First album I heard from them, after all this time it's still amazing clovisint. The most exciting band in recent memory! All killer, no filler! Will Little. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip.
Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Keenan Kiosis. Turner Schultz. Patricia Case. Brian Riggio. Gregor Langbehn. Josh Winsor - Viney. Sema Graham. Ben Walter. Ron Knox. Adam Linder. Brandon Lewis. Rox Roots. Alex Ziembiec. Lachlan Grant. Mo Helmy. Remember that you are only you, remember that your prime concern should be doing what is most important to you, but that you have a responsibility, a very real responsibility to every person other than yourself who gets involved in the achieving of your personal goals.
Before and after he was anything else, Paul Williams was that good old distinctively American type: The Seeker. All carried deep desperation or assuming the qualities can ever be disentangled fatalism in their bones. Everyone else thought Jim was a phony or worse. My mother passed away in It happened that as I pulled up to the stop light directly in front of the Florida state mental hospital, which we really do keep in a place called Chattahoochee, a rough-looking by which I mean a bit unkempt, not threatening teenage boy was humping it along the sidewalk on the opposite side of the road, hunch-shouldered, head down, sneakers and a long-sleeved jacket in degree weather, generally doing the James Dean thing.
The breeze must have been blowing in his direction, because, on hearing the music from my radio, he slowed down and then came to a complete stop. To tell the plain truth, I came to the Doors late. I never had a lot of James Dean—and certainly not a lot of Jim Morrison—in me.
And, that being the case, I probably did have a little Ray Manzarek in me. The way I came to see it finally, when I did come around to the Doors, is that in the Summer of Love, when a whole lot of people saw perpetual grooviness extending into a bright, trippy future and professional cynics like Frank Zappa thought themselves exceptionally clever because they saw new wine in old bottles, Jim Morrison was the one who looked down the long, black tunnel of The Future and saw Charlie Manson and Ted Bundy waiting.
The miracle is that he got the chance to put those visions on record at all, and Ray Manzarek was probably more responsible for that than anyone, including perhaps Morrison himself. And all this moody reflection does leave me wondering whether the several downtown apartment complexes who claimed they were the place JIm Morrison stayed when he went to FSU are still using it to bump the rent! They made it work. Funny thing, though. I keep trying to get to the bottom of it. Come hither…. I know how they seem now, from this time: Unfathomable.
And what better description of their time can you get? Besides, they were Brits and there was never going to be any more England anyway. Big whoop. Well, somebody like me maybe. That was just the personal stuff. Out of that, the music.
And the arc was perfect. It will make it like the good part of the Sixties never even happened except in dreams. Better to just go on a journey. Today will be what we want it to be. You know, go where you wanna go. Even the drugs will be cool. I mean…. There was, of course, no direction to head from there except Utopia or the Long Fall. We know—perhaps they even knew—where that fork in the road always leads. The phonograph record has made a niche resurgence as a format for rock music in the early 21st century — 9.
As of , 48 record pressing facilities remain worldwide, 18 in the US and 30 in other countries. The increased popularity of the record has led to the investment in new and modern record-pressing machines. The phrase broken record refers to a malfunction  whereby the same sounds are repeatedly played.
The large cover and inner sleeves are valued by collectors and artists for the space given for visual expression, especially in the case of inch discs. In the s, these tracings were first scanned by audio engineers and digitally converted into audible sound.
Phonautograms of singing and speech made by Scott in were played back as sound for the first time in Along with a tuning fork tone and unintelligible snippets recorded as early as , these are the earliest known recordings of sound. In , Thomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph.
Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a " telephone repeater" analogous to the telegraph repeater he had been working on.
Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he actually reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later.
The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately.
The Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey, Rosapelly and Barlow as well as Scott as creators of devices for recording but, importantly, not reproducing sound. A decade later, Edison developed a greatly improved phonograph that used a hollow wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the s and dominated it through the early years of the 20th century.
Lateral-cut disc records were developed in the United States by Emile Berliner although Thomas Edison's original patent included flat disks , who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone 's wax cylinder " graphophone ".
Berliner's earliest discs, first marketed in , only in Europe, were Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in , under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them.
Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved it. Abandoning Berliner's "Gramophone" trademark for legal reasons, in Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company in Camden, New Jersey , whose products would come to dominate the market for many years.
In , inch disc records were introduced, followed in by inch records. These could play for more than three and four minutes, respectively, whereas contemporary cylinders could only play for about two minutes. Despite these improvements, during the s discs decisively won this early format war , although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in By , the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them.
Analog disc records dominated the home entertainment market until they were outsold by digital compact discs in the s, which were in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing.
One standard audio recording handbook describes speed regulators, or governors , as being part of a wave of improvement introduced rapidly after A picture of a hand-cranked Berliner Gramophone shows a governor. It says that spring drives replaced hand drives. It notes that:. The speed regulator was furnished with an indicator that showed the speed when the machine was running so that the records, on reproduction, could be revolved at exactly the same speed Early recordings were made entirely acoustically, the sound being collected by a horn and piped to a diaphragm , which vibrated the cutting stylus.
Sensitivity and frequency range were poor, and frequency response was very irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer almost had to put his or her face in the recording horn. Lower-pitched orchestral instruments such as cellos and double basses were often doubled or replaced by louder instruments, such as tubas.
Standard violins in orchestral ensembles were commonly replaced by Stroh violins , which became popular with recording studios. Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings. The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn.
Lillian Hardin Armstrong , a member of King Oliver's Creole Jazz Band , which recorded at Gennett Records in , remembered that at first Oliver and his young second trumpet, Louis Armstrong , stood next to each other and Oliver's horn could not be heard. During the first half of the s, engineers at Western Electric , as well as independent inventors such as Orlando Marsh , developed technology for capturing sound with a microphone , amplifying it with vacuum tubes , then using the amplified signal to drive an electromechanical recording head.
Western Electric's innovations resulted in a broader and smoother frequency response, which produced a dramatically fuller, clearer and more natural-sounding recording. Soft or distant sounds that were previously impossible to record could now be captured.
Volume was now limited only by the groove spacing on the record and the amplification of the playback device. Victor and Columbia licensed the new electrical system from Western Electric and began recording discs during the Spring of To claim that the records have succeeded in exact and complete reproduction of all details of symphonic or operatic performances Electrical recording and reproduction have combined to retain vitality and color in recitals by proxy.
Electrically amplified record players were initially expensive and slow to be adopted. In , the Victor company introduced both the Orthophonic Victrola , an acoustical record player that was designed to play electrically recorded discs, and the electrically amplified Electrola. The Orthophonic had an interior folded exponential horn, a sophisticated design informed by impedance-matching and transmission-line theory, and designed to provide a relatively flat frequency response.
Its first public demonstration was front-page news in The New York Times , which reported:. The audience broke into applause John Philip Sousa [said]: '[Gentlemen], that is a band.
This is the first time I have ever heard music with any soul to it produced by a mechanical talking machine' The new instrument is a feat of mathematics and physics. It is not the result of innumerable experiments, but was worked out on paper in advance of being built in the laboratory The new machine has a range of from to 5, [cycles], or five and a half octaves The 'phonograph tone' is eliminated by the new recording and reproducing process.
Gradually, electrical reproduction entered the home. The spring motor was replaced by an electric motor. The old sound box with its needle-linked diaphragm was replaced by an electromagnetic pickup that converted the needle vibrations into an electrical signal. The tone arm now served to conduct a pair of wires, not sound waves, into the cabinet.
The exponential horn was replaced by an amplifier and a loudspeaker. Sales of records declined precipitously during the Great Depression of the s. According to Edward Wallerstein the general manager of RCA's Victor division , this device was "instrumental in revitalizing the industry".
The earliest disc records — were made of variety of materials including hard rubber. Around , a shellac -based material was introduced and became standard. Formulas for the mixture varied by manufacturer over time, but it was typically about one-third shellac and two-thirds mineral filler finely pulverized slate or limestone , with cotton fibers to add tensile strength, carbon black for color without which it tended to be an unattractive "dirty" gray or brown color , and a very small amount of a lubricant to facilitate release from the manufacturing press.
Columbia Records used a laminated disc with a core of coarser material or fiber. Less abrasive formulations were developed during its waning years and very late examples in like-new condition can have noise levels as low as vinyl. Beginning in , Nicole Records of the UK coated celluloid or a similar substance onto a cardboard core disc for a few years, but they were noisy.
In the United States, Columbia Records introduced flexible, fiber-cored "Marconi Velvet Tone Record" pressings in , but their longevity and relatively quiet surfaces depended on the use of special gold-plated Marconi Needles and the product was not successful. Thin, flexible plastic records such as the German Phonycord and the British Filmophone and Goodson records appeared around but not for long.
In the US, Hit of the Week records were introduced in early They were made of a patented translucent plastic called Durium coated on a heavy brown paper base. A new issue debuted weekly, sold at newsstands like a magazine. Although inexpensive and commercially successful at first, they fell victim to the Great Depression and US production ended in Durium records continued to be made in the UK and as late as in Italy, where the name "Durium" survived into the LP era as a brand of vinyl records.
In , RCA Victor introduced vinyl plastic-based Victrolac as a material for unusual-format and special-purpose records. In , RCA began using Victrolac in a home recording system. By the end of the s vinyl's light weight, strength, and low surface noise had made it the preferred material for prerecorded radio programming and other critical applications. Later, Decca Records introduced vinyl Deccalite 78s, while other record companies used vinyl formulations trademarked as Metrolite, Merco Plastic, and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.
In the s, the diameter of the earliest toy discs was generally By the mids, discs were usually 7 inches nominally Victor , Brunswick and Columbia also issued inch popular medleys, usually spotlighting a Broadway show score.
Fewer than fifty titles were issued, and the series was dropped in , due to poor sales. The playing time of a phonograph record depends on the available groove length divided by the turntable speed.
Total groove length in turn depends on how closely the grooves are spaced, in addition to the record diameter. At the beginning of the 20th century, the early discs played for two minutes, the same as cylinder records. In January , Milt Gabler started recording for Commodore Records , and to allow for longer continuous performances, he recorded some inch discs.
Eddie Condon explained: "Gabler realized that a jam session needs room for development. Vaudeville stars Gallagher and Shean recorded "Mr. Gallagher and Mr. Shean", written by themselves or, allegedly, by Bryan Foy, as two sides of a inch 78 in for Victor.
The limited duration of recordings persisted from their advent until the introduction of the LP record in In the 78 era, classical-music and spoken-word items generally were released on the longer inch 78s, about 4—5 minutes per side. For example, on June 10, , four months after the February 12 premier of Rhapsody in Blue , George Gershwin recorded an abridged version of the seventeen-minute work with Paul Whiteman and His Orchestra.
Generally the sleeves had a circular cut-out exposing the record label to view. The duo have bridged the underground and mainstream in a way that mirrors their respective career tracks, and their newest will inevitably mix guests, top notch production and new ideas to continue to do the same. But with a more rugged and Midwest emo-inspired sound, the group is looking to continue carving their own trail. It starts with a new full-length album, due out in early February in the middle of their European run.
With a new decade will come an LP from The Strokes for the first time since It will comprise 12 tracks and — as usual — is recorded, produced, and mixed all by Kevin Parker himself. Hopefully that means new music sometime in The last we had seen of the band, they made a triumphant revival with Cold Like War.Shop for Vinyl, CDs and more from Tom Moran at the Discogs Marketplace. Explore. Discover. Explore All Run Forever* - Settling Run Forever* - Settling (LP, Album, Gre) Tiny Engines: TE US: Sell This Version: 1 – 17 of