Anomale Used Blog

And this was just the beginning. By the end of 1955, rock and roll, as performed and consumed by both blacks and whites, had emerged as a distinct musical style, rather than simply a euphemism for the black r&b which spawned it and with which it continued to overlap. In late 1956, Billboard reported that 25 of 125 pop chart entries during the first 50 weeks of the year had been black r&b/rock and roll records. Many others were either white cover versions of black songs or by white artists performing in styles obviously derived from black music. In 1957, the independent record companies responsible for recording much of this material accounted for an astonishing 76 per cent of the year’s hit singles. In 1958 more than 90 per cent of the 155 records appearing on the national Rhythm and Blues charts during the year also appeared on the pop charts. Taken together, the rise of these Independents and the unprecedented popularity of black and black-derived styles with young white audi...

Aretha Franklin - The Long and Winding Road Written by John Lennon, Paul McCartney Released on Young, Gifted and Black Album January 24, 1972 "Rolling Stone Magazine has said that no one covered The Beatles songs as well as the immortal Aretha Frankin and called her version of The Long And Winding Road” the best Beatles cover ever." It is impossible to date the origin of the blues with any precision, although its roots in the music which West African slaves would have brought with them to the Americas have always been assumed. There are accounts of calls and field hollers back into the nineteenth century. Working individually in the fields in comparative quiet, such calls had practical use, (to ease the drudgery of repetitive actions, or to call instructions to animals), but they would also sometimes become communal expressions, as when one field hand picked up the call from another, and so on. These workers were politically segregated. The hopes which had arisen in t...

LSD’s most obvious and pervasive influence on culture is to be found in music. That’s surely because music can be enhanced by the drug, prompting synaesthetic responses: seeing sounds as colours, patterns, shapes. What LSD doesn’t do, however, is make it easy to read a book, or concentrate on plot. So it’s only really in music that there’s a true overlap between work made about acid, and work made for enjoying when on acid… And while the sonic experimentation prompted by LSD may have rippled right into mainstream pop music, it’s not like full-on psych has ever really ceased: you can see it noodling away, right up to today’s bands. Few musicians working today could claim to be unaffected by records such as, say, Revolver. The Beatles’ ‘acid album’ was released in 1966, and was a huge leap forward in sound, featuring tape looping, reversed guitars, vocal effects and altered speeds. The warp and wobble of Tomorrow Never Knows, with lyrics based on Leary’s The Psychedelic Experience Manual...

The Uncommon Vinyl Sizes & Speeds The standard sizes and speed for vinyl records are 12" and 7" both played at 33 1/3 RPM or 45 RPM. RPM means revolution per minute, the number of times the record rotates a minute. Image by Mink Mingle Unusual Sizes for Vinyl 2 in (5.1 cm) Recorded at 10-20 seconds each side. 3 in (7.6 cm)   Also known as 8ban for 8cm Bandai, these were developed in Japan by record pressing company Toyokasei. Records in this format continue to be manufactured. 3 inch singles are made available exclusively. 4.7 in (12 cm)  Although dubbed a 5 inch record, to be usable in most compact disc players, the record can be no bigger than 120 mm. 5 in (13 cm) Children's records records were manufactured in this size from the early 1900s all the way up to the late 1950s and underground punk bands in the 1990s. 6 in (15 cm) From the late 1940s to the early 1960s. The 78 RPM speed was used for some children's records of this size well into the 1960s...

Just as we might feel inclined to see music resisting the implicit morality of high and low (high being the good and low being the bad or base, basso, by that telling ambiguity of language), music is much more than melody. Melody may be the pre-eminent quality of western metrical music; but in most performed genres since the middle ages, music was arranged in different voices. Initially, this may have involved little more than a drum or drone that accompanied one voice, more or less providing padding or a beat for the single voice that rose above it. But the bulk of early music already reveals a bass part. With the development of the keyboard, the bass notes could even be played in the left hand by a single performer while the right hand typically provided the melody on the higher side of the scale. The continuity of the drone is perhaps recalled in the delightful Italian baroque term basso continuo, a bass line that keeps going, or as English musicians would say in the same period, a ...

Swing jazz in the 1920s and 30s aimed for making people move. The music was rhythmic, repetitive and danceable. Over time, however, different sub-categories of jazz evolved into less danceable music, such as bebop, cool jazz, and free jazz. The tempo became too fast or too slow. The structure was less transparent, with many improvised parts. A respectful jazz audience did no longer dance but had their attention fixed on the musicians. Gradually, jazz concert conventions became as fixed as for the classical concert halls: a seated audience that should applaud after solos and nod their head or tap their feet modestly to the beat. In line with the classical conventions, attentive listening was the only way of showing respect for the musicians. The rock’n’roll that spread like wildfire in the 1950s evolved from the African American rhythm and blues. The African American music culture has always had a close link between music and movement, in the church, in concerts, in social gatherings, a...

The development of the phonograph record industry was a great boon to the entertainment world and became a big factor in the popularizing of songs. First efforts in this medium entailed the use of cylinders, which proved impractical. Columbia and Edison were early companies, joined in 1901 by Victor, and these three became the most important companies in the development of records. Other companies formed a decade or so later. After cylinders came the standard type of 78- rpm record used during all the years following till about 1950. Early records utilized an acoustical process of recording which left much to be desired because of its poor fidelity and volume. The early records featured band marches, string ensembles, instrumental solos, comedy and novelty songs and dialogues, and opera singers performing operatic and semi-classical airs. By 1909 the companies began to record the popular songs of the day by well-known entertainers. The first electrical records appeared in the mid 20s o...

Native American Music from Jazz to Hip Hop creates a forum for the interdisciplinary discussion of popular music performed and created by American Indian musicians. In addition to examining the influence of popular musical forms from blues, jazz, country western, rock, folk, punk, reggae, and hip hop on Indigenous expressive forms, our contributors similarly note the ways that the various genres have been shaped by what some have called the “Red Roots”of American-originated musical styles... the study of this body of music provides an important window into history, politics, and tribal communities, as it simultaneously provides a complement to literary, historiographical, anthropological, and sociological discussions of Native culture. In doing so, our understanding of American culture as a whole is challenged and enriched. The study of Indigenous music and song-making has long been constrained to the realm of ethnomusicology, and has often focused on the old songs, “traditional songs,...

The Different Types of Vinyl Vinyl records are an analog sound storage medium, a phonograph record format characterized by: a speed, a diameter, use of the "microgroove" groove specification, and a vinyl composition disk. Image by Jack Hamilton 12 inch Album/12 inch Single (LP or Long Playing/EP or Extended Playing) The 12" vinyl format is often referred to as an LP as it can play much longer than the Single or Extended Play 7". LPs were 10" records at first, but soon the 12" size became by far the most common. While the 12" format is most commonly used for LP purposes, it is also quite common to see Singles and EPs pressed on 12" vinyl. The recording time available on 12" records depends very much on the frequency spectrum, the dynamic range, the width of the stereophonic signal and other characteristics of the recording. Recommend 12" records playing times are 14.0 – 15.5 minutes at 45 RPM and 20.0 – 22.5 minutes at 33 1/3 RPM. T...

The process of identifying a history and tradition of jazz has been one of the most significant influences on jazz music and culture. The quick succession of stylistic changes in jazz have often caused disagreements as to the role of innovation in jazz and the character of its authentic forms. While these disagreements are now largely amongst academics, throughout the twentieth century musicians, critics, and members of the music industry had been the principal actors in formulating jazz history. Their participation has helped shape the music itself, the manner in which it is performed, and its place in American culture. The revival of ‘traditional’ jazz that started in the late 1930s marked the first major impact of history on the industry. The revivalists were a group of musicians and critics who often complained that the developments that characterised swing were too formulaic and clich´ed. Traditionalist critics such as Rudi Blesh, David Stuart, and Ralph J. Gleason thus promoted j...

In the 50s, audiences still liked bebop that packed heat and drama. By the middle of that decade, there emerged a variant of bebop called hard bop, which was characterized by dominant blues and gospel elements, and may have rendered those still wondering what is bebop even more confused. Hard bop became the most popular form of jazz in the 50s, and among its main practitioners were Miles Davis who, ever the restless soul, quit the cool school soon after it started.  Hard bop remained a valid jazz currency right into the 60s, though by then another offshoot, called soul jazz, offered a more accessible and gospel-infused version of bebop, and was popular for a few years. But jazz as a whole was losing its audience to rock and pop music. With the rise of avant-garde jazz, the music continued to shed its mainstream appeal, though every now and then the occasional jazz record would infiltrate the pop charts. Even though fusion and jazz-rock further diminished bebop’s appeal in the 70s, ...

This observation is especially apt when discussing music, perhaps the most experiential art form. Like music itself, which operates on a primal level best described as “pre-rational,” musical judgment seems more visceral than cognitive, more automatic than reasoned. An old opera joke addresses the problem of relying on the expert’s opinion: Wagner’s music is better than it sounds, while Puccini’s music sounds better than it is. The humor lies in the absurdity of judging music, the audible art, apart from how it sounds. It is the difference between experiential appraisal (“I know what I like when I hear it”) and analytical discernment (“I discern its value when I measure it”). These divergent modes of apprehension help explain the often-wide chasm between popular musical tastes and the rarified tastes of music critics, theorists, historians, and other professionals. Rather, we are aroused by our own involvement, and mistake that excitement for emotions expressed in the music. We may asc...

From the earliest oral traditions Delta storytellers possessed a strong sense of place, of which the landscape, water, and heat formed the backdrop. Tragedy and melodrama are popular southern genres, and kinship and family are important themes in Delta literature. Southern class differences and racial conflict have also long given rise to written expression, and the themes of delta writers, especially the elementalism and focus on "blood, sweat and tears" reality, often parallel those of Delta blues songs. Music and the lower Mississippi River delta are synonymous and, indeed, the Delta is the cradle of American music. Musical styles within the Delta region are diverse and it was here that the blues, Cajun music, jazz, and zydeco evolved. Yet best known around the world is the blues music of the lower Mississippi River Delta. Developed by people engaged in struggle, infused with spirit and speaking in dialect, the blues are rooted in African music and evolved from field holla...

Because music is a language that puts structures and written forms into play within a homologous relationship with other forms of expression, the relationship between music and politics cannot be understood solely based on the esthetic criteria of musicology, or the historic or cultural criteria found in the way sociology studies how music is received. Music, as a cultural product and symbolic form, is part of social life. “As organized sound, it expresses aspects of the experience of individuals in society.” As shared experience, music mobilizes and unifies groups, contributes to their movements and accompanies celebrations and rites. It excites to violence and combat, as it does to fervor and effusion. In short, it reveals social and political processes that are, as Rousseau observed, “capable of acting physically on the body.” Yet these very characteristics also present the enigma of music, which seems neither to want nor to be able to say anything. While all social and cultural act...

Couldn't find anything interesting to share today, will find something for tomorrow. Peace to theworld. ✌️☮️ Gary Moore - Still Got The Blues Lead vocals, lead and rhythm guitars, and songwriten by Gary Moore Released in April 1990 "Gary Moore's only single of his solo career to chart in the US was Still Got The Blues. Germany court ruled that the guitar solo on the song was plagiarized from a 1974 instrumental recording." J. J. Barnes - You Are Just A Living Doll Released in 1973 Written By David Jordan & Patrick Adams "It's perhaps no surprise that with the 1973 comeback bid Born Again he chose to introduce a heavier, more emotional vocal approach and slow-burning melodies rooted in blues and gospel." See previous Song of the Day

Louis Armstrong & Ella Fitzgerald - Love Is Here To Stay Composed by George Gershwin with lyrics by Ira Gershwin First performed by Kenny Baker in The Goldwyn Follies Released October 1957 "Love Is Here to Stay" was the last musical composition George Gershwin completed before his death on July 11, 1937. Ira Gershwin wrote the lyrics after George's death as a tribute to his brother. " All children are musical—they are born musical, and are keenly aware of sounds around them. Let’s begin with a journey from the perspective of the child—a very young child at the beginning of life. What does the child experience? What does he or she hear? Inside the womb, the baby hears the mother’s heartbeat, the rushing sound of amniotic fluid and the mother’s voice. From outside, the baby hears language and music, mostly low sound waves from bass instruments and loud noises. Because the visual sense is not viable at this point, the auditory senses are primary, and hearing...

The ‘new’ culture industries, dance halls, radio, gramophones and cinema, that had risen to mass popularity since the 1920s were to some extent nationalised cultures, with widespread and often universalised economic infrastructures. They provided the general public with access to music and leisure activities even in more remote, rural areas (see below). There were two domestic media of musical experience, radio and gramophone records, and two which were public and social, dancing and cinema-going. Technological advances over the previous decades had enabled music to become a ubiquitous, and largely cheap, commodity, and had dramatically changed the general public’s access to music and habits of listening (see below). Moreover, as Ehrlich argues, music technologies broke the link between musical demand and live performance, and increasingly privatised the listening experience. By the late 1930s, these ‘new’ mass culture industries had established structures and settings, and were suppor...

The 1960s was one of the most dramatic and controversial decades in American history. Opinions about its achievements and failures continue to be divided between those who condemn the decade as the source of much that is wrong with contemporary America and those who hail it as the last time the nation made a concerted effort to realize its best ideals. Yet amid passionate disagreements about the significances and legacies of the 1960s, few dispute that popular music was a powerful cultural, social, and economic force in the period, or that it has played an important role in shaping how the decade has been remembered. The Motown soul of the Temptations and Marvin Gaye; the folk revivalism of Bob Dylan and Joan Baez; the folk-rock syntheses of the Byrds; the surfing sounds of the Beach Boys; the free jazz of Archie Shepp and Ornette Coleman; the girl-group sounds of the Chiffons and Crystals; the southern-fried soul of Percy Sledge and Otis Redding; the lush Nashville countrypolitanism o...

Finally, an envoi and a performance practice recommendation. One of the earliest ingredients the arranger/producer mixes into the final confection is mono/stereo. Stereo background effects are extraordinary compared to mono, which can be appreciated perfectly with headphones plugged into a receiver with a mono out switch. Toggling between the two modes is an ear-opening exercise. Stereo spreads sound horizontally between the ears, while mono concentrates it vertically, as if in a column bisecting that same between the-ear space. Stereo-specific foreground effects can be extraordinary as well, including all those that descend from the bouncing ping-pong ball demonstrations used to sell early models of home stereophonic equipment. There’s another venue besides the car where mono sounds better than stereo. Parties, rock concerts, clubs (really, all versions of the same thing) are crowds of people buzzing, mingling, moving, laughing, dancing. They aren’t an ideal formation for stereo effec...

At the first major antiwar rally in Washington in April 1965, Judy Collins sang Bob Dylan’s “The Times They are A-Changin,’” and Joan Baez led “We Shall Overcome,” the anthem of the civil rights movement. That year, Malvina Reynolds wrote and sang “Napalm” (1965), which contributed to the anti-napalm campaign. It began, “Lucy Baines [Johnson], did you ever see that napalm? Did you ever see a baby hit with napalm?” Tom Paxton highlighted President Johnson’s deceptions with his popular, catchy, sing-along, “Lyndon Johnson Told the Nation” (1965). Heavy metal protest songs gave vent to emotion, the lyrics barely decipherable amidst the throbbing instrumental beat, but still carried the movement’s antiwar orientation into the mainstream culture. Jimmy Hendrix’s distorted, screaming guitar rendition of “The Star Spangled Banner” (1968) was played, not as a patriotic anthem, but as a reflection of the violence done in the name of the flag. Commercial radio stations were generally averse to p...

Takuya Kuroda - Everybody Loves The Sunshine Release date: 2014 Duration: 09:26 "Kuroda signed with Blue Note Records and recorded his third solo album, the José James-produced Rising Son. Released in 2014, Rising Son featured a strong soul-jazz and hip-hop influence exemplified by the presence of several Roy Ayers compositions including “Everybody Loves the Sunshine." Blue Note Records Whatever the radical constructionists may say, it is lived as a coherent (if not always stable) experiential sense of self. Though it is often felt to be natural and spontaneous, it remains the outcome of practical activity: language, gesture, bodily significations, desires. tis impossible not to be borne down with the rapidity of these movements. A symphony of furies shakes the soul; it undermines and overthrows it in spite of all its care; the artist himself, whilst he is performing it, is seized with an unavoidable agony; he tortures his violin; he racks his body; he is no longer maste...

Billie Holiday - Summertime (and her orchestra) Written by: Ira Gershwin, George Gershwin, DuBose Heyward Recorded on July 10, 1936 "Summertime by Billie Holiday and Her Orchestra was written by Ira Gershwin, George Gershwin and DuBose Heyward and was first performed by Abbie Mitchell."

Best Record Stores in America Visit Anomale Used Records eBay Store Find a list of stores that sell new and second hand, vintage or used collectibles, CDs, preordered vinyl records, DVDs, TV shows, cartoons and concerts. You can also find record shops that host musical performances, live events and listening session such as Good Records. Amoeba Music "We're a 21st century music outlet, a website, a popular live performance venue, and together with our customers we're a meeting place for California's most colorful community of progressive and creative minds." https://www.amoeba.com/ San Francisco 1855 Haight St. San Francisco, CA 94117 Open 11am-7pm every day (415) 831-1200 Berkeley 2455 Telegraph Ave. Berkeley, CA 94704 Open Wednesday - Sunday 11am-7pm [Closed Mon/Tues] (510) 549-1125 Hollywood 6200 Hollywood Blvd. Los Angeles, CA 90028 Monday - Thursday open 11am - 8pm | Friday - Sunday open 11am - 9pm (Trade counter closes at 7pm every day) (323) 245-64...