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Music / Musik » alt.fan.frank-zappa » redux: 50 Famous Recordings Added to The National Recording Registry
redux: 50 Famous Recordings Added to The National Recording Registry [message #283109] Sa, 10 Juni 2006 02:47
Shrike  
From the same website from where 'Zut boF' obtained the WOIIFTM
article.

http://www.audaud.com/article.php?ArticleID=1367

50 Famous Recordings Added to The National Recording Registry

Introduction, List, and Description of Each

LIBRARIAN OF CONGRESS NAMES 50 RECORDINGS
TO THE 2005 NATIONAL RECORDING REGISTRY

Librarian of Congress James H. Billington has made his annual
selection of 50 sound recordings for the National Recording Registry.
Under the terms of the National Recording Preservation Act of 2000,
the Librarian is responsible for annually selecting recordings that
are “culturally, historically, or aesthetically significant.” Registry
recordings must be at least 10 years old.

In announcing the registry, the Librarian said, “The National
Recording Registry represents a stunning array of the diversity,
humanity and creativity found in our sound heritage, nothing less than
a flood of noise and sound pulsating into the American bloodstream.”
The National Recording Registry was created by the National Recording
Preservation Act of 2000, legislation that promotes and supports audio
preservation. The registry celebrates the richness and variety of the
nation’s audio legacy and underscores the responsibility to assure the
long-term preservation of that legacy for future generations.

Nominations for the registry were gathered from members of the public,
who submitted suggestions online (www.loc.gov/nrpb/), and from the
National Recording Preservation Board, which comprises leaders in the
fields of music, recorded sound and preservation. The board also
assisted the Librarian with the review of nominations.

The new additions to the registry honor a wide variety of outstanding
spoken and musical recordings and span the years 1903-1988. Among the
selections is the first presidential inauguration to be broadcast,
featuring the “New England man-of-few-words” Calvin Coolidge; the
first official transatlantic telephone conversation that took place on
Jan. 7, 1927; Clem McCarthy’s 1938 broadcast of the historic Joe
Louis-Max Schmeling fight won by Louis in round 1; Samuel Barber’s
beautiful and haunting “Adagio for Strings,” called by some the
“American anthem for sadness and grief”; and Gil Scott-Heron’s “The
Revolution Will Not Be Televised,” a song poem whose title has become
a well-known part of the American cultural lexicon.

Additions also include a number of performances by an American
pantheon of significant artists, including Bob Hope, Nat “King” Cole,
Fred Allen, Mahalia Jackson, Fats Domino, Buddy Holly, Jerry Lee
Lewis, Dave Brubeck, B.B. King, the Nitty Gritty Dirt Band and Stevie
Wonder.
Celebrity attendees at the news conference included Robert Hendrix,
cousin to music legend Jimi Hendrix; Martha Reeves, renowned lead
singer for the classic Motown group Martha and the Vandellas; and
members of the comedy troupe the Firesign Theatre, who performed a
five-minute comedy routine. All are connected with recordings added
to the registry today.

At the press conference, the Library also announced acquisition of 31
rare, mint-condition test pressings from blues legend Robert Johnson
and discovery of a jam session featuring jazz great Lester Young.
Speaking on the Young discovery, Loren Schoenberg, executive director
of the Jazz Museum in Harlem, said, “Yes, this was Lester’s absolute
zenith and there is precious little extant from this period. Imagine a
new Shakespearean sonnet, Chopin nocturne or Hemingway short story –
that's what we have here – an American master, a true iconoclast, at
his very best.”

On behalf of Congress and the National Recording Preservation Board,
the Library of Congress is conducting a study on the state of audio
preservation and will develop a comprehensive national recording
preservation program, the first of its kind. The study encompasses the
current state of sound-recording archiving, preservation, restoration
activities and access to those recordings by scholars and the public.
Rob Bamberger, director and writer for the National Recording
Preservation Plan, was introduced as the person who will prepare the
study and plan.

The Library is identifying and preserving the best existing versions
of the recordings on the registry. These efforts have received support
from record companies and archives. Sony BMG, in particular, is
assisting the national preservation program by locating the best
surviving elements of its recordings and duplicating them at no cost
to the Library, ensuring that the best existing versions are added to
the National Recording Registry Collection at the Library of Congress.

The Library is currently accepting nominations for the 2006 National
Recording Registry at the National Recording Preservation Board Web
site, www.loc.gov/nrpb/.

The Library of Congress is the nation's oldest federal cultural
institution and the world's largest library with more than 132 million
items, which includes nearly 2.8 million sound recordings. The
Library's Recorded Sound Section holds the largest number of radio
broadcasts in the United States – more than 500,000.

A selection of audio excerpts and images will be available to the
press through April 18 at www.loc.gov/2005nationalrecordingregistry.


2005 National Recording Registry (in chronological order)

1. “Canzone del Porter” from “Martha (von Flotow),” Edouard de Reszke
(1903)
2. “Listen to the Lambs,” Hampton Quartette; recorded by Natalie
Curtis Burlin (1917)
3. “Over There,” Nora Bayes (1917)
4. “Crazy Blues,” Mamie Smith (1920)
5. “My Man” and “Second Hand Rose,” Fanny Brice (1921)
6. “Ory’s Creole Trombone,” Kid Ory (June 1922)
7. Inauguration of Calvin Coolidge (March 4, 1925)
8. “Tanec pid werbamy/Dance Under the Willows,” Pawlo Huemiuk (1926)
9. “Singin’ the Blues,” Frankie Trumbauer and his Orchestra with Bix
Beiderbecke (1927)
10. First official transatlantic telephone conversation (Jan. 7, 1927)
11. “El Manisero” (“The Peanut Vendor”), Rita Montaner, vocal with
orchestra (1927); “El Manisero,” Don Azpiazu and his orchestra (1930)
12. Light’s Golden Jubilee Celebration (Oct. 21, 1929)
13. Beethoven’s Egmont Overture, Op. 84, Modesto High School Band
(1930)
14. “Show Boat,” Helen Morgan, Paul Robeson, James Melton and others;
Victor Young, conductor; Louis Alter, piano (1932)
15. “Wabash Cannonball,” Roy Acuff (1936)
16. “One o’Clock Jump,” Count Basie and his Orchestra (1937)
17. Archibald MacLeish’s “Fall of the City,” Orson Welles, narrator,
Burgess Meredith, Paul Stewart (April 11, 1937)
18. “The Adventures of Robin Hood” radio broadcast of May 11, 1938
19. Joe Louis-Max Schmeling fight, Clem McCarthy, announcer (June
22,1938)
20. “John the Revelator,” Golden Gate Quartet (1938)
21. “Adagio for Strings,” Arturo Toscanini, conductor; NBC Symphony
(1938)
22. “Command Performance” show No.21, Bob Hope, master of ceremonies
(July 7, 1942)
23. “Straighten Up and Fly Right,” Nat “King” Cole (1943)
24. Allen’s Alley segment from “The Fred Allen Show”(Radio broadcast
of Oct. 7, 1945)
25. “Jole Blon,” Harry Choates (1946)
26. “Tubby the Tuba,” Paul Tripp (words) and George Kleinsinger
(music) (1946)
27. “Move on up a Little Higher,” Mahalia Jackson (1948)
28. “Anthology of American Folk Music,” edited by Harry Smith (1952)
29. “Schooner Bradley,” performed by Pat Bonner (??1952-60)
30. “Damnation of Faust,” Boston Symphony Orchestra with the Harvard
Glee Club and Radcliffe Choral Society (1954)
31. “Blueberry Hill,” Fats Domino (1956)
32. “Variations for Orchestra,” Louisville Orchestra (1956)
33. “Whole Lotta Shakin’ Goin’ On,” Jerry Lee Lewis (1957)
34. “That’ll Be the Day,” Buddy Holly (1957)
35. “Poeme Electronique,” Edgard Varese (1958)
36. “Time Out,” The Dave Brubeck Quartet (1959)
37. Studs Terkel interview with James Baldwin (Sept. 29, 1962)
38. William Faulkner address at West Point Military Academy (1962)
39. “Dancing in the Street,” Martha and the Vandellas (1964)
40. “Live at the Regal,” B.B. King (1965)
41. “Are You Experienced?” Jimi Hendrix Exerience (1967)
42. “We’re Only in It for the Money,” Frank Zappa and the Mothers of
Invention (1968)
43. “Switched-On Bach,” Wendy Carlos (1968)
44. “Oh Happy Day,” Edwin Hawkins Singers (1969)
45. “Don’t Crush That Dwarf, Hand Me the Pliers,” Firesign Theatre
(1970)
46. “The Revolution Will Not Be Televised,” Gil Scott-Heron (1970)
47. “Will the Circle Be Unbroken,” Nitty Gritty Dirt Band (1972)
48. The old fog horn, Kewaunee, Wis., recorded by James A. Lipsky
(1972)
49. “Songs in the Key of Life,” Stevie Wonder (1976)
50. “Daydream Nation,” Sonic Youth (1988)


2005 National Recording Registry (in chronological order)

1. “Canzone del Porter” from “Martha (von Flotow),” Edouard de Reszke
(1903) Representative of the Columbia Grand Opera Series.
Columbia Records’ 1903 “celebrity” series of discs featured seven
Metropolitan Opera stars who were considered some of the most
significant singers of the period. Perhaps of great historical
significance within the series are the three recordings made by bass
Edouard de Reszke. They are his only known published recordings, made
when he was approaching the end of his performing career. Other
performers included in the series are Giuseppe Campanari, baritone;
Marcella Sembrich, soprano; Suzanne Adams, soprano; Ernestine
Schumann-Heink, contralto; Antonio Scotti, baritone; and Charles
Gilbert, baritone.

2. “Listen to the Lambs,” Hampton Quartette; recorded by Natalie
Curtis Burlin (1917)
Natalie Burlin (1875-1921), a pioneer in the study of American
minority cultures, was one of the leading collectors and transcribers
of indigenous music of Africa and the United States. Beginning around
1903, she worked to document and preserve Native American culture and
in 1910, extended her work to carry out important studies of
African-American and African culture. Burlin published four volumes of
transcriptions taken from performances by students at Virginia’s
Hampton Normal and Agricultural Institute in 1918-1919. Recordings by
the Hampton Quartette made on wax cylinders during the 1880s,
including this recording of “Listen to the Lambs,” were probably the
basis of some of her published transcriptions.

3. “Over There,” Nora Bayes (1917)
Inextricably associated in popular imagination with World War I, Nora
Bayes’ recording introduced George M. Cohan’s song and became an
international hit. Cohan had specifically requested that Bayes be the
first singer to release his composition. A former member of the
“Ziegfeld Follies,” an extremely popular vaudevillian and a Broadway
star, she recorded a number of other songs to boost morale during the
war and performed extensively for the soldiers.

4. “Crazy Blues,” Mamie Smith (1920)
With her recording of “Crazy Blues,” Mamie Smith became the first
black vocalist to make a commercial vaudeville blues record. The
recording was a surprise hit, reputedly selling more than 250,000
copies. It revealed to record companies a previously neglected market
for records, African-American buyers. Subsequently, thousands of
recordings were made of black jazz and blues artists, invigorating the
record business and enabling the documentation and preservation of one
of the richest eras of musical creativity in the United States.

5. “My Man” and “Second Hand Rose,” Fanny Brice (1921)
Performed by Fanny Brice in the “Ziegfeld Follies of 1921,” “My Man”
and “Second Hand Rose” were recorded by Victor Records the same year
and issued together on a double-faced 78-rpm disc. Known for her
comedic songs in Yiddish and other dialects, Brice was in the midst of
marital woes when she recorded “My Man.” Audiences, connecting
strongly with her passionate performance, concluded she was singing
about herself. “Second Hand Rose” was a follow-up to a previous hit
song, “Rose of Washington Square,” and was a rare instance of the
sequel excelling its predecessor.

6. “Ory’s Creole Trombone,” Kid Ory (June 1922)
This ensemble of trombonist Kid Ory, originally called “Spikes’ Seven
Pods of Pepper,” was the first recording ever issued of a black jazz
band. It was recorded by Andrae Nordskog for his Santa Monica,
Calif.-based Nordskog record label. Under confusing circumstances, the
record was issued on the Sunshine label belonging to Los Angeles music
promoters the Spikes Brothers.

7. Inauguration of Calvin Coolidge (March 4, 1925)
Calvin Coolidge’s inauguration in 1925 was the first presidential
inauguration to be broadcast. Using the latest technology, RCA and
Bell Telephone aired the ceremonies over a makeshift network of radio
stations. The New York Times estimated that more than 25 million
Americans would be able to hear the president’s address, thus making
it a national event in a manner not previously possible. Twenty-one
radio stations, linked in a circuit throughout the country, broadcast
the president’s 47-minute inaugural address from the steps of the U.S.
Capitol. This recording was made as an experiment, not for
publication. It features announcers Graham McNamee on AT&T’s Red
Network and Major J. Andrew White and Norman Brokenshire for the
RCA/Westinghouse stations.

8. “Tanec pid werbamy/Dance Under the Willows,” a Ukrainian violin
solo with cymbaly, bass and sleigh bells, Pawlo Huemiuk (1926)
Pawlo Humeniuk was a renowned violin player in Ukranian communities
before beginning his recording career with Columbia, for which he made
this dance number. He learned violin in western Ukraine at the age of
6 and enjoyed a busy career playing concerts, dances and vaudeville
theaters. The song is an excellent example of the ethnic releases that
record labels began to produce in the 1920's for sale to immigrant
communities in the United States.

9. “Singin’ the Blues,” Frankie Trumbauer and his Orchestra with Bix
Beiderbecke (1927)
Saxophonist Frankie Trumbauer and cornetist Bix Beiderbecke created
some of the most significant jazz recordings of the 1920s, works still
noted for their beauty and influence on fellow musicians. Traumbauer
and Beiderbecke had worked together in the orchestras of Jean
Goldkette, Adrian Rollini and Paul Whiteman. For a brief period in
1927, Trumbauer had his own recording contract with Okeh Records.
Together with guitarist Eddie Lang and other members of the ensemble,
Trumbauer and Beiderbecke recorded “Singin’ the blues,” which contains
one of Beiderbecke’s greatest solos.

10. First official transatlantic telephone conversation (Jan. 7,
1927)
Upon the opening of the transatlantic telephone circuit for commercial
service, W.S. Gifford, president of the American Telephone & Telegraph
Co., called Sir Evelyn P. Murray, secretary of the General Post Office
of Great Britain, offering felicitations.

11. “El Manisero” (“The Peanut Vendor”), Rita Montaner, vocal with
orchestra (1927); “El Manisero,” Don Azpiazu and his orchestra (1930)
Popular Cuban singer and radio artist Rita Montaner recorded the first
version of the traditional song “El Manisero” in Havana in 1927. The
Don Azpiazu Orchestra version of “El Manisero,” adapted from
Montaner’s recording, was made in New York City three years later. It
is the first American recording of an authentic Latin dance style.
This recording launched a decade of “rumbamania,” introducing U.S.
listeners to Cuban percussion instruments and Cuban rhythms.

12. Light’s Golden Jubilee Celebration (Oct. 21, 1929)
Celebrating the 50th anniversary of the invention of incandescent
light, inventor Thomas Edison was honored at a dinner Oct. 21, 1929.
Portions of the celebration were broadcast over an NBC radio network.
Hosted by announcer Graham McNamee, the radio program included
speeches by President Herbert Hoover, Marie Curie, Henry Ford and,
speaking over shortwave from Berlin, Albert Einstein. Messages from
the Prince of Wales, President Von Hindenberg and Commander Richard
Byrd from the South Pole were read to Edison during the broadcast.

13. Beethoven’s Egmont Overture, Op. 84, Modesto High School Band
(1930)
This 1930 recording of the Modesto, Calif., High School Band is the
only known recording made by a high school band participating in the
National High School Band contests held between 1926 and 1934. Under
the direction of Frank Mancini, Modesto High School placed third in
the 1927 and 1928 contests, and second in 1929. An important educator
and conductor who directed band programs in California area schools,
Mancini was a former member of the bands of John Philip Sousa and
Patrick Conway. Limited edition high school band recordings were once
common, produced as fundraising tools for school bands and treasured
as souvenirs by band members. However, few high school bands were
recorded before the advent of tape recording and long-playing discs in
the late 1940s.

14. “Show Boat,” Helen Morgan, Paul Robeson, James Melton and others;
Victor Young, conductor; Louis Alter, piano (1932)
Original cast recordings of hit musicals were not made at the time of
Jerome Kern and Oscar Hammerstein’s landmark 1927 show, “Show Boat.”
Brunswick Records recorded 10 sides of selections from the musical in
1932 and issued them as an album set. The most notable performances on
the set are those of Helen Morgan, the original “Julie” in the
musical, and Paul Robeson, who played “Joe” in the London cast. The
set also includes discs of the musical’s overture and finale, making
it as close to an original cast album as one may encounter from this
period.

15. “Wabash Cannonball,” Roy Acuff (1936)
Fiddler and vocalist Roy Acuff's “Wabash Cannonball” was first
recorded in 1936, featuring the vocals of Sam “Dynamite” Hatcher of
Acuff’s band, the Crazy Tennesseans. Acuff later changed the band’s
name to the Smoky Mountain Boys while continuing to make himself well
known through motion picture appearances, recordings and personal
tours. He first appeared in 1938 as a regular on the Grand Ole Opry
and was its top star by 1942. “Wabash Cannonball” was recorded again
by Acuff, this time with his own vocals, in 1947. Acuff was the first
living artist to be elected into the Country Music Hall of Fame in
1962.

16. “One o’Clock Jump,” Count Basie and his Orchestra (1937)
This landmark of the big band Swing Era first came together as a “head
arrangement.” Head arrangements, worked out in rehearsal and
committed to memory rather than written down, gave much freedom to
soloists and allowed the musicians to concentrate on the rhythmic
drive for which Kansas City jazz and the Basie orchestra is noted. The
Basie orchestra, like most Kansas City-style bands, was organized
around its rhythm section. The interplay of brass and reeds on the
“One o’Clock Jump” serves as a backdrop for the unfolding solos of the
band’s extraordinary players, including Lester Young, Herschel Evans
and Buck Clayton.

17. Archibald MacLeish’s “Fall of the City,” Orson Welles, narrator,
Burgess Meredith, Paul Stewart (April 11, 1937)
As broadcast on “The Columbia Workshop,” Earle McGill’s production of
Archibald MacLeish’s chilling vision of a not-so-future war featured
Orson Welles as the narrator. This program brought experimental radio
as pioneered by “The Columbia Workshop” to maturity and profoundly
influenced a generation of creative radio producers and directors.

18. “The Adventures of Robin Hood” radio broadcast of May 11, 1938
Prior to the release of its 1938 film, “The Adventures of Robin Hood,”
Warner Bros. studio arranged to promote the motion picture by
broadcasting portions of its musical score over its Los Angeles radio
station, KFWB. The radio broadcast included composer Erich Wolfgang
Korngold’s symphonic scoring of 10 sequences from the film, with
narration by actor Basil Rathbone. “Robin Hood” is one of Korngold’s
most respected dramatic scores, an outstanding example of what he
termed “operas without words.” Because commercial recordings of motion
picture scores did not exist in 1938, this unusual film score
recording was not published until 1975.

19. Joe Louis-Max Schmeling fight, Clem McCarthy, announcer (June
22,1938)
It is believed that more than 70 million people, the largest audience
to date for a single radio broadcast, listened to NBC’s broadcast of
the boxing rematch between American Joe Louis and German Max
Schmeling. From its inception, the fight was viewed as more than a
sports event. The symbolism of an African American defeating a citizen
of the political state that proclaimed the superiority of the white
race was lost on no one. Veteran announcer Clem McCarthy delivered a
blow-by-blow account of the 124-second match to radio audiences from a
packed Madison Square Garden.

20. “John the Revelator,” Golden Gate Quartet (1938)
This pioneer Virginia gospel quartet of the 1930s and 1940s had a
profound influence on gospel music, furthering the development of
gospel vocal quartets from the Jubilee-style of the 19th century to
one influenced by 20th century jazz and popular music. Their smooth
Mills Brothers-influenced harmonies, humor and vocal improvisations
brought the quartet large audiences that extended far beyond the
church.

21. “Adagio for Strings,” Arturo Toscanini, conductor; NBC Symphony
(1938)
“Adagio for Strings,” adapted for orchestra by Samuel Barber from a
movement of his 1936 String Quartet No. 1, Op. 11, was created for
maestro Arturo Toscanini. It was premiered to a widely enthusiastic
audience on a Nov. 5, 1938, radio broadcast of the NBC Symphony. Its
tense melodic line and taut harmonies have made this moving
composition one of the most popular of all 20th century classical
works. The work is often performed and can be heard in the scores of
many motion pictures and television programs, most notably “Platoon”
and an episode of “Seinfeld.”

22. "Command Performance" show No. 21, Bob Hope, master of ceremonies
(July 7, 1942)
Although Bob Hope is known for his tireless touring for United
Service Organizations (USO) shows, he also lent his services to other
entertainment projects for the troops during World War ll, including
"Command Performance." Of the programs broadcast by the Armed Forces
Radio Service - a wartime broadcasting service for the troops -
"Command Performance" consistently attracted the biggest stars of the
day. Hope appeared on the program as master of ceremonies a number of
times, and service personnel reported greatly enjoying his
performance.

23. Straighten up and Fly Right,: Nat "King " Cole (1943)
The King Cole Trio, featuring Nat “King” Cole on piano and vocals, is
one of most respected small-group ensembles in jazz history. Cole’s
astonishing technical command of the piano, featuring a deceptively
light touch, influenced many of the greatest piano virtuosos who
followed him, including Erroll Garner, Oscar Peterson and Bill Evans.
His vocal solo on this recording introduced audiences to his
beautifully smooth singing, immaculate diction and liquid style,
launching his career as a one of the most popular singers of the
mid-20th century.

24. Allen's Alley segment from "The Fred Allen Show" (Radio broadcast
of Oct. 7, 1945)
Starting on Dec.13, 1942, “The Fred Allen Show” featured a segment
known as “Allen’s Alley” in which Allen would stroll along a
fictitious alley and meet a colorful cast of characters, including
Senator Bloat, Minerva Pious, Mrs. Pansy Nussbaum and Falstaff
Openshaw. One measure of the continuing influence of the show was
Warner Bros.’ modeling the cartoon rooster Foghorn Leghorn on Senator
Claghorn, the blustery Southern politician who was a regular character
on “Allen’s Alley.” The Oct. 7, 1945, broadcast marked the debut of
the Senator Claghorn character.

25. “Jole Blon,” Harry Choates (1946)
“Jole Blon,” by fiddler Harry Choates, is credited with introducing
Cajun music to a national audience and making that genre a significant
component of country music. Choates is known to many as the “Godfather
of Cajun Music” and “Fiddle King of Cajun Swing.” “Jole Blon,”
recorded for the Gold Star label, quickly became a country charts hit,
the first Cajun song to make the top 10.

26. Tubby the Tuba,” Paul Tripp (words) and George Kleinsinger
(music) (1946)
The charming musical story of Tubby introduces children to the sounds
and roles of orchestra instruments and is one of the most enduring
children’s recordings ever made. The work was first recorded in 1946,
featuring the narration of character actor Victor Jory. “Tubby” has
since been recorded in many different forms.

27. “Move on up a Little Higher,” Mahalia Jackson (1948)
This recording was gospel singer Mahalia Jackson’s breakthrough disc,
a best-seller that appealed equally to black and white audiences and
reputedly became the best-selling gospel release to date. Jackson
blends the vocal styles of blues singers, such as Bessie Smith and Ma
Rainey, with the heartfelt emotion and commitment common to
traditional gospel singing. She helped to make gospel music popular
with racially diverse audiences of all religions.

28. “Anthology of American Folk Music,” edited by Harry Smith (1952)
The “Harry Smith Anthology,” compiled for Folkways Records from
obscure, commercially released 78-rpm discs originally recorded
between 1926 and 1934, brought a variety of neglected and virtually
forgotten genres of American music to the public’s attention. The
anthology was drawn from the personal record collection of the
independent filmmaker and record collector Harry Smith, who also
annotated and illustrated the set. It includes country blues,
hillbilly tunes, Cajun social music, Appalachian murder ballads and
other genres of American music rarely heard on record in the early
1950s. The LP set was widely influential and played a seminal role in
the folk music revival of the 1950s and 1960s.

29. “Schooner Bradley,” performed by Pat Bonner (1952-60).
Representative of the Ivan Walton Collection, Bentley Library,
University of Michigan.
In the 1930s, Great Lakes folklorist Ivan Walton collected songs and
music in the northern part of Michigan’s Lower Peninsula in an effort
to save the music of Great Lakes sailors. This recording by fiddler
Pat Bonner reflects and preserves a fading tradition tied to maritime
life at the end of the schooner era.

30. “Damnation of Faust,” Boston Symphony Orchestra with the Harvard
Glee Club and Radcliffe Choral Society (1954)
Recorded in Boston’s Symphony Hall on Feb. 21 and 22, 1954, this
“live” performance of Berlioz’s “dramatic legend”was recorded through
a single condenser microphone suspended 17 feet above the conductor’s
podium, with one auxiliary microphone enlisted occasionally to
strengthen the chorus. Conductor Charles Munch, considered one of the
great interpreters of Berlioz, leads the Boston orchestra with
assistance from G. Wallace Woodworth directing the Harvard Glee Club
and Radcliffe Choral Society. Soloists include Suzanne Danco, David
Poleri, Martial Singher and Donald Gramm.

31. “Blueberry Hill,” Fats Domino (1956)
Domino’s relaxed-tempo, R&B version of “Blueberry Hill” was inspired
by Louis Armstrong’s rendition of the 1940 composition. The singer’s
New Orleans roots are evident in the Creole inflected cadences that
add richness and depth to the performance. Recorded in Los Angeles for
Imperial records, Domino insisted on performing the song despite the
reservations of the producer of the session. The wisdom of this choice
is borne out by the enduring association of the song with Domino,
despite a number other popular
renditions.

32. “Variations for Orchestra,” representative of the Louisville
Orchestra First Edition Recordings series, Louisville Orchestra (1956)
“Variations for Orchestra” by Elliot Carter is one of many works
commissioned by the Louisville Orchestra under its Rockefeller
Foundation-funded program to commission, premiere and record 20th
century classical music. Premiering on April 21, 1956, with Robert S.
Whitney conducting, “Variations for Orchestra” was recorded the next
month. From 1954 through 1959, the Louisville Orchestra commissioned
and performed 116 works from 101 composers, issuing 125 long-playing
discs on its First Edition Recordings label, the first recording label
owned by an American orchestra.

33. “Whole Lotta Shakin’ Goin’ On,” Jerry Lee Lewis (1957)
Jerry Lee Lewis’ second release for Sun Records included this lively
number that jettisoned the performer to international popularity. A
reworking of an R&B single penned by Roy Hall (aka Sunny David) and
Dave Williams, Lewis radically altered the original, adding a
propulsive boogie piano that was perfectly complemented by the drive
of J.M. Van Eaton’s energetic drumming. The listeners to the
recording, like Lewis himself, had a hard time remaining seated during
the performance.

34. “That’ll Be the Day,” Buddy Holly (1957)
Buddy Holly had actually recorded an earlier version of this song with
a more country-and-western feel than the hit version that Brunswick
records released. In an era when performers were not necessarily
songwriters, Buddy Holly and the Crickets wrote most of their own
material, including this number.

35. “Poeme Electronique,” Edgard Varese (1958)
Described by composer Joel Chadabe as “the ultimate statement of tape
music as mastic concrete,” this work premiered in the Philips pavilion
designed by famed architect Le Corbusier for the 1958 Brussels
Exposition. The work incorporated innumerable recorded sounds –
voices, sirens, bells, tone generators – that were all heard by
visitors to the pavilion from 425 loudspeakers positioned throughout
the hall. The speakers allowed the sound to be moved through the space
in interesting patterns that clashed with or complemented an array of
projected images. The Columbia release (ML 5148) used the actual tapes
that Edgard Varese employed in the original performance.

36 “Time Out,” The Dave Brubeck Quartet (1959)
Spawned by the “Cool Jazz” movement, “Time Out” is an album both
accessible and musically and rhythmically sophisticated. “Take
Five,”composed by the Quartet’s saxophonist Paul Desmond, has an
unforgettable melody but is written in 5/4 time. “Blue
Rondo a la Turk,” which Brubeck claimed to be inspired by Turkish
music he heard while on tour, is in the challenging 9/8 meter, but a
generation of listeners would instantly recognize it.

37. Studs Terkel interview with James Baldwin, representative of the
Studs Turkel Collection at the Chicago Historical Society, (Sept. 29,
1962)
From 1952 to 1997, Studs Terkel hosted a radio program featuring
interviews with a broad variety of performing artists, writers, poets,
playwrights, historians, political commentators, activists and people
who in other circumstances might be termed average Americans. He has
long been recognized as an outstanding interviewer and practitioner of
oral history. His skills extend beyond getting others to talk candidly
about themselves to producing revealing interchanges that illuminate
and inform about creativity, commitment and life in the United States.

38. William Faulkner address at West Point Military Academy (1962)
Three months before his death, in one of his last public appearances,
William Faulkner spent two days as a guest lecturer at West Point,
where he read from his novel “The Reivers” and participated in a
question-and-answer session with the press and public. Recorded and
transcribed by two English professors at the Academy, Joseph L. Fant
III and Robert Ashley, Faulkner is extremely candid, lucid and
generous. Among the subjects he discusses are Hemingway, Dreiser, race
relations and the future of the South and the purpose of literature.

39. “Dancing in the Street,” Martha and the Vandellas (1964)
This rousing dance hit has been cited as one of the first examples of
what would come to be known as the Motown sound. Written by Marvin
Gay, William Stevenson and Ivy Jo Hunter, the song was turned down by
another Motown act before Martha and the Vandellas performed it in the
Motown studios. The group, which consisted of Martha Reeves, Rosalyn
Ashford and Annette Beard, had alternated between singing backup for
other Motown acts and working on their own material, but, after the
success of this song, their career as a backup group was definitively
ended. The African-American community would come to infuse the tune
with political sentiments.

40. “Live at the Regal,” B.B. King (1965)
Bluesman B.B. King recorded this album at the Regal Theater in Chicago
in 1964. The recording showcases King’s inventive and emotional guitar
style, which blends Delta blues with a rhythm and blues beat, spiking
the combination with his “sliding note” style. The album, one of the
first of an in-concert blues performance, documents King’s intimate
relationship with his audience. King, who has been called “The King of
the Blues” and the “best blues artist of his generation,” has been a
primary influence on a number of artists, including Buddy Guy, Eric
Clapton and Mike Bloomfield.

41. “Are You Experienced?” Jimi Hendrix Exerience (1967)
This 1967 release remains not only one of the quintessential
statements of psychedelic rock but also has proved to be one of the
most groundbreaking guitar albums of the rock era. Hendrix’s playing,
while strongly rooted in the blues, also incorporated a variety of
jazz influences and a uniquely personal vocabulary of emotive guitar
feedback and extended solos. Including such classics as “Purple Haze,”
“Hey Joe” and “The Wind Cries Mary,” the album featured the able
rhythm section of Noel Redding on bass and Mitch Mitchell on drums. It
is difficult to overstate the enormous influence that Hendrix’s
recordings have had on subsequent guitarists.

42. “We’re Only in It for the Money,” Frank Zappa and the Mothers of
Invention (1968)
Frank Zappa’s inventive and iconoclastic album presents a unique
political stance, both anti-conservative and anti-counterculture, and
features a scathing satire on hippiedom and America’s reactions to it.
The album art is a brilliant parody of the Beatles’ sleeve design for
“Sgt. Pepper’s Lonely Hearts Club Band.” Zappa’s radical audio editing
and production techniques produced an eclectic blend of electronic,
avant-garde and rock music that was influenced by composers such as
Varese and Stravinsky, with pop melodies, virtuoso instrumental
performances, verbal asides and sound effects that segue into a
cohesive work. The result is an electronic sound collage that may be
Zappa’s definitive musical statement on America in the 1960s.

43. “Switched-On Bach,” Wendy Carlos (1968)
This meticulously recorded album introduced the Moog synthesizer to a
much wider audience than it had previously reached. Many of the
separate synthesizer voices on the album were recorded to tape
individually and carefully mixed to create the final product. After
the recording, Bob Moog’s musical circuitry enjoyed an enormous boom.
Within a decade the synthesizer was well established in the idioms of
rock music, dance music and Western art music. Wendy Carlos went on to
record several more well-crafted Bach recordings.

44. “Oh Happy Day,” Edwin Hawkins Singers (1969)
Regarded as the springboard for the development of contemporary gospel
music, “Oh Happy Day” was based on a 19th century white hymn. Its
popular music and jazz-influenced harmonies, infectious rhythms and
use of instruments not often found on earlier gospel recordings have
made the recording enduringly popular and influential. Originally
recorded on a long-playing album, “Let Us Go into the House of the
Lord,” as a fund-raising effort for the Northern California State
Youth Choir by director Edwin Hawkins, its compelling, exhilarating
sound found its way onto radio playlists in San Francisco. Re-recorded
under the name “Edwin Hawkins Singers,” the song became an
international crossover hit.

45. “Don’t Crush That Dwarf, Hand Me the Pliers,” Firesign Theatre
(1970)
Firesign Theatre, the Los Angeles-based comedy group, started on radio
station KPFK in 1966 and began producing comedy records in 1968.
“Don’t crush that dwarf” was recorded in 1970, utilizing many
sophisticated production techniques for the first time on a comedy
album, including 16-track recording and Dolby noise reduction. The
technology, enlisted in service of the ensemble's creativity, enabled
the use of surreal sound effects and layered storytelling to create an
album of far more than individual comedy sketches. “Dwarf “is a
one-act play that satirizes radio and television programs to comment
on political, social and literary topics of its day, remaining funny
decades later.

46. “The Revolution Will Not Be Televised,” Gil Scott-Heron (1970)
This poem, first released on Gil Scott-Heron’s first album, “Small
Talk at 125th and Lenox,” served as a rallying cry to black America
and proved a foreshadowing of the more politically active strains of
rap music. Having published a novel before he switched to a career as
a recording artist, Scott-Heron’s street poetry proved uncompromising
in its vision. Flutist Hubert Laws accompanied Scott-Heron’s spoken
and sung pieces.

47. “Will the Circle Be Unbroken,” Nitty Gritty Dirt Band (1972)
For “Will the Circle Be Unbroken,” the Nitty Gritty Dirt Band,
previously known for their country-rock and jug band music, brought
together a stellar group of musical giants of country music for an
unprecedented collaboration. The recordings, made in Nashville,
showcased traditional songs and country music classics with guest
performances by Doc Watson, Roy Acuff, Jimmy Martin, Maybelle Carter,
Merle Travis and Earl Scruggs. The resulting three-LP set introduced
acoustic country music to a new generation of audiences and revived
the careers of several of the guest performers.

48. The old fog horn, Kewaunee, Wis., recorded by James A. Lipsky
(1972)
In the late 19th century, Kewaunee, Wis., one of the great maritime
ports of the northern Great Lakes, sought to challenge Chicago as Lake
Michigan’s supreme port city. Its car ferry and rail loading tracks
were constructed in 1891 within a vast program of harbor improvements
toward this goal. The port's original fog signal was removed in 1981
when an automated signal was installed. Improved rail connections to
other cities led to the ultimate decline of the port; Kewaunee’s
aspirations were short lived. This recording preserves lost sounds of
the once bustling northern lake port.

49. “Songs in the Key of Life,” Stevie Wonder (1976)
In addition to Stevie Wonder’s impeccable musicianship, this album
features contributions from Nathan Watts (bass), Raymond Pounds
(drums), Greg Phillinganes (keyboards), Ben Bridges and Mike Sembello
(guitar) and a guest appearance by jazz pianist Herbie Hancock. To
produce the album, Wonder and the group worked in the studio
relentlessly for two years, occasionally logging sessions of 48 hours
straight. These efforts paid off with a number of excellent jazz,
blues and gospel-influenced songs, including “I Wish” and “Pastime
Paradise.” The album also includes the Duke Ellington tribute “Sir
Duke,” in which Wonder acknowledges his debt to the African-American
musical tradition.

50. “Daydream Nation,” Sonic Youth (1988)
Pioneer members of New York City’s clangorous early 1980s New Wave
scene, Sonic Youth are renowned for a glorious form of noise-based
chaos. Guitarists Thurston Moore and Lee Ranaldo had previously
performed with Glen Branca’s large guitar ensembles, and their
alternative guitar tunings and ringing harmonies attest to this
apprenticeship. On “Daydream Nation,” their third album, the group’s
forays into outright noise always return to melodic songs that employ
hypnotic arpeggios, driving punk rock rhythmic figures and furious
gales of guitar-based noise. Bassist Kim Gordon’s haunting vocals and
edgy lyrics add additional depth to the numbers she sings.

--
generic sig
Re: redux: 50 Famous Recordings Added to The National Recording Registry [message #283111 ] Sa, 10 Juni 2006 04:25
Zut boF  
Shrike a =E9crit :

> From the same website from where 'Zut boF' obtained the WOIIFTM
> article.

Yep i saw it but not post it !
Vorheriges Thema:Coonjine: "gwine up ta hebben"... "if FZ and so-and-so be... in hebben", etc.
Nächstes Thema:Allure vs Allure
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