To the best of my knowledge, there are only three “connect-the-dots” album cover designs: (1) John Entwistle‘s brilliant cartoon rendering of the four band members for The Who By Numbers released in 1975;
James would pantomime his rousing version of “A World of Our Own” – originally recorded by The Seekers – for this 1960s televised performance:
forget the song: check out the gargantuan bass guitar wielded by the guy on the porch
Zero to 180 finds it hard to believe there have only been three connect-the-dots covers — and all of them released in the 1970s, curiously enough. Are there others?
While it is true that, three decades later, hip hop artist, J.J. Brown, would take the baton with the release of his 2009 album, Connect the Dots, Brown – regrettably – would deprive his fans the joy of completing the puzzle themselves.
For the longest time I thought (quite naively) that 1971 might have possibly been the year in which toy piano made its first appearance on a pop record. But then I happened to hear Neil Diamond‘s “Shilo” – written and recorded in 1967 – which features a toy piano in the song’s instrumental bridge:
“Shilo” Neil Diamond 1967
Years later I heard the toy piano instrumental break on “Lovey Kravezit” by The Everly Brothers from their 1966 album, In Our Image, and wondered if we had a new record holder:
Toy Piano as “Serious” Instrument: On Philip Glass’ website the accompanying notes to 1997’s, The Art of the Toy Piano, provide some fascinating historical background:
In Philadelphia, 1872, the German immigrant Albert Schoenhut began manufacturing toy pianos according to his own newly-invented design. Wooden mallets struck sounding bars made of metal, replacing the fragile glass sounding-pieces used in toy pianos at that time. His new instrument could better withstand a child’s rough handling and its gamelan-like timbre is the sound of the toy piano as we know it today. By 1935, the A. Schoenhut Company had produced over forty styles and sizes of the toy instrument with prices ranging from fifty cents to twenty-five dollars –“a piano for every purse and taste”, boasted its 1903 catalogue…
The toy piano was intended as an educational tool. The more expensive models stood nineteen to twenty-four inches tall, had raised black notes instead of imitation painted ones, full-width wooden keys and a range of two to three octaves. An instruction manual taught a child such American favorites as Home Sweet Home and Yankee Doodle.
In 1948, John Cage composed his whimsical “Suite for Toy Piano.” Using nine consecutive white notes, this became the first “serious” piece ever written for a toy piano.
I am still stunned that I somehow picked up a connect-the-dots album cover secondhand that had not already been filled in by one of the previous owner’s younger family members:
Neil Diamond, I have to admit, is pretty easy to find on the Goodwill circuit. Like many others of my age, I dismissed Neil as a youngster only to discover later in life that his track record as a pop songwriter is undeniable.
Shilo, it turns out, is a compilation of hits Neil recorded for Bang in his fertile 1966-67 period and includes some of his biggies: “Cherry Cherry”; “Girl You’ll Be a Woman Soon”; “Red Red Wine”; “Kentucky Woman”; “You Got to Me”; and the title track. My copy of the Shilo album happens to be on the original Bang label, which features a quaintly violent logo:
Bang Records, by the way, was originally a partnership among Bert Berns (B); Ahmet Ertegun (A); Nesuhi Ertegun (N); and Gerald Wexler (G).
One of my favorite Neil Diamond songs is a nice country pop number that is not on the Shilo album but rather 1974’s Serenade – “Rosemary’s Wine” – a track that was released as the B-side of his “Longfellow Serenade” single:
Math Pays: Perhaps it’s not too late to join the Shilo “Connect-the-Dots Contest” sponsored by the fine folks at ABC Arts in Australia – here’s one of the top entries: