History's Dumpster = GLORIOUS trash! Kitsch, music, fashion, food, history, ephemera, and other memorable and forgotten, famous and infamous pop culture junk and oddities of yesterday and today. Saved from the landfill of time...
I've been asked this question now and then and to be perfectly honest, the 78 RPM speed is still with us. Mostly for collectors items and not as general releases. But it does occasionally surface.
But as general releases, 78 RPM was largely passe in America by 1957. In 1957, sales of 78 RPM records accounted for 4,500,000 units in 1957. In 1958, it plummeted to less than 500,000, less than 5% of overall sales and the writing was on the wall.
But it still had a visible, if fading market for children's records (mostly because kids inherited hand-me-down phonographs from their parents and many kids phonographs also still had that speed.)
Phonola Record Player, 1950s -60s Note the case is pure Vanity Fair/Imperial Party Time, but the tone arm is a plastic gramophone reproducer that used steel needles. These players (which also sold under Woolworth's house brand, Audition) had two speeds, 45 and 78 (which were the speeds of most kids records available at that time, 45 by the 1970s, but many 78s from the '50s and '60s. still existed.) These players were sold well into the early 1970s. Image: Etsyspot
But what I'm going to focus on here is what were the last general release singles worldwide at 78 RPM.
Image:
While 78 RPM was all but abandoned in America, (save for certain budget, independent, promo releases and oddities (The "Just Like Gene Autry; A Foxtrot" track on Moby Grape's Wow album is one example.) In South America, 78 RPM was still in use until the early '70s for certain pop releases.
But by this time also, 4 and 3 speed record changers were in twilight and practically non-existent outside a very select range of high-end turntables in the '80s and '90s.
"You're The One For Me, Fatty" Morrissey (1992, UK) Image: Discogs. Morrissey was the former lead singer of the British pop group The Smiths, best known for their 1984 alternative rock mega hit "How Soon Is Now". In 1992, he released a few 78s with selections from his solo album Your Arsenal.
"Millennium" Robbie Williams (2000, UK) Limited Edition of 999 numbered copies issued to commemorate the opening of the new HMV store in Oxford Street, London. Image: Discogs
The speed reemerged in the 2000s on some newer Crosley type junk players for playing old 78s. But some better quality turntables also began including it as the vinyl renaissance swept the country and anything with grooves fascinated Millennial hipsters. But most turntables still offer only the standard 33/45 speeds.
So to sum up, the last official general release new Western pop single on 78 that isn't a reissue, novelty, oddity, collector's item or promo is one that may never truly be known, even among collectors and they're still searching. The 1973 Brazilian Latimore 78 mentioned above is the most recent I've seen yet. I have heard of others that extend into the disco era, but I've never seen any as of this writing.
"Terraplane Blues" Robert Johnson (2019 Record Store Day reissue) Image: Discogs
This 1989 cover of The Easybeats' 1966 classic should have been released in America. Seriously.
Elliot Goblet is a persona of Australian comedian Jack Levi. And why Apple and/or Amazon never used Elliot Goblet's voice instead of Siri and Alexa should be worthy of a federal investigation.
The Scopitone and Cinebox (later renamed Colorama) were early 1960s "video jukeboxes". Introduced in America in 1964, they were popular for a few years, growing to a peak of Scopitones in 800 locations in 1966. Then they vanished by the end of the decade.
Although not the first of it's kind (there are mechanical and human assisted, silent and black and white examples of coin operated on-demand movie systems going back to the early 1900s, including the 1940s Panoram and the notorious "peep-show" private viewers), the Scopitone and Cinebox were different in that they were all electric, had sound and they were in colour.
They played 2-3 minute musical shorts on 16mm film reels. An early MTV of it's day. New titles came out at the rate of four per month.
Actress Joi Lansing made Scopitone's most famous (and cheesiest) film "The Web Of Love" in 1965.
One distinctive thing about Scopitone films were most of the musical numbers all had girls (and some guys) doing go-go dancing of some sort.
They were invented in Europe. First the Scopitone in France and it's similar rival, the Cinebox in Italy where they became wildly successful. The Cinebox came to America first in 1963 and was quickly followed by the Scopitone. However, the Scopitone instantly created a media buzz and a fad in countless cocktail lounges and public waiting areas in the mid 1960s.
One early investor in Scopitone's American division was actress Debbie Reynolds.
Restaurant and lounge owners quickly signed up after reading the salesman's brochure. It really looked like The Next Big Thing.
Scopitone promotional banner
For a quarter, you got to see some American stars (such as Bobby Vee and Neil Sedaka.) But also a lot of unknown British and European stars stateside. This would eventually become the Achilles heel of both systems. Scopitone first arrived with only French films. They scrambled to put together an American library of music. But sadly, there were no really BIG names, like The Beatles.
(Warning: "Fiesta Hippie", although tame by today's standards may still be NSFW.)
Another is Scopitone was mentioned in a federal investigation into organized crime. Fearing a scandal that involves The Mob, many businesses canceled their Scopitone services and returned the machines.
Scopitone film was also on small reels that automatically loaded into the projector.....sometimes. They were notorious for malfunctioning and service was called. Often. A night of heavy use meant a call to the serviceman tomorrow. Many Scopitone machines were only known by patrons/customers as that weird thing in the corner with an Out of Order sign on it.
A Scopitone can hold up to 36 reels of film
But perhaps more than anything else, it was the Scopitone's distributors who failed to tap into the rock 'n roll craze and youth culture of the '60s which could have ultimately saved it. Instead, it was coin-op entertainment for mostly middle of the road adults who really didn't need it.
Procol Harum's 1968 hit "A Whiter Shade Of Pale" was the only known rock song available on Scopitone. There was never a release for the Cinebox.
The Scopitone was largely gone by 1970 in America. However, there were still new Scopitone films made, albeit in France. The last known Scopitone film was made in 1978. The old Scopitone projectors were mostly junked, although some were converted into peep show systems for X rated adult film arcades. Only a handful were preserved and are now mostly in museums and private collections.
It's Italian rival, the Cinebox (later renamed Colorama) was actually introduced to America earlier than the Scopitone (1963). Like the Scopitone, it had a very limited American catalog, but LOTS of Italian musical acts.
It too had a short life in America and in spite of being the first video jukebox in America, arriving months before the Scopitone. It was eclipsed by Scopitone's promotional machine, rendering Cinebox as an also-ran to Scopitone. And when the ax fell at Scopitone over the alleged Mob associations, Cinebox also felt it. The public felt like these machines were just tools of the Mob in spite of Cinebox never being involved with that in any way. Besides, neither Scopitone or Cinebox were very profitable overall.
Cinebox also ended it's American distribution and folded completely in 1978.
More on The Scopitone and Cinebox:
Scopitone Archive (Has information on both the Scopitone and Cinebox as well as the Color-Sonic system.)
If there was one set of producers, one band and one song you would have absolutely never made any connection with whatsoever in 1988, it's Stock, Aitken & Waterman, Judas Priest and The Stylistics 1971 hit "You Are Everything".
For those not aware of Stock, Aitken & Waterman, they were the legendary '80s producers of similar sounding UK pop hits-by-numbers. Including Bananarama, Kim Wilde, Rick Astley, Kylie Minogue and Sonia
You couldn't get any more polar opposite musically if you tried. To say nothing of a heavy metal cover version of a '70s soul masterpiece.
But although these are fragments of an unreleased demo, this is actually pretty damn good. Judas Priest did it right. Faithful to the Stylistics original (you don't want to screw with a classic.) But carefully arranged for a metal power ballad.
SA&W kept the drum machines and synthesizers in check. They knew what song this was and what band they were dealing with. The band also recorded some also as yet unreleased original songs from this session. But the band says it's unlikely the whole songs will surface
Judas Priest guitarist Glenn Tipton also recorded guitar solos for a Stock, Aitken & Waterman produced artist, Samantha Fox, and was credited on her 1991 track "Spirit of America".
Read more about it in the Blabbermouth article here.
This song may be best known as Roberta Flack's signature song, but this was the original version of it, released a year before Roberta Flack's version became one of the biggest hits of 1973.
Now there's two utterly different stories on the origins of this song.
Lori Lieberman claimed she was inspired to write the song after watching a Don McLean concert. When he sang "Empty Chairs", she was so moved by his performance that the next day, she told her songwriting partners Norman Gimbel and Charles Fox, who then composed the song.
Gimbel and Fox however contended that the song was inspired by an Argentinian novel. Hopscotch by Julio Cortázar. In Chapter 2, the principal character describes himself as sitting in a
bar listening to an American pianist friend 'kill us softly with some 'blues'. Gimbel put it in his 'idea' book for use for later with a
parenthesis around the word 'blues' and substituted the word 'song' instead.
However, the dispute was settled when a New York Daily News interview article from 1973 was unearthed with Gimbel admitting that Lieberman's story had indeed inspired the song.
The song was revived in 1996 by the hip-hop group The Fugees, reaching #2 that year and the Plain White T's recorded a version in 2008.
And it wasn't necessarily limited to any one subset of bands and artists. Although it always had a core of artists that tended to appear on each others albums - namely Michael McDonald, Steely Dan, Kenny Loggins and members of Toto. But many other major pop acts of that time period are guilty of
contributing to it in some way. Including Elton John, The Bee Gees, The EaglesFleetwood Mac, Barbara Streisand, Cliff Richard and Smokey Robinson.
But thanks to a later generation of lovable hipster music fans (they just get it.
don't they?) This music finally has the proper name those of us who
actually grew up in the era of this music never really had for it; Yacht Rock.
Yacht Rock was what was left when you removed the Anne Murray, Barry Manilow, Melissa Manchester,Neil Diamond and the rest of the torchier ballads and disco crossovers from the then-current Adult Contemporary radio playlists of that period.
Yacht Rock is also the name of a hilarious 2005 internet mockumentary series about this era of music. Originally made for internet video site Channel 101, the series is one of the most popular online video series ever and was the subject of a June 2015 article in Rolling Stone. And the source of the very name Yacht Rock.
Yacht Rock as a genre also connotes a recurring theme in the lyrics and album covers of these songs, usually about sailing. But also the fact that many yacht owners simply loved laid back, easy going pop music when out for a sail (and that's not a stereotype. Having some friends who are yacht owners on Puget Sound and sailed with them on day cruises, I can testify to this.)
And Yacht Rock today has made a comeback, mostly by way of the internet series and younger music fans rediscovering these old songs and the artists behind them (the resurgence in vinyl LP records in the last decade to today has also contributed.) But also in the fact that this was once the most familiar type of music on the radio for two decades. And the older fans really miss it.
And I confess, it's a guilty pleasure for me too sometimes....
A lost indie pop classic, "TV" was a song by The Judy's, Texas' (Pearland, specifically) most famous New Wave band.
This song got airplay on some wavy Seattle radio stations and this was where I first heard this song. But being on a local Houston area independent label, getting a copy of their album Washarama was nearly impossible since the label didn't have any national distribution. But The Judy's were unquestionably popular in the Lone Star state in the early 1980s. Their other hits included "Guyana Punch", "Her Wave", "Grass is Greener" and "Milk"
And "TV" is perhaps the only song to ever mention Allied TV Rentals, which was a famous national TV rental company, where you rented TVs by the week. A model that grew into today's rent-to-own businesses, such as Rent-A-Center, ColorTyme and Aaron's. Allied TV Rentals itself however went out of business nationally in 1987.
In spite of some worthy press and incredibly catchy singles, The Judy's never got the national fame and chart success they deserved. However, they still maintain a website where you can order their albums.
Ahhh....Another peaceful Sunday morning. Time to put on some nice, relaxing easy going music. Right?
Well I'm having none of it. It's time to crank it up full blast and wake up the neighbours with some truly awesome music. The stuff you just won't hear on the radio. Anywhere.
Outsider musicians are those folks who simply make music
the only way they know how. With very little to no musical training
whatsoever. The conventional requisites of stardom are simply unheard of among
outsider musicians.
This is not American Idol. There is no competition. Or critiquing. Or even practicing and rehearsals. What you hear is what you get.
They simply don't care about commercial success. Or
any musical conventionality even amateur musicians adhere strictly to. They make their
music on their own whims and for the sheer sake of their own personal enjoyment. Even if the only one enjoying it
is themselves, they wouldn't care.
It also differs from vanity acts. Vanity acts actively look for a commercial breakthrough and exposure to the masses. Most outsider acts would never be heard at all were it not for certain friends and associates encouraging them to take a leap of faith and record their material.
Sometimes a major label finds them, but that's usually a by-product of local press buzz or through chance contacts. The labels never seek outsider musicians and outsider musicians never seek the labels. If planets align, they align. But that's very rare if they do. The major labels want something that delivers a massive return on whatever investment they make. And that's something no outsider act has ever really done.
Outsider music isn't even a conscientious rebellion against mainstream rock and pop's status quo, which usually drives most hardcore independent lo-fi punk bands. They truly believe in what they are doing in spite of what anyone thinks. They simply let their dim lights shine.
But what may sound like tone-deaf psychiatric patients (some, but not all outsider musicians suffer from some sort of severe mental illness) to
the rest of us is technically a sub-sub genre of Alternative rock. It's not even a "new" thing ("Wild Man" Fischer, whom Frank Zappa discovered in the late 1960s, is a pioneer. So is David Peel, whom John Lennon discovered and released a few albums of his on the Beatles' Apple label in the early '70s, The Shaggs and to some extent, even Charles Manson.)
Today, we're going head first into the most obscure of obscure music genres. But like most of my posts here, I don't disclose everything. I like to leave some of it out for you, the reader, to explore on your own. I just merely set up the launch pad for your own journey (it might be one-way.) So this is not a complete list. Not by far. But it's enough to give a basic
insight into this strange genre. Google "Outsider music", if you're
really curious.
Bingo Gazingo
Sweet dreams, ladies.....
Bingo Gazingo (Murray Wachs, 1924-2010) was an elderly New York City outsider musician and poet with perhaps more punk rock authenticity than any band that ever played at CBGB's. And I mean all of them. He was, perhaps literally, the grandfather of punk.
With song titles like "Oh Madonna, You Stole My Pants", "Up Your Jurassic Park" and "I Love You So Fucking Much, I Can't Shit", you pretty much get the idea this was no ordinary retired postal worker from Queens.
He released an album through WFMU Radio in 1996 and this song, "You're Out of The Computer" was a collaboration with techno artist My Robot Friend (Howard Rigberg) from My Robot Friend's 2004 CD Hot Action! It also appears on the Songs in The Key of Z compilation of outsider music.
Tragically, Bingo Gazingo was struck down by a cab on his way to a performance at the Bowery Poetry Club where he appeared weekly every Monday night in November of 2009. He died of his injuries on New Year's Day, 2010. He was 85.
Wesley Willis
Wesley Willis (1963-2003) could be the most famousof outsider musicians, even garnering some airplay on mainstream alternative rock radio in the 1990s.
His story began as one of ten children born in a dysfunctional family (having so many siblings can throw even the most stable family off - think the Duggars) in the housing projects of Chicago. He spent most of his life going from foster home to foster home with two older brothers as their parents had a violent relationship and split up when Wesley was a child.
In spite of this horrific background, Wesley seemed to be a bright and fairly normal young man. However on October 21, 1989 (there are people who remember this specific date), he began to hear voices in his head, which he called "demons" and was diagnosed with paranoid schizophrenia.
About this time, he also began making music. Mostly as an outlet to escape the turmoil inside his head. He also made artwork and was discovered by members of Chicago's alternative rock scene, who encouraged his musical pursuits. This led to a collaboration called The Wesley Willis Fiasco and he actually became a sensation in the Chicago alternative underground, gaining attention from major label American Recordings, which was distributed by Warner Bros.
His favourite greeting wasn't a handshake or a hug. It was a headbutt to the forehead. I am not making that up. This left a permanent bruise on his forehead.
His music was crude, rambling and often profane. One unique characteristic of Wesley Willis is no matter what song he's performing, they all sound identical to each other. They mostly are songs about things that he had personally identified with in his life. Such as his local McDonald's, bands and stars such as Pink Floyd, Foo Fighters, Kurt Cobain and whatever else figured.
Here's a sample of what that sounded like
He eventually recorded 50 albums from 1994 until his untimely death in 2003 from leukemia. He was 40.
Daniel Johnston
Daniel Johnston, like Wesley Willis, also suffers from schizophrenia and like Willis, also uses music as a way to cope with it. Johnston is also a visual artist as well. However Johnston is different in the sense that his music is more introspective and melodic than either Wesley Willis or Bingo Gazingo. He's been called a "fractured genius" and "the indie Brian Wilson". He quite possibly could have achieved mainstream stardom and in fact, he came quite close to it.
Daniel Johnston began recording music as a teenager on a boombox at home in the late '70s. By the early '80s, he was self releasing his own material. He moved to Austin and appeared on MTV in 1985, which gained him further exposure. He went on to make more recordings, including collaborations with Sonic Youth, Half Japanese and other indie acts, who became fans of his.
But his schizophrenia was also worsening. In 1990, on the way to West Virginia on a small, private two-seater plane piloted by his father Bill, Johnston had a manic psychotic episode believing he was Casper the Friendly Ghost
and removed the key from the plane's ignition and threw it out of the
plane. His father, a former Air Force pilot, managed to successfully
crash-land the plane, even though "there was nothing down there but
trees". Although the plane was destroyed, Johnston and his father
emerged with only minor injuries. As a result of this episode, Johnston
was involuntarily committed to a mental hospital.
In the early '90s, Kurt Cobain was often seen wearing a t-shirt with the cover image of Johnston's 1983 album Hi, How Are You? on it.
Which lead to even more interest in Daniel Johnston. Even while involuntarily committed at the mental hospital, Warner Music label Elektra Records was interested in signing him, but he refused the deal as Elektra then was also the label home of Metallica, whom Johnston thought worshipped Satan.
Eventually he signed with Warner co-owned Atlantic Records, which released his only major label LP Fun in 1995. The album flopped commercially and Atlantic ended his contract in 1996.
In 2005, a full length documentary DVD on Daniel Johnston's life The Devil and Daniel Johnston was released.
Johnston is still active in music.
Jandek
To say Jandek is merely an outsider musician just doesn't quite cut it. In fact, he's been described as "The Rock N' Roll J.D. Salinger". Because he's perhaps the most reclusive of all the outsider musicians.
Yet he has released over 70 albums on the mail order Corwood Industries label. A label that while Jandek maintains a certain distance from professionally, has only issued Jandek material. And he has a surprisingly loyal and solid worldwide fan base. With almost no radio airplay or any promotion of any kind.
Most Jandek albums feature a young man on the covers in random photo shots and when you lay them out, you realize they are the same person - Jandek himself? Possibly.
But nothing has been directly confirmed by Jandek - he's only done a few interviews. But in rare recent pictures of Jandek, you do see a very strong, even uncanny resemblance.
Jandek's actual name has never been confirmed directly either, but he's believed to be Sterling Smith and he was born in 1945. Other than that, very little else is known about him. And that's how he likes it.
His music is a sort of psychedelic country-blues. But even that description isn't quite accurate. Jandek is a genre all to himself.
Jandek is an enigma even by outsider music standards. And that's saying something. In 2003, he released Jandek on Corwood, a documentary DVD that doesn't answer even the most basic questions of his life his fans always wanted to know. But then again, that mystique is still a part of his attraction.
He's still active, releasing an album or two a year and occasionally touring.
