It’s out of print, but you can find the original 7-inch single (Continental CR 1001) on eBay. I found my copy when my friend Jim threw open his garage door and sold some of his records. I’ve since found another copy. It seems to be common.
(This is the sleeve for that 45. You could have bought it for 25 cents if you also bought a carton of Kent, True, Newport or Old Gold cigarettes.)
There’s no music. Just “Louis Satchmo Armstrong talkin’ to all the kids … from all over the world … at Christmas time,” reading Clement Clarke Moore’s classic poem in a warm, gravelly voice.
“But I heard him exclaim as he drove out of sight, ‘Happy Christmas to all, and to all a good night. A very good night.’
“And that goes for Satchmo, too. (Laughs softly.) Thank you.”
It was the last thing he ever recorded. Satchmo died the following July.
This year, I wanted to experience the Christmas season on the fly, seeing what I could see and hearing what I could hear at random.
So, when I was out and about, or in the car, or at home, it was fun catching the snippets of Christmas music that came along at random in the stores and on the radio and online. That includes the WFMU “Testify!” and Funky 16 Corners Christmas shows from my friend, the mighty Larry Grogan. (Who, by the way, should unwrap a MacArthur genius grant one of these years.)
Some were new to me, some not. It was good to appreciate again the great horn charts on the Carpenters’ version of “Santa Claus Is Coming To Town.”
I wanted to try something different, to get away from the same old, same old Christmas experience from time to time. To that end, I have a lot of Christmas music in my collection, and I listened to almost none of it.
There are a few exceptions, of course. On Christmas Eve, this is one.
Reverent yet thrilling, Irma Thomas’ rendition of “O Holy Night” is done as a New Orleans-style dirge with some moody Hammond organ and some terrific gospel voices singing backup.
Ten years ago, my friend Rob in Pennsylvania declared this to be “goosebump-inducing stuff.”
As the holiday season arrives, we present the following as a public service.
Your loved one is a record digger. You want to give them a good gift. I’m blessed to have a family who gets it, and is good at doing so.
If you’re Santa, here are a few guidelines. If you’re waiting to unwrap the gifts, please feel free to share with your loved ones.
Less is more, Part I. It’s better receive one nice record than an overstuffed, overpriced box set.
Less is more, Part II. It’s better to receive one nice record that gets dropped right onto the turntable than a stack of records that goes unplayed.
Talk to the folks at the record store. They might know your record digger better than you do, and they’re more than willing to help you find what you seek.
It’s OK to give a gift certificate. Let your record digger pop for obscure stuff neither you nor the record store folks would ever have considered. (Which explains how “The Hullabaloo Show” by The Hullabaloo Singers & Orchestra made it into one of my crates last month.)
It’s OK to ask for a wish list. That’s the best possible scenario for all parties. The giver is confident of giving something the recipient wants to receive.
That happened this summer. Four days before my June birthday, I went to see Garland Jeffreys. When I got home, I mentioned that he had a new record out. (Money was tight, so I didn’t stop by the merch table.) A couple of months later, out of the blue, we had to stop at the record store while running errands. Turns out a certain special order had come in.
“Waiting for the Man,” Garland Jeffreys, from “14 Steps to Harlem,” 2017. On which he covers his friend Lou Reed. He played this one for us that night.
Speaking of wish lists, here’s the one I typed into my phone while hanging out at the record store not too long ago.
— Sharon Jones and the Dap-Kings, “Soul of a Woman”
— Bob Seger, “I Knew You When”
— Mavis Staples, “If All I Was Was Black”
— The Isley Brothers and Santana, “Power of Peace”
At the Green Bay Record Convention on Saturday, one of the record diggers asked whether I had any spooky or eerie music. No, sorry. But I did have a suggestion. So here, adapted from a blog post written 10 years ago, is my take on Halloween and my recommendation for that gent.
Halloween is not my thing.
We always went trick-or-treating when we were kids, but we never had the cool costumes. Our parents raised three boys on a rather modest income, so we would get a mask — usually a popular cartoon character — and that would be about it. Just the way it was.
Masks meant a choice of the lesser of two evils: Wear my glasses under the mask and have the mask not fit properly, or go without my glasses and not see anything clearly. I remember going as Superman because it was easy enough to scare up a cape, and you didn’t need a mask. (And you could take the glasses on and off as needed.)
On Halloween 1970, we were visiting my grandmother, so we had to go trick-or-treating in her town that Saturday night. Grandma lived in an old rental house in a rundown neighborhood hard by the railroad tracks in a small central Wisconsin town. We were kids, so we never really noticed. It was just Grandma’s neighborhood.
My brothers and I — we were 13, 11 and 6 — had covered a couple of blocks when we walked up to a low-slung one-story house with a flat roof and a bunch of junk in the yard. It faced the tracks. We rang the doorbell and shouted “Trick or treat!”
After a short while, the door creaked open and a disheveled middle-aged woman peered out. Startled, it took her a couple of moments to comprehend what we were doing there. I was only 13, but somehow, I knew what was going on. She wasn’t expecting anyone.
The woman didn’t say much — maybe “Oh, my” — and then walked away from the door. Through the screen door, we saw her rummaging around a table. She came back to the door and dropped a couple of pennies into each of our bags.
The woman who wasn’t expecting anyone didn’t have anything to give anyone, either. I suppose we kept on trick-or treating that night, but that was it for me. Done forever.
I’ve always wondered whether the kids in that little town just knew — or were told — not to go down to that house. We were visitors, and kids, and didn’t know any better.
Ever since, Halloween has not been my thing.
However, in the spirit of the season, I will confess …
— Horror movies? Also not my thing, though I watched enough of them late at night in the mid-’70s. I had a girlfriend who liked them more than she liked me. The ones I enjoyed most had Vincent Price in them. He was cool, as my friend Andrew explained long ago in one of his lovingly crafted Halloween countdown posts over at Armagideon Time.
— I like “The Cask of Amontillado,” an Edgar Allan Poe story in which a man is plied with wine, then sealed behind a brick wall and left to die. I discovered it in high school. Some 20 years later, in 1995, I also dug the “Homicide: Life on the Streets” episode partly based on that story.
“The Cask of Amontillado” also is one of the cuts on the only album I associate with Halloween. It is, of course, “Tales of Mystery and Imagination,” the first album by the Alan Parsons Project. It’s a prog rock concept album based on Poe’s stories.
By the mid-’70s, Parsons was highly regarded for his work as an engineer on albums by the Beatles, Paul McCartney, the Hollies and Pink Floyd. He then became a producer, then created “Tales of Mystery and Imagination” with Eric Woolfson, who pitched him the idea.
More than 200 musicians played on that 1976 album, which was arranged by Andrew Powell.
You know “The Raven” from that album. It wasn’t the single — that was “(The System of) Doctor Tarr and Professor Fether” — but it became more widely played, and rightly so.
So, for your Halloween listening pleasure … two treats only. No tricks.
Everyone takes something different away from the music they hear.
Sometimes an obscure lyric or chord or melody is seared into your head forever. Sometimes something everyone else digs barely registers with you.
There you have the sum of my experience with Tom Petty.
When he died earlier this month, there I was, standing off to the side again. As the parade of deeply felt and richly deserved tributes streamed past, there I was, holding up a tiny sign that read “I liked the Traveling Wilburys.”
“Traveling Wilburys Vol. 3” came out 27 years ago next week, in late October 1990. It’s one of my favorite records from a time when I wasn’t exactly sure what I liked. That was a time when many of my favorite artists had either lost their way or fallen off the map. It also came out at a time when CDs were overtaking vinyl, and I was still sorting all that out. I have the CD. ¯\_(ツ)_/¯
Roy Orbison — old Lefty Wilbury — was gone, so this incarnation of the Wilburys consisted of Spike, Muddy, Clayton and Boo Wilbury. You know, George Harrison, Tom Petty, Jeff Lynne and Bob Dylan. Still a good group. I’d listen to any group with Spike and Clayton, then and now.
Muddy sang lead on two of the 10 cuts on the record. This one, with Clayton singing the bridge, has long been one of my favorites.
Upon my arrival in Madison, Wisconsin, in the summer of 1982, WORT expanded my horizons every weekday afternoon. There was something new and mind-blowing seemingly every day on the indie radio station at 89.9 FM.
Though my sweet spot was the emerging Americana music genre, I also was exposed to something harder-edged, something distant even from the trippy sounds I’d heard on free-form FM radio just a decade earlier.
The WORT DJs loved these new groups: the Replacements, Black Flag, the Meat Puppets, X, the Minutemen and then fIREHOSE, almost anything from the mighty SST and Twin Tone labels.
And, yeah, Hüsker Dü.
Writing this evening in the wake of Hüsker Dü drummer Grant Hart’s death, my friend Larry Grogan said:
“It’s entirely likely that if you are of a certain age or taste Hüsker Dü might have either been off your radar completely or not your cup of tea.”
I must plead guilty. I heard all those groups on WORT, but I am of a certain age. I’m just a little older than Grant Hart and just a little older than my many friends who dug Hüsker Dü and who keenly feel the loss of Hart today.
It just wasn’t my scene. But by all accounts, what a scene it was.
Again, my friend Larry:
“How exciting it was to do zines, and play in bands, and go to basement/loft shows of all kinds and discover that there was an entire underground world of people just like you that felt the same way about things, and creating/connecting in a pre-internet world where in-person and snail-mail were the order of the day. Grant Hart and Hüsker Dü were a big part of that world. … It was truly a different time, and unless you were there, you’ll never really know how amazing it all was.”
Turns out, a good half-dozen friends were part of that amazing scene. Norb’s band opened for Hüsker Dü at a venue that was more or less in my Madison neighborhood, then had a memorable encounter with Hart years later. Paul hung out with the band and also had a memorable encounter with Hart. Tom worked one of their last shows. Dave has good memories of Hart opening for Patti Smith with a most unexpected cover.
I respect their passion for Hart and for Hüsker Dü, one expressed so well by my friend Vince, another member of the Clan Grogan of New Jersey:
“No band hit me out of the gate or has stayed with me so potently as Hüsker Dü. They inspired me to play the way I do and were so beyond so many of their contemporaries. Their music is always close at hand. They were the perfect combination of smarts, emotion, hooks, and pure unadulterated fury.”
Reflect that passion. Go play some Hüsker Dü records.
Wait, I didn’t have a summer vacation. We moved our son to grad school in Ohio earlier this month. I saw a record store as we returned the U-Haul to Hamilton, Ohio, but we didn’t stop.
That said, I did manage to make a couple of record-digging excursions. We were in the Twin Cities on Fourth of July weekend, and a couple of weeks later, I made a swing through northern Illinois.
They turned out to be bittersweet trips.
My favorite record store in the Twin Cities was disappointing. Lots of records to look through, but it’s one of those places that’s increasingly mixing new vinyl with the used vinyl in the bins. Worst of all, the place smelled. Not that musty old record smell. No, it smelled of the pets that have the run of the place.
The good news is that I discovered a new favorite record store in the Twin Cities. My friend Todd, who runs one of our local indie record stores, tipped me to Mill City Sound in west suburban Hopkins. We’ve been going to the Twin Cities for almost 40 years, but had never been in this part of the area. Highly recommended, both for the record digging and for the small-town vibe of downtown Hopkins.
My $30 record-digging haul at Mill City Sound included the Beatles’ “Yellow Submarine” (yeah, a reissue, but you don’t see it often) and Sonny Curtis’ “Beatle Hits Flamenco Guitar Style” (which I’d never seen). I was so stoked to find those among the new arrivals that I forgot to circle back to grab another one I’d seen. So we returned two days later to get “Manufacturers of Soul” by Jackie Wilson and Count Basie, which was one of the records left behind on another record-digging trip two years ago.
My favorite record store in Rockford, Illinois, also was disappointing. Lots of records to look through, but one of those places that’s diversifying into new vinyl, used equipment and comic books. Worst of all, they seem to be mailing it in on the used vinyl. Bins jammed so full you couldn’t flip through them. No room in the bins? Just throw new arrivals on top, loose. Come on. Make an effort.
The good news is that I discovered a new favorite record store in Rockford. A decade ago, Culture Shock started out as a punk shop. It’s since matured into a place billed rather accurately as “half rock ‘n roll boutique and half record store.” Recommended on both counts, even if I didn’t find anything that day.
When I go record digging, whether on the road or here at home, I don’t have a wish list. But I do keep an eye out for early Bob Seger records, even though I have most of them.
Bob Seger was playing across town while I wrote this tonight. Zero interest in going because I know he never plays any of the great stuff from before the Silver Bullet days. So here’s one from the Bob Seger record I’ve never seen. Neither has my friend Dave, from whom I’ve been buying records since the ’80s.
“Noah,” from “Noah,” the Bob Seger System, 1969. It’s out of print.