For Once In My Life, Spare Me

Ah, NOS. That self-contradictory term, New Old Stock.

It’s a spindle/bearing assembly for my 1976 vintage Pioneer PL-112D turntable. The old assembly is in the picture. It had a bothersome spur on the top edge. I tried to smooth it out but, of course, that only made things worse.

Fortunately, an eBay seller has some Pioneer NOS spare parts at a reasonable price. An easy 10-minute job, even with replacing the original oil that still looked fresh after more than 40 years. The oil in the old spindle/bearing was black.

The book is Joel Whitburn’s authoritative compilation of 1960’s music charts from Billboard magazine. A gift from good, ol’ Denro. I got it out after Pandora played Frank Sinatra doing “For Once in My Life,” from his 1969 album My Way.

[“Frank Sinatra saved my life once. He said, ‘Okay, boys. That’s enough.'” – Shecky Greene]

Stevie Wonder had a #2 hit with the tune, released November 2, 1968. It stayed on the charts for 14 weeks.

But wait, was Stevie the first to release the song as a single? Jackie Wilson’s recording of “For Once in My Life” came out THE VERY SAME DAY, but it lasted only 3 weeks, reaching #70 on Billboard.

But wait again. Sinatra’s pal Tony Bennett beat Stevie and Jackie by more than a year, with his record coming out on September 9, 1967. Tony’s take on the song lasted for 19 weeks on Billboard’s Adult Contemporary chart, and it reached #8.

You may have heard that Tony, who is 94, has Alzheimer’s Disease. If Bennett dies tonight Denro will blame me, and rightly so, given my track record of famous people dying soon after I mention them. It’s my deadly superpower.

Miami Beach ’64!

Barbara was my Art History instructor in college. My love of Flemish Renaissance painting came from one of Barbara’s courses. American Art was her only class I wasn’t able to take, due to a scheduling conflict, but my best buddy Denro took that one. Barbara is presently enjoying life in Miami Beach.

In 1964 The Jackie Gleason Show on CBS originated from Miami Beach. The opening of Goldfinger in 1964 features the Fontainebleau Miami Beach hotel.

Also in 1964, the second appearance of the Beatles on The Ed Sullivan Show happened at the Deauville Hotel on Miami Beach. Unlike the Ed Sullivan Theater in New York, where The Late Show With Stephen Colbert is based, the Deauville has fallen on hard times.

After all these years, the only thing left about the Deauville with any resonance is its significance in Beatles history. The latest on the status of the hotel is at this link.

Left vs. Right Coast Cartoons

For most of the 1930’s, the contrast couldn’t have been greater between the cartoons of the Disney brothers in California, and the Fleischer brothers in New York. While Disney pursued realism, the Fleischer cartoons were unreal.

Something that persisted at both studios was the depiction of cultural and racial stereotypes. To the credit of the Fleischers, they would feature black performers, including Louis Armstrong, Cab Calloway, and the Mills Brothers.

The Fleischer studio wasn’t the same after Max moved the operation to Florida. That was his first big mistake. His second big mistake was deciding to compete head-on with Disney by producing feature-length cartoons, leading Paramount to call in its loans and take over the business.

Dare to Compare

Compare the sound of speakers, online, while listening to headphones?? HUH?? Audio retailer Crutchfield says yes! You’ll need a pair of headphones that’s in Crutchfield’s database, like the inexpensive Audio-Technica ATH-M20x’s I have.

This setup, created by a couple smart guys with doctorates, is causing quite an online buzz. I’m having a lot of fun playing with it, using WAV files of my own, made over the years. Some music has striking differences between speakers, while other samples sound surprisingly similar.

Love Me Do-lby

In 1982 I bought a British import 12-inch 45 reissue of the Beatles’ first Parlophone single, “Love Me Do.” Side 1 has the take with Andy White on drums. It was mastered from the original tape, and to me it sounds fab and gear.

Side 2 is the take with Ringo on drums, and it was mastered by necessity from a 1962 Parlophone 45. Compared to the first side it sounds like you’re playing it on speakers while wearing headphones that aren’t plugged in. It’s all explained here, in exhaustively delightful detail. Or is it delightfully exhaustive detail?