Record Collecting 101

Hey U.S., Meet Max Bygraves

2008-12-08T16:47:00.000-08:00

I always thought the Tony Orlando and Dawn song “Tie a Yellow Ribbon Round the Ole Oak Tree” was one of the stupidest songs I’d ever heard. Stupid, sappy, and even embarrassing. No one would be caught dead singing that song more than a mile beyond the outskirts of Las Vegas.

Then I happened to listen to a Max Bygraves album and heard his version of the yellow ribbon song. Instead of a stupid song, I heard a fun song.

Max Bygraves can tie a yellow ribbon 'round my old oak tree anytime.

So, how did I end up playing a Max Bygraves album in the first place? It would not be uncommon for anyone in Great Britain to listen to Max Bygraves. Unfortunately, most people in the United States have never heard of him. That’s too bad. I just happen to be a huge fan of the British sit com “Are You Being Served?” starring John Inman. In one episode, Inman’s character Mr. Humphries makes a passing reference to Max. When I happened to run across one of his LPs I couldn’t resist.

For U.S. readers, Max Bygraves was a British singer-songwriter, born in 1922. An all-around entertainer, he starred in films and his own television show, performed comedy, and was one of England’s top-selling recording artists. Strictly in terms of voice only, he is not a particularly great singer. What makes Max great is the way he sings. Listen and find out for yourself. Max can make any song his own.

This is my first Max Bygraves record (Everest FS-351). He’s the guy holding the hat. Victor Silvester, on the left, is the orchestra leader.

My first Max Bygraves album has several songs that have never moved me until now. They range from the jazz standard "Everybody Loves My Baby" which dates all the way back to 1924, to "Deep in the Heart of Texas" that was first recorded in 1941 believe it or not by Pennsylvania native Perry Como with the Ted Weems Orchestra.

The song on the album that really rattled my cage was a well-known Richard Rodgers tune. Although I love Richard Rodgers, I have little interest in what some believe is his greatest triumph, “The Sound of Music.” Because I’m an obsessive completist I have a copy of the record in both my LP and my CD collections. Nonetheless, I never have and never will listen to either of them. I don’t like Julie Andrews very much either, which may have something to do with it. But for the first time in my life, listening to Max Bygraves, I practically fell in love with the song "Edelweiss."

That's the Max I'm just beginning to appreciate. As I understand it, he's still alive and working in Australia. Although it’s a shame he isn’t more well-known in the U.S., it makes discovering him all that much sweeter. Play it again Max, this time for those of us stateside.

Mr. Seller, Please Pack My Record Carefully!

2007-10-25T08:39:00.000-07:00

What phrase do you hear most often in your life? Is it, “Dad, will you buy this for me?” How about, “Honey, please take out the garbage.” Maybe it’s “Turn that TV down” or “Wipe your feet dear!”

The most common phrase to enter my small corner of the world is, “Please pack my record carefully.” It’s a request that appears nearly every single day in customer emails.

When you place an order with L.L. Bean, J.C. Penney, Sears, or any on-line department store, do you instruct the company on how to pack your purchased item? Do you tell them you want it surrounded in bubblewrap, sealed in plastic, double-boxed, with the invoice number written clearly on the outside of the package? What do you think the company would do with your request?

Do you ever worry your record will arrive like this?

There is something about transacting business on eBay that apparently gives free license to some buyers to behave as if the seller is a moron. In some cases, that assumption may be correct. But what if the seller has nearly 10 years of on-line selling experience, with just under 20,000 positive eBay feedbacks, and is presumably beyond tenderfoot status? (I’m talking about me, of course.)

When I first started selling on eBay in 1998 I already had many years of mail order experience selling from advertised lists that we dispersed to our customers on a quarterly basis. I was always a little annoyed with customers who would tell us how to pack the item, but it happened so frequently that after awhile I just became impervious to it. “Get over it, Dad” is how my teenage daughter would put it.

Clearly, there is something about eBay buyers that distinguishes them from buyers on other sites. Ecommerce blogger Randy Smythe, once the largest seller of DVDs on eBay with a feedback rating of over 100,000, recently compared eBay buyers to those on Amazon. He said, “The eBay buyer is plain and simply too much work. Customer service emails are 100 times more on eBay than on Amazon. eBay buyers want the lowest price yet they want Nordstrom’s service while Amazon customers want a fair price with Amazon service and reputation.”

I’m going to get around to making my point in just a moment. But first, let me quote from just a couple of emails I received from customers this week.

“Pack this album very carefully. Although I am insuring this very rare record, I want you to know that insurance can never replace an irreplaceable piece of music history."

And here is another that came in just yesterday. “I need to have this record in perfect condition when it arrives. Please do not pack it yet. I am going to mail you a special box to ship the record. Please let me know how much extra this will cost.”

Obviously if every buyer wanted to send me his own box, we’d have to close our business. We wouldn’t have the time or resources to devote to this kind of service. Plus, it requires us to override our automated Check Out software because the stated shipping price is no longer applicable. I can tell you with certainty we will make no profit on this transaction.

Every capable seller knows how important it is to use the right sized box.

I have participated in many seller conferences, including the annual eBay Live, where experts tell you to strive for stellar customer service –- and we do. Whatever the customer wants, they usually get it, and they get it with a smile. The customer is much more likely to come back and that is the bottom line.

Nonetheless, here is my advice. Read the seller’s feedback. Check their history to see how long they’ve been doing this. Then, if it’s clear they know what they’re doing, don’t tell them how to do their job. Think about your own workplace environment. Do you need to be told everyday how to perform your duties?

Please, don't misinterpret what I'm saying. There are all kinds of legitimate customer requests; from a change of address, to a shipping upgrade. I’m not talking about that. We enjoy helping a customer get his package where he wants it, and when he wants it. We want our buyers to be ecstatic over their purchase. We also want them to be comfortable in knowing we are packing experts and its our responsibility to get it to them quickly and safely.

If you want to be guaranteed that kind of treatment, limit your purchases to those sellers who have a proven track record. If the seller is a bad packer, nothing you say will change that. If the seller is a great packer, nothing you say will change that. Some people confuse being a smart buyer with being a difficult one.

People and Their Records - Vintage Photo #3

2007-10-04T08:19:00.000-07:00

A Trip to the Record Bone Yard. May They R.I.P.

2007-09-24T18:37:00.000-07:00

Our emphasis has always been on top condition records. I've stated on numerous occasions that I throw away more records than I sell. In spite of my concrete assertion, I've seen the look of doubt on the faces of some people. Here, finally is photographic proof. What you're looking at is somewhere around 1,000 sub-quality LPs from a couple of recent collections we've purchased. I'm sorry to say that while they once provided hours of listening pleasure for someone, their next stop is the record bone yard. These fellas are long past their prime and I wish them well in their next life.

©2007 billstuff.com
It's a few days later, and this is what the pile looks like now.

Wine, Women, Song and now Cigarettes!

2007-09-20T10:48:00.000-07:00

Unfortunately, this blog host doesn’t accommodate subtitles. If it did, I’d subtitle this piece Watch Where You’re Flicking Those Ashes.

In all the years I’ve been buying, selling, collecting, and processing LP records, I’ve handled tens of thousands of them. But as I frequently say, everyday brings something new. Today I found something I’ve never seen before. This is an inner sleeve for a German import LP that is a full color advertisement for the Lord Extra brand of cigarettes.

In this unusual inner sleeve a progressive West German advertising firm has added “cigarettes” to the popular phrase “Wine, women and song.”

We’ve all seen the inner sleeves that promote other artists on the same label. There are also sleeves that advertise artist and record company collectibles for sale such as posters, shirts, and other promotional items. But I can’t remember ever seeing an ad for merchandise unrelated to the artist or record company. Until today.

This sleeve came from a classical music record featuring the Vienna Symphony Orchestra conducted by Robert Stolz. It is on the Sonic label and was pressed in West Germany in 1974. Looking at the picture of the smoker leaning over the record player, my only thought is to suggest that he watch where he's flicking those ashes. I did that once in my college dorm room and ruined a perfectly good copy of my Led Zeppelin Live on Blueberry Hill bootleg. Why couldn't it have happened to my roommate's copy of Leonard Warren's Operatic Arias and Sea Shanties instead?

Cleaning, Repairing & Protecting Records #1

2007-09-12T13:14:00.000-07:00

I’m about to embark on the most dangerous mission of my career. More frightening than a Stephen King thriller. More risky than battling a Jedi Knight. More perilous than Britney Spears with a set of electric hair clippers. With typical reckless abandon, I'm going to impart some advice on the proper methods of cleaning, protecting and storing vinyl records.

A small industry for marketing cleaning supplies and other accessories grew up around the vinyl record business. Many of these products caused more harm than good.

I’m not going to spend a great deal of time defending my suggestions, some of which are likely to meet with disapproval by certain collectors. I learned a long time ago in Psychology 101 that “Attitude Follows Behavior.” That means once you decide to do something a certain way, and invest a great deal of time and money in that endeavor, it will take heaven and earth to shift your opinion.

I’ll give you just one example. You can buy 2 mil., 3 mil., 4 mil., or 6 mil. poly album sleeves to protect your LP covers. It is understandable that a new collector is going to believe that in buying the more expensive higher mil. he is getting a better product. And after having invested hundreds of dollars to accomodate his collection, it’s not going to be easy to convince him that the 2 mil. product would have been a better choice.

They cost less to buy, less to ship, and offer the same basic protection. Over time, the thicker sleeves become cloudy as tiny scratches build up, a problem that is not nearly as pronounced with the thinner mil. sleeves. Ask yourself this – What are you expecting to get from a 6 mil. sleeve that you won’t get from a 2 mil. sleeve? The additional protection offered by the thicker sleeves is virtually non-existent unless you are expecting your album covers to encounter serious abuse. Even then, any force that will penetrate a 2 mil. sleeve will almost certainly impact the record regardless of the thickness of the poly cover. Nonetheless, there are collectors who won’t buy anything but the 6 mil. sleeves and will be emailing me shortly to tell me why.

Oh, no! I should have used a 6 mil. sleeve instead of a 2 mil. sleeve!

The question of the correct poly sleeve is just the tip of the iceberg. Should you use a sponge or a brush to clean your records? What type of cleaning fluid should you buy? Should your records be stored flat or upright? Is it a good idea to remove the shrinkwrap from your albums? What is the best inner sleeve? Can a warped record be repaired? (You’ll love some of the methods that have been tested by collectors.) How can I remove stickers, pen marks and soil from my album covers? What are the most important record collecting supplies to consider? What is the safest method to pack and ship vinyl?

I’m going to try and answer these and other questions in the days ahead. In case you hadn’t noticed, I’m getting my apologies out of the way early. From here on in, you’re getting one person’s opinion based on many years of collecting and selling. I have no more excuses or explanations to make.

So, let’s begin with the basic method of how to clean a dirty disc. Just plug in your $2000 VPI Typhoon record cleaning machine or your $10.88 Ronco Record Vacuum and give it a whirl. Oh, you don’t have one of those? Ok, well try this.

Rinse the record thoroughly under a steady flow of lukewarm water to flush away any loose soil particles that might scratch the disc during cleaning.

Be sure and clean your hands thoroughly when starting, or better still put on a pair of rubber gloves to avoid transferring skin oil to the vinyl. I’ve found that disposable medical industry gloves are efficient and inexpensive. One popular brand is Nitrile, which are non-latex and powder-free. As you can see, we forgot ours today.

Use a clean sponge and make one circular pass around one side of the record to loosen any hardened surface matter. Rinse the sponge and the record with each pass and repeat as necessary, depending upon how deeply soiled the record is. Repeat on the other side.

By rinsing the sponge and the record with each circular pass you are able to avoid rubbing loose soil particles into the vinyl and causing scratches. Be careful not to rub perpendicular to the grooves. Always clean in a circular motion.

The next step is the deep cleaning stage. While the record is still wet, spray a liberal amount of a glass cleaner directly onto the record. Use the clean sponge and with light to moderate pressure, make 3 or 4 circular paths around the vinyl, then rinse and repeat on the other side.

I use Glass Plus as a record cleaner because I have found that it works best on deep soil and is the only thing I’ve found that gets rid of tar and nicotine stains. If you’ve ever seen a record covered in a strange residue, it was probably the result of a record having been left out for an extended period of time in a house with cigarette smokers. Don’t use a glass cleaner or any product with ammonia on old 78 rpm records as it can damage the record. Soap and water is best for 78s. Glass Plus says it doesn’t have ammonia, but it may have other chemicals that react negatively with the more vulnerable shellac resin.

Place the damp record in a clean dish rack and let it drip dry for a few minutes. Then take a clean paper towel, folded for extra thickness, and carefully pat dry the disc.

Allow the record to dry completely, and then put it in a clean, new inner sleeve. Don’t throw away the old sleeve, especially if it is a factory logo sleeve. Tuck it away in the back once you have placed the record in a poly outer sleeve.

I’ve heard some people say never to play a record until it is completely dry, but they never say why. I almost always play a record after I’ve cleaned it, and have never noticed a problem. Obviously, if the record has a high concentration of moisture in the grooves then it may interfere with the sound quality during playback, but it shouldn’t cause any permanent damage.

Final Words: I have been using this method to clean my own records for many years. I’ve tested it on both new and old vinyl. It has not resulted in any damage to my records, and has vastly improved the sound quality of records that had been abused in a previous life. Here are a few additional thoughts on this subject:

1. A few record companies used heavy dies in their paper labels. For example, the London red labels, and many of the early chalky white labels (not the disc jockey / white label promos) will bleed when they are moistened. In most cases the bleeding is so light that it can’t be noticed. However, there are exceptions. Using cooler water will usually lessen the bleeding of these high-dye labels.

2. Make absolutely certain your record is completely dry before attempting to store it away, especially if you are using a polylined inner sleeve. If the record is put away while still damp, it is likely to produce mold.

3. Rinse and replace your cleaning sponge frequently. Keep it someplace safe so no one uses it for anything else. I’ll avoid the temptation to be more graphic.

There are many ideas out there on the best way to clean your records. Here is one of them. If you select this option, be sure to keep an eye out for floating labels.

People and Their Records - Vintage Photo #2

2007-08-24T21:28:00.000-07:00

Film Soundtracks 101

2007-08-16T16:56:00.001-07:00

I entered the realm of soundtrack collecting through a back door. I was looking for the music to Cabin in the Sky, a movie directed by Vincent Minnelli with an all-black cast and some wonderful songs performed by Ethel Waters and Lena Horne. I eventually found it with the help of my first soundtrack mentor, a vinyl dealer from New Hampshire named Sandy who specialized in film scores at collector shows throughout New England. I call it the back door because it was a soundtrack only in the sense that it contained songs from the film. What do I mean by that? Ok, this is not a textbook definition of a film soundtrack, and others may wish to add to what I have to say - but essentially there are four types.

The greatest film score composer of all time is Ennio Morricone. Sorry, I accept no arguments. The Film Composers series on RCA includes 31 of his greatest songs. As that will most certainly agree with you, Yo-Yo Ma Plays Ennio Morricone is also a must.

Type One is the Broadway/Musical Cast that was also produced as a motion picture. Oklahoma, Show Boat, and Evita began as theatre productions and were initially released as original cast records, but were so popular they were made into films. This presents the dilemma of whether they should be categorized as musical cast recordings or soundtrack recordings, and explains why we still find film scores and Broadway shows filed together. Although the original cast version of Cabin in the Sky serves up a totally different set of songs than the film soundtrack, it’s the same idea (although you might also see fit to put it in my Type Two category.)

Type Two is a musical that could have started as a Broadway show but didn’t. We’re talking about a film with actors who suddenly break out in song, whether it’s the Beatles or Doris Day. The tradition took hold with films by Bing Crosby, Fred Astaire, Frank Sinatra, and Judy Garland. In the late 50s through the mid 60s they were replaced with a new generation of stars led by Elvis Presley, Annette Funicello, Frankie Avalon, Connie Francis, and Bobby Darin. I can still remember the excitement of going to the Uptown Theatre to see films starring Herman’s Hermits, Gerry and the Pacemakers, and the Dave Clark Five. Mostly we went for the music. The plots (as much as there was one) have long been forgotten. Today, in a sense, they’ve been replaced by music videos.

Type Three represents a huge revenue generator for the music industry, but is the least significant aesthetically in my opinion. I’m referring to the plethora of film soundtracks that are nothing but a collection of songs by various artists – whether they feature the golden oldies of the 50s-70s or contemporary artists. This includes blockbusters like the Big Chill, Footloose, Dirty Dancing, White Nights, and on, and on. I know there are some great songs on these records, and in some cases they don’t exist anywhere else, but you buy them for that reason (or because they’re great to crank up when you’re exercising), not because you love film soundtracks.

Type Four is what primarily appeals to the purists. It’s the film scores written by composers for the sole purpose of complimenting the dialogue and action on the movie screen. From Henry Mancini and his Pink Panther comedies, John Barry and his James Bond action adventures, to Ennio Morricone and the spaghetti westerns. There is real art here. The ability to underscore or heighten a mood without diverting attention from the screenplay is the genius of Bernard Herrmann (Citizen Cane, Psycho, Torn Curtain) Jerry Goldsmith (Patch of Blue, Boys from Brazil, Planet of the Apes), Franz Waxman (Peyton Place, Taras Bulba, Sayonara), Elmer Bernstein (Magnificent Seven, To Kill a Mockingbird, Scalphunters), Maurice Jarre (Lawrence of Arabia, Passage to India, Ryan’s Daughter), Miklos Rozsa (Ben-Hur, Quo Vadis, Spellbound), Alfred Newman (The Robe, Captain from Castile, Song of Bernadette), Riz Ortolani (Mondo Cane, Maya, Cleopatra), Michel Legrand (Ice Station Zebra, Summer of ’42, Thomas Crown Affair), Nino Rota (Godfather, Romeo and Juliet, War and Peace), Lalo Schifrin (Cool Hand Luke, Amityville Horror, Man from U.N.C.L.E. ), Dimitri Tiomkin (It’s a Wonderful Life, Guns of Navarone, Wild is the Wind), John Williams (Jaws, Star Wars, Home Alone), and Max Steiner (Gone with the Wind, Caine Mutiny, King Kong). These are some of the great ones. Their prolific works, longevity, and critical reviews have put them at the top of their field.

What ignited my passion for film soundtracks wasn’t necessarily the music, but album covers like this one. Seriously, album art is another enjoyable aspect of the hobby.

Other types of soundtracks straddle these four basic categories, and perhaps there are additional ones I have completely overlooked. For example, the Disney films with singing critters, and those magnificent releases of Carl Stalling’s eccentric music created for Warner Brothers cartoons. You have the collections and box sets of works by Mancini, Newman, Hermann, and Williams. There are the soundtracks from foreign films like Black Orpheus (Carlos Jobim) and Lisbon Story (Madredeus) that showcase the works of one vocal artist or group, but don’t fit easily into the categories I’ve presented. Meanwhile, there exists an impressive library of recordings by artists who have built on these creations, such as George Winston playing Vince Guaraldi’s Charlie Brown music; Cal Tjader tearing into Leonard Bernstein's West Side Story; and one of my favorite CDs right now, Yo-Yo Ma plays Ennio Morricone. Uh oh, I left out the concert films like Woodstock, and Stairway to Heaven.

As I clarify in my own mind the different kinds of soundtracks that exist, I can honestly say hardly a day goes by I don’t discover something new to add to my collection. The funny thing is, I’m not a movie buff. I hardly ever watch movies, or even television for that matter. I’ll bet I haven’t gone to the theatre to watch more than 10 movies in the past 20 years, and most of them were Disney films that I took my kids to see. The same goes for movies on video. I don’t particularly care for movies. I just like the music.

I’m not prepared at this time to create my personal list of the Greatest Film Soundtracks, largely because I know I will leave one out and regret it later. What I will do is tell you which ones currently seem to most frequently find their way to my turntable or CD player. If you haven’t listened to some of these, I strongly recommend that you find an opportunity to do so.

Type One Films:
Finian’s Rainbow (Music and lyrics by Burton Lane and E.Y. Harburg.)
Paint Your Wagon (Alan Jay Lerner and Frederick Loewe. I'm in the minority, but I love Lee Marvin’s singing in this film.)
Fiddler on the Roof (Jerry Bock and Sheldon Harnick)
Cabaret (John Kander and Fred Ebb)
La Cage Aux Folles (Jerry Herman)
South Pacific (Rodgers & Hammerstein)
Brigadoon (Alan J. Lerner and Frederick Loewe)

Type Two Films:
Shock Treatment (The sequel to Rocky Horror Picture Show. I suspect I'm the only person on the planet who prefers the music of Shock Treatment over Rocky Horror.)
The Commitments
Singin' in the Rain (Nacio Herb Brown and Arthur Freed)
Calamity Jane (Sammy Fain)
Gay Purr-ee (Harold Arlen and E.Y. Harburg)
Blues Brothers
A Mighty Wind

Type Three Films:
Mysteries of the Nile (The IMAX film featuring various African and Middle Eastern musicians.)
A Year in Provence (from the BBC TV Series.)

Type Four Films:
Quest for Fire (Philippe Sarde)
Amistad (John Williams)
Anne of Green Gables (Hagood Hardy)
Crouching Tiger (Tan Dun)
10th Kingdom (Anne Dudley)
Third Miracle (Jan A.P. Kaczmarek)
Mission (Ennio Morricone)
Captain Corelli’s Mandolin (Stephen Warbeck)
Fairy Tale: A True Story (Zbigniew Preisner)

C'est Si Bon (It's So Good) in Lewiston, Maine

2007-07-30T19:30:00.000-07:00

One of the first things that impressed me when I moved to my adopted home of Lewiston, Maine more than twenty years ago was the amazing musical talent concentrated in this small city. In the mid-1980s when I first arrived there was a recording studio downtown that tapped into the local talent, and amateur night at the pubs always offered top quality entertainment. And in case you’re wondering where all this musical ability originated, I can lay that to rest quite easily – the French-Canadian community.

C'est Si Bon released three record albums during its 25-year history. The band brought its blend of French-Canadian music to an All-American City - Lewiston, Maine.

The railroad connections of the 1870s brought many French-Canadians here to work in the mills. In the daytime, their tools were for making shoes and textiles. But at night they were skilled at a different kind of instrument. The French-Canadians seemed to have a musical gift, and nearly every member of the family could sing and play. The distinctive French-Canadian style of music was written primarily for dancing and most commonly featured the fiddle, accordian, spoons, and Jews harp. It was brought to Quebec by early French settlers, and was subsequently intermixed with Celtic music of Anglo-Canada.

100 years after these French-Canadian families began arriving in Maine, their music was embraced by a new generation spearheaded by a group that called itself C'est Si Bon, also known as L’Orchestre C’est Si Bon. (In English, that means “It’s So Good.”) While it consisted of several different musicians over the years, the group’s founding member Raymond Chouinard was a permanent fixture until his death in 2006.

C’est Si Bon was the highlight of the annual Lewiston Franco-American Festival, and frequently performed throughout the region at weddings, festivals and dances. But this was not just a small town band – they were repeatedly invited to appear at the annual Quebec Winter Carnival in Canada. Chouinard was so enthusiastic about playing French music that he helped the cities of Augusta and Biddeford start their own festivals.

The band's first album cover featured a collection of photographs from Lewiston's Franco-American Festival, an annual tradition that C'est Si Bon founder Raymond Chouinard helped launch.

The band released three albums of traditional French-Canadian songs in the 1970s and 1980s. The albums included C'est Si Bon, Les Saints Du Canada, and Y'en a Pas Comme Nous.

Some of their most beloved songs were Chanson Du Festival, Les Roses Blanches, Pot Pourri and E-I-E-I-O. The music served several important purposes – to preserve the cultural heritage of the community, to spread the sheer fun and joy of the music, and to introduce a new generation to its musical roots.

Many Maine musicians with French-Canadian roots continue to perform, record, and make beautiful music in the rock, pop and folk venues. But since C’est Si Bon disbanded, no one has stepped forward to fill their shoes. Fortunately, their music lives on in their records and in the memories of those of us who were fortunate enough to see them in person.

People and Their Records - Vintage Photo #1

2007-07-16T14:21:00.000-07:00

Enter the Land of Exotica

2007-07-14T14:11:00.000-07:00

Exotica was big. In fact, it was so big it had three rulers. Their names were Les Baxter, Martin Denny, and Arthur Lyman. The music they created was pure escapism, and it couldn’t have come at a more receptive time. In the Post World War II era people were ready to shed the austere life, and the more exotic the better. And so Exotica was born. In it you will find traces of Latin music, traditional island music (Hawaiian, Polynesian and Tahitian among others) along with some creative sound effects such as jungle birds that seemed to curiously eminate from the orchestra pit.

It’s not often you find a vintage Exotica album that has never been opened. But when you do, you know you have something collectible! Here is a sealed copy of Martin Denny's Exotica III released in 1959 on the Liberty Label. (Liberty LRP-3116)

In the music, there is adventure around every corner. The scenery is lush, the natives are restless but inviting, and you can experience it all in relative safety. I love it because it takes me to places I’ve never been, and probably never will be. International music comes in many forms, and one of my favorites is Exotica. I enjoy the contributions made by the three kings, but frankly some of their later releases were a little boring. Martin Denny may have taken the form too far when he recorded songs like MacArthur Park and My Funny Valentine. Personally, I prefer songs with titles like Primitiva, Voodoo Dreams and of course the classic Quiet Village. Who wants modern songs made exotic? I want exotic songs played exotically.

If you’ve never experienced Exotica, then by all means begin with the big three. But at this stage, what excites me is to find the more obscure releases of this genre. From time to time in this blog I intend to revisit this music with some examples of latecomers to the format. Two I especially enjoy are Dominic Frontiere and George Cates.

If you enjoy exploring uncharted regions of Exotica, these albums by Dominic Frontiere and George Cates will satisfy the angry gods within.

Dominic Frontiere was an experienced film soundtrack composer who didn’t mind borrowing from the styles of others, while still bringing a freshness of his own to the genre. (His Hang ‘em High was clearly inspired by Ennio Morricone, but then everyone who wrote music for Westerns in that era was in debt to the master.) Frontiere also composed the scores for On Any Sunday and Popi to name just a couple.

His album Pagan Festival: An Exotic Love Ritual for Orchestra (Columbia CL-1273) is a wonderful Exotica album that is perhaps a little more sophisticated than most. It is rich in orchestration and truly feels like a soundtrack. If Exotica feeds your desire to visit strange lands, then who better to transport you than someone experienced in the art of the instrumental as a storytelling vehicle? Frontiere takes you on a fabulous excursion to pay homage to the Jaguar God, and then its on to the Temple of Suicide and the Corn Festival. Side trips along the way include visits to meet the Moon Goddess and Venus Girl. And who could resist the House of Pleasure? Conjure that!

George Cates comes from a different background. I enjoy the suspicious looks when I explain Cates was a protégé of Lawrence Welk. In fact he wrote Welk’s signature song “Champagne Time” and did frequent arrangements for the orchestra. A Lawrence Welk Special airing on PBS revealed that while Cates was a taskmaster, he got the best out of his musicians. His album Polynesian Percussion (Dot DLP-25355) is clearly the work of a craftsman, and is appropriately full of fun and surprises. (And oh, by the way, I like Lawrence Welk.) The album features Cates' brother-in-law guitarist Alvino Rey, and drummer Buddy Cole. Songs like Moon of Manakoora and Hawaiian War Chant will lure you to an uncharted corner of Exotica.

When you enter this land, be ready to fight off jungle snakes, native spears, torrential rainfall, and the rages of unknown gods. This is music that has just about everything. OK, you can’t dance to it. That’s an added bonus.

What Will It Be, Record or CD?

2006-06-22T14:09:00.000-07:00

(I wrote the following article for publication in a booklet distributed to the media and customers attending the Giant L/A Record Show in January, 1997. It was written primarily from the perspective of a record collector, not a record dealer. At least one of the predictions has already come true. And while several years have passed, the virtues of vinyl remain the same. However, one thing has changed. I finally broke down and bought that expensive, high end audiophile system that includes a Harman Kardon amplifier and Polk speakers.)

I'm a person who has several hundred CDs, and an even larger collection of record albums and 45s. I enjoy both formats. But if I had to choose between one or the other, I would select vinyl without hesitation. There are two basic reasons for making that choice - cost and selection. Right about now, someone is jumping out of his seat! "A lot of old records are outrageously expensive, and the major chains don't even sell vinyl anymore!"

I should point out that my musical tastes run along the lines of vintage jazz and pop vocals. Much of what I'm looking for can be found at yard sales, flea markets and from dealers who employ reasonable pricing habits. While it's true that compact discs outsell vinyl at the mall stores, it's exactly the opposite at the places I shop. Finding a stash of several hundred CDs for fifty cents apiece at a weekend yard sale is something I've never encountered.

Between October, 1994 and November, 1999 I promoted 16 record collector shows in Lewiston-Auburn, Maine and Portsmouth, New Hampshire. This photograph was taken at our third event at the Lewiston Armory on April 15, 1995.

The major complaint I have with compact discs isn't the format itself, or even the price. I simply can't find a lot of the music I want on anything else but records. I'll be specific. I am a big collector of anything released by artists such as Frank Sinatra, Ella Fitzgerald, Della Reese, Tony Bennett, Sarah Vaughan, Louis Armstrong and so forth. Unfortunately, the major labels simply have failed to release the bulk of their recordings. Instead, their marketing strategies have focused on boxed sets and other collections, supplemented by only a handful of reissues of original titles. In my lifetime, I certainly don't expect to see the release of the complete discography of any of these artists on compact disc. In the case of some artists, many of the original recordings on tape probably don't even exist. Meanwhile, if Capitol and Reprise won't reissue everything in their Sinatra archives, you can imagine how selective they are with their other artists.

CDs are nice when you want to slap a stack of them on a carousel disc player and get about your business. And while some will disagree, they frequently sound better than their vinyl counterparts if only because they're missing the pops, scratches and hiss that are part and parcel for many old records. But finding albums in mint condition is a supreme joy. And having them to hold, with liner notes I can actually read without bifocals or a magnifying glass is wonderful. I don't like noisy recordings anymore than the next person. But a good diamond needle and a little extra care seem to work pretty well, assuming you have a decent copy to begin with. And when it's necessary and a better copy comes along, I simply upgrade. However, I think it's interesting that recently some contemporary artists have "inserted" artificial tape noise on their CDs - either for the novelty, or perhaps believing it appeals to the buying public.

On the subject of sound superiority, I've heard both arguments. One point of view states that analog recordings have a richer, warmer sound while digital recordings eliminate certain frequencies necessary for full-bodied listening pleasure. The other point of view says digital sound is free of distortion and offers a more precise reproduction of the original performance, while vinyl's reliance on direct contact between the surface and the stylus results in product degradation from the first playing. This article won't end the debate.

When confronted with the arguments, many of us fail to comprehend or appreciate them. Technically speaking, we don't speak “technicalese.” It reminds me of a story I read in Reader's Digest. A gentleman was shopping for his first CD player and asked the salesperson the meaning of "hybrid pulse D/A converter." He was informed it meant the machine will read the digital information encoded on the CDs and convert it into an audio signal - that is, into music. In other words, the CD player plays CDs. In that sense, it has a clear advantage over a record player.

Maine Public Broadcasting Network personality Toby Leboutillier was a frequent customer at our shows. He is seen here loading up on 45s for his long-running oldies radio show "Down Memory Lane" that first hit the air in 1979.

Frankly, I'm not the one to speak knowledgeably about the clarity, quality or superiority of sound systems. I'm not a credible audiophile. I can't spew the technological jargon, produce the scientific formulas or provide the mathematical equations that are tossed about so freely in this debate. For one thing, I've never owned the type of stereo system that would enable me to make an honest evaluation. Second, I don't have the hearing of a dog. So there you have it. Why am I writing this article in the first place? I guess because I'm assuming that most people who attend our collector shows are more or less like me, and the choices we make between CDs and vinyl records are based on several considerations, not just sound quality. After all, if no one settled for less than perfection, we'd all have exorbitantly priced systems.

Speaking of features, each format has certain advantages over the other. A great option of most CD players is their programmability. Select your favorite songs, delete the Yoko tracks, and jump on the exercise bike. But other times playing disc jockey is more fun. Somehow I just can't get as excited sharing my favorite Mose Allison masterpiece on CD. For some reason, whether it's due to sentiment or snobbery, I prefer pulling out that 12-inch disc with the blue Prestige label from the original gatefold cover. This isn't some miniaturized high-tech clone. It's the real thing.

When it comes to preserving culture, tradition, or advanced civilization's little toys, nostalgia is relevant to a point. But we're not comparing the horse and buggy to a Ford Saturn. Vinyl records made a huge leap in their quality from the days of the Victrola and the Edison players. In terms of sound reproduction capabilities, the comparison between contemporary vinyl from the 1950s onward and the modern compact disc is so close that disagreements persist.

As I consider other advantages of records over CDs, several thoughts come to mind. When the turntable is thrown out, along with it goes the opportunity to sample an array of experimental, and yes weird, music from a previous era that will never find its way into the digital world. Also lost is the beautiful cover artwork that adorned so many treasures of the past. In the effort to pack more sound into a smaller space, the aesthetic virtues of vinyl are being forfeited. Turning yourself entirely over to CDs is not unlike reading a novel on your computer screen. The next step may be to download your music off the Internet. Also not to be forgotten are the pleasures of collecting 45 rpm discs and discovering them in their original picture sleeves. And finally, as an investment, I personally believe rare vinyl still holds an edge on its digital counterpart.

As I've already admitted, there are many times when I turn to the compact disc for my listening pleasure. But for me, it's the difference between driving an automatic and a stick shift. Sometimes I want to get where I'm going quickly - the rest of the time I'm drawn towards features such as style, control and originality. In those situations, you can have your Ford Saturn. I'll take the '57 T-Bird.

Is eBay a Safe Place to Buy Records?

2006-06-21T16:54:00.000-07:00

Whether eBay is a safe place to buy records presents two different questions. Will the seller send me the records once I've paid for them? And, will they be in the promised condition? In fact, eBay is both the best place in the world to buy records, and the worst place. Anyone who is an avid collector of records and has bought on eBay already knows what I'm going to tell you. This is for everyone else.

Let's tackle the issue of seller fraud first. I can dispose of that concern in a few sentences. When interviewed on CBS "60 Minutes," eBay founder Pierre Omidyar stated that only 30 sellers out of one million fail to deliver on their promise to ship the goods. That means there is a .003% chance you won't get the records. The good news is there is a 99.997% chance you will get them. On the other hand, will you really get what you paid for?

The majority of people selling records on eBay are simply downsizing their collection, or disposing of those accumulated by their parents or grandparents. In most cases, it's not their intention to misrepresent the condition of the records. It's simply that they don't understand the grading system, and have no experience in determining condition. I've learned this the hard way. Maybe you won't have to.

This is a Polaroid photo of my very first record player alongside my collection of LPs and 45s. Somewhere in that stack is the very first album I ever bought - "Songs, Pictures and Stories of the Fabulous Beatles" on the Vee Jay label. It's now worth over $500, but beware of counterfeits.

When you buy a record on eBay, you want it to head directly to your turntable platter, not your garbage can. So, how can you be sure the seller knows the difference between VG+ and Near Mint? The most obvious answer is to check his other listings and his feedback. Does he sell a lot of records, or is he getting rid of his collection? Do his listing descriptions sound like someone who understands the hobby, or does he radiate ignorance? What do his buyers say? Here's the kind of feedback you should look for to ensure a safe purchase.

"Goods arrived swiftly, well-packaged and in stated condition."

"Seller graded the records perfectly. The music is great!"

"Thank you for a flawless experience. The record was near mint as promised."

"In better condition than promised. Trust this guy."

If you don't view a comment of this kind on the very first feedback page, you're probably better off hitting the back button. Still, there is one way to know with relative certainty that a record is in good condition even if the seller isn't an experienced dealer. If the record is sealed, and therefore unplayed, there's a good chance you'll get what you paid for - unless of course the disc has been warped by heat, mildewed from moisture exposure, or broken from rough handling.

Whether you'll be happy with the condition of the cover is another matter. I've found that most people who are fussy about the condition of the record, are equally concerned about the condition of the cover. Your only recourse is to look for clues in the description, and hope there's an adequate photograph of the record cover provided in the listing.

The good news is that eBay has a plentiful supply of reputable sellers who understand the hobby and are experienced graders. The top sellers are frequently able to offer helpful information on the artists, release dates, first pressings, etc. Their prices are frequently higher, but that's because they select only the very best stuff to sell and toss out the rest. Their eBay stores and auction listings emphasize their knowledge, and encourage trust and safety.

Many of these established dealers used to sell at the record shows. Some still do, although many of the shows have either died out or have been overshadowed and outnumbered by the CD collector conventions. As a result, eBay has become one of the most convenient venues for sellers to place their high end stock of LPs, 45s and 78s. A few sell from their own web sites, while others have found success using popular non-eBay sites.

Perhaps none of this really matters unless you are a condition nut. The fact is, quite often the records that won't satisfy a hardcore collector will actually play just fine - at least to the ears of the novice listener. If you fall into that category, a high percentage of the records on eBay will probably suit you just fine. In that case, I recommend running a search for the item you want and buying the one listed at the lowest price.

However, if you're prepared to pay $20 for that early Perry Como album on the RCA Victor label in the "Living Stereo" format, or $2,000 for the red vinyl release of the Moonglows Christmas album on the Chance label, you may want to take a real close look at the dealer's experience before you hit the "Buy it Now" button.

My Direction Home

2006-06-21T13:19:00.000-07:00

My mother turned 16 years old less than three months before I was born. One of my first memories was of her in bobby socks with black and white saddle shoes, pedal pushers, and her hair drawn back in a pony tail. The television was turned on, and Bill Haley and the Comets were playing “See You Later, Alligator.” Over the next few years the soundtrack of my life featured Elvis Presley, Buddy Holly, Ricky Nelson, Fats Domino, and a plethora of doo-wop and rock-a-billy.

Flash forward to February, 1964. I’m in 5th grade, walking the 8/10th of a mile to school with Barbara T. and Penny L. Suddenly, Penny turns to Barbara and says, “Wouldn’t Mike look so cute in a Beatles haircut!” Barbara agrees enthusiastically. Meanwhile, I’m thinking, “What in the heck is a Beatles haircut?” (And of course, why wouldn’t I look cute in a Beatles haircut too?) That evening Ed Sullivan introduces a new singing group from Liverpool, England. Their names are John, Paul, George and Ringo. At that precise moment, the world changed forever.

I listened exclusively to KJR-AM radio out of Seattle. Disc jockeys like Tom Murphy, Larry Lujack, and Pat O’Day were indelibly linked to the music I loved, and the notion that someday I too would become a famous radio personality.

Over the next few years, and continuing through high school and college, I became a music snob. In my opinion, groups like Jimi Hendrix Experience, Who, Cream, Rolling Stones, Led Zeppelin, and the Doors were unsurpassed for their rebellious innovation. I was in awe of bands like Mahavishnu Orchestra, ELP, Procul Harum, Yes, and Soft Machine for their musical wizardry. Crosby, Stills and Nash, the Byrds, Bob Dylan, and the Moody Blues had a message that resonated strongly with me and the other kids at my end of the playground. Groups like the Monkees, Paul Revere & the Raiders, and even Creedence Clearwater Revival and Grand Funk were considered irrelevant.

By the time the mid-70s had rolled around, my musical tastes were finally beginning to broaden. It was not unusual for me to go from David Bowie’s “Ziggie Stardust” album, to a spin on the turntable with Judy Garland, Tony Bennett, or Barbra Streisand. I couldn’t persuade any of my friends to see Frank Sinatra in concert, so I went alone.

My first job with any music connection was with the University of Washington Daily as the Arts & Entertainment Editor. When I joined the staff I had no idea they handed out paychecks at the end of every month. The illustration was created for my weekly column, and was drawn by Dave Horsey who went on to become a Pulitzer Prize winning cartoonist with the Seattle Times.

My dream of becoming a rock jock never completely materialized. I spent a few years as a radio announcer for various Northwest country stations, but eventually jumped to commercial television news and finally into public television where I produced documentaries and public affairs programs. My obsession with music and record collecting served me well during those years. I became the guy other reporters and producers consulted when they were looking for the right music to compliment their program segment.

By the mid-80s after my broadcasting career had landed me in New England, I was simultaneously attending and promoting record collecting shows, and finding myself buried in vinyl LPs and 45s. I was steadfast in familiarizing myself with as many kinds of music and artists as possible – always on the lookout for the talented but lesser-known singers, the obscure genres, and the little-known releases from past eras that came to fill the void most contemporary music could no longer satisfy within me.

Now, flash forward to June, 1998. I’m holding a garage sale and a lady begins loading up on all kinds of records and music memorabilia I have for sale. After she had filled several boxes she remarks, “You ought to sell some of this stuff on eBay.” This time, I wasn’t too embarrassed to ask. “What in the heck is eBay?” That night I went on the site and registered as a new member, and almost immediately placed a few things up for sale. Once again, a single moment changed my world forever.

Within 3 months I was making enough money to justify a career change. Since that time I have been a full-time seller on eBay, hawking records and record supplies, along with books and collectibles. It’s a great life, and it has given me an even greater opportunity to explore the music world as it exists on vinyl. And that in essence is the inspiration for this blog.

What I hope to do over time is to share and compare notes with record collectors who have gone beyond Frank Sinatra, to discover lesser known male saloon and pop singers like Matt Monro, Bobby Short, and Gordon MacRae. I look forward to writing relevant essays on their female counterparts including Mabel Mercer, Sylvia Syms, and Julie London. I relish the thought of paying tribute to the masters of Easy Listening including Mantovani, James Last, and the Jackie Gleason Orchestra. I hope to drop in on some of my favorite music genres such as exotica, lounge, and the 50s Latin-style craze. Over time, I hope to offer some worthwhile comments on the great film soundtrack composers like Ennio Morricone, John Barry, Maurice Jarre, and Jerry Goldsmith. I also look forward to sharing my enthusiasm for the lesser-known Broadway and off-Broadway musical cast albums that have crept into my collection. Finally, I intend to spend some time sharing tips on collecting, preserving, storing, and generally just appreciating old records.

As part of the magnificent eBay Community, and with the good fortune to have become a successful music entrepreneur, I look forward to indulging both my vocation as a seller, and my avocation as a collector. And so, symbolically anyway, this is my direction home.