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

Listen Here

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)

Listen Here

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