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Married Troubles/Hide-Away Heart. 1951 . Tate Boland Home Studio, poss. Indianapolis, In – Lattie Moore and His Allen County Boys (Lattie Harrison Moore [vcl/rh gt]. In 1951 he made his first record, Hideaway Heart/Married Troubles, for a local label, Arrow; collectors hunted for it for more than 50 years before a copy turned up. If ever a record disappeared into collector Holy Graildom, it was this one. Very very rare !
Shellac @ The Fleece, Bristol, October 2017.
Fuji X-Pro2 + Fujinon XF 10-24mm f/4 R OIS.
Instagram @SimonHolliday
Today I got this 78RPM shellac cover of the German Reichswehr from 1941. These records (unfortunately not available) were probably sent to Norway in 1941. When I look at the cover, I realize that we were completely misinformed at school. The Reichswehr marched into Norway to play good music for the people there. If you take a closer look at the cover, you can also see that none of the soldiers are carrying a weapon! Not even a pistol!! What for? If you carry around musical instruments, the record collection (the soldier on the right is sitting on it) and the record players, you don't have any room for weapons.
Whether the music was soooo good makes me doubt when I see that there is a cat sitting to the right of the record player (probably singing along), which would mean that this is German cat music and not Duke Ellington etc.-------------------------Heute bekam ich diese 78RPM Schellack-Cover der deutschen Reichswehr von 1941. Diese Platten (leider nicht vorhanden) hatte man 1941 wohl nach Norwegen geschickt. Wenn ich mir das Cover anschaue, muss ich feststellen, dass man uns in der Schule völlig falsch unterrichtet hat. Die Reichswehr ist in Norwegen einmarschiert um den Menschen dort mal gute Musik vorzuspielen. Beim genaueren betrachten des Covers sieht man auch, dass keiner der Soldaten eine Waffe trägt! Wozu auch? Wenn man Musikinstrumente, die Plattensammlung (rechts der Soldat sitzt auf dieser) und die Plattenspieler mit rumträgt, hat man gar keinen Platz für Waffen.
Ob die Musik soooo gut war, lässt mich zweifeln wenn ich sehe, dass rechts vom Plattenspieler ein Katze sitzt (die vermutlich mitsingt), was ja bedeuten würde, dass es sich hier um deutsche Katzenmusik handelt und nicht um Duke Ellington etc.
Shellac
The Admiral / XVI (front cover)
Drag City (1994)
DC 44
Shellac record # 3.
One of the most beautifully packaged singles in my collection.
Cover includes a removable b/w photograph of Steve Albini's studio. Under the photo is a hand drawing of the photo with numbers for various items in the studio. The key to the photo and drawing is included with the liner notes.
'The Admiral' is an instrumental version, and XVI is an alternate title for Pull the Cup, both from then-unreleased At Action Park.
live @ Netil House, London 27/11/2013
> thequietus.com/articles/14017-shellac-netil-house-live-re...
Generalmente cuando hay confianza en alguna reunión de trabajo, me gusta dibujar mientras me hablan, cuando me ven dibujando me dicen "Pero pon atención a lo que te digo!" y yo miro a los ojos y digo con firmeza de guapo y varón "Chill Out baby Brotha! Escuche todo lo que dijiste!" y repito como loro y la audiencia queda impactada.
Ojo con las recomendaciones musicales implícitas en este boceto.
Este boceto fue hecho en la reunión de pauta de la Canhamo 14, en la que estoy trabajando firme al pie del cañon en este momento.
When I saw the T-shirt I knew the shot that I wanted.
Steve's figure was cut out for a double page collage of ATP 2002 that appeared in Careless Talk Costs Lives issue 9.
With flash. ATP curated by Shellac, Camber Sands. 2002
Douglas Lynch (1913 - 2009). Oil and shellac on carved linoleum. 1937 - 1938. Ski Grill (now Barlow Room), Mt. Hood Timberline Lodge, Mt. Hood, Oregon.
In 2002, when the Ski Grill reopened as the Barlow Grill, the 89-year-old artist wrote:
"These murals were planned and produced in 1937 - 1938. In the '30s, I was active in the design of display windows, posters and murals for Portland, Oregon's department stores, 45 restaurants and businesses. This work in the daily walk-around arts of the city was given considerable prominence, and I was comissioned to participate in the Timberline Lodge project with these panels. They show the pleasures of the slopes and streams of Mt. Hood as they were enjoyed by outdoor enthusiasts at the time."
"The wall coverings is [sic] off-white linoleum, a material usually used on floors. The lines of the drawing are incised in the surface with a matte [sic] knife and flat chisel, creating the effect of a linear light and shadow. Color areas are floated over the lines in successive layers of oil glazes, each layer 'sized' with white shellac. These built-up colors originally had a rich, glowing quality."
(Source: Description posted on the wall of the Barlow Room to provide information about the history of the murals and about "A Flyfisher," "A Springtime Walk" and "Selecting a Fly," damaged murals that were removed in the 60s, rediscovered twenty years later, and returned to the room when it was restored.)
The artist's April 20, 2009, obituary at oregonlive.com stated:
"I didn't become an artist," [Lynch] said. "I always was, from the time I was a child -- everybody put pencils in my hand, colored chalk and all that stuff -- and so there was no transition from the point when I was whatever I was as a child to becoming an artist. It was just a continuous process."
Lynch was born in LaGrande and moved with his family to Portland when he was a teenager. He graduated from Grant High School in 1931, where his wife, Alexandra Lynch says, "he had two wonderful art teachers who really influenced his direction."
Lynch attended several art schools, including the Portland Museum Art School. He also studied at the Rudolph Schaeffer School in San Francisco and the Chouinard Art Institude in Los Angeles.
Lynch got his start doing window displays in Meier & Frank and Lippman's in the 1930s. When the interior of Timberline Lodge was being planned, a project coordinator saw his window displays and commissioned him. Lynch created the murals in 1937.
Except for a seven-year stint as the art director of the Jantzen swimsuit company starting in 1957, Lynch spent most of his career teaching and doing freelance projects. He taught at the Portland Museum School for 30 years, "so he influenced a lot of students in the history of the arts training," his wife, Alexandra said.
A Side - She Will Get Lonesome.
B Side - Sinner's Angel.
1955 - A side written by the Louvin Brothers.
Birth: Jul. 28, 1933
Tipton
Tillman County
Oklahoma, USA
Death: Nov. 2, 2013
Malakoff
Henderson County
Texas, USA
Jimmy was a wonderful song writer / singer.
Songs on record are:
Along The Way 1954
Cajun Lingo 1954
Why Can't You Love Me 1954
My heart and I 1954
Cry Like A Baby 1955
Conscience 1955
I'm Not Giving Up That Easy 1955
My Fairland Dreams 1955
Sinner's angel 1955
She Will Get Lonesome 1955
Nero Played His Fiddle 1956
Except 1956
Jimmy Collie was number 9 of 14 children born to Pascol "Pat" Collie and Christina Marie "Christine" Scott Collie.
Jimmy was first married to Katherine Faye McCormick before 1954.
To this union was born Kathryn Dianne "Kathy" Collie, Jimmy Paul Collie, Randall Mack "Randy" Collie.
Jimmy's second wife was Rebecca Juanita Huckabee married March 12, 1966 in Dallas County, Texas and they divorced January 25, 1972 in Dallas County, Texas.
Jimmy's third wife was Judy A. Smith married Aug 24, 1976 in Lamar County, Texas.
Jimmy's fourth wife was Barbara A. Anderson married November 10, 1979 in Dallas County, Texas.
Jimmy's grandchildren:
Brian Edward Roberts
Brandon Paul Collie
Brandie Leanne Collie
November 8, 2013
Jimmy Collie
The Athens Daily Review
Fri Nov 08, 2013, 02:45 PM CST
Athens — Jimmy Collie, 80, of Malakoff, Tx., died Sunday morning, Nov, 3, 2013, at The Hospice of East Texas Hospital in Tyler, after a prolonged battle with cancer.
He was born on July 28, 1933, in Tillman, Okla., to Pat and Marie Collie. He was a faithful member of the First United Methodist Church of Malakoff. He was a veteran of the Korean War.
He finished his long and varied career, which included everything from country music singer to car salesman, and as an independent gasoline pump mechanic.
He moved to Athens in 1980 going to work for Twin Lakes Petroleum until retirement, where upon he owned his own gasoline pump repair business, "The Collie Company," servicing stations across the East Texas area.
He is preceded by: his parents; five sisters, Louise Lemmons, Dorothy Phillips, Patsy Sutton, Opal Gilbert, and Jeanie Walls; seven brothers, Elsworth Collie, Troy Wayne Collie, Frank Collie, Don Collie, Mike Collie, Pat Collie and Bob Collie.
He is survived by: one sister, Peggy Self; his wife Barbara Collie; daughter Kathy Liberto, Houston; sons Jimmy Collie, Dallas, Randy Collie, Dallas and Stephen Scott, Madison, Ind.; 10 grandchildren, and nine great-grandchildren; and numerous nieces and nephews.
After using shellac on pale green Tressorex bar tape the edges of the tape without glue turned much darker giving a sort-of tiger stripe effect over the length of the taping. Looks not too bad though. Can be seen better on large view.
Douglas Lynch (1913 - 2009). Oil and shellac on carved linoleum. 1937 - 1938. Ski Grill (now Barlow Room), Mt. Hood Timberline Lodge, Mt. Hood, Oregon.
In 2002, when the Ski Grill reopened as the Barlow Grill, the 89-year-old artist wrote:
"These murals were planned and produced in 1937 - 1938. In the '30s, I was active in the design of display windows, posters and murals for Portland, Oregon's department stores, 45 restaurants and businesses. This work in the daily walk-around arts of the city was given considerable prominence, and I was comissioned to participate in the Timberline Lodge project with these panels. They show the pleasures of the slopes and streams of Mt. Hood as they were enjoyed by outdoor enthusiasts at the time."
"The wall coverings is [sic] off-white linoleum, a material usually used on floors. The lines of the drawing are incised in the surface with a matte [sic] knife and flat chisel, creating the effect of a linear light and shadow. Color areas are floated over the lines in successive layers of oil glazes, each layer 'sized' with white shellac. These built-up colors originally had a rich, glowing quality."
(Source: Description posted on the wall of the Barlow Room to provide information about the history of the murals and about "A Flyfisher," "A Springtime Walk" and "Selecting a Fly," damaged murals that were removed in the 60s, rediscovered twenty years later, and returned to the room when it was restored.)
The artist's April 20, 2009, obituary at oregonlive.com stated:
"I didn't become an artist," [Lynch] said. "I always was, from the time I was a child -- everybody put pencils in my hand, colored chalk and all that stuff -- and so there was no transition from the point when I was whatever I was as a child to becoming an artist. It was just a continuous process."
Lynch was born in LaGrande and moved with his family to Portland when he was a teenager. He graduated from Grant High School in 1931, where his wife, Alexandra Lynch says, "he had two wonderful art teachers who really influenced his direction."
Lynch attended several art schools, including the Portland Museum Art School. He also studied at the Rudolph Schaeffer School in San Francisco and the Chouinard Art Institude in Los Angeles.
Lynch got his start doing window displays in Meier & Frank and Lippman's in the 1930s. When the interior of Timberline Lodge was being planned, a project coordinator saw his window displays and commissioned him. Lynch created the murals in 1937.
Except for a seven-year stint as the art director of the Jantzen swimsuit company starting in 1957, Lynch spent most of his career teaching and doing freelance projects. He taught at the Portland Museum School for 30 years, "so he influenced a lot of students in the history of the arts training," his wife, Alexandra said.