The Lure of Nostalgia: Warren Carr and the 1974 Album '40 All Time Honky Tonk Hits'

The 1974 release of "40 All-Time Honky Tonk Hits" under Robin Records, a remarkable obscure UK label dealing in "As Seen On TV" type products, marked an entry in the recorded music world for a somewhat notable entertainer, not just for its musical content but for its reflection of the era's spirit. Featuring Australian entertainer Warren Carr, the album illustrates the enduring appeal of nostalgia in music and its power to connect generations.

The mid-1970s were a period of considerable cultural and social flux. As the world grappled with changes and uncertainties, many sought comfort in the familiar, and music emerged as a vital conduit for this desire, invoking memories of simpler times.

Warren Carr, primarily known in Australia for his long-running involvement with the ABC children’s TV show "Play School," brought a unique blend of entertainment skills and musical acumen to this project. His work on this album showcased a versatile talent capable of resonating with a broad audience. 

Born in Sydney, Warren Carr began his entertainment career as a stage actor before moving to television in the 1960s. He joined "Play School" in 1966, becoming a familiar face to Australian families, endearing himself to viewers with his charismatic presence and musical performances.

Carr's musical interests were deep-rooted, particularly in classic American songs of the early 20th century. In 1974, he channeled this passion into "40 All-Time Honky Tonk Hits," blending his love for music with his abilities as a performer. This album diverged from his children’s entertainment background, showcasing a broader artistic range.


The 1970s music scene was characterized by various genres gaining popularity, from rock and disco to punk and funk. This decade was also marked by a notable interest in nostalgic music, as listeners increasingly sought connections to earlier musical eras.

"40 All-Time Honky Tonk Hits" entered the market during this wave of nostalgia, offering a collection of classic American songs across various genres, styled from honky-tonk to easy listening. The tracks included pieces like "She Wore A Yellow Ribbon," "Swanee," and "When The Saints Go Marching In," evoking the early to mid-20th century musical landscape.

The album's eclectic mix is a testament to its versatility. It features a blend of jazz, folk, country, and world music, all presented in a distinctive honky-tonk style. Honky-tonk, rooted in the bars and dancehalls of the late 19th and early 20th century, typically featured twangy guitars, pedal steel, and piano. Carr's rendition stayed true to the original emotion and rawness of honky-tonk while infusing it with a polished, contemporary flair.

The easy-listening elements of the album broadened its appeal, providing a soothing backdrop that contrasted with the more rhythmic and lyric-focused mainstream hits of the day. This combination made the album versatile and suitable for various listening contexts—from lively gatherings to quiet evenings at home.

The primary audience for "40 All-Time Honky Tonk Hits" included adults who had experienced the songs' original popularity periods, finding nostalgia in the tunes of their youth. However, the album appealed to younger listeners who were curious about previous generations' musical heritage.

This cross-generational appeal was facilitated by the album's accessible styles and the universal themes in its music, which resonated with a broad demographic, making it a popular choice for family and social gatherings.

The album was distributed in the UK by Multiple Sound Distributors Ltd. on vinyl, the dominant music consumption format of the era. Its distribution helped it reach a wide audience, contributing to its success and longevity in the music market.

Nearly five decades later, "40 All-Time Honky Tonk Hits" is regarded as a cultural artifact that captures the essence of its time. Its blend of music styles and the nostalgia it evokes continue to endear it to new generations of listeners, proving the timeless nature of its appeal.

"40 All-Time Honky Tonk Hits" fulfills its role as a mere music album, which serves as a cultural touchstone that highlights the power of nostalgia and music's role in bridging diverse audiences. Warren Carr’s involvement in this project showcased his versatility as an entertainer and musician, capable of connecting deeply with listeners across ages and backgrounds. As we reflect on this album, it reminds us of music’s enduring ability to unite and inspire, regardless of the changing times.

Tracklist:

Side 1:
A1 She Wore A Yellow Ribbon / Alabama Bound / If You Knew Susie / A Tavern In The Town
A2 Those Magnificent Men In Their Flying Machines / Swanee / Down By The Riverside / Charlie My Boy
A3 Walking My Baby Back Home / Dark Town Strutters Ball / Blue Skies / The Shiek Of Araby
A4 Oh, You Beautiful Doll / Tip Toe Through The Tulips / Singing In The Rain
A5 Let Me Call You Sweetheart / A Shanty In Old Shanty Town / Shine On Harvest Moon

Side: 2

B1 When The Saints Go Marching In / Camptown Races / Beer Barrel Polka / Baby Face
B2 Carolina In The Morning / Side By Side / By The Light Of The Silvery Moon / Moonlight Bay
B3 Bonnie Banks Of Loch Lomond / Comin' Thro' The Rye / Annie Laurie
B4 I'm Just Wild About Harry / Oh Susanna / Yes, We Have No Bananas / California Here I Come
B5 You Were Meant For Me / That's My Weakness Now / Bye Bye Blackbird
B6 Clementine / The Old Grey Mare / Grandfathers Clock / Goodnight Ladies

"Mission Impossible And Other Action Themes" by "The Secret Agents"- A Sonic Snapshot of '60s Espionage In Pop Culture

In 1968, amidst the global tensions of the Cold War and the golden age of spy films, Design Records, a premier LP record line under Pickwick International, Inc., released a captivating compilation album titled "Mission: Impossible And Other Action Themes." Performed by the enigmatic group The Secret Agents, this album perfectly encapsulated the era's zeitgeist, when espionage and covert operations had captured the public's imagination.

The 1960s saw a surge in the popularity of spy films, with franchises like James Bond and The Man from U.N.C.L.E. dominating the box office. These movies, often set against the backdrop of the Cold War, featured suave secret agents, exotic locations, and high-stakes missions that enthralled audiences worldwide. The success of these films spilled over into television, with series like "Mission: Impossible" (1966-1973) and "The Avengers" (1961-1969) further fueling the public's fascination with the world of espionage (Britton, 2005).

Design Records, recognizing the popularity of the spy genre, carefully curated a collection of themes that would transport listeners into the heart of these thrilling narratives. The album's cover art is a testament to the label's commitment to capturing the era's essence. A mosaic of high-octane images, each one a freeze-frame from an imagined espionage tale, sets the stage for the pulse-pounding compositions within. From the iconic burning fuse of "Mission Impossible" to the cosmic voyages of "Theme From Star Trek," the artwork serves as a visual dossier, inviting the listener to embark on a journey filled with suspense and adventure.

Manufactured by Keel Mfg. Corp and released under Pickwick International, Inc., "Mission: Impossible And Other Action Themes" is more than just a music collection; it is a physical artifact of the 1960s pop culture landscape. Pickwick International, Inc., a leading budget record label, was known for its ability to capitalize on current trends and offer affordable albums to a wide audience (Smith, 2022). By releasing this compilation, they showcased their understanding of the market and provided a way for fans to bring a piece of the spy genre into their homes.

As the needle drops on Side A, the pulsating rhythms of "Mission Impossible" fill the room, instantly recognizable and forever associated with high-stakes subterfuge. Composed by Lalo Schifrin, this theme has become synonymous with the franchise, appearing in various iterations across television, film, and popular culture (Burlingame, 2014). Its inclusion on the album solidifies the connection between the music and the spy genre, setting the tone for the following tracks.

The "Theme From Star Trek," also featured on Side A, might seem like an odd choice for a spy-themed compilation. However, its inclusion speaks to the era's fascination with the future and the unknown. Created by Alexander Courage, the theme's soaring orchestration and sense of adventure perfectly capture the spirit of the groundbreaking science fiction series (Bond, 2003). Its presence on the album demonstrates the broader scope of action and excitement that Design Records sought to deliver.

As the listener delves deeper into the album, tracks like "The Spy Who Came In From The Cold" and "Win, Lose Or Spy" continue to paint auditory pictures of shadowy figures in trench coats exchanging briefcases in the heart of Cold War Berlin. While not directly tied to specific films or television shows, these tracks evoke the atmosphere and tension that characterized the spy genre during this period.

Side B maintains the immersive experience with themes like the gritty "Theme From Mannix," composed by Lalo Schifrin for the television series starring Mike Connors as a tough-as-nails private investigator (Burlingame, 2014). The enigmatic "Under Cover Agent Theme" and the suspenseful "The Saboteur" further contribute to the album's narrative tapestry, each track a stepping stone into the heart of the era's most thrilling stories.

The exotic "Majorca Express" reminds us of the globetrotting nature of many spy films and television series during the 1960s. With its Mediterranean flavor, the track transports the listener to sun-drenched coastlines and secret rendezvous points, adding a touch of international intrigue to the compilation.

"Mission: Impossible And Other Action Themes" is a testament to the enduring power of music to capture and reflect the cultural zeitgeist. The album not only showcases the Secret Agents' skill in performing these iconic themes but also serves as a window into the public's fascination with the world of spies and secret agents during the 1960s. By bringing together a carefully curated selection of tracks, Design Records created a listening experience that was as immersive as it was entertaining.

For collectors and enthusiasts of vintage records, "Mission: Impossible And Other Action Themes" is a sought-after gem. Its historical significance, combined with the quality of the performances and the evocative cover art, make it a valuable addition to any collection. The album is a tangible link to a bygone era, allowing modern listeners to experience the thrill and excitement of the 1960s spy genre through its unforgettable music.

In conclusion, "Mission: Impossible And Other Action Themes" by The Secret Agents is more than just a compilation album; it is a cultural artifact that encapsulates the spirit of an era. Released at the height of the Cold War and the golden age of spy films, this Design Records LP successfully captured the public's imagination and delivered a thrilling listening experience. Through its carefully curated track list and evocative cover art, the album transports listeners back to a time when espionage and covert operations were the stuff of everyday fantasy. As the music envelops the listener, each track becomes a stepping stone into the heart of the era's most captivating narratives, making "Mission: Impossible And Other Action Themes" a mission worth accepting time and time again.

Sources:

• Bond, J. (2003). The Music of Star Trek. Lone Eagle Publishing Company.
• Britton, W. (2005). Onscreen and Undercover: The Ultimate Book of Movie Espionage. Praeger Publishers.
• Burlingame, J. (2014). The Music of James Bond. Oxford University Press.
• Smith, A. (2022). The Cheapest Way to Buy Your Favorite Music: The Official Price Guide to Discount Records. Penguin Books.

Listen here!

Tracklist:

• A1  Mission Impossible
• A2  Theme From Star Trek
• A3  The Spy Who Came In From The Cold
• A4  Win, Lose Or Spy
• B1  Theme From Mannix
• B2  Under Cover Agent Theme
• B3  The Saboteur
• B4  Majorca Express

Lew Raymond And His Orchestra Play Hits Of The Flirty 30's- On Tops Records (L1654)

Tops Records wasn't just a label but a revolutionary leader in arguably the golden era of budget record label vinyl releases. In the 1950s, the budget record industry was booming, and Tops/Mayfield Records soared above its contemporaries, setting a new standard with quality and affordability. Their releases weren't just auditory delights; they were a visual feast, capturing the essence of an era when full-color jackets and liner notes were becoming industry standard norms, not luxuries.

With Lew Raymond and His Orchestra's album, "The Flirty '30s," Tops Records pays homage to a vibrant decade through the lively tunes and the album's jacket art design. The cover is a kaleidoscope of colors, each stripe representing a year from the '30s, with song titles and corresponding years boldly emblazoned. This visual treat brings the album's concept to life, inviting listeners on a nostalgic journey back to a decade known for its distinctive and dynamic culture.

The album cover features a striking image of a woman from the '30s era. Her gaze is captivating, and her expression blends wistfulness and allure, perfectly encapsulating the 'flirty' theme. Her presence against the backdrop of bright, segmented colors gives a nod to the era's fashion and flair while maintaining a modern graphic design approach that would have stood out on any record store shelf in the '50s.

On the tracklist, Tops Records showcases an ensemble of talents, with Tommy Traynor lending his vocals to classics like "When You're Smiling" and "The Music Goes 'Round and Round." The harmonious Willow Sisters contribute to the playful "Goody-Goody" and the whimsical "Three Little Fishies." At the same time, Doris Drew's rendition of "My Heart Belongs to Daddy" adds a sultry touch to the collection.

As Tops Records often did, they released this album in various formats—LP, 45 EP, and 78 sets (although less common than 45 EP counterparts)—emulating the major labels' strategy to cast a wide net, capturing as many ears as possible. This album wasn't just a set of songs; it was a full-package experience that transported listeners back to the '30s, with every note and every hue.

So, give this record a virtual spin and let Lew Raymond and His Orchestra take you back to a time when the music was as colorful as the times themselves. "The Flirty '30s" isn't just an album; it's a time capsule, a work of art, and a testament to the enduring power of music and design.

Listen here!

Tracklist: 

A1- When You're Smiling
A2 Got A Date With An Angel
Vocals – Tommy Traynor

A3 Take Me In Your Arms
A4 Goody-Goody
Vocals – The Willow Sisters
A5 Between The Devil And The Deep Blue Sea

B1 Three Little Fishies
Vocals – The Willow Sisters

B2 Did You Ever See A Dream Walking
B3 My Heart Belongs To Daddy
Vocals – Doris Drew

B4 P.S. I Love You
B5 The Music Goes Round And Round
Vocals – Tommy Traynor

What Was (Likely) In The Background At The Local Malls Of Yesteryear - Seeburg 1000 Basic BA-127 Place In Use 12-26-1968

Few names evoke as much nostalgia and admiration in the enchanting realm of vintage music technology as Seeburg. A pioneer in the field, Seeburg unveiled its iconic Seeburg 1000 background music system in 1959, captivating audiences with its innovative approach to musical entertainment. Lasting until 1986, this engineering masterpiece revolutionized how people experienced background music.

At the heart of the Seeburg 1000 system were its distinctive nine-inch, 16 2/3 rpm vinyl records. Unlike traditional records, these marvels boasted a two-inch center spindle hole, setting them apart as a symbol of Seeburg's ingenuity. Designed to be played on a specialized record player capable of holding twenty-five records, the system seamlessly transitioned between sides, ensuring an uninterrupted music flow.

The brilliance of the Seeburg 1000 lay in its ability to curate a vast library of tunes, offering listeners an immersive musical journey. The system promised hours of non-stop entertainment, with each stack of twenty-five records containing approximately 1000 songs. Whether in a bustling shopping mall, an elegant restaurant, or a lively factory, the Seeburg 1000 sets the perfect mood with its diverse selection of music.

Over the years, Seeburg introduced various "libraries," each catering to different settings and atmospheres. With its lush and sophisticated melodies, the Mood series graced upscale establishments, while the Basic series provided a more upbeat soundtrack for shopping malls and supermarkets. For industrial settings, the Industrial series brought energy and diversity to the workplace, enhancing productivity with its lively tunes.

Despite Seeburg's intention for the records to be returned and destroyed after use, many survived the passage of time, becoming cherished collectors' items akin to the legendary V-Discs of World War II. Today, enthusiasts can still acquire these treasures at a modest cost of ten to twenty dollars per disk, a small price for a piece of musical history.

As we revel in the nostalgia of the Seeburg 1000, let us not forget the dedicated individuals who preserve and share these timeless relics with the world. Channels like The World of Budget Vinyl Records serve as gateways to the past, offering patrons exclusive access to a wealth of musical gems. Through their support, they ensure the preservation of our musical heritage and provide invaluable compensation to those who labor tirelessly to bring these treasures to light.

So whether you're a seasoned collector, a music enthusiast, or a curious explorer of the past, let the Seeburg 1000 transport you to a bygone era of melody and charm. As you embark on this musical journey, remember to cherish the stories and memories woven into each note, for they are the essence of the Seeburg legacy. 

 

                                  

Here are some tunes you might recognize that appear on this record:

"Where Am I Going?" - from Sweet Charity

"Mrs. Robinson" - made famous by Simon & Garfunkel

"My Guy" - made famous by Mary Wells of "The Supremes"

"Sweet and Lovely" - made famous by Benny Goodman

"Everybody Loves A Lover" - made famous by Doris Day

"Sleep" - made famous by Little Willie John

"I Can't Stop Loving You " - made famous by Ray Charles

"Blueberry Hill" made famous by Fats Domino

Lush String Sounds Of Dean Franconi & His Orchestra- Featuring Movie Themes: Strangers In The Night/Day In The Life Of A Fool/Born Free

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Design Records, Pickwick's inaugural LP record line, holds a distinct place in the history of music. The initial releases under this label featured liner notes, jackets that bore the album title on the spine, and inner sleeves. During 1957-1958, budget record labels, such as Design Records, enjoyed a golden age marked by exceptional product quality.

In the later-end of the 1950s, an era dominated by "Tops/Mayfair," a prominent player in the budget music industry, every budget label aimed to meet consumers' heightened production standards and expectations, offering high-quality pressings and meticulously crafted jackets and sleeves. It was a period when quality and affordability went hand in hand.

However, as time progressed, there was a noticeable shift. Budget labels began predominantly releasing albums in subpar jackets with inexpensive, often noisy vinyl in just a few years after that illustrious period. "Lush String Sounds Of Dean Franconi & His Orchestra," a release from the 1960s, falls into this category.

The album comprises a selection of melodious tracks that have left an imprint on the hearts of music enthusiasts. From the captivating "Strangers In The Night (Theme From A Man Could Get Killed)" to the evocative "Espana Cani," the orchestra's lush string sounds offer a timeless experience.

Notably, Keel Record Manufacturing of Canada Limited pressed the album's recordings.

As we delve into the legacy of "Lush String Sounds Of Dean Franconi & His Orchestra," we glimpse a fascinating chapter in the world of budget record labels and their evolving standards. While the album may have been born during a time of shifting priorities in the industry, its enduring melodies resonate with those who appreciate the beauty of string orchestration.

Tracklist:

• A1 Strangers In The Night (Theme from "A Man Could Get Killed")
• A2 A Day In The Life Of A Fool (Theme from Black Orpheus)
• A3 Oh Marie
• A4 La Mer
• A5 La Paloma

• B1 Born Free
• B2 Londonderry Air
• B3 Over The Waves
• B4 Treasure Waltz
• B5 Espana Cani

The Collecting of Budget Records: Why Do I Collect Them?

If you are reading this blog right now, you will likely know that I collect budget record albums. I imagine you would ask, "What is so appealing about budget records to the point you would fork over real money to buy these junk records"? The answer lies in the stories behind the various budget labels and the purposes for which the records were made. I find them to be endlessly fascinating. I am what you could call a history buff and enjoy the why and how of anything, so I find the research and the "field" research very entertaining. How do you get interested in this field of record collecting, you ask? Sadly, I can't give you a straight answer, as it grew on me until it became the primary focus of my collecting. Try it, and it may grow on you, too. I have also loved specific budget record labels, mainly Crown and other Modern Records-operated, Royale and other Record Corporation of America, Wyncote and Golden Tone, and other P.R.I worked labels.

Budget records need to be more understood in the record-collecting community. A guy once asked me as I was flipping through some records concerning what I ordered. I told him I collected budget records. At this point, he asked, "Who made those"? I answered his questions by explaining that budget records are a category, not a brand name, primarily manufactured between the '50s and '70s. Afterward, I was shocked that people knew so little about these fascinating records.

I will tell you the good and the bad about these records. First, there is a lot of junk out there (Easy listening to music, polka, etc.)! Some of this junk is worthwhile, such as some select 101-string albums and tribute albums. One of the suitable types of budget records is albums with name artists, the real fun being that the artist in small print usually makes up the majority of the album! Another great type of budget album is a knock-off record covering pop hits or albums of the day. These knock-off records' quality depend on how well the artist covered the record; some are good, and some are paint peeling awful, so listen carefully.

I now ask you a question, what do you collect, and what makes you manage it? Please put your answer in the comment section. I can't wait to hear what you have to say.

Ray Charles "Meets" Jimmy Witherspoon On Crown Records Album CST-418 (1964)

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The album "Ray Charles Meets Jimmy Witherspoon," released in 1964 on Crown Records, holds an interesting place in the annals of music history. At first glance, the title may suggest a momentous meeting between two legendary artists. However, a closer look reveals that this album is, in fact, a compilation of tracks by Ray Charles and Jimmy Witherspoon, neither of whom shared a recording studio for any of the songs featured.

This album is noteworthy, though, because of its iconic "Fazzio" album artwork. During the early 1960s, Fazzio, an artist renowned for his innovative airbrushing technique, graced numerous Crown Records releases with his distinctive touch. He had a knack for transforming photographs of artists into striking oil-painting-like portraits. As the last wave of Fazzio cover art rolled out, his mastery of the craft became increasingly evident.

However, the story takes a twist with Crown Records' dramatic rebranding shortly after this release. The back cover transitioned to feature images of suggested record albums and slogans like "Music for every mood" and "The best high-quality record value today." Whether these claims were entirely accurate remains a subject of debate.

Interestingly, despite the rebranding efforts, "Ray Charles Meets Jimmy Witherspoon" and two other albums adorned with Fazzio's cover art continued to be listed as examples of the label's "quality" offerings. Crown Records, founded by the controversial Bihari brothers, had a history that raised eyebrows in the music industry.

The Bihari brothers initially ran a semi-reputable R&B label through Modern Records before venturing into the realm of Crown Records. Their questionable practices included crediting themselves as co-writers when copyrighting their artists' music before releasing records, a practice that hinted at their profit-focused approach. They retained a significant portion of the record sales revenue, often at the expense of the talented artists featured on their label.

Between 1957 and 1972, Crown Records produced approximately 740 distinct album releases. Most of these albums have found their way online, typically claimed by those asserting ownership rights to the material. The label's catalog spanned various music genres, featuring both obscure artists and older material from more prominent names. Crown Records' strategy was to produce a high volume of records and offer them at affordable prices, making it relatively common to stumble upon a Crown Record in a thrift store.

In summary, "Ray Charles Meets Jimmy Witherspoon" is not just an album; it's a testament to the intriguing history of Crown Records, a label with a controversial legacy in the music industry. Their business practices and Fazzio's captivating cover art continue to pique the curiosity of collectors and music enthusiasts alike, preserving a unique chapter in the world of vinyl records.

Tracklist:

A1  Walkin' And Talkin'

A2  I'm Wondering And Wondering

A3  Done Found Out

A4  Sweet Lovin' Baby

A5  Evil Woman

B1  I Found My Baby There

B2  Good Money Blues

B3  Having A Ball

B4  Better Luck Next Time

B5  That's Why I'm Feeling Blue

Echoes of the Originals: The Sensational Ink Spots on Crown Records

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Crown Records, a name that conjures up images of cheap vinyl and the notorious Bihari brothers, presents us with an album that is as much an echo of a legendary past as it is a symbol of the era's recording industry paradoxes. "More Ink Spots" features the vocal stylings of Charlie Owen's ensemble, dubbed an "Imposter" group for their lack of original Ink Spots members. Yet, their sound is undeniably reminiscent of the classic harmonies that once captivated audiences worldwide.

The album cover for "More Ink Spots" is a vibrant display, with the group, dressed to the nines, frozen mid-performance against a striking red backdrop. Their joyous expressions and dynamic postures leap from the jacket, inviting listeners to experience the music beyond the vinyl. The simplicity of the design, with bold lettering and a clear, striking photograph, reflects the straightforward approach of Crown Records – to deliver music in its most accessible form.

The tracklist, a melange of beloved standards and nostalgic tunes, is brought to life by the distinct timbres of George Bledsoe (baritone vocals), John Dix (bass vocals), Charlie Owens (lead vocals), and Stanley Morgan (2nd tenor). From the ethereal "Stardust" to the comforting strains of "Home On The Range" and the whimsical "Clementine," each song is a thread in the tapestry of American music heritage.

Crown Records, under the Bihari brothers, became a juggernaut in the budget record industry from 1957 to 1972, releasing approximately 740 albums. While often criticized, their business practices reflect a certain cunning emblematic of the music industry's more shadowed corners. These albums, like the one you may serendipitously uncover in a thrift store bin, hold stories of a bygone era, of artists whose voices resonated through less-than-ideal circumstances.

"More Ink Spots" stands as a testament to the complex legacy of Crown Records – a blend of exploitation and exposure. Like many from the Crown catalog, this album might have been sold cheap, but the memories it revokes are rich and enduring.

As you dust off this album and let the needle drop, you're not just listening to a forgotten group trying to capture the magic of the original Ink Spots. You're uncovering a piece of history, one that is intertwined with the struggle, survival, and spirit of the music that defines an era. Listen here, and let the past come alive once more.
Tracklist:

A1 Stardust
A2 Home On The Range
A3 Clementine
A4 East Side West Side
B1 I'll Never Smile Again
B2 Cuddle Up A Little Closer
B3 Honeymoon
B4 My Wild Irish Side

A Basic Guide To Shopping For Vinyl Records At Thrift Stores (With Post-COVID Edits/Additions)

This is a revised and somewhat expanded edition of an article I first wrote for this blog in 2011. A lot has happened since then, so it was time to edit the article, given my grown-up understanding, and acknowledge significant changes in the vinyl collection world in recent years. Besides updating some statements of fact, grammar has also been corrected, which is now updated to reflect my current level of education, not the high-schooler who wrote the earlier edition.

ChatGPT 4 (DALL·E 3 Tool) generated an image (with the most obvious/glaring gibberish text spot removed) based on this article's original text as the basis of the prompt resulting in this image. Teenage me would have done just about anything to have access to the digital AI powered tools we have now.

Here are some tips and insights to help you discover outstanding vinyl records while browsing thrift stores:

1. Begin by researching all the thrift stores in your area (or where you are visiting) and reading reviews [2024 Edit: consider using online AI-powered chat models, like ChatGPT 4, to do the heavy lifting if one is pinched for time]. Avoid stores with consistently poor reviews, as they may not offer worthwhile finds. Pricing can vary, but high across-the-board prices are generally a factor to consider. Don't dismiss a store based solely on subjective opinions about organization or staff quality; being too selective might cause you to overlook hidden gems.
2. Vinyl records are typically located in or near the media section of thrift stores, although they may sometimes be found elsewhere. If you need help locating them, ask the owner or an employee for assistance- sometimes they are in an obscure corner of the shop one might not have thought to look otherwise. [2024 edit: many thrift stores are either not selling or trashing the majority of what they get record-wise, keeping and selling only records in good condition they feel have any decent chance of selling... sadly, this is the new normal, and seasoned collectors have good reason to mourn this trend. Also, many people are becoming either inclined to sell the records of deceased relatives online or to a record dealer directly, or hold onto them, as their recent resurgence over the past decade has made many records boomers purchased desirable to own on vinyl.]
3. When pricing isn't displayed, inquire with the owner or staff. If the asking price seems excessive, take a moment to scan the selection for any exceptional finds. A reasonable price range is typically between $0.25 to $1.00 per record. While exceptions exist for rare or sought-after releases, anything priced above $2.00 may not offer sufficient value [2024 edit: $2 is now typically the average "reasonable" base price for albums, with $1 being reserved for garden variety single-length records at most places I visit these days. I have not seen records for a quarter a pop at any thrift store in many years, and likely I never will again]. Remember, regional pricing norms vary; what's considered a good deal for me may differ elsewhere- be flexible. Online comparisons, such as eBay listings, can provide context for assessing thrift store prices. [Edit 2024: Keep in mind that online auctions typically require one to pay for shipping, which makes even a $2-3 dollar price tag on an individual record one desire on hand at a physical store more economical overall- plus you are helping to support a charity or local business].
4. Set clear objectives and budget constraints before browsing. Avoid impulse purchases based solely on affordability; not all records are rare or worth acquiring. Stay focused on your preferences to ensure you don't end up with records you won't actually enjoy listening to.
1. [2024 edit: I like to go after material I have good reason to suspect is not already online in readily accessible digital format. Basically, I buy records to play once to transfer them to digital format, which I, in turn, clean up and share as much as possible- this has changed how I approach going crate-digging or going through the stacks, whatever you want to call it, if I know with at least 99% certainty I could type the song or album title with artist name and pull up the recording(s) featured on a record and listen to it, I don't bother purchasing it (although if there is alternate cover art then what is found online I will take a picture of it before putting it back into the crate or shelf it is in. I now go through several hundred records and typically take a half-dozen to the counter to purchase at most one time (and that is on a very good day). This contrasts quite a bit with my purchasing habits when I was younger (like when I first wrote this blog post/article in 2011); I often came home with a dozen or more records... ah, the good old days- except when it came time to move to another house... moving them all was a royal pain, which led to a massive chunk of them being forced to donate when I went to college after graduating high school and serving a church mission.]
5. Scan through the stacks of records, separating them by format (78s, 45s, and LPs) when possible. While they're typically sorted into distinct categories, sometimes they're mixed together, so thorough browsing is essential.
6. Always inspect records housed in sleeves or jackets that obscure the label. It's not uncommon to find mismatched records mistakenly placed on album covers. This attention to detail can lead to pleasant surprises if both albums containing swapped records are donated together and placed on the sales floor simultaneously.
7. Take the time to flip through the records individually, pulling out any that catches your eye. After reviewing the entire selection, reassess your choices to ensure your satisfaction.
8. Trust your instincts when deciding whether to purchase an item. If you need more clarification, prioritize what matters most to you now. It's better to be cautious than regretful. Once selected, proceed to the checkout counter to complete your purchase.
9. Remember to bring sufficient cash with you, as some thrift stores may not accept cards [2024 edit: this is much less of a problem post-COVID than in years prior]. This ensures you won't miss any desirable records due to payment limitations.
10. Finally, enjoy listening to your newly acquired records. If you discover an artist or group you love, watch for their releases during future crate-digging adventures.
11. [2024 edit: Take time to periodically purge your collection of releases that no longer interest you, especially if you have been collecting for a long time and your interests in various genres have shifted significantly. Finding or making digital copies really helps one let go of excessive records in one's collection- and yes, my dear teenage me who wrote the original version of this article in 2011 when I was a naive little sophomore, it is possible to have too many records for one's own good.]

Happy hunting!

Forgotten Sounds: Andy Wiswell & His "Hits A Poppin" Orchestra with Vocal Stars of Radio & Television

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In the American music industry's vibrant landscape, hidden gems are waiting to be unearthed, waiting to tell their stories. One such treasure trove was Parade Records, a budget label born in the heart of New Jersey in 1950 under the visionary guidance of Wally Wolsky. While its name might not immediately conjure up memories of chart-topping hits, Parade Records holds a significant place in the annals of music history, intertwined with other labels like Pirouette Records and Spin-O-Rama.

Picture this: dusty shelves in a forgotten thrift store tucked away in the quiet corners of Idaho. Amidst the clutter, a worn-out LP album catches the eye. Its cover is adorned with promises of melodies and lyrics long lost to time. This album, a relic of Parade Records, offers a glimpse into a bygone era of music.

Tracklist in hand, we delve into the musical journey offered by Parade Records:

A1 Here

Written-By – Cochran*, Grant*

A2 Little Things Mean A Lot

Written-By – Stutz*, Lindeman*

A3 If You Love Me (Really Love Me)

Written-By – Parsons*, Monnot*

A4 Poor Butterfly

Written-By – Golden*, Hubbell*

B1 The Man Upstairs

Written-By – Morgan*, Stanley*, Manners*

B2 Jilted

Written By – Colby, Manning

B3 The Man With the Banjo

Written-By – Reichel*, Mellin*

B4 Answer Me, My Love

Written-By – Sigman*, Rauch*, Winkler*

Yet, nostalgia mingles with disappointment as the needle scratches against the vinyl. The sound, once vibrant and alive, now echoes with the wear and tear of time. Though laden with potential, the tracks bear the scars of neglect, their true essence obscured by the passage of years.

Apologies are offered for the over-processed sound, a result of early attempts to salvage the album's treasures. In hindsight, it's a decision regretted, a realization that these melodies deserved better treatment. The original copy, plucked from obscurity in that Idaho thrift store has since been relinquished, leaving behind only echoes of what could have been.

And yet, amidst the static and imperfections, there lies a beauty that transcends the limitations of technology. These tracks, imperfect as they may be, serve as a testament to the resilience of music and its ability to endure through the ages.

As we bid farewell to Parade Records and its fleeting moments captured in sound, let us remember that, sometimes, imperfections make the music genuinely unforgettable. And who knows? Perhaps, somewhere out there, another copy of that elusive album awaits, ready to be rediscovered and cherished once more.

Seeburg 1000 Industrial Background Music Library 16 2/3 RPM Record- N 15- Place In Use 4-1-1964

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Seeburg put out their famous Seeburg 1000 background music system, which started in 1959 and lasted until 1986. This system utilized special background recordings pressed onto nine-inch, 16 2/3 rpm vinyl records, each with a two-inch center spindle hole. These were designed to be played on a special record player that could hold 25-28 records and play both sides before moving on to the next record in the stack, rotating through them in a cycle. The idea was that one would have heard at least 1000 or so tunes by the time the whole stack was completed. Given that the average record side's playing time is about forty-five minutes long, so roughly ninety minutes per record, and with twenty-five (later 28) discs in a machine at a time, there was more than enough to go the entire day, and some without hearing any repeats if played continuously- but most businesses would have been not have run the machine when the store was closed... so the machines likely got a break for ~8 hours or so each night. 

Thus, with a Seeburg 1000 system, even an employee of a given location where one of these was in use would have only had to hear the same track every few days- which is much nicer than what one gets working in businesses these days with their in-house company "radio" stream which often plays the same songs day after day, which gets old really fast, compounding the miseries of working modern retail type jobs- low pay, unrealistic expectations/quotas from out of touch upper management on what they expect understaffed skeleton crews composed largely of slackers should be able to do in one shift (mandatory overtime all the time), and increasingly hard to please customers who don't seem to understand how much one is under the gun to get one's assignments and that going the extra-mile only gets one in trouble when the quotas are not met. I worked at a big box retail and grocery store mega-corporation location some years ago, and it got to the point where I knew what time it was when certain songs came on in the loop that I had become all too familiar with.

The records in each machine were initially rotated in sets of seven records quarterly, with the frequency of replacement sets decreasing to bi-annual replacement sets. The number of active records per Seeburg 1000 unit was bumped up to twenty-eight in 1967.

A series of "libraries" offered the subscriber various "flavors" of music. The Industrial series, made for factories, was typically upbeat and rather varied. Its goal was to promote productivity and reduce boredom among workers in factories and other blue-collar workplaces that once dominated the employment pool for the American workforce.

Songs you may know-

A1- Wake The Town & Tell The People - Jack Hansen Orchestra

A2- I'll Get By

 A3- The Gravy Waltz

A4- Snuggled On Your Shoulder- Made Famous By Bing Crosby

All Time Hits By Irving Berlin on Royale Records- VLP-6016

    

This album is a compilation of various sides from the back catalogs of various defunct record labels, Majestic especially, which Eli purchased in the late 1940s and reissued in every way he could up through his death in 1960. Many of his Showtune albums are little more than repackaged Majestic and/or Sonora sides, with some miscellaneous filler tracks of unknown origin to pad them out as needed.

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Track List:

A1- Soft Lights & Sweet Music - Twilight Three [They are not to be confused with the Three Suns, who also recorded for the Majestic label- I used to think they were the same, too, before carefully studying the Majestic catalog.]

A2- Blue Skies - Morton Downey
A3- Harlem On My Mind - Thelma Carpenter
A4- Alexander's Ragtime Band -Bob Case
B1- Lady Of The Evening - Twilight Three 
B2- Always - Jack Smith
B3- You Keep Coming Back Like A Song - Georgia Gibbs
B4- All By Myself - Morton Downey

The Ray Charles Chorus Takes Me To Far Away Places- Essex Records

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Essex Records was an early budget label effort run by Dave Leonard Miller, who is best known for his Somerset label and the 101 Strings Orchestra which proved to be a major contributor and at times a trend-setter to the background music scene of the 1960s and 1970s.

A1 Far Away Places

A2 Moon Of Manakoora

A3 Foggy Day In London

A4 Moon Over Miami

B1 April In Paris

B2 It Happened In Monterey

B3 Beyond The Sea

B4 Slow Boat To China