, 2020

The records that made me (some of 'em):
The contradiction of Mama and Daddy's 78s


The album-cover challenge continues, Part 4. The thing is, this ain't an album. It's a few 78s, ones that I've been playing since I was old enough to work a record player, which was age 4-ish.

First, behold this influential record of my youth -- Elvis Presley's "All Shook Up," on glorious shellac.

In many cases, high fidelity spun into 1950s homes, and into popular culture, at 78 rpm.

And so did the king of rock 'n' roll.

Now I have brought much of my analog musical formation into the digital present, I guess, preserved on not-so-glorious hard drives these days. (Don't worry; I still have the records.)

"All Shook Up." I couldn't tell you how many times I played this record -- this very 78 that's four years older than I am -- as a kid. The rough estimate: lots.

In 1957, "All Shook Up" was magic. As it still was when I first got a hold of it around 1964 or 1965. As it still is today.

Me (age not quite 3) and the Silvertone . . . and the records
THAT GOES as well for another of my little stash of Elvis on 78 . . . "Too Much." That's it sitting on a 1952 Webcor record changer here at Anachronism "R" Us.

And you know what? After half a century and more, the Elvis records still sound pretty much like new. Hell, I have many compact discs that sound a lot worse. I mean, some of these old 78s sound great.

RCA Victor's "'New Orthophonic' High Fidelity" was, indeed, all that. All that and a pair of blue suede shoes.

Now let's turn to a couple more 78s that more fully became touchstones when I hit my 50s -- Walter Brown's "Fine Brown Baby" / "My Baby's Boogie Woogie" and The Delmore Brothers' "Blues Stay Away From Me."

In 1946, when my parents were still newlyweds, they were buying "race" records and hillbilly blues records from their favorite Baton Rouge music emporiums.


LOW-DOWN BLUES. R&B. Along with pop, jump and country twangfests like the Delmore Brothers.

"She's got what it takes, make a preacher lay his Bible down," sangeth Mr. Brown. You should hear the flip side.

If you want to know the music of my soul, my folks' old 78s will get you close.

If you want to know what was it that made me the musical creature that I am -- if you want to hear the records I was playing when I was but a lad, just old enough to get into my folks records and operate a record changer -- here you go. This and Fats Domino . . . and Ivory Joe Hunter . . . and Fats Domino . . . and Hank Williams . . . and Louis Jordan.

This is about as personal as it gets.

This is who I am. The music of my parents' young adulthood (and my record-geek childhood) sounded like the world -- the Deep South -- I was born into damn near six decades ago.

It was eclectic, the Louisiana . . . the South of my youth. It was seemingly at odds with itself if you didn't look any further than the surface of things. It was also rich beyond measure.

Take Brown, the blues shouter who once sang with Jay McShann's orchestra. In the particular culture I entered into during the spring of 1961, black shouters like him could sit next to white twangers like Ernest Tubb in the record cabinet in the bottom of the old Silvertone console -- even if they couldn't sit next to each other at the Woolworth's lunch counter.

AND NO ONE thought twice about either peculiarity.

This explains my parents' music-buying habits of the 1940s and '50s, long before I came along and, a few years later, started raiding their music collection. It also explains the complex and contradictory inner lives of these people -- formed by the Southern society that brought us Williams, Louis Armstrong and Jim Crow -- who could in 1946 buy racy records by blues shouters, then in 1971 yell at me about my expletive-deleted "n***er music."

People who thought Dick Clark was a communist, probably because of the fatal combination of "beatnik music" and race mixing on "American Bandstand."

Those George Wallace and David Duke voters.

A couple more of the blackest white people on earth -- as Southern Caucasians surely are -- who may have found it just cause for homicide if you had told them that back in the day.

Go figure.

The South: It's a mystery, wrapped in a riddle, tucked away in an enigma and fueled by contradiction. These records give you a peek under its hood a little bit . . . its and mine.

You might not completely understand either of us, me and the South, but it will be a start.


Monday, December 22, 2014

Merry Christmas from your local radio geek


Welcome to FM radio as it looked in 1947.

This is a vintage Pilotuner FM tuner, made by the Pilot Radio Corp., of Long Island City, N.Y. Back in the day, you'd hook this up to the phono input of your existing "standard" radio or console to enjoy the exciting full-fidelity world of frequency modulation broadcasting.

As such this vintage Model T-601 might be called the granddaddy of hi-fi tuners for your sound system. And some 67 years on, it doesn't sound bad -- in glorious monophonic sound with none of the bells and whistles of modern FM gear, but not bad at all considering.
  
SO . . . if this awakens your inner audio geek, here's a video of my mono hi-fi setup -- an 1957-vintage Realistic FM tuner and amplifier pair, along with a Zenith stereo record changer (outfitted with a modern magnetic cartridge) which has seen better days and likely will be replaced soon . . . and the vintage 1947 Pilotuner I just found via eBay. The Pilotuner is what's playing here, with only a length of wire for an antenna.

The speaker , which you've seen (and heard) before here on the blog is a newly built Gough speaker enclosure from the original 1960 plans and outfitted with a 1962-ish Electro-Voice "Wolverine" 8-inch triaxial driver.

Eventually, the Pilotuner will live in our bedroom, paired with a 1951 (or thereabouts) Bell amp and a 12-inch Electro-Voice Wolverine speaker kludged into a vintage Wharfedale speaker cabinet.

No, my geekery knows no bounds. I have a loving and tolerant wife, thanks be to God.

Wednesday, March 05, 2014

Old-school high fidelity geekery


The speaker: A mid-'60s Electro-Voice "Wolverine" 8-inch, full-range driver in a new Gough speaker enclosure built by a friend who has a custom furniture business from the original 1960 plans sold by Jabez Gough of Cardiff, Wales.

https://books.google.com/books?id=VSEDAAAAMBAJ&lpg=PA168&dq=popular+science+nov.+1961+gough&pg=PA168&hl=en#v=onepage&q&f=false
The hi-fi: A 1956-57 Realistic amplifier and FM tuner. The glory of vacuum tubes!

The result: Pretty dadgum amazing . . . and all in glorious monophonic sound, being that stereo was awfully new-fangled in 1957.

Now, what you can't feel is the floor shaking -- all from a 10-watt tube amp. What you can see is that our house is undergoing a never-ending remodeling. This dining room here is due for a new floor next week . . . then on to the painting and whatever else.

I'm sure there will be "whatever else."

Thursday, December 01, 2011

Geeks 'R' Us


I was going to do something about the South Carolina newspaper that, gratuitously, dropped the F-bomb slap dab into the middle of a story about Saturday's LSU-Georgia football game (Geaux Tigers!).

And I was going to have a nifty segue in there about how whichever copy editor at the Gannett "regional editing hub" in Louisville, Ky., was responsible might be able to find work at Sir Richard's condoms (Richard . . . get it?), which is run by a guy whose last job was as a contributing editor for Editor & Publisher.
Then I was going to make fun of Sir Richard's being a socially conscious condom company, which has student "envoys" handing out free rubbers at the hometown University of Colorado.

I ALSO was going to really snark on one member of the Sir Richard's dormitory penis patrol who actually gave Westword this quote:
"We're encouraging freshmen to use a condom each and every time they have sex. Some people might consider a condom to be a barrier, but it's really a way of bringing couples together through enhanced trust. If you know your partner cares about protecting you, an increased level of trust comes along with it."
FUNNY, it used to be we thought that whole "enhanced trust" thing was what marriage was all about. Condoms? Not so much. Condoms are more like NATO taking Iran's word for it about not wanting nuclear weapons, then building a European anti-ballistic-missile system.

But that kind of s*** just bums me out. So I'm not blogging about it.

Instead, I thought I would show you what a complete geek I am. C'mon . . . whom else do you know with a 1947 television test pattern for his computer wallpaper? No one, that's who.

Whom else do you know with a crapload of 78 rpm records? No one, that's who.

Whom else do you know who so treasures little things like an original shellac 78 copy of Fats Domino's "Valley of Tears"
? Or "Blueberry Hill"?

No one, that's whom . . . er, who.

Because I'm a geek. Besides, I'd sooner die than pass out rubbers to perfect strangers in the name of "enhanced trust."

Four walls . . . and a 78


Stand back, people. I got my geek on.

And I'm gonna show you something. More precisely, I'm going to let you hear something.

First, however, the setup. In three . . . two . . . one. . . .


IT'S IRONIC that, after introducing the 45 almost a decade earlier, RCA Victor had pretty much perfected the 78 rpm record by 1957. As I told you in an earlier post that sadly lacked an audio-visual component apart from a snapshot of an old Elvis record, RCA's "'New Orthophonic' High Fidelity" was all that.

Let's once again say that like my Elvis 78s, this old Jim Reeves record -- after 54 years and God knows how many plays -- sounds better than most new vinyl today, what there is of new vinyl today, and better than a lot of CDs being cranked out today. Imagine when it was brand new. . . .

Anyway, I've been telling people how it has been all but lost to history how good 78s could sound, and now I've decided to show you. Enjoy.

AND NOW the technical notes. . . .

|geek|

The video was shot with a Nikon CoolPix L20 digital camera. Ambient audio was recorded with a Studio Projects C1 condenser microphone, while the audio from the 78 was off the Webcor record changer's phono output. Both the phono out and the mic output were fed into a Soundcraft stereo mixer, then into a professional sound card.

The audio was recorded to a WAV file with Adobe Audition software, then synced to the Nikon video. The audio track was not cleaned up in any way, just normalized to 98 percent modulation.

|/geek|

Thursday, September 01, 2011

The frightening '50s



You want to know what those love letters in the sand said?

"I want to eat your brains!"


The Billboard: It wasn't fit reading for the faint of heart.