From: Malcolm Humes Subject: What do you like/want? & more great deals for under $1 Date: 06 Sep 1994 15:58:10 -0700 Back to an idea I threw out some time ago - should we create some sort of a FAQ for this list? Or maybe some sort of survey of our tastes which could help define some of the categories and interests of our subscriber base? It occurs to me that as many of us presumably have widely varied interests we might be able to help each other out by declaring our interests and wants. The boring Arthur Lyman lp mentioned here weeks back might be a gem for another subscriber. Maybe we could make a subset LP Wanted List for the bargain bin hunters to use - I'm sure I probably passed up a dozen lps or more in recent days that someone else on this list would kill for, or least pay a few bucks to get. All this talk lately about it getting harder and harder to find interesting and exotic used lps is not in line with my recent experiences. Last weekend I picked up something like 50 lps from 3 different sources and spent overall less than $1 each. An "urban" recycler in town that specializes more in used sinks than in music yeilded a pile of some 17 records for $7, including Martin Denny's A Taste of Honey, some odd japanese woman's 10" from 1959 and a few other goodies. The next day doing the flea market thang I came across a dealer I hadn't seen before with many $1-only bins - some strange 70's funk and a lot of 60's "trash" like fake Beatle bands, guitar orchestra stuff, Phase IV exotic percussion, some spoken word philosophical rants on intellectualism and sex (from 1969-70). The highlight of the batch is probably some ochestrated James Bond and TV theme stuff, titled music from Thunderball, with great guitars and vocals parts - I forget who the orchstra is. Also I found some JIM REEVES tribute thing that looks like it's by Jim but is really In Memory of Jim Reeves and by someone else. Track one is a really goofy ditty called Bimbo that I assume was one of his hits. I thought maybe it had some influence on Yello's Bimbo but it's hard to say for sure, it's not the same song... - Malcolm ------------------------------------------------------------------------------- From: lazlo@rt66.com (Lazlo Nibble) Subject: What do you like/want? & more great deals for under $1 Date: 06 Sep 1994 18:24:09 -0600 (MDT) > All this talk lately about it getting harder and harder to find interesting > and exotic used lps is not in line with my recent experiences. [...] Last > weekend I picked up something like 50 lps from 3 different sources and > spent overall less than $1 each. Ditto. Some friends and I hit an auction last Wednesday night and nailed six boxes of (mostly) pre-Beatles material; after we'd sorted through 'em, picked out what we wanted, and taken the trashed stuff to Goodwill, I'd netted about 150 records for $50 and they did about the same. It was *well* worth the effort, and we only came close to killing each other a couple of times while figuring out who got what. :-) Big scores on my side included a few Brubeck discs, Rusty Warren's "Sin-Sational" and "In Orbit" (on Jubilee), "Songs I Like" by Dick Van Dyke, "Dreamsville" by the Monn-Keys (wicked cover!), the Mondo Cane soundtrack, lots of Mancini, Winterhalter, and Gould with great RCA/Victor sleeves, and an unopened copy of the Dane Sturgeon album mentioned in ISMv2. They got lots of Belafonte, most of the St. Louis and New Orleans stuff, some monster-party records... On Sunday I decided to stop by a thrift store I was passing and picked up a handful of absolutely-no-exaggeration-100%-*mint* sides from the '50s (including Perez Prado's "Great Mambos" and a very suave percussion/Lowrey Organ disc of Cole Porter songs that inspired me to start a "Pure Cocktail" section in my record rack) for 95 cents apiece. Hard-to-find, my fat white boo-tay. There's plenty of it out there, you just have to move fast enough to assure that its path intersects with yours! - -- Lazlo (lazlo@rt66.com) ------------------------------------------------------------------------------- From: Richard Karty Subject: ahem / Mrs. D. Date: 07 Sep 1994 12:59:40 -0700 (PDT) 1: Any Phyllis Diller fans out there? 2: > > All this talk lately about it getting harder and harder to find interesting > > and exotic used lps is not in line with my recent experiences. [...] Last > Hard-to-find, my fat white boo-tay. There's plenty of it out there, you You obviously haven't tried shopping in a place like Seattle where the thrift stores have nothing but Anne Murray, aerobicize and Firestone Christmas records for $2.00. Believe me I've been to every thrift shop in the county and I know junk dealers. If this sounds defensive, it's because I've been going to junk stores for twelve years now, on both coasts and in the midwest.(But I'm not collector scum, honest!) I'm telling you, it's a geographic thing. If you talk to reasonably fun people in their mid-to-late 30's here, you'll find that eccentric/exotic/'kitschy' records and other stuff were quite popular with young people here in the 70's. Seattle is in a weird remote culture time zone. I'm sure if I lived in St Louis (where I go to visit the family) I'd be singing a different song. Hell, when I was last there I got whale noises and the Peter Gunn soundtrack for $1 and saw cheap, used Shara Nelson and old 808 State singles in the first shop I went to. All this is unheard of in Seattle. Time to go read the obituaries so I can buy stuff off the newly-bereaved... ;^) Richard ------------------------------------------------------------------------------- From: lazlo@rt66.com (Lazlo Nibble) Subject: Theremin Date: 09 Sep 1994 20:18:42 -0600 (MDT) This has passed thorugh a few hands, and with Vickie's permission, I'm reposting it here for those who haven't seen it yet. I'm still hoping to come across a Theremin at an estate auction someday. ("And how much am I bid for this broken old radio?" :-) ====================================================================== [Vickie Mapes writes:] The video was an excerpt of a Clara Rockmore concert, and I got it from the late, great, lamented music show "Night Music" hosted by David Sanborn. So many great performers appeared on that show, performing live. Mary Margaret O'Hara, Diamanda Galas, Julee Cruise, Kronos Quartet, Aster Aweke and so many others...I taped it whenever possible. They very rarely showed video of any kind. Actually, Clara's performance was one of the few. They only showed a few minutes of it, but those few minutes are mesmerising! The theremin is probably best known for the spooky sounds in many 1950s science fiction movies (heard a *lot* in Mystery Science Theater 3000 features), and in the Beach Boys' song "Good Vibrations." (Chris says it's used quite a bit in the film _Forbidden Planet_.) Shortly after I saw the Clara Rockmore video I found a CD by her called "The Art of the Theremin" and bought it immediately. The booklet included is a very good one, and includes lots of information and photos of the theremin, Clara Rockmore, and Professor Theremin. I've typed in quite a bit of it, but I did have to edit it here and there. For one thing, I left out and entire section on exactly *how* the theremin works. If you'd like to know...if you're *that* interested, I'd recommend buying the CD :-). Still, this is pretty long. It's kind of dry, but I think it's fascinating information. The theremin itself is interesting, and Clara's mastery of it is nothing short of amazing. She single-handedly brought respect to an instrument that has been used in some fairly dubious ways. Professor Theremin was the father of electronic instruments, so he's interesting *and* important! (Dave Stewart & Barbara Gaskin wrote a song about him. It appears on the album "Spin" and you'll hear the instrument in the song.) Enjoy! (I hope...) ====================================================================== The theremin itself is housed in a wooden cabinet approximately eighteen inches wide and a foot deep. With its legs, it stands about three and a half feet high. The front is slanted to form a convenient music stand. A vertical pitch antenna rod is located in the upper right hand corner of the cabinet. A tubular loop for controlling volume emerges from the cabinet's left hand side. Tuning knobs and control switches are located on the lower part of the front of the cabinet. | (pitch) | | | ___________|_ ____ | | (volume) (____)---| (slanted) | | | |------------| | ooo (knobs)| |____________| To play the theremin, the performer stands in front of the instrument, a little left of center. The feet are spread slightly to keep the body as motionless as possible. To determine the pitch of the instrument's tone, the player varies the distance between her right hand and the pitch antenna. When the instrument is properly tuned, the pitch goes from lower than two octaves below middle C when the player's right hand is back at her shoulder, to approximately 2 1/2 octaves above middle C when the player's hand barely touches the pitch antenna. To determine the loudness of the instrument's tone, the player varies the distance between her left hand and the middle of the volume antenna. Maximum loudness occurs when the hand is removed from the antenna; complete silence occurs when the hand is an inch or so from the loop. The two antennas actually respond to all body movements. Therefore, it is necessary for the player to exert firm control over her body and head motions as well as her hand motions. The ability to stand motionless is absolutely essential. Concert-goers have remarked on Ms. Rockmore's controlled stance. One reviewer even wrote: "Miss Rockmore's seance-like management of this slightly supernatural instrument is quite amazing. Of course, the purpose of remaining still is not theatrical or hypnotic at all, but strictly musical." The thereminist must move her hands with incredible precision as well as speed if she wishes to play distinct notes with corrent intonation. Ms. Rockmore actually uses fingering patterns to play the most rapid passages. (...) No other theremin player has ever mastered this difficult and intricate technique for playing rapid successions of precise pitches - "aerial fingering" as one reviewer termed it. The theremin performer plays without the benefit of any tactile reference whatever. Unlike the violinist, who is in constant contact with the instrument's fingerboard, (...) the thereminist feels no shape or force as she moves from one pitch to another. She is constantly moving her hands, listening to the resulting pitch changes, then "trimming" the precise position of her hands to home in on the desired pitch and volume. The process is one of continous aural feedback. For this reason, placement of the theremin loudspeaker is extremely important. Ms. Rockmore uses a large open-backed speaker which she places behind and slightly above her head, pointing out toward her audience. With such an arrangement, she is able to hear the effect of her hand motions soon enough so that her audience is rarely, if ever, aware of the aural feedback corrections that she intuitively applies. In 1927, two remarkable people arrived in the United States after lengthy and successful tours of Europe: Lev Sergeivitch Termen (anglicized to Leon Theremin) and Clara Reisenberg Rockmore. Theremin was a young Russian physicist who was demonstrating a new musical instrument that he invented (...the aetherphon, aka thereminvox, later known as the theremin). Clara Rockmore, a professional violinist from the age of 9, became aware of the musical potential of Theremin's invention. She spent several years collaborating with Theremin during which time he developed his invention into a sensitive, wide-range musical instrument. Clara subsequently embarked on a performance career that encompassed well over a hundred concerts, including appearances with major symphony orchestras, and set the definitive standard for theremin performance technique. Clara Reisenberg was born in Russia, the youngest of three musically gifted sisters. (...) Clara was a true child prodigy, with absolute pitch and an uncanny sense of music. At the age of two, she could pick out on the piano or sing any melody she heard. (...) Her career as a violinist began when her uncle gave her a quarter-size violin for her fourth birthday. At the age of 5 she was admitted as an exceptional student to the Imperial Conservatory of Music in St. Petersburg (now Leningrad). She was the youngest student ever to have received this honor. Later she became one of Professor Leopold Auer's most prom- ising pupils and, at the age of nine, received permission from the Russian government to leave her native land in order to concertize. Clara and her sister Nadia (a well-known concert pianist in her own right) embarked on an extensive tour of Europe. (...) Finally, their recital circuit led them to New York City, where Clara met Leon Theremin for the first time. Leon Theremin developed his aetherphon in Russia while he was a student at the University of Petrograd. In 1920, he demostrated a working instrument at a convention of engineers and psysicists. At that time, the vacuum tube had been in existence for only a few years; Theremin himself was only 21 years old. During the following years Theremin imporved his instrument and staged a number of concert demonstrations. The first composer to use this new instrument was A. F. Paschtschenko. His composition, "A Symphonic Mystery" for theremin and orchestra, was premiered in May, 1924 by the Leningrad Philharmonic. In 1927, Theremin embarked on a European tour. His performances in Frankfurt, Berlin, London, and Paris were met with unrestrained enthusiasm. Listeners were amazed that the seemingly inaccessible technology of electronics had been harnessed to enable a musician to make music by simply waving his hands. At the Paris Opera, police were called to keep order among the crowds that thronged Theremin's concert-demonstration. For the first time in history, standing room was sold in the boxes. By the time Theremin arrived in New York in Decemberr 1927, news of his fame had reached the rich and fashionable. His first "by invitation only" presentation included such notables as Edsel Ford, the Vincent Astors, the Fritz Kreislers, Rachmaninoff, and Toscanini. (...) Theremin set up a laboratory and studio...to build new instruments and train performers. He and his new students joined the New York Philharmonic Sympohony Orchestra on August 27, 1928, for a concert performance with four theremins and orchestra. (...) On September, 1929, Theremin licensed the Radio Corporation of America to manufacture the thereminvox. (...) The RCA Theremin was not a commer- cial success. (...) (...) ...Theremin trained many musicians to perform slow simple music on his instruments. However, the development of technique to perform pieces from the standard instrumental repertoire would require the dedication and effort of an unusually sensitive and talented performer. Clara Rockmore was this person. Clara worked intensively with Theremin's instruments, developing means for greater control and more precise articulation. At one of Theremin's concerts in 1932, Clara performed on an experimental dance plarform called the terpsitone. The platform was equipped with thereminvox-like antennas, enabling the dancer to play a melody while dancing - the perfect synchronization of sound and motion. Clara recalls that Prof. Theremin asked her to perform on the platform, "because none of the dancers who tried it could carry a tune." Ms. Rockmore gave her first solo theremin concert and New York's Town Hall, on October 30, 1934. (...) During the twenty years or so following her theremin debut, Clara Rockmore toured widely, performing as guest soloist with major symphony orchestras, and made three coast-to-coast tours, sharing the program with the famous singer Paul Robeson. On several occasions she performed under the baton of Leopold Stokowski, one of her most enthusiastic supporters. (...) During the past few years, Ms. Rockmore has retired from active concertizing. Her appearances have been limited to a few radio interviews and private recitals. However, Clara maintains her enthusiasm for the theremin, and her masterful playing. She frequently points out that today's "space-concious" listeners are interested in electronic music, "and what is more natural to electronic music than a space-controlled instrument?" She hopes that this disc, the first commerical recording of her playing, will acquaint today's listeners with the musical resources of the theremin, and with her own approach to the theremin as a musician interested in making music rather thatn just new sound effects. (...) Theremin remained in the United States for about ten years. During his stay he developed several musical instruments based on the beat frequency oscillator principle. (...) He also experimented with visual displays, including rotating discs illuminated with stroboscopic lights. Theremin's experiments laid much of the groundwork for subsequent developments which led to many of the electronic musical instruments which are in use today. Unfortunately, the economic climate of the 1930's was not conducive to commercially profitable introduction of new musical instruments. Theremin returned to his native Russia around 1938. He continues to do research in electronic musical instruments and acoustics at the University of Moscow. Robert Moog ====================================================================== Clara Rockmore The Art of the Theremin (Delos D/CD 1014) Clara Rockmore, theremin Nadia Reisenberg, piano 1) Rachmaninoff: Vocalise 2) Song of Grusia 3) Saint-Saens: The Swan 4) De Falla: Pantomime 5) Achron: Hebrew Melody 6) Wieniawski: Romance 7) Stravinsky: Berceuse 8) Ravel: Piece en forme de Habanera 9) Tchaikovsky: Berceuse 10) Tchaikovsky: Valse sentimentale 11) Tchaikovsky: Serenade melancolique 12) Glazunov: Chant du menestrel 1987 Delos International, Inc. 2210 Wilshire Blvd., Suite 664, Santa Monica, CA 90403 ====================================================================== I'm not absolutely sure, but I think that Clara Rockmore and Prof. Theremin are both dead now. Nadia Reisenberg definitely is. Vickie - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Vickie Mapes irc ---> #ecto "My ears are lucky to hear vickie@pilot.njin.net alt.music.ecto these glorious songs" HR _________ "Imagination sets in, then |_ _ | _ The Happy Rhodes mailing list all the voices begin" KB |__|_ ||_| ecto-request@ns1.rutgers.edu - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Searching for Happy Rhodes reviews, articles, interviews, mentions - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ------------------------------------------------------------------------------- From: dx@netcom.com (dx) Subject: Re: Theremin Date: 10 Sep 1994 00:32:44 -0700 Those notes only *hint* at the fascinating story behind Theramin, the man. The last SF Film Fest had an amazing documentary about Theramin, including some home movies of Theramin and Clara Rockmore, from early in their time in New York. It's clear from the film that Theramin had it for Clara, but, for reasons that aren't gone into in the film, she married someone else. Theramin too, then married someone else. Theramin didn't just "leave" the USA, he was taken away by the KGB, and sent to a gulag, I believe. Eventually he was allowed to teach music in an isolated Russian music school. Everyone in the US thought he was dead, until a journalist (?) happened upon him in the music school. After many attempts, he was actually able to visit the US again, and spent some time at Stanford. The movie has interviews from the 80s with Theramin in both Russia and in the USA. It also has film of his reunion with Clara Rockmore in NY. The performance film of Rockmore playing the Theramin are nothing short of incredible. In the hands of anyone else the instrument is little more than a novelty, but in her hands, it is a beautiful and exotic instrument. There is both archival and recent footage of her playing. Interviews with others, including Robert Moog (fascinating) and Brian Wilson (fascinating in its lack of lucidity) are other highlights of the film. - -dx ------------------------------------------------------------------------------- From: gah@netcom.com (gah) Subject: Re: Theremin Date: 12 Sep 1994 09:35:57 -0400 > Those notes only *hint* at the fascinating story behind Theramin, the man. I never even knew there was a man named Theramin, but I've been a fan of the instrument for some time. One of my very favorite albums is a 10" 78 set from the early 50's (my guess) called Music For Peace Of Mind on Capitol records. The cover is a picture of a beautiful babe lying down. She's quite naked but is wrapped in Saran Wrap. The plastic wrap is layered more in some spots than others (go ahead, guess). Gregg Hungerford - Boulder Creek CA (Multimedia: ftp.netcom.com - cd /pub/gah) Playing tiddly winks with manhole covers... gah@netcom.com ------------------------------------------------------------------------------- From: Malcolm Humes Subject: Re: Theremin Date: 12 Sep 1994 11:38:17 -0700 > Those notes only *hint* at the fascinating story behind Theramin, the man. Leon Theremin - actually an anglicization of something a lot more complicated to recall. I have a photo of him next to my desk, from his visit to Berkeley in Septenber 1991. My friend Walter Funk is standing next to him playing with a theremin while Leon looks on with a puzzled smile and hair that projects from the back of his head as if he's driving along in a convertible. Leon's daughter was also along for the trip and is rumored to be a pretty competent player herself. The Incredibly Strange Music volume 2 book has a fair amount of info on Theremin, I think in the Robert Moog article. Sadly, the film has already provoked collector-scum attitudes - Walter was set to buy a used theremin earlier this year, but suddenly Pink Floyd started makaing inquiries as theyt wanted one for their last tour - and then the seller got wind of the movie on Leon Theremin, which I think at that time had just premieried (I think it won a film award at Sundance or some festival)... so the dealer-scum decided to hold it for a few more months while the film makes the rounds so he can try to get more money for it. Folks in th San Francisco area can get hands on a theremin at the Exploratorium, a cool hand-on science-meets-arts museum. I think the one they have is not as nice as the more professional performance models someoen like Clara Rockmore used. Also kits can be bought for a midi-theremin from Bob Moog but they are quite expensive. Design specs for them have been published in Scientific American years ago. I bought a Moog Source analog synth at the flea market this weekend... and a handful more lps, but none very exotic... - malcolm ------------------------------------------------------------------------------- From: patrickm@phantom.com (patrick monaghan) Subject: Theremin Date: 12 Sep 1994 19:09:57 EDT Hi gang! Been a lurker here for a while and have loved this stuff on the Theremin. A friend of mine, Barry Phipps who's the bass player for the Coctails, is actually in the slow process of starting to build theremins for sale. he's already got a prototype built and will start avidly pursuing it this fall. he's not online but can be reached at: Hi-Ball Records Attn: Barry Phipps Po Box 61-7522 Chicago, IL 60661 thanks for all the info. patrick monaghan carrot top records chi il us ------------------------------------------------------------------------------- From: Malcolm Humes Subject: Berkeley Record Swap Date: 19 Sep 1994 10:10:07 -0700 KALX, UC Berkeley's station, hosted a record swap yesterday that was advertised as Berkeley's first record swap meet in something like 17 years. Off course there's already a few other bay area stations that host similar events regularly, but this was conveniently close to home. It was a little bit of a disappointment in that stuff was pretty excessively priced by most vendors, but there was a decent amount of mid-range and cheapies that made it worthwhile. The Sonics "Boom!" for only $150! No thanks. Rusty Warren for $2-$3 - Sure! We found one vendor with sections of Korla Pandit, Les Baxter, Arthur Lyman and that ilk.... priced $6-$15 each. A couple of the Korla Pandit lps were autographed with birthday greetings and other stuff. We passed up most of them just because buying them all would have been way too expensive... I did get the guy's phone number so if anyone out there is really really hot for some of this stuff I can look into it further. Other finds included some Rusty Warren albums, a cool Hugo Montenegro (doing western themes), more Hawaiian and organ lps (Kat's main focus), including a really odd organ/piano lp that is dedicated to a dead baby - titled something like "In Loving Memory of Connie" - complete with liner notes explaining how Connie's brief presence on this earth had sparked such loving in the couple that they decided to do this tribute lp. Looks like a pretty limited pressing, and I have a hard time imagining this might have ever actually sold in any stores. - Malcolm ------------------------------------------------------------------------------- From: lazlo@rt66.com (Lazlo Nibble) Subject: Berkeley Record Swap Date: 19 Sep 1994 12:44:12 -0600 (MDT) > Other finds included some Rusty Warren albums, a cool Hugo Montenegro > (doing western themes), more Hawaiian and organ lps (Kat's main focus), > including a really odd organ/piano lp that is dedicated to a dead baby - > titled something like "In Loving Memory of Connie" - complete with liner > notes explaining how Connie's brief presence on this earth had sparked such > loving in the couple that they decided to do this tribute lp. Looks > like a pretty limited pressing, and I have a hard time imagining this > might have ever actually sold in any stores. This is always the most fascinating stuff to me -- the homebrew and local-only albums... - -- Lazlo (lazlo@rt66.com) ------------------------------------------------------------------------------- From: Malcolm Humes Subject: Mr. Gus: To Connie with Love Date: 20 Sep 1994 12:26:32 -0700 Here's info on that odd lp I mentioned - music for a dead baby written and played by a guy who learned to play organ in a funeral home, recorded in a restaurant that let customers pay what they wanted! Looks like the lp is sort of a promo for the restaurant despite it's somewhat morbid content. To Connie With Love Spectacular Organ & Piano Stylings By Mr. Gus Little Records G-04-68 (front cover art is solid pink with two smiling babies on either side of the banner text above.) (rear cover has some photos of other Mr. Gus releases and nicely laid out text, song titles and Clifton's Cafeteria locations.) Mr. Gus was born in Seattle, Washington in the year 1930 to a Scandinavian family of fifteen children. At the age of six, he had an unusual and profound love for music. His spare time was spent practicing on any instrument he could manage to obtain. He learned the organ by visiting the neighborhood funeral home. Even though he does not read music, he shows such outstanding technique and expression; unfolding harmony that even lends an ear to interpretations on any instrument he chooses to play. Thousands have been thrilled as they have listened to this young man give concerts in auditoriums and on TV and radio stations across the U.S.A. and Canada. We trust that you will not only enjoy this album but will frequent the Clifton's Eastland Cafeteria for that personal time of music relaxation played for your pleasure by Mr. Gus. To Connie With Love recorded on location in CLIFTON'S EASTLAND CENTER "To Connie With Love is a song which was composed by Mr. Gus to convey to each of us the happiness Connie, his daughter, brought into this world. When asking him about this song he expressed it in this way, "She was here on earth only for a short time, but while she was here my infant daughter brought such great happines and inspiration to our home, that I wanted to share this joy with others." So through his talent and the fond memory of his daughter he composed this beautiful melody and dedicated it "To Connie With Love" Side 1 To Connie With Love Pretty Baby Fascination Tea For Two My Happiness Your Cheating Heart Love Letters in The Sand Side by Side Melody of Love Side 2 Somewhere My Love Beautiful Hawaii Pearly Shells Organ & Piano Boogie Harbor Lights Heartaches Anniversary Waltz Tumbling Tumbling Weeds Clifton's Cafeteria For thirty years California's favorite family Restaurant. CLIFTON'S is well known for it's policies: Pay what you wish; Dine free unless delighted; No check too small, no service too great; and no guest need go hungry for lack of funds. (Clifton's locations are listed in West Covina, Lakewood, and 3 in Los Angeles.) No date listed. Three other lps by Mr. Gus are shown: "Sparkling Organ & Piano Rhythms", "Hymn-time Favorites", and "Echoes From Calvary". There's an address listed in Rosemead, California with a zip code so it's post-1961 - I suspect it may be 1968 from the lp catalog numbering. - Malcolm