Christians by no means have a monopoly on album cover kitsch; Jews can do it too.
When Israeli-born photographer Eilon Paz moved to Brooklyn, he stumbled upon a vinyl collector — and became hooked.
Here is a tribute to “The Church of Rock and Roll”, the Fillmore East. Originally built in 1926 as a Yiddish theater and acquired by Bill Graham, as an additon to his existing Fillmore venue in San Francisco, in 1968. Anybody that was anybody in the current world of rock at that time played this iconic venue. This was the zenith period of the Fillmore East, sadly, Bill Graham closed it in June 1971. It was a ‘must have’, on any Rock artists career CV. This number, “I Feel So Good”, written By Big Bill Broonzy, is one of my old time favorites, but I first heard it through these guys, Faces, and this encore performance, which was recorded at the Fillmore East. You can find it on their 1971 album, “Long Player”. For the clipshow I’ve just chucked together some pics I found available which portrays a very small selecton of the great artists that have appeared at the Fillmore East during the late sixties and early seventies, and some of the more obvious may be missing. For further history: en.wikipedia.org Kenny Jones - Drums Ian Mclagan - Keys Ronnie Lane - Bass Ron Wood - Guitar Rod Stewart - Vocals Hollerin’ - mainly, the good people of New York City Enjoy!!.. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use …
In 2000, filmmaker Alan Zweig gained modest success on the festival circuit with “Vinyl,” a documentary probing the quirks and eccentricities of compulsive record collectors. (“Compulsive” referring not to some guy with a few hundred LPs, but to some guy who rents a U-Haul locker on the edge of town to serve as a supplementary storage archive.) In a highly conversational, and often confrontational manner, Zweig pressed his subjects to spill the beans about their hoarding impulses, their loneliness, and all of their other personal peccadilloes. And it was all intercut with shots of Zweig interviewing himself in a vanity mirror, mining his own emotional depths.