Paris – Day ten – Noel fini + Last Django In Paris

30 12 2013

SonoramaKeeping with yesterdays flexi theme, here’s another audio bauble, both plastic and Christmasie – the Nov-Dec 1961 issue of  Sonorama (No. 35, includes text and 5 white, two-sided flexi-discs, 33-1/3rpm, France, 1960. Hole for playback drilled though entire package).

Aside from the format, graphics and ads (ie; everything) of interest here is the cut and dance instructions courtesy of Régine.  This Polish-born hostess with the mostest reigned over Paris nightlife from the 50s into the 60s, said to have coined the term ‘discothèque’ and first to introduce dual turntables into clubs.  More research need here, but a very nice fleamarket find for a buck.

Here’s the tracklist posted on the incredibly useful Discogs site.

A Unknown Artist Informations Politiques
B Unknown Artist Hommage A Marguerite Monnot
C Charles Aznavour Chante Un Noël Inédit
D Choeur De Saint-Eustache Noël
E Sviatoslav Richter Concerto N°1 De Tchaikovsky
F Georges Brassens Interview, Et Chante
G Unknown Artist Sono-Gags
H Régine Apprend A Danser Le Twist
I Henri Tisot L’Imitateur De L’Elysée
J Jacques Martin Présente La Revue De Fin D’Année

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Our last night here we went to hear some jazz Manouche, or ‘Gypsy’ jazz a la Django Reinhardt @ L’atelier Charonne – a lovely evening with a jam session featuring a stream of talented, pencil-thin mustachioed guitarists.

I now bid adieu to Noel, and Paris, and welcome la fête de Saint-Sylvestre (New Year’s Eve in France, the feast day of a 4c Pope) and prep for a just-off-the-plane Le Jour de l’An l’Amerique.

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Paris – Day 9 – Europunk + the Anonymous B.George

28 12 2013

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Today a visit to the immense and impressive music complex at the Parc de la Villette to see the exhibition Europunk @ the Cité de la Musique. Cité is a wonderful space hosting a musical instrument museum, concert, teaching and listening areas, a library and special exhibitions.

Europunk showcases the influences and output of punk music from 1976-1980 within the region. I believe this music in the EU emphasized style and image more than in America, and this is reflected in the show. After all we had no interested fashion, print publishing or graphics industry, nor a Svengali (McLaren), to push it forward as a commodity. This partially explains identifying the designers of the recordings and most of the posters, but in a show dedicated to music, not listing the names of the record company, band members, or manufactures numbers on the museum walls or in the publication.  Creepy.  They did manage to list the names of all the donors.

The look is quite good and a good solution to safely displaying a great deal of fragile ephemera in a cost effective manner – strong magnets to metal board. But here again, would you post a Matisse drawing with four metal bits on the quadrants? OK, Sniffin’ Glue is not a Fauve masterpiece, but the presentation disrespects the objects they present in a museum as art works. Punks can have it both ways, curators can’t.

So here’s a few of my ups and downs. No cassettes (important part of DIY movement and only access to any public at all by the truly indie music maker). Only one book of the era.  Crass get a nice display, but ATV? Odd considering the space given to Sniffin’. Hey, if you display ‘The day the world turned Day-glo’ 45 by X-ray Spex, how about showing the sorta dayglo disc? (first 15,000 pressed in orange vinyl). Nice – the touchscreen computer ‘jukeboxes’ with country by country playlists – would be nice to see more of this material on the walls. A revelation for me was the graphics by the French collective Bazooka and that of Lulu Picasso.

Here’s the kicker; MY record from 1978, Punkappella, is in the show. So like some ‘anonymous’ female quilter I am not identified on the wall or in the book! My name is on the cover. My company name is on the cover. I suggest that anyone doing a show on music in the future consider a new invention that is a very nice research support tool; the Internet. Discogs, for one, insightfully describing Punkappella as, ‘A Persiflage On Punk.’ And by the way, I am not a European.

Show from Oct 15, 2013 – Jan 19, 2014. So if you’re a wannabe or remembering you’re wilder days you may or may not have lived, its 9E ($12.50, w/ some discounts and free days) to enter and 40E ($60) for the oversize paperbound catalog. I passed on the book, despite my interest in the material, because it is a picture book and does not contain a discography or properly identify ANY of the recordings.

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Paris – day one

19 12 2013

I’m back in my favorite neighborhood in Paris, after a grueling flight, wrong metro turns and no sleep.  And yet.  Visiting friends in the 16e I met the downstairs neighbor, a Madam Paturel, who, like most French women, just happens to have a great American jukebox in her apartment.  Here she is, charming, jukebox and all.

FR_JukeUpstairs the ARC was offered a donation of French 45s.  Many nice things here, and one gem, this wig-wearing Brigitte Bardot single, recently selling for $150+

bbTommorow: lonely Santa photos de Paris…





SUNDAY – Final Day of ARC’s Holiday Sale

14 12 2013

Sun Dec 15 – Outside it looks like this…D+Kwinter13Inside it’s warm and colorfulpunchbowl– not only records, but lots of lovely housewares from donated estates like this “Slick and Fancy” Jeannette glass punchbowl set with enough cups to egg-knock over your whole family.

Great stuff, good people, all to help support the not-for-profit ARChive of Contemporary Music.  More vinyl and CDs than we’ve had in years – all genres and formats – 45s, LPs, CDs, cassettes, books, posters, DVDs, VHS, magazine and a vintage flea market + yard sale! An incredible collection of punk/new wave 45s + LPs, 3 big boxes of Christmas LPs, 12″ singles and sound effects for sampling.

SUNDAY SPECIALS – all $1 + $2 items, half off. THEN take 10% off the final total if you buy 10 items or more. more info : 212-226-6967   Please tell all your friend about our sale and help support the ARC!





The Wine Is Gone, but We Still Have Plenty of Records

6 12 2013

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Archivist Quinn MacRorie pictured before the start of our sale.  Notice the custom ARC wine label courtesy City Winery!

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After the ARC Party, no more wine, but we still have lots of great stuff on the wall!

Last night’s members party at the archive was a great success. As you can see from the “After” picture, all of the excellent LPs displayed on our wall before the party started were snatched up by our record-hungry attendees. Fortunately, we have plenty of other excellent selections to replace them, all of which will be available for purchase when our sale officially begins tomorrow at 11:00AM. Get ’em while they’re hot!

ARChive of Contemporary Music • 54 White Street in Tribeca.  Sale everyday from Saturday, Dec 7 through Sunday, Dec 15, from 11am to 6pm.  Cash only – all to benefit the library.





ARC Holiday Record + CD Sale! Dec 7 – 15

19 11 2013

home_imageThe LONG wait is over.  More than 20,000 never before offered recordings just in time for the Holidays.  Join us as for one week every December ARC is the largest record store in New York City!

when: Sat Dec 7-Sun Dec 15, everyday 11 am – 6 pm
where: Our Tribeca space – 54 White St, ground floor
directions: 3 short blocks south of Canal St, between Broadway + Church Take the #1 train to Franklin, or any train to Canal
why: To support the preservation and research activities at the ARC
what: 25,000+ recordings-all genres and formats – 45s, LPs, CDs, cassettes, books, posters, DVDs, VHS, magazine and a vintage flea market + yard sale!
specials: This year there is an incredible collection of punk/new wave 45s + LPs, 3 big boxes of X-mas LPs, more CDs than ever before, + a special Lou Reed section. 100s of modern art, experimental + modern Classical LPs – Glass/Varese/Crumb/Carter/Satie.

All recordings never offered before – we start fresh every sale.  All styles of music in all formats. Cheaper than online prices, no shipping costs and cheaper than downloading.

We hope you can lend a hand by making a donation or joining the ARC. Memberships start @ $50 annually + you can join online via our NYcharities.org page (best for matching funds) or through paypal using the button below.

Paper people can always post a donation/membership by mail.

Members attend our pre-sale party on Thurs. evening, Dec 5. Here they can meet fellow ARC supporters, and enjoy food, drink + early shopping.

You can also donate materials. Clean out that closet, check under the bed, un-deck those halls. ARC accepts any and all music related ‘stuff.’ – LPs, CDs, 45s, 8-tracks, books, posters, swag, press kits, memorabilia and ephemera. All contributions are tax deductible.

More than 250,000 recordings are donated to the ARC every year; we sort through these, make sure we have the two best copies in our collection, and sell off third copies. Our sale improves the permanent collection, frees up space and offers everyone a fresh crop of great recordings.

So PLEASE lend a hand – donate, shop and tell folks about our sale! Is that too much to ask?

Contact us if you need more information.
212-226-6967 info@arcmusic.org
ARC: 54 White St, NYC, 10013
Thanks!





Do “The Ostrich” one last time…

29 10 2013

With the passing of an artist that one admires, one always returns to favorite works by that artist in order to commemorate him or her; in this case, Lou Reed.

Around 1963 or so, after graduating from college in Syracuse, where he played in frat bands, Lou Reed returned to New York City and tried to get into the music business. Apparently he fell in with some musicians who worked for Pickwick International, a super budget music business conglomerate; meaning it was a record company that needed product, and a music publisher that needed songs. No teen fad was too lame for this company to exploit. Dance crazes, surf music, British invasion—Pickwick would be right there, usually a dollar short and a day late.

Although it yearned to be a Tin Pan Alley-type player, Pickwick was more like the dollar store equivalent of the Brill Building. Who knows if a single song it generated ever became a hit record? One of Pickwick’s methods of doing business seemed to be this: Watch the chart for hit artists, license available recordings by said hit artists—usually tracks cut long before artists were popular—and issue them on new LPs. If there were not enough material to fill an album, Pickwick songwriters would write, produce and record to order in a similar vein.

Lou Reed was such a songwriter for Pickwick. He co-wrote and recorded such songs as “Little Cycle Annie,” “You’re Driving Me Insane” and “But I’ll Getcha” and the songs were released on these kinds of albums under the names The Beachnuts, The Roughnecks and The J Brothers, respectively.

In 1964, another “group” he recorded with, The Primitives, released a single on Pickwick called “The Ostrich.” It’s a ridiculous dance number that nobody could ever do with Lou Reed talk/singing (as he did his whole career) impossible directions: “everybody get down on your face!” However, it starts with a hot, stinging, one-note guitar riff before going into a full-on “Then He Kissed Me” groove, complete with party noises, wild screams, pounding tambourines and gibberish singing. About a minute and twenty seconds into the track, a very Velvet Underground-like, one-note vamp is hit and John Cale’s viola is clearly heard for a couple seconds before returning to the regular groove—about fifteen seconds featuring shapes of things to come. The record is futuristic minimalism disguised as a disposable, simplistic, teen-dance romp! For all intents and purposes, there is little difference between “The Ostrich” and “Sister Ray,” except for the length of the track. Less than a year later, Reed, Cale, Sterling Morrison and Maureen Tucker were in a studio with Nico and Andy Warhol cutting the first Velvet Underground album.

“The Ostrich” has been known to exchange hands for vast amounts of money.

http://collectorsfrenzy.com/details/220886303903/PRIMITIVES_THE_LOU_REED_in_group_PICKWICK_1001_The_OstrichSneaky_Pete_promo

with thanks to:

http://olivier.landemaine.free.fr/prevu/lrprevu.html

http://thehoundblog.blogspot.com/2010/04/velvet-underground-pre-op.html

By Freddie Patterson, Senior Archivist








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