50 Year Old Sealed Copy Of Stan Getz's "Sweet Rain" LP

Sweet Rain

Stan Getz

1967, mono

Verve V-8693

Wow, it doesn't get any better than this. A couple of days ago, while going through some LPs at an antiques store not too far from my home, I came across a sealed copy of the 1967 Verve release Sweet Rain by tenor sax great Stan Getz. Think about that. This record has been sitting somewhere for 50 years, perfectly preserved in its original shrink wrap. The price was a steal at $30 (a sealed copy sold for $239 on Ebay in 2013), so I brought it home. I know that some people like to leave the open shrink wrap on their records, but since I store all my albums in poly outer sleeves, I always remove the shrink. Plus it's a gatefold album, and there would be no way to read the liner notes and other info inside if I didn't remove the plastic. But before I did, I took a picture of the price sticker that was still on the back, which shows that the album had been marked down from its original release price of $4.79, to $1.98. Talk about a steal!

Wikipedia tells us that Getz was born in Philadelphia on February 2, 1927 (which makes it the 90th anniversary of his birth in just a couple of weeks). He was the grandson of Ukrainian immigrants who came to America in 1913. His parents moved the family to New York City to find work during the depression. While still a young boy, Getz showed great promise musically, and when he was 13, his father bought him a saxophone. He practiced eight hours a day, and showed such promise that he was accepted into the All City High School Orchestra.

In 1943, at the age of 16, Getz joined Jack Teagarden's band, and because of his youth, he became Teagarden's ward. Getz also played with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman's band  from 1947-1948. He gained wide attention as part of the band's saxophone section, which was collectively known as the "four brothers." One of the other "brothers" was Zoot Sims. Owing to his reputation with Herman's band, Getz was able to launch his solo career, and by 1950, he was leading his own recording sessions.  

Getz spent most of the second half of the 50s in Europe, honing his chops playing and recording with countless jazz greats, including Horace Silver, Jimmy Smith and Oscar Peterson. 

Back in the U.S. in 1961, Getz teamed up with Charlie Byrd and became a central figure in introducing Brazilian bossa nova music to the American audience. He recorded Jazz Samba in 1962, which won a Grammy for Best Jazz Performance and sold more than one million copies. He quickly followed up that album with Big Band Bossa Nova, and then Jazz Samba Encore! In 1963, Getz recorded the seminal album Getz/Gilberto with Antonio Carlos Jobim, Joao Gilberto and Gilberto's wife, singer Astrud Gilberto. The hit single from that album, "The Girl From Ipanema," won a Grammy and became one of the most popular Latin jazz tracks of all time. Two live albums, Getz/Gilberto Vol. 2 and Getz Au Go Go came out in 1964. Unfortunately, during this time Getz and Astrud Gilberto began having an affair, which put an end to his collaboration with Joao.

By the mid 60s, bossa nova was losing steam, so Getz moved back toward more traditional jazz. Which set the stage for his 1967 recording, Sweet Rain. In his review on AllMusic, Steve Huey says that Sweet Rain is "one of Getz's all-time greatest albums. Sweet Rain was his first major artistic coup after he closed the book on his bossa nova period. The album features an adventurous young group that pushed him to new heights in his solo statements." The all-star band was made up of pianist Chick Corea, bassist Ron Carter, and drummer Grady Tate. Huey goes on to say that "Getz plays with a searching, aching passion throughout the date. . . The quartet's level of musicianship remains high on every selection, and the marvelously consistent atmosphere the album evokes places it among Getz's very best. A surefire classic." 

I couldn't have said it better myself, so I didn't even try. And to top it off, the sound of the Verve LP is stunning. But what would you expect from an album produced by the great Creed Taylor and mastered by Rudy Van Gelder? The session was recorded at Van Gelder Studio in Englewood Cliffs, N.J. on March 30, 1967. The engineer was the legendary Val Valentin. The labels have the classic Verve black and silver design which I call the "thumbtack" logo for obvious reasons. 

As you may recall if you read my earlier post about the Verve release of Anita O'Day, Verve Records was founded by Norman Granz in 1956. He sold the label to MGM Records in December of 1960, which is why the rim text at the bottom of the labels above reads: "MGM Records-A Division of Metro-Goldwin-Mayer, Inc. - Made in U.S.A." The vinyl is absolutely flawless, not a tick on either side. And the mono sound is fabulous. 

The inside left panel has credits and recording information.

The matrix info for the album is:

Side 1: V-8693 MG-944 32 VAN GELDER 1-8693
Side 2: V-8693 MG-945 15 VAN GELDER "S" (MGM stamp)

This is truly one of those holy grail finds that every record collector dreams of and that makes collecting so rewarding. Sure, I could have bought the CD online. But how can you compare a digital file to the experience of opening a 50-year-old record, seeing the inner sleeve with ads for contemporary LPs, reading the liner notes and credits, and then enjoying the amazing sound of vinyl. 

Enjoy the music! 

Joni Mitchell Retrospective - Part II

Next up on my look at the Joni Mitchell albums in my collection is her fourth album, and arguably her masterpiece, Blue, which was released in June, 1971. 

Blue, 1971

Blue is one of the most raw and revealing albums ever made, as Joni pours out her sorrow over lost love in the album's 10 songs. You can read the backstory on the internet, but the short version is that after breaking up with Graham Nash, Joni began a brief affair with James Taylor. After they broke up, Joni went to Europe to get away from it all. She fetched up on the Spanish island of Formentera, which in the 60s had become a hippy hangout. (There is an ongoing debate about whether Bob Dylan lived there for a time in a lighthouse (or maybe a windmill), occasionally showing up to play guitar in local bars.) Anyhoo, alone on the island with her guitar and a broken heart, Joni wrote most of the soul-baring songs that make up Blue. 

Blue, 1971 original pressing

Blue, 2009 remaster

Although it is clearly a brilliant album, every time I listen to it I feel like I'm eavesdropping on a painful conversation or reading a private entry in a diary. The music and lyrics are incredible, but it also makes me cringe a little. And the only song on the album that isn't about lost love is "Little Green," which Joni wrote several years earlier and is about the pain of giving up her daughter for adoption when she was a 21-year-old unwed mother in Canada. Oddly, "Little Green" has somehow become a modern Christmas classic, even though it is anything but uplifting. But I digress.


I own two copies of Blue. The first is an original 1971 release, which is still in VG++ condition, which is remarkable considering the state of my equipment back then. I suspect that my not playing it all that often is what saved it. My copy has the initials BG on the deadwax, indicating that the lacquer was cut by the great Bernie Grundman. Needless to say, the sound is fabulous. 

My second copy of Blue is the 2009 Rhino Vinyl remaster. Like the Rhino remaster of Ladies of the Canyon, they did a wonderful job. It is pressed on dead flat 180-gram vinyl with a heavyweight replica jacket and blue dust sleeve. The Rhino reissue was remastered by Kevin Gray and Steve Hoffman, two more audio legends, so once again the sound is fantastic. 

Here are the matrix numbers on the two releases:

-Original 1971 release:

Side 1: MS-2038 31218 (RE-2) - 2 BG A5 P
Side 2: MS-2038 31219 (RE-2) BG C P

Mastered by Bernie Grundman
Pressed by Columbia Records, Pittman, NJ

-2009 Rhino Vinyl remaster:

Side 1: MS-2038-A KPG&SH@ATM 14569.1(3)
Side 2: RHI-1-74842B KPG&SH@ATM 14569.2(3)

Remastered by Kevin Gray and Steve Hoffman at AcousTech Mastering
Pressed by Record Technology Incorporated, Camarillo, CA

Blue is the last of Joni's naval-gazing, confessional albums. And even though there is still plenty of soul searching on For The Roses, she also begins to turn her attention more to social and political issues. The shift is evident on the opening song on the album, "Banquet," which looks at the alienation of young people and the problem of poverty and income inequality. She poignantly writes: "Some get the gravy, and some get the gristle, some get the marrow bone, and some get nothing, though there's plenty to spare."

For the Roses, 1972

For The Roses, which was released in October, 1972, also marks a shift from the lean sound of Joni's solo guitar, dulcimer, or piano, toward fuller arrangements with more bass, drums, and supporting musicians. I still get a little thrill when I hear the tom-tom intro to the break in "Blonde In The Bleachers," and Joni sings: "You can't hold the hand of a rock 'n' roll man, very long, or count on your plans with a rock 'n' roll man, very long . . . "  Wow, Joni Mitchell rocking out!

For The Roses also marked one more change in Joni's career: She left Reprise and signed with Asylum Records, a label founded by her friend David Geffen in 1971. [Just an aside, "Free Man In Paris" from Court And Spark is about the workaholic Geffen and refers to a trip the two of them made to Paris along with Robbie Robertson and his wife. A Platonic trip presumably, since Geffen is gay.] 

I have three copies of For the Roses. Two are original 1972 releases, one of which I bought when it came out, and one that I picked up at a used record store about ten years ago, which is to say 35 years after I bought my first copy. Both are in VG++ condition. And the really weird thing is that both of them have the exact same matrix information. What are the odds? The third copy I have is a 1976 repressing, which I grade at VG+. The white Asylum label was only used for about a year, so it makes it easy to to date the release. The blue sky label was used from 1973 - 1984. 

1972 original pressing

1976 repressing

Here is the deadwax information:

-1972 original pressing #1:

Side 1: ST-AS-722647A  11T  PR
Side 2: ST-AS-722648A PR

Pressed by Presswell Records, Ancora, NJ

-1972 original pressing #2:

Side 1: ST-AS-722647A 11T  PR
Side 2: ST-AS-722648A PR

Pressed by Presswell Records, Ancora, NJ

-1976 repressing:

Side 1: SD 5057-A 0-1
Side 2: SD 5057-B 0-1

There is no indication in the matrix of who pressed the record, but from the size of the pressing rings on the label, I'm almost certain it was Specialty Records Company, Olyphant, PA


Which brings us to Joni's most commercially successful album, Court And Spark, which peaked at #2 on the Billboard chart. It's easily Joni's most upbeat album. And even if it's not all sunshine, there is at least a nice balance of hopefulness and angst. After five albums of introspection, unrequited love and melancholy, Court And Spark had a hopeful spirit and a welcome touch of whimsy.

Court And Spark, 1974

It's also a more mature, sophisticated album, both musically and lyrically. Engineer Henry Lewy recruited some of L.A.'s best session musicians to play on the disk, including Tom Scott's L.A. Express, The Jazz Crusaders, as well as old friends like Robbie Robertson, David Crosby and Graham Nash. There is even a cameo appearance by Cheech and Chong, for goodness sakes. 

I have two copies of Court And Spark. The first is an original 1974 copy, bought when it came out.  I played the heck out of it for years, so it's not in great shape, probably a VG at best. Interestingly, the labels on the first pressings all say 1973, though the official release date was January, 1974.  My second copy is the 2009 Rhino Vinyl remaster. And once again its a terrific reissue, with mastering by Chris Bellman. It is a beautiful sounding disk with warmth and amazing detail.

1974 Original pressing

2009 Rhino Vinyl reissue

-1974 original pressing:

Side 1: 7E 1001 A2  B  2
Side 2: 7E 1001 B  SX  0-1 S-M 1-2  A

Pressed by Columbia Records, Santa Maria, CA.

-2009 Rhino Vinyl reissue:

Side 1: R1-1001-A 18364.1(3) CB
Side 2: R1-1001-B 18364.2(3) CB

Remastered by Chris Bellman
Pressed by Record Technology Incorporated, Carmarillo, CA


Enjoy the music!

Joni Mitchell Retrospective - Part I

A young Roberta Joan Anderson

I've been a big fan of Joni Mitchell for just about as long as I can remember. The first album of hers that I bought was Ladies of the Canyon, which came out in 1970 when I was 13. My brother, who was two years older, had bought Clouds when it came out in 1969, so I was already familiar with her music. For a long time, Ladies of the Canyon remained my favorite Joni album. 

The reason I mention this is because we had a snowstorm a few days ago. And although it was only a few inches, it was enough to strand us indoors for a couple of days since we live on a very steep hill that never gets plowed. So I thought it would be a great time to take a look and listen to all the Joni Mitchell albums in my collection, which turns out to be exactly 30.

Song To A Seagull, 1968

Joni's debut album is titled Song To A Seagull, released in March, 1968. The album is usually just called Joni Mitchell since some of the seagulls spelling out Song To A Seagull in Joni's psychedelic cover painting were cut off in early pressings and are kind of hard to make out in any case. (In addition, Song To A Seagull is not printed on the spine or on the labels.) The album was released on Reprise Records, which was founded by Frank Sinatra in 1959 in order to give himself more artistic freedom. (Since he promptly sold the label to Warner Brothers in 1960, it must not have been as much fun as it sounded.) My copy of Song To A Seagull is a second pressing from 1970. The first pressing is on a two-toned orange/tan label which Reprise used from 1968-1970. In addition to the different colors, it is also distinguishable from their other label variations because it has the Warner Seven Arts logo (W7) in a small box beside the round Reprise Records logo at the top.

1968 first pressing

2nd pressing, 1970

In 1969, Warner Seven Arts was bought by the Kinney National Company, and the label was changed in 1970 to reflect that the parent company was now called Warner Brothers Records. The new label, used from 1970 to 1974, was changed to all orange (it looks more pumpkin-colored to me) and the W7 logo was dropped. The Reprise ":r" logo, which had been a tan circle, became an orange square without the word "reprise."  My copy is evidently an early reissue since it has the same matrix numbers as the original pressing:

Side 1: T 0 30753 RS6293A-1B  AB 13
Side 2: T 1 30754 RS6293B-1L  A

Pressed by Columbia Records at their Terre Haute, IN plant.

While my copy looks very clean, it has a number of ticks and some groove noise, no doubt caused by the cheap record player my brother and I used to listen to our albums. I would grade it a solid VG/VG. However, even if it were in better shape, this is just not a great-sounding album. Producer David Crosby had the bright idea of having Joni sing into an open grand piano, resulting in a rich, resonate sound, but also causing some high-level sympathetic string vibration that had to be filtered out later, along with most of the top end. (Which may be why the album has never been remastered.) That said, Stephen Still's bass on "Night In The City" is deep and punchy and the songs are terrific. I'll be looking for a cleaner copy at some point.

Clouds, 1969

Joni's second album is Clouds, released on Reprise Records in May, 1969. Like her first album, original pressings of Clouds are on the two-toned Reprise Records / Warner Seven Arts label. I have three copies of Clouds. One is an original 1969 pressing on the Warner Seven Arts label, one is a 1970 repressing on the solid pumpkin-colored label, and the third is a 1976 repressing. The 1976 label is identical to the 1970 label except it for the rim text at bottom. The 1970 label reads: Reprise Records, a Division of Warner Brothers Records, Inc., Made in U.S.A. The new label reads: Reprise Records, a division of Warner Brothers Records, Inc., 3300 Warner Blvd., Burbank, Calif. 91505, a Warner Communications Company, "W" logo, Made in U.S.A." The new "W" logo is commonly referred to as the sausage logo. This new rim text was first used in 1974 after a reorganization of Warner Brothers. The only other small change was the addition of an "R" in a circle beside the logo at the top to indicate that the orange Reprise ":r" logo was a registered trademark. 

Clouds, 1976 repressing

Post-1974 Reprise Records label with sausage logo.

My original 1969 copy is graded VG, while the repressings are both VG++. The original pressing has more surface noise, but the sound on all of them is great, with no significant differences in sound quality that I can hear. After the screw up with the sound on her first album, Joni produced Clouds herself with an assist from the great sound engineer Henry Lewy, who would go on to work on Joni's next 12 albums. Clouds has a wonderful natural tone and sounds excellent.

Here are the matrix numbers for my three copies:

-1969 original pressing:

Side 1: 30885 1S I
Side 2: 30886 1S I

Pressed by RCA Records, Indianapolis, IN

-1970 repressing:

Side 1: 30885 RS 6341 A RE1-1L (S) C17 1Ƨ
Side 2: 30885 RS 6341 B RE-1 1-C (S) F T1

Side 1 stamper was made for Columbia Records' Santa Maria, CA pressing plant, while the side 2 stamper was made for Columbia's plant in Terre Haute, IN. For some reason, one of the stampers was sent to the other plant.

-1976 repressing:

Side 1: RS-6341 30885 RE1 A2 P
Side 2: RS-6341 30886 C P

Pressed by Columbia Records, Pittman, NJ

Ladies of the Canyon, 1970

As I mentioned at the top, Joni's third album, Ladies of the Canyon has long been my favorite of her albums. (Although lately I've been leaning a little more toward The Hissing Of Summer Lawn.) But I have a confession to make. The first song on Ladies of the Canyon is "Morning Morgantown," which is rose-colored memory of the brief time that Joni spent studying in the city that houses the University of West Virginia back in 1966 or 67. From that song, I somehow got the idea that the "Canyon" in the title referred to the mountains of West Virginia, and that the whole album was a kind of reverie to Wild, Wonderful, West Virginia. I was an East Coast kid, so how was I to know that the West Hollywood suburb of Laurel Canyon had become the center of the musical universe in the late 60s? It was only many years later that I had a big "DUH" moment and realized the title referred to Laurel Canyon where Joni lived at the time with her boyfriend Graham Nash (inspiring Nash's song "Our House"), while hanging out and making music with neighbors Stephen Stills, David Crosby, Mama Cass, Peter Tork, Frank Zappa, Jackson Browne, Neil Young, Jim Morrison, Roger McGuinn, and many others. I feel a little sheepish every time I play the record.

I have two copies of Ladies Of The Canyon. The first is my 1970 original pressing on the pumpkin-colored Reprise label. The album also appeared on the two-toned Reprise / Warner Seven Arts label, but since it came out the year that Reprise changed their labels, it was available on both labels from the start. The matrixes are the same.

1970 original pressing

2009 Rhino Vinyl remastering

My second copy is the 2009 remastering by Chris Bellman which was issued by Rhino Vinyl. It was beautifully pressed by Record Technologies Incorporated in Camarillo, CA on 180-gram vinyl. My original 1970 pressing is VG++ (almost NM) and sounds excellent. But the 2009 remastering is a whole other level of amazing -- hyper-real, but not in a clinical way, in a "Holy crap, Joni is sitting right there" kind of way. The timbre of every plucked guitar string, the texture of Milt Holland's brushed drums, every subtle expression in Joni's voice comes through. It's a stunner. Listening to this new version recently got me thinking that Ladies Of The Canyon might still be my favorite Joni album after all. It's certainly my favorite jacket, with a wonderful self-portrait line drawing combined with a watercolor (or colored marker?) drawing of the Canyon. On the back are a row of colorful geese. Rhino's re-issue comes in a heavyweight replica gatefold jacket. The vinyl has the 1970 pumpkin-colored Reprise label.

-1970 original pressing:

Side 1: RS-6376 30992 C3 P
Side 2: RS-6376 30993 B3 P

Pressed by Columbia Records, Pittman, NJ

-2009 Rhino Vinyl remastering:

Side 1: R1-6376-A CB 18397.1(3)
Side 2: R1-6376-B CB 18397.2(3)

Remastered by Chris Bellman
Pressed by Record Technology Incorporated, Camarillo, CA

More to come.

Enjoy the music!

First Pressings, Label Variations, and Scribblings in the Dead Wax

Part of the fun of collecting LPs is learning more about the history of each album, including information about the musicians who played on the session, the name of the producer(s) and engineer(s), who cut the master, which company pressed the vinyl, and whether the album is an original pressing or a re-issue. More often than not, you can find basic information on the back of the album cover or on the dust sleeve. But in order to get the full story, you usually have to dig a little deeper.

The first thing I generally want to know is whether the album is a first pressing or a re-issue. Collectors will pay huge sums to get their hands on an original Lexington Ave. Blue Note or a Beatles first Parlophone pressing. (An original stereo copy of the Beatles' Please Please Me, in decent condition, will easily fetch $5,000.) These albums are often valuable because they didn't press many copies of the first edition. And most are so old that's it's very difficult to find a copy in top condition. Many collectors and audiophiles also believe that earlier pressings sound better, since they are closer to the original master tape. You can find plenty of discussion of these topics on the internet.

I'm not usually interested in having a first edition just for its own sake. I collect music, not albums. And given the prices that original pressings command, I'd much rather have 10 or 20 later pressings for the same price as one original copy. In the case of the Beatles, for the cost of one original Please Please Me, you could buy both the recent stereo and mono remastered box sets, and have enough money left over to fly to London and take a photo of yourself in the crosswalk at Abbey Road. 

Bop Till You Drop

I'm also not a stickler for analog-only LPs. There are vinyl collectors who refuse to purchase an LP if there was a digital conversion anywhere in the processing chain. If a digitally-sourced album is well mastered and well pressed, it still sounds better than the original digital source to my ears. That said, I have a number of digital albums from the late 70s and early 80s (when the labels proudly promoted the fact that their LPs were "Digital") that sound terrible. I remember buying Ry Cooder's Bop Till You Drop LP when it came out in 1979. It was the first digitally-recorded LP released by a major label. At first, I thought it sounded amazing. It had a clarity and sharpness that was very different from normal LPs. Very quickly, however, that sharpness became tinny and incredibly annoying. Digital has come a long way since then, and well-produced LPs from digital sources can sound fine. 

In order to find out whether you have a first pressing or later release, the first place to check is Discogs. Though it is crowd-sourced and has some errors, it is still the biggest and best on-line database of recorded music. When you search for your LP, Discogs will show a list of releases and re-releases by year. For popular albums, it's not unusual to find more than 100 different versions, including different formats, re-pressings, and international pressings. For our purposes - vinyl - the differences in the releases can be very minor, such as a different pressing plant. Or the changes can be major, including a different title, different art on the label or jacket, the addition of bonus tracks, or a remastered version.

Because of all the different releases, it is often difficult to tell exactly which pressing you have. Helpfully, most Discogs entries have photos of the jackets and labels, which can narrow things down considerably. Changes in label design are a pretty reliable way to date your album. For example, Warner Brothers used a green label with an orange and blue WB shield logo from about 1970-1973, and then switched to what's known as the "Burbank" or "palm tree" label from 1973-1978. Lots of popular albums by the Doobie Brothers and Grateful Dead (just to name a couple of bands) came out originally on the green label, and were repressed on the Burbank label. However, it's not always so simple. There are entire books written about the minute label changes for Blue Note Records. 

One of the best sources of information about label design is the blog 
LondonJazzCollector. They guy who runs the site has posted great guides that document the changes in label design over the decades for most of the important labels. (LJC is also a gold mine of information about jazz LPs in general. The forums feature contributions from people who are extremely knowledgeable and passionate about jazz recordings.) Still, even after you've identified your particular release, you'll often need to examine subtle changes to the label and check the information in the dead wax to find out more. 

Bell Sound Mastering Lab, New York.
The f at right indicates that the engineer
was Sam Feldman.

When I first began to look at the information in the dead wax at the end of the album sides, the stampings, symbols, initials, numbers, letters, and scratchings seemed like a foreign language. Or maybe better, a kind of code. After years spent trying to read and decipher these markings with a magnifying glass, I started to keep a list. I also scoured the internet for clues. Discogs has an active and lengthy list. There are also dozens of topics about deadwax notations on the Steve Hoffman forum. I copied every source I could find, added dozens that I was able to figure out by checking the album credits, corresponded with a few mastering engineers to ask questions (in my experience, they are extremely kind and willing to respond) and now have a list of deadwax abbreviations and symbols that is 18 pages long. Some of the stamps and markings show up fairly regularly and are easy to identify. Others are initials or little drawings inscribed as a signature by the mastering engineer who cut the lacquer or as identifying marks for the mastering house or pressing plant. Even with 18 pages of notes, I still find new markings all the time.

Allen Zentz Mastering
 Lacquer by Brian Gardner

Until recently at least, mastering engineers tended to work mostly in the background, cutting lacquers for LPs in quiet anonymity. These unsung heroes often carved their initials or other markings to indicate who was responsible for cutting the lacquer -- that is, transferring the sound from the tape (or digital file) by cutting the groove in a lacquer disk. (Which is not nearly as easy as it sounds. If you're interested in the process, there are some fascinating videos online about how LPs are produced.) And while the listening public was usually completely oblivious, producers and artists often insisted on using favorite mastering engineers who could make their music come alive. One of my favorite signatures are the bird wings used by Brian Gardner (above right.) Gardner, who worked at Alan Zent mastering (hence the AZ) also sometimes scribed a small flower instead of the bird wings. Chris Bellman, who remains active today and is one of the most sought-after mastering engineers in the business, uses a simple CB (below right). However, the tricky thing is that the markings are tiny, and if you didn't know that the initials below were CB, you might easily see a number of other different possibilites. 

Mastered by Chris Bellman

David Turner

Another one of my favorite signatures are the eyebrows used by David Turner (above, and not to be confused with Gardner's bird wings.) Many of the most active and well-known mastering engineers used their initials, and if you go through a stack of albums you're almost sure to find some with signatures by RKS - Ryan Smith; RL - Robert Ludwig; LH - Lee Hulko; KG - Kevin Grey; BK - Bill Kipper; GK - Gilbert Kong; GP or Porky - George Peckham; RJ - Ray Janos; or Wally - Wally Traugott. If you're really lucky, you might find a classic jazz album cut by RVG or the great Rudy Van Gelder. If you do, by the way, buy it!

Mastered by Robert Ludwig,
Pressed by Allied Records,
Hollywood, CA

Mastered by Ryan K. Smith
 at Sterling Sound, NYC

Artisan Mastering

Of course, there are lots of other squiggles in the deadwax besides the initials of the mastering engineers. Nearly all mastering houses and record pressing plants used markings to indicate who cut the lacquer and where the album was produced. Above, next to Robert Ludwig's initials, is the Q-shaped stamp used 

Specialty

by Allied Records, which pressed albums in Hollywood, CA. In the middle above is the very common stamp used by the mastering house Artisan Sound in California. There are a lot of different descriptions of what the symbol is, but the correct answer is a drafting compass on top of a record. The compass makes an "A" for Artisan. Further down below left is the U in a circle which is the mark used by United Record Pressing of Nashville, TN. And also further down you can see a triangle stamp with the letters IAM inside, which indicates that the album was pressed by Capitol Records at their Scranton, PA plant between 1963-1973. IAM stood for the International Association of Machinists, the union representing the workers at that particular plant. The big record producers like Columbia and Capitol had pressing plants in different parts of the country to facilitate distribution. If you live on the East Coast, as I do, the vast majority of LPs that you run across will have been pressed in Columbia's Pittman, NJ plant (indicated by a small stamped P which is often very faint and is usually on one side of the catalog number) or in their Terre Haute, IN plant (represented by a T on one side of the catalog number.) Most of the Capitol releases I find are from their Winchester, Virginia plant which used an etching that was meant  

Monarch Record

to look like a Winchester rifle like this:  ----<. In addition, there were dozens of independent record producers like Specialty Record Company in Olyphant, PA (a large S with a small R and C in the curves, above left) and Monarch Record Manufacturing Company in Los Angeles (an MR inside a circle at right) that pressed for nearly every label. And of course this barely scratches the surface (get it?) of the hundreds of different markings that appear on records. 

At this point you may well be thinking, who cares who mastered the album or where it was pressed? The answer is that knowing that an album was mastered by Robert Ludwig or pressed by Quality Record Pressing in Salinas, KS (for example) almost guarantees that the disk is going to sound great. So all things being equal, if you can snag a pressing by a well-known and respected engineer, that's half the battle. I'll sometimes buy an album that I'm not all that interested in or that I may already have a copy of if I see that it was mastered by one of the greats. If I'm going through the $1 bin and see a copy of Donald Fagen's The Nightfly mastered by Robert Ludwig or a Led Zeppelin IV mastered by George Peckham (AT/GP in the deadwax), I'll buy it even though I already have five copies of both these albums.

Mastered by Rudy Van Gelder, Englewood Cliffs, NJ

Mastered by Wally Traugott

United Record Pressing,
Nashville, TN

Pressed by Capitol Records, Scranton, PA

Another interesting way to identify which plant pressed the record is to check the size of the pressing rings on the label. The pressing rings are the indentations made by the particular pressing machines when they flatten the vinyl disk and apply the label. Even if you can't find a letter or other identifier for a pressing plant, if you know that Specialty Record Company's pressing ring is 70mm, or that Monarch Record has double 35/72 mm rings, it can help you figure out by whom and where the LP was pressed. I've got a two-page list of pressing ring diameters that I consult regularly.

And finally, knowing how to decipher the deadwax information or gauge pressing rings will mark you as a knowledgeable collector, which is certain to impress your friends and your local record store dealer.

Enjoy the music!

Soundtracks - Used Record Stores Are Alive With The Sound of Music

Go into any thrift shop that has a pile of used records, and you are almost certain to find a copy of the soundtrack to either The Sound of Music, Camelot, or Godspell.  As I talked about in a previous blog about the Tijuana Brass, there's a reason for this: They sold millions and millions of these things.  In fact, The Sound of Music is listed as Billboard's #2 all time chart topping album, meaning it spent more time at #1 on the Billboard charts than any other album except for Adele's 21. And since about 99.9% of Adele's sales are either CDs or digital downloads, that makes The Sound of Music the #1 all time chart topping vinyl LP record. 

Note that "all time chart topping" isn't the same as "all time best selling." Dozens of pop albums and a number of other soundtracks, like Dirty Dancing, The Bodyguard, and Saturday Night Fever, all sold more copies than The Sound of Music, but none of them stayed at the top of the Billboard album charts for as long. According to Billboard's site: "The (Sound of Music) album -- led by the film’s star Julie Andrews -- earned a staggering 109 weeks in the top 10. The album was so hot it was in the weekly top 10 from May 1, 1965 through July 16, 1966. It was a regular (but not quite weekly) presence in the top 10 off and on through early 1968." All that to say that The Sound of Music soundtrack was one of the top selling albums for nearly three years straight. And talk about lasting appeal, The Sound of Music soundtrack has never been out of print since it was released in 1965. 

For some context, the album that The Sound of Music replaced at #1 on the charts was Bob Dylan's Bringing It All Back Home. The album that eventually replaced The Sound of Music at #1 was the soundtrack to Help! by the Beatles. I remember seeing The Sound of Music shortly after it came out in 1965. I also remember going to see Help! later that year. Talk about a culture clash. Yet they are still two of my all-time favorite movies. And Bringing It All Back Home is, of course, a stone cold classic album.

I have two near mint (NM) original stereo copies of The Sound of Music soundtrack. The first is one I picked up at an estate sale a couple of years ago. The second copy is one I found just a few months ago for a dollar at a thrift store. I am always amazed to find 50-year-old albums in mint condition. The copy I picked up recently was open but still in its original shrink wrap, and looks like it was never played. Or more likely, it was played once or twice and then put back on the shelf for the next 50 years. The original eight-page glossy booklet that was included also looks absolutely pristine. The booklet has photos from the movie and extensive notes on the production, the stars, and information about the composers, who were of course the great team of Rogers and Hammerstein. (Sadly, this was their last musical, as Hammerstein died of cancer in 1960.)


Another neat thing about old albums is the time capsule quality of the dust sleeves. The original Sound of Music dust sleeve has a full-color RCA promotional ad for their latest releases, including other soundtracks such as Fiddler on the Roof, Hello Dolly and the classic live recording of Belafonte at Carnegie Hall. My two copies of The Sound of Music have different sleeves, indicating that they were produced at slightly different times. Based on the release dates of the records being advertised, the first dust sleeve (at left) is likely an original 1965 release. The second copy (below) was likely a 1966 release since it contains a half-page ad for "RCA Stereo 8 Cartridge Tapes." Stereo 8 was the original name for the format that became known as eight-track tapes. RCA acquired the patent and was the first label to introduce eight-track tapes in 1966. Eight-tracks peaked in the early to mid 1970s, and were phased out by the early 1980s. I got my first car in 1974, but skipped the eight-track revolution for the then new and much cooler compact cassette tape that was just beginning to catch on. The great advantage to cassettes, of course, was that you could record your own.

I have about 100 soundtrack and original cast recordings in my LP collection. Nearly all of them are classic shows from the 1960s and 70s, including two copies of Camelot (also starring Julie Andrews) and four copies of Godspell (including one in French). I must say that I don't tend to play soundtracks all that much, since in most cases I'd rather watch the film. In addition to the two copies of The Sound of Music soundtrack, I also have an original 1959 mono copy of the Broadway cast recording starring Mary Martin. It was released by Columbia Records, and was in fact the first Columbia LP to be released in a gatefold sleeve. One exception to my not playing soundtracks is the Disney soundtrack for The Lion King, which featured music by Elton John and came out in 1994. However, it wasn't released on vinyl until 2014, when Disney put out a cool picture disk (below). Unfortunately, the sound of the vinyl is terrible (the CD is much better), but it's a very cool looking disk.

Hakuna matata and enjoy the music!