The Magnificent Goldberg

The Beatles Bugsy Malone The In Sect

Not to get too technical, MG, but you're confusing profit with revenue. Lots of nonprofits (e.g., arts organizations like theatres, museums, and symphony orchestras, and educational institutions like universities) don't, by definition, make any "profit" per se (i.e., no income for any owners or investors), but they bring in enough revenue to pay others (officers/employees, guest and resident artists, vendors such as you described, etc.) quite handsomely. Of course, as nonprofits, they also benefit from being able to accept tax-deductible donations (at least in the US). True - those types of companies don't have huge R&D bills, however. Also they're all government-supported, which puts them rather into the same category as Melodiya and Syliphone. Big R&D bills (in this industry, lots of failures) require investment capital and that can only be generated by profits or subsidies. MG

Mick Jagger Dean Jagger Terry Dene

OK - the serious reply is Melodiya Records of Russia - don't know about now, but under the Soviet regime it was an organ of State. Syliphone Records of Guinea - also an organ of state. Almost certainly influenced by Soviet experience (though not Communist). Basically, unless it's an organ of state (and Smithsonian-Folkways is for all practical purposes) a record company can't be a non-profit because it's a firm that relies on other firms to supply its needs (studios, bands, printers, designers, record manufacturers etc) and these firms wouldn't supply unless they were getting paid. So profits are essential. MG

EMI? MG

Charlie Gillette was an R&B columnist for the Records Mirror in the late sixties and always had something interesting to say. Later, he had a Sunday lunchtime R&B show on BBC Radio London, with a competition, which I won once, getting a Bo Diddley LP, for the stupidest answer to the question. For their time, "Sound of the city" and "Making tracks" were pretty good books. He was also the owner (I think) or someone of significance in Oval Records, which was the first one to issue Djeli Moussa Diawarra's first album on CD in the west. Good programme on the BBC World Service, which I heard occasionally. Charlie Gillette was important to me. RIP MG

I just had a quick bead and it's on Hutcherson at Montreux and Byrd's "Steppin' into tomorrow". Also "Sophisticated Lou"; "Sassy soul strut"; and "Sweet lou"; Grant Green's Lighthouse job etc etc. I haven't seen any with a BST number, only BNLA numbers. I reckon it dates from when UA fully absorbed Liberty. MG

Meant to play this one yesterday, but no time Young men from Memphis - Down home reunion - UA (King Jaapan) Alvin "Red" Tyler - Heritage - Rounder (UK edition) MG

Getting closer to the answer Have a good one. MG

Aren't they on the Roy Eldridge Mosaic? So is "Dale's wail". MG

Ah yes, I forgot about Sue. It was acquired by UA in the late sixties or somewhen. MG

Certainly worthy, but most worthwhile? I'd probably go with the lightbulb -- or maybe the gaslamp before that. Fire. MG

As Gottfried Wilhelm von Leibniz stated in his fundamental work: Nouveaux essais sur l'entendement humain (New Essays on Human Understanding), 1704. wiki Nothing new under the sun. Cuoldn't find any references to green marker ink on that Wiki page. Are you sure it was green? MG

As well as the ones you and others have listed, there's Pathe (France only - the US division of Pathe is part of Sony/BMG) Pathe Marconi Mali K7 (Mali) JAT Music (Cote d'Ivoire) Creon Music (Cote d'Ivoire) Parlophone Zonophone (this is the firm that owns the HMV dog trademark - originally Victor's British subsidiary, I think) Regal Zonophone (well known for its Salvation Army and Joe Cocker recordings ) HMV Columbia (UK) Beacon (UK) HEMIsphere EMI Gospel Sparrow (another Gospel label) Jubilee/Josie Laurie Double L - not sure of this; it was a partnership between Lloyd Price & Liberty Minit World Pacific Aura Tico Shelter UA Solid State Musicor Virgin Caroline Virgin's Front Line Earth Works Real World Blackground Point Blank Narada Narada Jazz Plus many others from other parts of the world. It wouldn't surprise me if EMI didn't own a chunk of Toshiba. MG

AND HE PLAYED ON "HOT DOG"!!!! MG

Wow! That long ago! MG

Oh yes - thanks for the reminder. Digging this out now (well, now in a minute, as they say here). Same edition, too MG

Amiri Baraka's sleeve notes for Prestige were always a good read. And so were Chris Albertson's, whether pseudonymous or fully credited. It was Chris who first pointed out that Trane was interested in the Gator horn. And in the early seventies, Cobblestone/Muse often had good sleeve notes, as well. Again, Mark Gardner, Neil Tesser, Ralph Burton, Don Schlitten... MG

I think ours was made in Britain, and it works on woks Well, it works on anything, but it's good for woks. MG

Thanks Steve. It's illogical for JVB to have made sermon albums in the way they did, if there weren't such things, but I never heard of any. I agree - though in the sixties I had few double LPs, mostly classical, one jazz ("Chappaqua suite" on Columbia) + one Peter Weiss play, which was a 3-disc set on Caedmon. I think all of them were 1/2, 3/4. And they were all European pressings. I can't remember how the Beatles' white album, "Uncle meat", "Trout mask replica" and "Tommy" (the only ones that I can recall were around when I worked in a record shop in '69) but, if they were 1/4, 2/3, I'd have found it remarkable and would probably have remembered. So I agree with you that the 1/4, 2/3 thing was American, not European. And if it was just a major label thing in the US, the British or European ends of those firms didn't follow the American ends. MG

I saw this little exchange on the "What are you listening to?" thread. I wonder if that was a jazz lp thing, all the rock double lps I had were 1/4, 2/3. Boy, I guess that dates me, with my turn-table with a spindle changer -- three lps were okay, but four really slowed the tt down. Hey, they were great for parties though. I think the changer mode was a "major label" thing. I know the Braxton set for 4 orchestras (on Arista) was issued in changer order while the master tapes were prepared for manual changes. I was thinking about this yeasterday, in connection with Rev C L Franklin's early sermons, issued by JVB, then Chess, on albums of 78s. They were pressed in "changer mode" 1/6, 2/5, 3/4 - or an 8 disc version of the same nature. I've known about this for years and years, but last night it seemed somewhat peculiar to me for the first time. These recordings were made in the late forties/early fifties; after the introduction of LPs and 45s. But they were issued on 78. OK, I know that the black community kept buying 78s long after the white community had gone on to 45s. But were there autochange players that only played 78s? I've never heard of them. If there weren't, these 78s were programmed for autochangers, which could have played 45s, so the discs could have been issued on 45 or 33. This all strikes me as being slightly odd. Anyone know if there were 78 autochange machines? MG

Indeed! Cor! MG

That would be great! Thank you. MG

Er... I fingered Dex. MG And damn me, I didn't recognise the Clare Fischer, although I've had it for over 40 years! Disgusted of Haywards Heath

Goodness! How might one get hold of these? MG No time at present, but looks good. Thanks. MG