One of Stockportâs best loved progressive and heavy rock bands Savory Duck have released two excellent downloadable albums which are available from the bandâs website and on the usual download music sites.
The Duck sprang from a four-piece heavy rock band called Burial who specialised in covers of tracks by Black Sabbath, Atomic Rooster and US power rock giants Grand Funk Railroad.
In the early 1970s they formed a new progressive rock band Savory Duck based around the guitar, keyboard and song writing skills of Arny Sage.
Their main influences were bands such as Caravan, (the cult Canterbury progressive rock band); prog rock favourites Gentle Giant and Greenslade, the spin off band lead by ex Colosseum organist Dave Greenslade.
The band played a number of well received gigs at Manchesterâs Stoneground, (supporting Caravan); Bradford University, (supporting ex-Curved Air violinist and keyboards man Darryl Way and his band Wolf) and Stockport Town Hall with guitarist Gordon Giltrap.
They also held down regular gigs at Stockportâs Mersey Tavern. A local newspaper report described the band as âFluid, competent and professionally flawlessâ.
The Duck disbanded in 1976 but played occasional gigs and continued to lay down tracks at a number of studioâs including the famous Strawberry Studios in Stockport.
âDown The Lineâ was recorded at a number of small Manchester studios between 2015 and 2019.
Also issued is a polished album of demo recordings âThe Duck Studio Demoâsâ cut between 1975 and 1976 at Strawberry Studios with one track âVariation 55â cut and mixed between 2001 and 2003 at Cavalier Studios in Stockport.
These albums are a must for progressive and heavy rock fans and can be downloaded at the bandâs website (and they have a Facebook site too) which contains details of the bandâs ever evolving membership, details of these two albums, recording data, historical band photos and memorabilia.
Not to be missed by fans of 1970s progressive rock.
Greil Marcusâs masterful history of rock ânâ roll and American culture, Mystery Train is now available as an incredible Folio Society edition. Newly updated by the author exclusively for Folio, and the first English language edition to include illustrations, this is the ultimate and complete version of Marcusâ masterpiece.
The book chronicles the growth of rock ânâ roll from its roots in the blues, gospel and country music of the Deep South to the extravagance of rock icons in the 1970s. On its publication in 1975, Mystery Train was hailed as a revolutionaryÂ book about popular music.
It has proved inspirational to critics and musicians alike Bruce Springsteen, Nick Cave, Elvis Costello and David Bowie (one of his â100 Best Booksâ) are among the many to have expressed their admiration.
In this new Folio edition, the energy and enthusiasm of Marcusâs narrative is paired with outstanding photography. From evocative black-and-white shots portraying American life from the 1930s to the 1970s and full-colour album covers to iconic photos of Woodstock and Elvis, this edition is packed with glorious snapshots from the rock ânâ roll era.
This edition also adds wholly new and exclusive material written by the author. Marcus kept expanding his famous Notes and Discographies after the initial publication of Mystery Train in 1975, and it is now a rich treasury of facts, digressions and anecdotes. This section, included in this Folio edition, contains meticulous details of albums, re-issues, bootlegs and live recordings, making it an essential listenerâs companion to the pioneers, contemporaries and successors of rock ânâ roll music.
Bound in screen-printed textured paper. Set in Benton Modern with BureauÂ Grot Condensed as display. 552 pages.
59 integrated black & white images, and 8 pages of colour images including a double page spread. Blocked slipcase. 91/2Ë x 61/4Ë.âą
Craft Recordings will be reissuing 25 digital releases from the Gospel Truth Records, (a subsidiary of Stax Records).
Kicking off with The Rance Allen Groupâs 1972 self-titled debut, new titles will be released every week in chronological order, leading up to Septemberâs Gospel Heritage Month.
In addition to the digital reissues, there will be a singles compilation, released on September 4thon vinyl, CD and digital plus several playlists and new video content.
Established in 1972, Gospel Truth was conceived of by Stax executive Al Bell, who enlisted the help of radio promotions pioneer and songwriter Dave Clarkand label staffer Mary Peak Pattersonto oversee the formation of the imprint.Â The label was intended to âcarry the message of todayâs gospel to the people on the street,â as promotional material for the labelâs launch touted.
But what separated Gospel Truth from other labels in the genre was that it made its music accessible to everyone. With his sharp eye for talent, Clark paired down home, traditional gospel musicians with raw, revolutionary artists that adopted the conventions of rock, funk and soul, creating a sound that resonated with a hip, 1970s audience.
Clark and Peak also gave Gospel Truthâs artists the same high-level promotional considerations that were given to any of the secular stars at Stax: from outfits and photo shoots to bookings.
The Rance Allen Groupâs 1972 self-titled debut saw the Michigan-based trio of brothers turned the popular local stylings of Motown upside-down – offering a subversive and defiant take on seminal Detroit soul, and juxtaposing their spiritual foundation with secular influences.
Another highlight in the catalogue is Louise McCordâs âA Tribute To Mahalia Jacksonâ, released in response to the 1972 passing of the gospel titan.
Breaking away from the conventions of Jacksonâs more traditional sound, McCord instead opted to charge toward a deeper, funkier path – as heard on single âBetter Get a Move Onâ penned by Stax staff writer Bettye Crutcher.Â McCord also went on to give an electrifying performance at the Wattstax concert later that year.
Taking a more traditional route is Reverend Bernard Avant & The St. James Gospel Choir. Directed by the Southern Californiaâbased minister and radio show host Rev. Willie Bernard Avant, Jr., the St. James Gospel Choirâs sound isnât far removed from that of Southern gospel music – likely a holdover from Avantâs upbringing in Georgia. Similarly, âGodâs Newspaperâ, from Reverend J.D. Montgomery & The Mt. Carmel Choirin Detroit,Â drops the listener right into the excitement of a Sunday service. Recorded in the churchâs sanctuary, the album includes a sermon by Rev. Montgomery, as well as powerful selections by the Greater Mt. Carmel Choir.
In celebration of Gospel Heritage Month, Craft will also produce a compilation from the imprintâs catalogue on vinyl, CD and digital formats on September 4th. Gospel music fans can look forward to the release of new lyric videos, plus two special playlists, titled âGospel Truthâ(out May 24th) and âGospel Easterâ(out April 12th), throughout the course of the campaign.
Gospel Truth Digital Album Releases:
March 13: Â Â The Rance Allen Group
March 20: Â Reverend Lee JacksonÂ At Calvary
March 27: Â Reverend Maceo Woods and the Christian Tabernacle Choir â In Concert
April 3: Â Â Â Maceo Woods and the Christian Tabernacle Concert Choir â Jesus People
April 10: Â Reverend J.D. Montgomery & The Mt. Carmel Choir âGod’s Newspaper
April 17: Â Reverend Maceo Woods and the Christian Tabernacle Concert Choir- God Save Your People
April 24: The Howard Lemon Singers âMessage For Today
May 1: Â Â The Rance Allen Group âTruth Is Where It’s At
May 8: Â Â Reverend Bernard Avant & The St. James Gospel Choir
May 15: Â Â Louise McCord âA Tribute To Mahalia Jackson
May 22: Â Â The Commanders âWalk With Me
May 29: Â Â The Marion Gaines Singers âThis Too Is Gospel
June 5: Â Â Charles May & Annette May Thomas âSongs Our Father Used To Sing
June 12:Â Â Â Clarence Smith âWhatever Happened To Love
June 19: Â Â The Gospel Artistics â The Gospel Artistics
June 26: Â Rev. T.L. Barrett & The Youth For Christ Choir âI Found The Answer
July 3: Â Â The Henry Jackson Company
July 10: Â Â The People’s Choir Of Operation Push
July 17: Â Reverend Maceo Woods and the Christian Tabernacle Concert Choir âA New Dawning
July 24: Â Â Â Blue Aquarius âBlue Aquarius
July 31: Â Â Â Bob Hemphill & The Commanders âEverybody Will Be Happy
August 7: Â The Rance Allen Group âBrothers
August 14: Â The Howard Lemon Singers âI Am Determined
August 21: Â The Marion Gaines Singers âLeaning On The Everlasting Arms
August 28: Reverend Maceo Woods and the Christian Tabernacle Concert Choir âGoodbye Loneliness, Hello Happiness
Magnolia Pictureshas released a new trailer for âOnce Were Brothers: Robbie Robertson and the Band,â a forthcoming documentary produced by Martin Scorsese.The film, which hits cinemaâs this week is directed by Daniel Roher, and largely focuses on Robertsonâs personal journey, including a glimpse into his life before the Band.
Once Were Brothersalso includes interviews with Robertsonâs friends and collaborators such as Martin Scorsese, Bruce Springsteen, Eric Clapton, Van Morrison, and more.
The title refers to a track from Robertsonâs new solo album, âSinematicâ.
New Yorkâs The Bottom Line club major series of releases from its archive containing over 1000 shows recorded during the club’s 30 year run, from 1974 – 2004 is now being made widely available.
It is intended to make as many of these performances available as possible, provided that the rights are available and the sound and performance meet the level expected from The Bottom Line.
The CDs are mastered at New York’s famedÂ Magic Shop, which specialises in restoration and sonic upgrades of historic material.
Among their releases are sets by Jack Bruce, Roger McGuinn, Doc Watson, Kris Kristofferson, Lou Reed, bluegrass pioneer Ralph Stanley, Willie Nile, The Brecker Brothers are available with a promised set by Rory Gallagher soon.
For more info and behind the scenes stories about the archive and a chronology of shows played at the club vist http://bottomlinearchive.com
Following on from the highly successful âBLUESâ album, Chess/UMC are releasing a CD/LP set by Rory Gallagher âCheck Shirt Wizard- Live In â77â.
This 20-song, previously unreleased, set is culled from four shows (London, Brighton, Sheffield and Newcastle) during an early 1977 tour across the UK in support of Roryâs then latest album ‘Calling Card’.
Featuring fantastic live versions of tracks from that album as well as songs from the 1975 ‘Against The Grain’album and other live favourites.
The album has been mixed from the original multi track tapes from Roryâs archive, which were recorded by the Rolling Stones and Jethro Tullâs mobile studios and mastered at Abbey Road.
Roryâs most popular albums have always been his live ones, such as âLive! In Europeâ, âIrish Tour ’74â and Stage Struck.
âThe whole concert was taped on the Jethro Tull Maison Rouge mobile by the way, and from where I was standing that concert on record would surpass the classic âLive in Europeâ album.Â And thatâs saying a lot.â Brian Harrigan Melody Maker â 1977, Hammersmith Odeon, London.
âCHECK SHIRT WIZARD â LIVE IN â77â Is released on March 6thÂ Chess /UMC and available on 2CD / 3LP / Digital HD / Digital StandardÂ
Track List 2CD and digital download:
Do You Read Me (Live From The Brighton Dome, 21st January 1977)
Moonchild (Live From The Brighton Dome, 21st January 1977)
Bought And Sold (Live From Sheffield City Hall, 17th February 1977)
Calling Card (Live At The Hammersmith Odeon, 18th January 1977)
Secret Agent (Live From Sheffield City Hall, 17th February 1977)
Tattoo’d Lady (Live From The Brighton Dome, 21st January 1977)
A Million Miles Away (Live At The Hammersmith Odeon, 18th January 1977)
I Take What I Want (Live From Sheffield City Hall, 17th February 1977)
Walk On Hot Coals (Live At The Hammersmith Odeon, 18th January 1977)
Out On The Western Plain (Live From Sheffield City Hall, 17th February 1977)
Barley & Grape Rag (Live From Sheffield City Hall, 17th February 1977)
Pistol Slapper Blues (Live From Sheffield City Hall, 17th February 1977)
Too Much Alcohol (Live At The Hammersmith Odeon, 18th January 1977)
Going To My Hometown (Live At The Hammersmith Odeon, 18th January 1977)
Edged In Blue (Live At Newcastle City Hall, 18th February 1977)
Jack-Knife Beat (Live At The Hammersmith Odeon, 18th January 1977)
Souped-Up Ford (Live From The Brighton Dome, 21st January 1977)
Bullfrog Blues (Live From The Brighton Dome, 21st January 1977)
Used To Be (Live At Newcastle City Hall, 18th February 1977)
Country Mile (Live At Newcastle City Hall, 18th February 1977)
The Allman Brothers Band career retrospective, âTrouble No More: 50th Anniversary Collection,â will be released on February 28th via Island Mercury/UMe paying tribute to the 50th anniversary of the pioneering Southern blues- rock legends and their massive body of work.
The original band consisting of Berry Oakley,Â Butch Trucks,Â Dickey Betts,Â brothers Duane Allman,Â andÂ Gregg AllmanÂ andJaimoe, finally came together cutting anoriginal 1969 demo of Muddy Watersâ âTrouble No More,â which has remained unreleased for more than half a century, opens the new, 10 vinyl LP or 5 CD box set (there is also a digital version).
âTrouble No Moreâ is produced by Allman Brothers Band historians and aficionados Bill Levenson, John Lynskeyand Kirk Westwith sixty-one tracks from across the Allman Brothers Band career, including live performances, rarities and seven previously unreleased tracks from the very beginning of the band until the very end. The collection is bookended with a live performance of âTrouble No Moreâ from the Allman Brothers Band’s final show at New York’s Beacon Theatre, New York that brought the band’s legend to a close.
Ahead of the release, the previously unreleased demo recording of âTrouble No Moreâ is available for streaming now and for immediate download with digital album pre-order. Preorder/listen here: https://UMe.lnk.to/TroubleNoMore
The deluxe vinyl box set presents the bandâs legacy across 10 vinyl albums packaged in five gatefold jackets housed in a wood veneer wrapped slipcase with gold graphics, accompanied by a 56-page book and will also be released as a limited edition coloured vinyl collection via the online music retailer uDiscoverÂ with each album pressed on orange and red splatter coloured vinyl evoking the insides of a peach.
The 5 CD edition will be packaged in a 12-panel âsoft pack bookâ and includes an 88 page booklet. Both editions feature a 9000-word essay on the history of the band by John Lynskey, unreleased band photos along with newly shot photos of memorabilia from the Big House Museum in the band’s adopted hometown Macon, Georgia and a recap of the 13 incarnations of the band line up.
The digital version of the album will mirror the 5 CD set and be available for streaming and download, including Apple Digital Master.
All recordings have been newly mastered by Jason NeSmith at Chase Park Transduction in Athens, Ga. and sound better than ever. View the album trailer by clicking the graphic above or click here: https://UMe.lnk.to/TroubleNoMorePR/YouTube
The collectionâis grouped into five distinct eras representing the various stages of the band’s recording and performance history, divided by the group’s stints on the Capricorn, Arista and Epic labels, as well as the band’s own Peach imprint.
Starting with âThe Capricorn Years 1969 â 1979 Part Iâ,Â the collection kicks off at the beginning of the Allman Brothers story with the previously unreleased 1969 demo version of âTrouble No More,â and includes highlights from their self-titled debut album including âDon’t Want You No Moreâ and âIt’s Not My Cross To Bear,â âWhipping Post;â plus standouts from their second album, âIdlewild Southâ,such as âMidnight Rider;â Dickey Bettsâ first song writing effort for the band, âRevival;â and âDon’t Keep Me Wondering,â with Duane Allmanâs slide guitar work centre stage.
The original line up’s legacy album, the âLive At Filmore Eastâ, recorded in March 1971 at Bill Graham’s East Village theatre, is represented with Blind Willie McTellâs âStatesboro Blues,â T Bone Walkerâs âStormy Mondayâ and the dazzling 13 minute instrumental odyssey, âIn Memory Of Elizabeth Reed,â where every member is in perfect harmony.
As Lynskey writes in the comprehensive liners: âThere is no question, however, that The Allman Brothers Band was at their best up on a stage, playing live music for an audience. The group played with unbridled energy, and without constraints. While their set list did not vary all that much from night to night in the early days, the band’s desire to explore, create and improvise guaranteed that each show would be a different listening experience. Their marathon concerts became the stuff of legend, and that spirit was captured on At Fillmore East, the live set by which all others are measured.â
âThe Capricorn Years 1969 -1979, Part IIâ collects together songs from the Allman Brothers Band’s double album, âEat A Peachâ, with tracks recorded in 1971 with Duane Allman before he tragically died in a motorcycle accident.
Released in February 1972, the cuts featured on the set include âBlue Sky,â written and sung by Dickey Betts; âMelissa,â Gregg Allmanâs tribute to his lost brother and âOne Way Out,â recorded live in June 1971, on the closing night of the Fillmore East. âHot ‘Lantaâ and âYou Don’t Love Meâ from a live performance at New York’s A&R Studios broadcast on WPLJ radio and âAin’t Wastin’ Time No More,â recorded at Puerto Rico’s âMar Y Sol Festival,â in April 1972, showcase the band in a variety of live settings.
Songs from their number one selling album, âBrothers And Sistersâ, include Dickey’s country infused hit single, âRamblin Manâ and âWasted Words,â which were the last two songs to feature bassist Berry Oakley who also tragically died in a motorcycle accident at the same age as Duane, just 24 years old. Part II concludes with a previously unreleased outtake of âEarly Morning Blues,â a standard blues number that eventually morphed into âJelly Jelly.â
As The Allman Brothers experienced one blow after another, âBrothers And Sistersâtore up the charts. âThe Capricorn Years, 1969-1979, Part III/The Arista Years, 1980-1981âÂ launches with two live performances from their historic âSummer Jamâ show in July 1973 with the Grateful Dead at Watkins Glen, New York which drew more than half a million fans to the grounds of the famed raceway. âCome And Go Blues,â released on the live album, âWipe the Windows, Check The Oil, Dollar Gasâ, by Gregg Allman while âMountain Jamâ is a previously unreleased version that grew out of a line from Donovan’s âFirst There Is A Mountainâ into a 12 minute jam.
The band’s record âWin, Lose Or Drawâ, recorded in 1975 after a couple years apart following the release and subsequent tours for Gregg and Dickey’s debut solo albums and is highlighted here with the moving title track, their inspired rendition of Muddy Waters’ âCan’t Lose What You Never Hadâ and the instrumental, âHigh Falls.â
As a result of fractures in the band, they disbanded after the album’s tour and they remained apart for four years. Overtures were made and an impromptu performance together made them yearn to be together again, the original members â Butch,Â Dickey, Jaimoe and Gregg â decamped to the studio and recorded 1979’s âEnlightened Roguesâ.
Included here are standouts âCrazy Love,â âCan’t Take It With You,â âPegasusâ and a live version of Gregg’s autobiographical âJust Ain’t Easy.â The end of the decade would also mark the end of their time with Capricorn, as a result of the label going bankrupt, and a new label home with Clive Davis’ Arista Records, which they signed to in 1980. âHell and High Water,â and âAngelineâ from the resulting album, âReach For The Skyâ, released in August 1980, had glossier production and synthesizers.
Sadly, Jaimoe and the group would part ways again after this. âNever Knew How Much,â a ballad that originated during the sessions for Gregg’s solo album, âLaid Backâ, and âLeavin’â a song that may have foreshadowed what was to come from their album, âBrothers Of The Roadâ, released in August 1981, round out the chapter.
In 1989, after years apart and several solo albums, the original members of the band were approached about doing a reunion tour to promote an upcoming career box set, and Butch, Dickey, Jaimoe and Gregg all agreed.
For the tour, they recruited Warren Haynes, a guitarist that Dickey had been playing with, and went out as a seven-piece. The shows so well received that the band, now signed to Epic, recorded âSeven Turnsâ, their first album together in nearly a decade.
âThe Epic Years, 1989 â 2000â includes the album’s title track, considered one of Dickey’s best songs and âGood Clean Fun,â which received solid airplay on MTV. The album was a resounding statement that the Allmanâs were back. Not wanting to waste time, they quickly set to work on 1991’s âShades Of Two Worldsâwhich saw Dickey take a dominant role as a songwriter, as heard on âNobody Knows,â and Warren emerge as an influential member of the group, co-writing five songs with either Dickey or Gregg, including âEnd Of The Line,â which sounded like vintage Allman Brothers.
Many other highlights from this era include âLow Dirty Mean,â from the 1992 live album, âPlay All Night: Live At The Beacon Theaterâ, a rare live performance of Robert Johnson’s âCome On Into My Kitchen,â and songs from 1994’s âWhere It All Beginsâ, including the stellar title track and the live favorite âSoulshine,â which displayed Warren’s singer/songwriter talents. It concludes with the unreleased âI’m Not Crying,â a composition written by Jack Pearsonwho replaced Warren after he left to focus on his band Gov’t Mule.
The final chapter, âThe Peach Years, 2000 – 2014â,Â spans a variety of line up changes, most notably the departure of original member Dickey Betts and the introduction of guitarist Derek Trucks, the nephew of Butch Trucks. The younger Trucks delivers an emotionally-charged solo alongside Dickey’s recent replacement, Jimmy Herring, on the previously unreleased, âLoan Me A Dime,â recorded on August 26th, 2000, the day bassist Allen Woodypassed away.
Gregg sounds especially emotional on the powerful performance. Woody’s death shook the band but it was out of this tragedy that Warren would make his way back to his brothers. Included here is a spectacular, never-released live performance from the band’s 2001 Beacon run of âDesdemona,â a new song that Warren and Gregg wrote together.
The tune, along with the shimmering âTheHigh Cost Of Low Livingâ and the poignant âOld Before My Time,â would be featured on their final album, âHittin’ The Noteâ, released in 2003, some of their best work in years.
Two unreleased gems from the band’s 2005 annual stand at the Beacon Theatre include a rare version of âBlue Skyâ with Gregg handling the lead vocals and Derek’s and Warren’s solos augmented by lively piano work from long time former bandmate Chuck Leavell, who was sitting in for the March 21st show; and Warren and Derek’s wonderful interpretation of Duane’s instrumental, âLittle Martha,â from that same night.
Appropriately the collection culminates with a live version of âTrouble No More,â the first song the original band ever played together and the last song of their career.
As Lynskey writes: âIn those four minutes, 45 years came pouring out of the speakers; 45 years of superior blues/rock music, created by incomparable musicians. The final notes echoed through the theatre early in the morning of October 29, 43 years to the day that Duane Allman died.â
The Allman Brothers Band have weathered extreme adversity â and band who reinvented themselves in the face of loss and tragedy and sell millions of records along the way. This new collection is a compelling summary of the Rock and Roll Hall Of Famer’s timelessly brilliant and influential contributions to American music.
On March 10th, 2020 for one night only at Madison Square Garden in New York City, Jaimoe, Warren Haynes, Derek Trucks, Oteil Burbridge, Marc Quinones joined by Duane Trucks, Reese Wynans and special guest Chuck Leavell will celebrate 50 years of the music of The Allman Brothers Band.
This one-time concert event will be a celebration of The Allman Brothers Band’s illustrious career. It notably marks the first time in more than five years that these legendary players will be together on stage to perform their iconic hits, and the first time since the passing of founding members Gregg Allman and Butch Trucks. It will undoubtedly be emotionally charged, and an unforgettable night not to be missed. The show sold out immediately upon going on sale.
âIt was so beautiful it went up in flames,â Robbie Robertson says of the Bandâs story. From executive producers Martin Scorsese, Brian Grazer, and Ron Howard and director Daniel Roher is the latest Band documentary, which touches extensively on Robertsonâs own journey.
Once Were Brothers: RobbieÂ Robertson and the BandÂ comes to theatres on February 21st.
Also interviewed are Robbie Robertsonâs collaborators and friends: Bruce Springsteen, Van Morrison, Eric Clapton, Scorsese himself, and others. âOnce Were Brothersâ refers to a song on Robbieâs sixth solo album,Â Sinematic, which features Citizen Cope and Frederic Yonnet.
John Tefteller is a well-known rare blues record collector. In 2013, Tefteller purchased âAlcohol and Jake Bluesâ by Tommy Johnson (1930), a very rare blues 78 rpm record, on eBay for $37,100.
Tommy Johnson made five records for the Paramount label in 1929 and 1930. Johnson, unrelated to bluesman Robert Johnson, was a little known and very under-appreciated singer/guitar player from Crystal Springs, Mississippi.Â I love collecting records (mainly 33 rpm). However, being the budget-conscious (i.e. âcheapâ) record consumer, I will gripe when paying over $37 for a record at Amoeba Music while John Tefteller paid $37,100 for one.
What made this Tommy Johnson blues record so rare? How did Tefteller get into collecting 78 rpm records? What advice does he have for folks wanting to get into collecting 78 rpm records? John Tefteller was kind enough to speak to me and provide insights on the unique world of 78 record collecting. rarest blues record?
Thatâs not the rarest blues record. Itâs complicated when you say ârarest.â The way I look at it, ârarestâ means that only one copy remains in existence. Then, you can call it the ârarest.â
What makes these blues 78s so rare today?
In the 1920s and 1930s the companies that produced these records made limited copies of the records for a limited audience. That small audience, through time, either broke, wore the records out or threw them away. The record companies rarely kept any masters and there was no way to trace the purchasing and selling of the music. So, itâs made these blues records from that period extraordinarily hard to find.
Everything changed after WWII. There was better record keeping. However, the records from 1926 to 1935, if you can find them today, are super rare.
Back to the âAlcohol and Jake Bluesâ by Tommy Johnson record, how did you find that?
I had a copy of that record (before the eBay purchase), which was the only [known] copy in existence. But it was really beat up, noisy and distorted. On eBay, I saw that somebody in South Carolina was selling it. He had a picture of it and it was in nice shape. I put in a really âstupidâ high bid because hereâs a chance for me to get another copy of that record. I had no idea what the record would sell for. I knew how rare it was but didnât know how desirable it was.Â Well, I made it (the winning bid) for $37,100. When it was first listed, the seller was asking $100 for it but within a few days, the price shot up.
Did the seller of the record realize how rare it was?
I donât think so. The owner bought it at an estate sale for a few dollars. [Note: Tefteller went to South Carolina to pick up the record in person.]
How many records do you own including all the formats: 78, 33, 45 etc.?
My business, Worldâs Rarest Records, has an inventory about half a million records. While my person collection is around 5,000 records.
When did you start collecting 78 rpms and blues 78 rpms?
1972. I was a kid in Jr. High School back then. But it wasnât until the 1980s when I started to collect blues records.
Vinyl album sales in the U.S. have grown for the 13th consecutive year. Any insights on vinylâs popularity?
What I see is that people are tired of music that doesnât come with anything. The music comes off a computer or phone, but it doesnât have a cover to it, photographs, liner notesâthereâs nothing to attach to other than the music.
The young people buying records like the concept of a visual thing with the listening pleasure. When you combine the two together, itâs a more powerful experience than just downloading the song from a computer. Young people are enjoying the option of holding a 33 rpm record or 45 rpm record. There are some companies that are even reproducing 78 rpm records.
Artist Robert Crumb is a famous 78 rpm collector. Any other famous folks who collect 78s?
Keith Richards is a collector. The actor Matt Dillon collects rare pre-Castro era Cuban 78s.
Robert Crumb was a big 78 collector and still has a very diverse collection which includes jazz, jug bands, popular acts, ethnic music, blues, etc. My collection has a focus on blues, rare blues. Crumb is currently really not buying anything these days.
Any advice for folks looking to get into collecting 78 rpms?
There is different advice for folks collecting specific types of records. Itâs best first-off to limit yourself to things you really like and that are affordable to you. Stay within your ability to buy them.
And for purchasing a 78 rpm record player?
You can get a cheap 78 rpm record player on the market today for $100. But I donât advise you doing that; in fact, you might do more harm to the records. There are players in the $500-600 range that are decent. Then, there are turntables that cost thousands of dollars.Â I often come across 78 rpms in thrift stores and garage sales. Is that a good way to get into collecting 78s?
I donât recommend collecting the âold wayâ: thrift stores, estate sales, swap meets. You can do that, but youâll be combing through a lot of beat up records in poor condition. That approach to collecting takes a lot of time, patience and dealing with frustrations.
Find out who the 78 rpm dealers are, the honest guys, the ones who specialize in the genre youâre looking to collect. Go with them and stick with them.
According to John Tefteller, this You Tube clip aboveÂ âis taken from the original super beat up copy and poorly equalized. It sounds awful.âÂ Tefteller suggests checking out the good-sounding reissues on CD sold on BluesImages.com There are also loads of fantastic blues-related items like CDs, shirts, calendars, posters, etc.