Welcome to the weird and wonderful world of record covers from the golden age of LPs


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September, 2007

Cannonball Adderley Quintet in Chicago

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JULIAN CANNONBALL ADDERLEY (Leader-Alto Sax); JOHN COLTRANE (Tenor Sax);WYNTON KELLY (Piano); PAUL CHAMBERS (Bass); JIMMY COBB (Drums)

LIMEHOUSE BLUES (Furber-Braham) Harms, Inc. (ASCAP) 4:39.

STARS FELL ON ALABAMA (Prank Perkins & Mitchell Parish) Mills Music, Inc. (ASCAP) 6:15.

WABASH (Julian Adderley) Pure Music (BMI) 5:44.

GRAND CENTRAL (John Coltrane) Jowcol Music, Inc.(BMI) 4:33.

YOU’RE A WEAVER OF DREAMS (Victor Young & Jack Elliott) Kassner Music (ASCAP) 5:31.

THE SLEEPER (John Coltrane) Jowcol Music, Inc. (BMI) 7:15.

This session was cut in Chicago while all the above were sidemen working with Miles Davis’ group at the Sutherland Hotel in 1959!

This epochal jazz session was recorded in February, 1959, at universal Recording’s Studio B, Chicago, with Bernie Clapper, president of the firm, at the audio controls. In order to achieve the epitome in cohesive sound and coordination, the group was set up very tight, the way they worked in personal engagements. Microphone sets were worked out to make for the most possible directivity of sound with very little crossover, because this is fundamentally a session which featured solos by these outstanding progressive jazzmen.

1 Star2 Stars3 Stars4 Stars5 Stars (22 votes, average: 4.77 out of 5)
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Teen Beat

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1 Star2 Stars3 Stars4 Stars5 Stars (12 votes, average: 3.42 out of 5)
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Zounds!

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Zounds! The Lennie Niehaus Octet!   Contemporary Records!   1954!

Another beautiful William Claxton cover photograph!   Rich color!   Elegant design!   Natural beauty!   High style!   Cool jazz!

The best of late fifties West Coast Jazz featuring the sounds of Niehaus on Alto; Bill Perkins, Tenor; Pepper Adams, Baritone Sax; Shelly Manne, Drums; Red Mitchell, Bass; Lou Levy, Piano; Bob Enevoldsen, Trombone and others!

1 Star2 Stars3 Stars4 Stars5 Stars (25 votes, average: 4.68 out of 5)
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Is he talkin’ to me?

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Long before Taxi Driver the movie… “Spontaneous, in-the-cab recordings of The New York Taxi Driver as recorded by Tony Schwartz.”   Columbia Masterworks Records.

From the Tony Schwartz website:

Tony Schwartz, acknowledged master of electronic media, has created more than 20,000 radio and television spots for products, political candidates and non-profit public interest groups. Featured on programs by Bill Moyers, Phil Donahue and Sixty Minutes, among others, Schwartz has been described as a “media guru”, a “media genius” and a “media muscleman”. The tobacco industry even VOLUNTARILY stopped their advertising on radio and television after Schwartz’s produced the first anti-smoking ad to ever appear (children dressing in their parents’ clothing, in front of a mirror). The American Cancer Society credits this ad, and others that followed, with the tobacco industry’s decision to go off the air, rather than compete with Schwartz’s ad campaign.

Born in midtown Manhattan in 1923, a graduate of Peekskill High School (1941) and Pratt Institute (1944), Tony Schwartz has a unique philosophy of work: He only works on projects that interest him, for whatever they can afford to pay. Because of his interest in social issues, if he were to apply his commercial rate to the work he volunteers, it would amount to the equivalent of $450,000-$500,000 per year to these causes.

For thirty one years (1945-1976) he created and produced a weekly radio program of people and sounds of New York on WNYC (AM & FM). For over 15 years he wrote a weekly column for Media Industry Newsletter (MIN).

When Marshall McLuhan met Tony Schwartz, he said he met “a disciple with twenty years prior experience!” Later, McLuhan and Schwartz shared the Schweitzer Chair at Fordham University.

For many years he has been a Visiting Electronic professor at Harvard University’s School of Public Health, teaching physicians how to use media to deal with public health problems. He is also teaching at New York University and Columbia and Emerson colleges. Because Schwartz is unable to travel distances, he delivers all out of town talks by 2-way telephone. Schwartz is a frequent lecturer at universities and conferences, and has given presentations on six of the seven continents (not Antarctica). He holds honorary doctorates from John Jay, Emerson and Stonehill Colleges.

Designated the year’s “Best Social Studies Teacher in the United States” because of a Sociological Communications course he taught to high school students, Schwartz explains “I merely taught them how to document the life around them in sound and pictures.”

“Documenting life in sound and pictures” is something Tony Schwartz has been doing since 1945, when he bought his first Webcor wire recorder and began to record the people and sounds around him. From this hobby developed one of the world’s largest and most diverse collections of voices, both prominent and unknown, street sounds and music, a collection that resulted in nineteen phonograph albums for Folkways and Columbia Records.

Schwartz began to do commercials for national advertisers, in which he revolutionized the industry by being the first one to ever use real children’s voices, as opposed to adults imitating children, in radio and television ads. From commercials involving children, he moved to general advertising, everything from Coke to airlines, political campaigns and public interest media— every ten years, Schwartz’s sphere of interest expands to include new directions and new challenges, as well as continuing the old.

Credited with the single most effective and talked about ad ever produced, Tony Schwartz created the Daisy Ad, as it has become known, to highlight the dangers of nuclear arms. It was used by the Johnson campaign in 1964 to clearly illustrate his position on the use of nuclear weapons. Considering the extensive discussion that the ad has sparked, it is remarkable that the ad ran only once.

Schwartz has created the media campaigns of over 200 candidates, including the winning 1976 presidential campaign of Jimmy Carter, the 1964 Johnson presidential election, the campaigns of Abe Ribicoff (Connecticut) and Daniel Moynihan (New York), and selected campaigns of Tom Foley (Washington state), Mike Gravel (Alaska), Bob Hattfield (West Virginia), Edward Kennedy (Massachusetts) Tom Lantos (California), Warren Rudman (New Hampshire) and Andrew Young (Georgia), to name but a few.

The Library of Congress has requested that the entire body of Tony Schwartz’s material be housed in their archives. States Gerald Gibson, Curator and echoed by Daniel Boorstin, former Librarian of Congress, “Your collection…is truly phenomenal. Its scope, from political spots through documentation of speech development, commercials and interviews, to folk material, makes it one of the truly unique…collections…of mid-20th century thought and work yet put together. When one realizes that…your collection documents the work of one individual, its importance and usefulness to future research is almost unimaginable. It will enhance the Library’s collection far beyond anything that I am honestly capable of perceiving!”

The photographer Edward Steichen has called Tony Schwartz the man “who moved sound recording into the realm of the arts”. And the artist Ben Shahn told a friend, “Tell Tony, he’s my kind of artist, hard boiled and beautiful!”

1 Star2 Stars3 Stars4 Stars5 Stars (17 votes, average: 4.00 out of 5)
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Disraeli Gears

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Cream. Disraeli Gears. Cover art by Martin Sharp.

Jack Bruce: Vocals, harmonica, bass, piano

Eric Clapton: Guitars, vocals

Ginger Baker: Drums, vocals

Produced by Felix Pappalardi. Recorded 1967 at Atlantic Studios, New York. Engineered by Tom Dowd.

1 Star2 Stars3 Stars4 Stars5 Stars (60 votes, average: 4.60 out of 5)
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And away they go

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Jackie Gleason presents…Music for Lovers Only on Capitol.

1 Star2 Stars3 Stars4 Stars5 Stars (23 votes, average: 4.35 out of 5)
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Pop (Art) goes the weasel

_Weasels ripped my flesh - front

Frank Zappa and The Mothers of Invention. Recorded 1967-1969. Bizarre Record Label. Released 1970.

Frank Zappa recruited artist Neon Park to create a subversive image based on a cover story from the September 1956 issue of Man’s Life, a men’s adventure magazine. After showing Neon a copy of the magazine, Zappa inquired, “This is it. What can you do that’s worse than this?” Neon’s answer was to craft a parody of an advertisement for Schick brand electric razor based on the “Weasels Ripped My Flesh” theme.

Conceptually, the album could be considered phase two of Burnt Weeny Sandwich. Both albums consist of previously unreleased Mothers tracks released after the demise of the original band. Whereas the pieces on Burnt Weeny Sandwich generally have a more rigid and planned feel captured by quality studio equipment, Weasels Ripped My Flesh mostly captures the Mothers on stage, where they employ frenetic and chaotic improvisation characteristic of avant-garde free jazz. – Wikepedia

1 Star2 Stars3 Stars4 Stars5 Stars (28 votes, average: 4.39 out of 5)
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Eli’s comin

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Laura Nyro‘s second lp “Eli and the Thirteenth Confession” (1968) Columbia Records.

The album was written entirely by Nyro, arranged by Charlie Calello and produced by both. The record only reached #189 on the Billboard 200 “Pop Album” chart, but was a critical success and there are six songs from “Eli” on her 1997 retrospective collection Stoned Soul Picnic: The Best of Laura Nyro.

Eli and the Thirteenth Confession is also recognized as the first part in a “holy trinity” of Laura Nyro albums, the others being New York Tendaberry (1969) and Christmas and the Beads of Sweat (1970).

Known for many years for having written songs that were hits for other performers, Three Dog Night took “Eli’s Comin'” to US #10, while the Fifth Dimension went to US #3 with “Stoned Soul Picnic” and US #13 with “Sweet Blindness.”

Luckie; Lu; Sweet Blindness; Poverty Train; Lonely Women; Eli’s Comin’; Timer; Stoned Soul Picnic; Emmie; Woman’s Blues; Once It Was Alright Now (Farmer Joe); December’s Boudoir; The Confession

One of my favorite records still.

1 Star2 Stars3 Stars4 Stars5 Stars (18 votes, average: 4.61 out of 5)
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Royale with cheese

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Aside from being a cool 60’s soundtrack with great art, this recording was picked up by audiophiles about 20 years ago as having exemplary stereo sound. It was highly collectible – only the Stereo version — during the lp era’s last gasp.

1 Star2 Stars3 Stars4 Stars5 Stars (33 votes, average: 4.09 out of 5)
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Candy

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1 Star2 Stars3 Stars4 Stars5 Stars (18 votes, average: 3.83 out of 5)
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