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Search Result for Label PARLORTONE
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LP
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PT 2003LP
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Qat, Coffee & Qambus: Raw 45s From Yemen is a compilation of rare Yemeni vinyl singles, showcasing the little-documented, evolving local music styles in the 1960s and 1970s. Vintage oud and vocal music inspired by the qat-chewing, coffee-sipping, qambus-playing culture of Yemen. Although part of the classical Arabic musical tradition, the music of Yemen takes its rhythmic lead as much from the East African coast (a mere 20 miles across the Red Sea) as the surrounding Arab Peninsula. Little has been written about the music and culture of one of the world's oldest civilizations, and each 45rpm disc gives a small glimpse of the poetic tradition, the unique local oud styles as well as an insight into people's day to day lives, or the highs and lows of human relationships. Overall, the compilation gives a flavor of the sights and sounds of Yemen, with detailed notes that tell the story of the hunt for music that has mostly lain forgotten in the antique markets of the capital, until now. Pressed on high quality vinyl with a full-color cover featuring 78rpm record sleeve graphics, and an insert of extensive liner notes and photos.
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LP
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PT 2001LP
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Subtitled: Guitar, Oud, Tar, Violin And More From The 78rpm Era. Jonathan Ward -- a young 78rpm collector and music researcher who has amassed an absolutely incredible collection of rare 78rpm records from around the world. Generally sharing these through his well-known blog, Excavated Shellac, Ward's one-of-a-kind collection is showcased for the first time on Dust-to-Digital's vinyl imprint, Parlortone. None of these tracks have appeared prior to this release, either on Excavated Shellac or on any CD or LP compilation. The Excavated Shellac archives are hosted on WFMU's Free Music Archive, and are essentially an (inter)national treasure. This LP features 14 outstanding compositions from the four corners of the world played on stringed instruments and recorded and released 78rpm records circa 1920-1950. Featuring fiddles, shamisen, charango, Paraguyan harp, Indian vina, Lebanese oud, Persian violin, Vietnamese moon guitar, and more. All previously-unreleased, carefully transferred and mastered and presented with detailed liner-notes. Pressed on high-quality vinyl, with a full-color cover featuring 78rpm record sleeve graphics, and an insert of extensive liner notes and photos.
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LP
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PT 4001LP
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Before the Rev. Johnny L. Jones earned the nickname "Hurricane" for whipping sermons into a frenzy, before he recorded a string of gospel LPs for Jewel Records, before his church in Atlanta's West End burned in 1973, and long before his records started showing up again in thrift stores to be discovered and bought by a younger generation, Johnny Jones was just a young boy sitting at a tent revival in Marion, Ala. The year was 1949. "I can't think of the man's name, but he played piano and sang," Jones says. "I guess the audience went wild along with me and I sat back there watching him. At 13 my prayer was, 'Lord, let me play a piano just like he's playing it.'" Called to preach at the young age of 19, Jones preached at country revivals and around LaGrange before settling in as pastor at Second Mount Olive Baptist Church in Atlanta. At the small church on Maple Street in the late '50s, Jones started recording the songs and sermon of each Sunday service on reel-to-reel tape. Jones says that Coretta Scott King and the Rev. Martin Luther King Jr. lived in the neighborhood at the time. Jones started his recording career by putting out his own debut, an LP titled Working For God, financed with cash borrowed from his father. His third self-released LP, Jesus Is In Town, caught the ear of Stan Lewis at Jewel Records. The Louisiana-based record label -- "the largest Gospel one-stop in the business," according to Billboard magazine around that time -- re-released Jesus Is in Town in 1969 and continued releasing Jones' records throughout the '70s. Jones earned such a reputation for building up his sermons from slow teaching into a frenzied power that a local radio DJ started calling him "The Hurricane." Though Jones' congregation quickly outgrew the Maple Street location and moved to a church on Westhaven Drive, a fire that broke out during service on Dec. 9, 1973 stopped Second Mount Olive Baptist from growing larger. Jones says that during the peak, Mount Olive was drawing 1,500 people on a regular Sunday, but the fire almost immediately diminished that to a few hundred congregants. Jewel released Jones' last album in 1978. In the years since, those records have gone out-of-print, eventually circulating into used bins and thrift stores where they've been picked up by younger listeners unfamiliar with Jones or his church. Since being introduced by Cole Alexander of the Black Lips, Dust-to-Digital founder Lance Ledbetter and Jones have worked together, listening to the vast archive of recordings that Jones has never released. Together, they've culled those tapes into Jones' first LP in 31 years, Jesus Christ From A To Z. The collected recordings are striking, loose documents of that Hurricane style: soaring organs, screaming congregants and Jones leading it all in his distinctive moan. The Methodist theologian John Wesley once asked, "Why should the devil have all the good music?" Today, the Rev. Johnny L. Jones is proof that he doesn't. --Wyatt Williams, December 15, 2009
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7"
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PT 1001EP
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Dust-to-Digital proudly inaugurates its vinyl imprint Parlortone with the earliest intelligible recording of the human voice: a historic 20-second version of "Au Clair de la Lune" made in 1860, 17 years before Thomas Edison invented the phonograph. This one-sided 45rpm record comes complete with an etched back, a descriptive essay and a reproduction of Édouard-Léon Scott de Martinville's original "Au Clair..." phonautogram. Édouard-Léon Scott de Martinville was born in France in 1817. As a printer by trade, he was able to read accounts of the latest scientific discoveries and became an inventor. On March 25, 1857, he received French patent #17,897/31,470 for the phonautograph. This device made a visual image of sound waves on a cylinder, but did not play or reproduce any sounds. Scott used a horn to collect sound, a diaphragm at the end of the horn that vibrated from the sound, a stiff brush bristle attached to the diaphragm, and a rotating cylinder covered with lampblack or blackened paper that recorded the wavy lines from the vibrating diaphragm and bristle. Example "No. 5" -- "Au Clair de la Lune" was recorded on April 9, 1860. Scott prepared its recording surface by wrapping a sheet of paper around a cylinder, which he rotated over a smoking lantern to cover with soot. He recorded with two styli -- one driven by the vibrations of a tuning fork, the other driven by a membrane vibrating in sympathy with his voice. He removed the paper from the cylinder and immersed it in an alcohol-based fixative from behind its curtain of noise. He sang purposely into his instrument to reveal the shape of sounds and the frequency of his notes. In listening to "Au Clair..." we eavesdrop not on a musical performance, but on a scientific experiment -- wafting imperfectly through a window in time.
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