View allAll Photos Tagged 78RPM
"A Fesche Katz Braucht An Feschen Kater'
We ordered a baseball cap, we received a set of pristine Austrian 78RPM records, likely pressed in Switzerland around 1940. I love randomness. FYI we love old records. Sadly we know someone is missing these gems, and plan on shipping them back, we hope these delicate disks make it it back.
PATTY ANDREWS with
VICTOR YOUNG AND HIS ORCHESTRA
DECCA Short-Play / 78rpm 10inch
================================
Taken with YASHICA ML 35mm 1:2.8
At the Tilty Flower festival in Tilty, Essex, one of the stands had a vintage record player: for a few pence you could chose one of a number of old 78rpm records to be played while you were visiting the stands.
No photograph of Robert Johnson but this is a shot of the tiny church of Little Zion on the outskirts of the small town of Greenwood Mississippi were it is believed Robert Johnson is buried. I was determined to pay my respects to Johnson who in my opinion is the most powerful and original blues singer to come out of the Mississippi Delta. It was a detour of a couple of hundred miles and it took a while to find the church and the grave. It was worth it, I will never forget hearing a recording by Johnson in a school music club. A teacher had brought in a copy. Hearing him was like receiving an electric shot so intense what the effect. I have got hundreds of records but if I could only keep ten then Robert Johnsons would be on the list
One of my contacts Bercoly supplied a link
www.youtube.com/watch?v=4up4VP8zjyc
I am conscious that Robert Johnson will not be known to some of you so here is a little biography
One hundred years ago, a child was born in Mississippi – a dirt-poor, African-American who would grow up, learn to sing and play the blues, and eventually achieve worldwide renown. In the decades after his death, he has become known as the King of the Delta Blues Singers, his music expanding in influence to the point that rock stars of the greatest magnitude – the Rolling Stones, Bob Dylan, Eric Clapton, the Allman Brothers – all sing his praise and have recorded his songs.
That boy was Robert Johnson, an itinerant blues singer and guitarist who lived from 1911 to 1938. He recorded 29 songs between 1936 and ‘37 for the American Record Corporation, which released eleven 78rpm records on their Vocalion label during Johnson¹s lifetime, and one after his death. Most of these tunes have attained canonical status, and are now considered enduring anthems of the genre: “Cross Road Blues,” “Love In Vain,” “Hellhound On My Trail,” “I Believe I¹ll Dust My Broom,” “Walking Blues,” “Sweet Home Chicago.
The power of Johnson’s music has been amplified over the years by the fact that so little about him is known and what little biographical information we now have only revealed itself at an almost glacial pace. Myths surrounding his life took over: that he was a country boy turned ladies’ man; that he only achieved his uncanny musical mastery after selling his soul to the devil. Even the tragedy of his death seemed to grow to mythic proportion: being poisoned by a jealous boyfriend then taking three days to expire, even as the legendary talent scout John Hammond was searching him out to perform at Carnegie Hall in New York City.
THANKS FOR YOUR VISIT AND FOR TAKING THE TIME TO WRITE A COMMENT IT’S MUCH APPRECIATED.
IF YOU WANT TO FOLLOW MY STREAM I SUGGEST YOU OUGHT TO READ MY PROFILE FIRST
and before there were mp3's...there were...
78 RPMs...memories from my parent's collection. they kept the records in an album with brown paper sleeves. Played on a phonograph/victrola/record player, they required needles that resembled sharp nails. Mostly Swing, Big Band, Opera, Classical, and Popular.
45 RPMs...my first 45 was "Shop Around" by "The Miracles," but it was 1955's "Rock Around The Clock" that put 45's on the map. They could be played on the same player as above, but required an adapter for the wider hole, and also a different type of needle. Sold in RECORD STORES, "5 & 10 Cent" Stores and sometimes Drug Stores. You could ask the clerk/cashier to play it before you plunked down your $.59 to buy!
33 1/3 RPMs (LP).... the Golden Age of buying and collecting Records.. they first came in Mono, then Stereo. The two overlapped for awhile with the Stereo costing about $1.00 more than Mono. Sometimes stared for hours at the artwork on the front and back covers. Some of them became and still are 'iconic.' Many included inserts and librettos that got worn out after many listenings.
Audio Tapes...Reel to reel tape recorders were used to tape music off the radio, records, conversations, etc. Most recorders had two speeds.. High speed for best quality and low speed to include more content, but lower quality. It was a nightmare if the tape ever got stuck or came off the reel!
8 Tracks- Albums on large cassettes to be played mainly in cars for the first time. They tended to be unreliable, no ability to re-wind and did a quick fade into non-existence.
Cassettes- Replaced the 8-Track and addressed some of the problems. More reliable, ability to re-wind, fast forward, and were much smaller. Many people used casettes to tape the first play of a 45 or LP which was usually the best, eliminating later scratches, static, etc. A much better way of bringing the LP into the car! The main problem was the hissing sound in the background.
CD's... Bigger than Cassettes and return of art-work! Sometimes an insert would include lyrics or info on the artist/s. Although the covers were back, you sometimes needed a magnifying glass to read the lyrics. Like looking at a thumbnail! CD's solved the hissing problem inherent in cassettes which made listening more satisfying.
This was the Old Style...the way it was before digital files, streaming and the Cloud!
For Flickr Friday
OldStyle
I want to go more in depth with this concept. Previously, I made stuff that kind of made sense with physics but that maybe was not as practical. This might be the start of an ongoing project to make a minifigure-scale space station.
Backstory: Sol 3.5a orbits the Sun between Earth and Mars (which is another calculation that I'm too tired to do right now but will most definitely get to). The station is a series of habitat modules spinning about a docking bay with a main generator as a counter-weight.
Specs: For the calculations above, I wanted the minimum artificial gravity to be (0.9)g and for the maximum transverse acceleration to be g/20 when travelling at 3m/s radially (along the tether). From the calculations above, this means that the shortest tether (which is only one part of the stations length) would be around 1.3km--corresponding to about .78rpm rotation of the entire station.
So these numbers sound doable in the future I've been building. If they can build a space elevator, then surely they at least can design this monster right?
However, If you translate 1.3km into minifigure-scale, you get roughly 3,670 studs. For just the marked distance r. That is beyond insane and so far, I have no plans to design something that big, let alone a computer powerful enough to do so. Most likely what I will do is design the habitat modules and the docking bay and generator and then make a SECTION of the tether (which is not just a thick cable as people and supplies and power need to run along it) And then simply pattern-layer the cable pieces in any renderings.
NEEDLESS TO SAY, THE DRAWING ABOVE IS NOT TO SCALE.
Thoughts?
Should I try a forced-perspective station instead?
Vintage Cardboard Record Sleeve
An old cardboard 78rpm record sleeve from the 1940's which was held together by traditional stitching. Still holding together after more than 75 years.
This is the underside of the record sleeve as can be seen by the raised, punched through needle holes around the stitching.
Texture Week 39/52 2018
78rpm His Masters Voice Rhapsody in Blue from 1930's.
This vintage shellac record is still in superb condition although very brittle.
It is a copy of Gershwin's Rhapsody in Blue recorded by Paul Whiteman and his Concert Orchestra with (according to the sleeve notes "The Composer at the Piano". Gershwin died in 1937.
Rhapsody in Blue is in two parts on this old 78, one on each side of the record, giving a running time of just over 6 minutes.
Also in the shot is a tin of 200 Columbia "Superbe" Loud Tone needles. One playing needle is on top of the record above the horn, although by today's standards it is more like a small nail.
Week 16/52 - All Things ANALOG
Sol Station 3.5a is one of three research platforms between the Earth and Mars. These stations orbit our Sun and are largely out of the way of traffic for supplies and fresh faces. The stations spin about a central docking station at nearly 0.78rpm to provide about 0.9g to the habitation pods. The main generator acts as a counterweight.
Only 107 parts in this "micro-scale" station but these shots do not have ANY forced perspective. My original estimates put the radius to the hab pods at around 1320m (0.82 miles). With my original scale of each hab pod being 25 studs long, that would have been about 3600 studs long. Quick math, that is around 28.8 meters long. For just PART of the moc...
Needless to say, that was not on the table. I decided to shift scales from minifig to "micro" and found a much more realistic 260ish studs long if each pod was only 2 studs.
More quick math and a we get that the radius to the generator's CoM should be around 500m (100 studs at this scale).
The scale was fudged a tiny bit when building and the final model is 362 studs long.
Finally, the sizing specifics: The station is 362 studs long. If built, it would stretch 2.9m. This puts it at around 0.16% of the actual stations length.
It would be cool to see plans for a station like this to come out of NASA or the ESA but let's be real--no one wants to haul more than a mile of cable structure out to a stable orbit between Earth and Mars.
If you want to see some of the math behind this project, check here and here.
Billy Joel on the turntable.
Strobist - single Canon 380EX flash with omnibounce handheld and bounce off the ceiling triggered with cactus V2's
Explore #186 for May 8th 09.
The Moss Mansion was equipped with all the latest in entertainment devices including a Victor record player.
There are different accounts as to how the "Victor" name came about. RCA historian Fred Barnum gives various possible origins of the name in "His Master's Voice" In America.
One story claims that Johnson considered his first improved Gramophone to be both a scientific and business 'victory.'
A second account is that Johnson emerged as the 'Victor' from the lengthy and costly patent litigations involving Berliner and Frank Seaman's Zonophone.
A third story is that Johnson's partner, Leon Douglass, derived the word from his wife's name 'Victoria.'
Finally, a fourth story is that Johnson took the name from the popular 'Victor' bicycle, which he had admired for its superior engineering.
Of these four accounts the first two are the most generally accepted
I don't collect many 78's but this one stood out and was an obvious pick for today's theme.
Over There, one-sided 78rpm recording, from 1918, likely the oldest recording in my possession.
The We're Here challenge on February 25 2018 was: Things from Yesteryear
The Jazz Age of the roaring Twenties and Thirties brought together folk and fantasy memories of Africa (melodic themes, cycles, layered melodies) with living blues (vocal additions), ragtime (high cadence dynamic musical gymnastics), Caribbean pulse and work song drive, conventions from church, dancehall, bandstand and 'review'; improvisations (freedom from script), the blue note, an elasticity either side of the beat and a swing of dance flying out from inside the music. The innovations and detailing of the Jazz style and format came fast, with an impassioned folding growth of influence and heavy cross-pollination. Some bands became rich large 'orchestras' and left the pit and took to the stage. In the biggest clubs and halls, the ordered stalls were converted for dance and informal spectator, whilst balconies – where they existed - were for watching the combined spectacle of artist, elite dancers and participating dancing public. Club owners might flout the prohibition in the way that jazz flouted musical academy norms.
Ellington started in the 1920s in clubs such as the “Theatrical grill” (198 West 134th St), but is perhaps best known for his stint at the 'Cotton Club' (644 Lenox Avenue), an elite ticket in the heart of Harlem NYC offering a white audience a chance to see the sort of skills and dexterities available for mixed audiences in clubs such as 'Connie’s Inn' on 131st Street.
www.youtube.com/watch?v=hSIF0yBq5No%2C
'Small's Paradise' (2294+1/2 Seventh Avenue )
www.youtube.com/watch?v=nBJ8x15BcWQ, 'The Harlem Alhambra' (on 7th) and the great 'Savoy Ballroom' (140th – 141 street), which was home to another master of swing “Chick Webb and his orchestra” with his elite dancers and originators of the 'Lindy Hop'; a pre-jitterbug dance that was as physical as the turn of the century Parisian 'Apachi' but without the pimped violence, and with an energy that could out-match a 'Soul Train' that had stopped off for a 'Northern Soul'. Even if the Jazz Age was not always an invited guest, the whole Harlem scene was described within the term the 'Harlem Renaissance' which saw African American artistic-direction mature into new levels for all man. If the 'Cotton Club' had been devised as a patronising colonial voyeurism on race and "degeneracy / superiority narrative" then it clearly failed; the white audiences were inspired by the technicity and lifeforce, the radio stations played the shows, the 78rpm records sold the tunes, sheet music flew off the presses and the major and minor film studios made shorts for between-movie cinema entertainment.
White band leaders such as Benny Goodman converted to the Harlem swing of Ellington/Ivey and Webb (also remembering the influence of the 'Earl Hines Orchestra' in Chicago...), and an authentic black modern art-form took on the world with a musical melange of tones. Ellington arrived to tour London not long after the release of this track.
The 'swing' orchestrated into form and soon sat in with the big band, and some of the freedoms from score witnessed in this track and early 30s period would have to wait a few years for Bebop to turn up in another club around another corner or even the same block.
The track “It don't mean a thing (if you ain't got that swing)" was called a “Fox trot” on the original Brunswick record label, and although the lyrics talk of the need to 'swing', the term had yet to form and the largely 1920s Fox Trot dance style was still being called. Certainly at the time of release, it would have been difficult to imagine that the GI's would choose to 'swing' in and out of a future world war – so often to some of the 1000 compositions penned by the Duke Ellington.
Footage about elements outside of music from the 'Harlem Renaissance' can be seen here:
www.wikiwand.com/en/Harlem_Renaissance
It's from some years after, but here Ellington plays aside 'The Savoy's Lindy Hoppers' - featuring in the second half of this 1940 clip:
www.youtube.com/watch?v=IH1Fru-RttA&list=LL&index=5
The, at times, 'screwball' dancers from the 'Cotton Club' can be seen from around 7 minutes into this clip from 1933 titled 'Bundle of blues". The dancers are more 'free from convention' than 'racially diminutive', with Ellington's orchestra mixing chic with endless melodic cascades. The singer at 3 minutes in the clip is the same Ivie Anderson as for this post. Notice the desire to express differences of character as Anderson appears in character as both 'elite chic' and 'lonely poor': later, and in the same short film, contrasting with the sassy 'Cotton Club' dancing of the beguiling Florance Hill and Bessie Dudley. In total we see range within race, and travel way beyond racist ideas of basic stimulus/response cues from skin tones which feeds the bedrock of racism, stigma and predudice.
www.youtube.com/watch?v=s_GTfl8Hhc8
In an earlier film short from the 'Cotton Club' period (1929) we see the poorest and uneducated illiterate workers aside the skilled and erudite 'Black and tan'. As the simple plot unfolds, illness and death are met with pathos and music that clearly reaches beyond earlier issues of language. This 1929 film 'Black and tan fantasy' shows an outreach of black culture that challenged stereotype with demonstrations of pathos and humanity:
www.youtube.com/watch?v=uLJmgzMnOjQ
A last film short 'Symphony in black - a rhapsody of Negro life' from 1935 shows Ellington the artist, describing with music a dynamic African American humanity of hardship, emotion and entertainment. The films are not 'political' but do offer the detail and light that empathy needs - with empathy and respect here being the base to counter the acid of racism.
www.youtube.com/watch?v=LPD-8-l68L4
Unlike the post-war age of “serious” Modern Jazz, 'The Jazz Age' could be self mocking and indeed 'goofy' (the word from before the dog); both good taste and 'over-the-top', sassy sexy and swaggering, and confident high-chic without the camp of voguing.
From within the Ellington orchestra were true jazz greats, and Ellington conducted and wrote to let them show their individual character. Ben Webster became a legend and for this track, Johnny Hodges provides fine examples of lucidity - 'asking' for modern jazz several years before the 'Bird' would fly.
Ellington would sit or stand by his piano and conduct the evening's score with piano cues and arm and body movements. The liberty to cascade and fly out the notes being his desire to enable talent, coupled with the orchestra's desire to keep in touch with the liberated house dancers that often adorned their immediate vista. When dancers arrived on stage for a chorography, they arrived as individuals loose and vivid, tightening up into the choregraphed moves and releasing with more individuality. As they danced they expressed, and with their body movements they 'asked' for ever complex overlays of melody. The orchestras eyes flashing between Ellington and the dancers in a beautiful expression of total art - perhaps the bright side of the moon to today's moribund 'Whiplash'.
To keep up with the musical swing of jazz, new intelligent singers were required – singers with timing, slide, sly plosive and a narrative of pronunciation: the swing famously found Ella Fitzgerald. Billie Holiday and to a greater extent Ivie Anderson specifically helped Duke Ellington take his sounds to a waiting world. Ellington's Gershwin-esque ambition to climb to high art from the hubbub of the street, and perhaps, and in good humour, to show his 'swing' to contrast with Gershwin's 'rhythm'. At this stage in his career Ellington was an artist able to describe all elements of a subculture whilst adding himself and his own dynamic to art. Today Ivie Anderson is less known, but shares a vibrato, timing and stylistic colour so famous with the mythical Billie Holiday.
AJM 11.02.21
Press play and then 'L' and even f11. Escape and f11 a second time to return.
Many music historians consider Tutti-Frutti to be the first true Rock & Roll recording. Little Richard cut this track on September 14, 1955 at J&M Studio in New Orleans with musical backing by Fats Domino’s band. Pictured here is the original 78rpm release along with its paper sleeve. Needless to say, not many of these still exist.
Sol Station 3.5a is one of three research platforms between the Earth and Mars. These stations orbit our Sun and are largely out of the way of traffic for supplies and fresh faces. The stations spin about a central docking station at nearly 0.78rpm to provide about 0.9g to the habitation pods. The main generator acts as a counterweight.
Only 107 parts in this "micro-scale" station but these shots do not have ANY forced perspective. My original estimates put the radius to the hab pods at around 1320m (0.82 miles). With my original scale of each hab pod being 25 studs long, that would have been about 3600 studs long. Quick math, that is around 28.8 meters long. For just PART of the moc...
Needless to say, that was not on the table. I decided to shift scales from minifig to "micro" and found a much more realistic 260ish studs long if each pod was only 2 studs.
More quick math and a we get that the radius to the generator's CoM should be around 500m (100 studs at this scale).
The scale was fudged a tiny bit when building and the final model is 362 studs long.
Finally, the sizing specifics: The station is 362 studs long. If built, it would stretch 2.9m. This puts it at around 0.16% of the actual stations length.
It would be cool to see plans for a station like this to come out of NASA or the ESA but let's be real--no one wants to haul more than a mile of cable structure out to a stable orbit between Earth and Mars.
If you want to see some of the math behind this project, check here and here.
A lot of joyful youngsters and prowd mares in the Lipizzan stud Piber at the moment.
The oldest one is named Neapolitano Graziella born in January 27th.
Music: HORSES by Billy Jones; Richard A. Whiting; Byron Gay, 1926.
Styria . Austria . Europe
This negative was scanned using two different methods. This one starts with just laying the negative down on the flatbed scanner with no light shining through at all. The scratches, fingerprints, and surface wear are very evident (to me, they are like the sound of an old 78rpm record, the scratches and mic quality defines the context).
Some weeks later, I discovered that (though I don't have a negative holder for this size film) I can lay the negative in a sweet spot on my scanner flatbed, configure for color negative scan, and reveal an almost prisitne (though not full width) image here:
www.flickr.com/photos/klsanderson/276428042/in/photostream/
I'm fond of both versions... vive la difference!
performing A room with a view with vocals by Helen Forrest on Bluebird Records recorded in 1938. This record is played on a 1915 Columbia Grafonola. This one is equipped with a 12" turntable, internal horn and a triple-spring motor which sails through several 78s on a full winding. It was introduced in 1915 with a price of $50.00
His Master's Voice (HMV) Record Label - 1950
A 78 rpm classic record label made on a black shellac disc.
One of the most famous trademarks in the world.
Note from Darren Wilkin - "The original dog, 'Nipper' is buried at the back of what is now Lloyds Bank, in Kingston Upon Thames."
Die BERTONA - Berliner Tonapparate-Fabrik GmbH - war eine Subfimra der Ultraphon AG von Heinrich Küchenmeister. Sie bestand von 1928 - 1932. de.wikipedia.org/wiki/Ultraphon
They say that vinyl is making a comeback!
An old 78rpm gramophone in Dunster castle.
Hand-held for half a second exposure - who says I'm getting old!
An early 1969 rehearsal tape-montage of a track that failed to survive The Beatles breakup, eventually appearing on the George Harrison 1970 solo LP "All things must pass". The 'Get Back' keyboard player Billy Preston was at both sessions and can be clearly heard to explore themes in these combined segments. The final track is here:
www.youtube.com/watch?v=1XTYXEpeEYA
Liverpool as a city had a number of ways to nourish the mindscapes of talented musicians and artists. From Hope Street out to Princess Park were immigrant communities and some grand houses - holes in walls for calypso music and other pre-ska sing-songs. There were race problems, but they did not extend to ideas of exclusion, so the late and affordable bars attracted a mix that included art students. Further into town and often out towards Ringo's dockland Bootle, were scatterings of Irish weighted pubs. Celtic jams of different sizes attracted shuffles and crys, tapping and sing-song. Irish music needs to be catchy to 'work' and can procure hypnotic effects of phase and repetition. Other pubs and get-togethers had busks of make-do instruments with a skiffle of adapted and traditional song. Glasgow Scots might come down-south for work at the docks and could add their voice to the pub of their choice and pub singers were not unknown (a song or two for a pint). Global shipping used the big ports prior to their cancellation by airliner, and sailors and travellers arrived in Liverpool from around the world. Early heavy 78rpm records of Elvis Presley and Buddy Holy were among those that turned up along the rails of cranes, and they were played and called for in homes and record shops. People studied songs, learned them, and in so doing, saw a little inside the art of musical creation. There were upright pianos in many homes and musical instruments were brought from well stocked and erudite local shops. Not far from the art college was and is an imposing classical music Royal Philharmonic: Liverpool had Malcolm Sargent to take it past the war years and gave birth to Simon Rattle when George Harrison was 12. A range of theatres both large and small also helped to satisfy a local love affair with music hall. Closer into town, small side bars were given over to more Calipso enthusiasm and 'Jacaranda' dreams. Still further, in the broad direction of the wide river estuary, and off up the slight hill, were fire-proof brick-arch storage cellars converted into heaving clubs - a triangular sandwich away from the giant insurance and banking buildings that gave the Liver birds their nest egg. Liverpool never had the same weather as Manchester and was a hermetic and utterly urban identity - anyone who was not from one of the central areas (Croxteth, Everton, Bootle...) being 'smile-stigmatised' as countryside shepherds or 'woolybacks' - even if they simply lived in one of the many merging suburban peripheral estates of Merseyside. The same 'woolyback' shepherds also provided the music halls and audiences for many early Beatles gigs, and were the communities with their encyclopedic knowledge of rare grooves and dance moves that would become known as 'Northern Soul'. With Graham Nash up the coast in Blackpool, and myriad solid musicians and songwriters, there was music and talent to be a part of. Whilst detours to Hamburg failed to generate a range of sophisticated songs, they did grind together a ergonomic form of character and repetition. When finally afforded serious studio attention, their vast language of chords and visual sense of the 'meaning' of a note or musical juxtaposition, coupled with robust playful creativity and utter 'red line' seriousness, afforded The Beatles creative vistas that were far larger than anything popular music had ever seen before or since.
Liverpool was a town for experience: the local art galleries had powerful collections and there were posh schools and giant Cathedrals aside covered markets and pedestrianised 'bomb damaged' regeneration. Today, it is probably not possible to find a single person on the planet earth that does not like at least one Beatles song, and their creative speed and dynamic range remains a source of quiet pride for the human race, a sense of sharing for the many who are simply happy to know some of their words and melodies.
The song "Let It Down" was written in late 1968 and may come from chords explored during time George Harrison spent with Bob Dylan. The reel-to-reel tape of the creative run-throughs that took place for the 'Get Back sessions' and 'Twickenham tapes' are increasingly available via the internet, and the Debussy explorer and Beatles sound scholar 'J Alesait' has taken the time to piece together a clean version of the song from different run-throughs. The word 'clean' is not the same as 'true' and there is no certainty that this is a projected final form - but on saying that, it is certainly a fascinating montage. The instrumental ending has echos of the reverberations at the end of 'Helter-skelter' and is shaped by a 'visual' drumming chain, with perhaps the overall measure of a rich yet pared down 'Abbey Road' track. Contrast this with the 'wall of sound' version that was finally released via Phil Spectre, where the orchestration seems to spill out from the studio and mic-up as far as the kitchen sink: a result as impressive as Paul McCartney's 'In the back seat of my car' from a year later, but perhaps lacking the measure that comes from a tight band.
There used to be a Stuart Sutcliff painting in the John Moores gallery and some of the tones and moves from the end of this film are influenced by my distant memory of this canvas.
Quite by chance this lens test was posted on George Harrison's birthday, and there were a few articles in the press. A hoo was made that his songs were rejected by the band... 'All things must pass', 'Let it down' as if it was a personal issue of exclusion. Great tracks by Paul MacCartney were also 'rejected' ('Junk', 'Back seat of my car'...) and in truth, George was a slower song writer and later to develop into song writing: songs can also take years to finally rise to the surface so the word 'rejected' may be context bound. Many of Harrison's songs were given great thought and iconic place on Beatles LP's and he was listened to regarding visiting India, the need to stop touring; and his red lines of 'taste' were simply important to the band. No musician exists without the odd argument (Mozart argued with himself and his backers, Harrison with McCartney/Lennon/Yoko...). Imaginative sitar and guitar work, songwriting and a great 'character' voice made him one of the four Beatles and seeding a sense of injustice seems to be journalistic gaud.
AJM 26.02.20
Press play and then 'L' and even f11. Escape and f11 a second time to return.
Please : Right Click and select "Open link in new tab"
www.youtube.com/watch?v=O-30LWO1luQ
Jailhouse Rock 78rpm - Elvis