Timeless Tunes and Vinyl Dreams: Navigating the Magic of Sam Goody’s in ’70s Philadelphia

In the heart of 1970s Philadelphia, amidst the bustling streets and vibrant culture, one music store stood as a beacon for music enthusiasts — Sam Goody’s at the Roosevelt Mall. Join me as I journey back in time to explore the magic that made Sam Goody’s an iconic haven for music lovers during this groovy era.

The Awe of Aisles

Walking through the doors of Sam Goody’s was like stepping into a realm of endless possibilities. Aisles neatly stacked with vinyl records, cassette tapes, and the latest eight-track wonders offered a feast for the senses. The air buzzed with the excitement of discovering new music.

Vinyl Wonderland

Vinyl enthusiasts, in particular, found solace in Sam Goody’s extensive vinyl collection. From chart-topping hits to underground gems, the store curated a selection that catered to the diverse tastes of its clientele. Each record sleeve held the promise of a sonic journey waiting to be explored.

Cassette Tapes and Eight-Track Delights

For those embracing the portable music revolution, Sam Goody’s had an impressive array of cassette tapes and eight-track cartridges. Customers could browse through the latest releases or revisit timeless classics, ensuring that everyone could carry their favorite tunes wherever they went.

Knowledgeable Staff

Sam Goody’s wasn’t just a store; it was a haven where music aficionados could engage in conversations with the knowledgeable staff. The employees, passionate about music, played a pivotal role in guiding customers to hidden gems and introducing them to emerging artists.

Album Release Excitement

One of the most thrilling experiences at Sam Goody’s was the anticipation surrounding album releases. Whether it was the latest rock sensation or a soulful jazz ensemble, fans gathered in excitement to snag a copy hot off the shelves, making each release day a memorable event.

Musical Memorabilia

Beyond the music itself, Sam Goody’s adorned its walls with posters, band memorabilia, and the latest music gadgets. The store became a cultural hub where music enthusiasts could immerse themselves not only in sound but also in the visual and tactile elements of their favorite artists.

Farewell to an Era

As we reminisce about Sam Goody’s in ’70s Philadelphia, we acknowledge that it wasn’t just a store; it was a cultural phenomenon that shaped the musical landscape of its time. The magic of flipping through vinyl records, the thrill of discovering a hidden gem, and the camaraderie among music lovers created an atmosphere that remains etched in the collective memory of those who experienced it.

Sam Goody’s was more than a record store; it was a cultural cornerstone that fueled the musical passions of an entire generation. As we celebrate the bygone era of vinyl dreams and musical discoveries, let’s raise a toast to the enduring magic of Sam Goody’s in ’70s Philadelphia.

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Tales of Rock – Turns out Abbey Road and Let It Be weren’t meant to be the last albums the Beatles recorded

Anyone who’s watched Let It Be, the documentary made from video of the Beatles recording (and arguing about) their final songs together as a four-person group, would assume there was never any way John, Paul, Ringo, and George would be willing—or able—to release another album together. Fans of the band have long assumed that Abbey Road, which was mainly recorded and originally intended to be released after 1970’s Let It Be, was the last proper Beatles album the group had planned to make before their break-up.

As detailed by The Guardian’s Richard Williams, in a profile of Beatles expert Mark Lewisohn, this isn’t the case. A taped meeting from September 8th, 1969 shows that The Beatles had planned to record another album, with its lead single timed for a Christmas release of that year.

The meeting described by Lewisohn and Williams occurred just before Abbey Road’s release. In it, the band (aside from Ringo, who’s in the hospital) talk about the unrecorded album’s format. John “proposes a new formula” that would’ve seen “four songs apiece from Paul, George, and himself, and two from Ringo.” He also “refers to ‘the Lennon-and-McCartney myth,’” hinting his and Paul’s previously shared song attributions “should at last be individually credited.”

This being late Beatles, there’s a good amount of sniping in the recording, too. When Paul (who Williams describes as “sounding, shall we say, relaxed”) hears that George would get “equal standing as a composer with John and himself,” he says: “I thought until this album [Abbey Road] that George’s songs weren’t that good.”

“That’s a matter of taste,” George replies. “All down the line, people have liked my songs.” The tape continues with John “telling Paul that nobody else in the group ‘dug’ his ‘Maxwell’s Silver Hammer’” and that he should instead sell those kind of songs to other artists. “I recorded it because I liked it,” Paul says.

While the passive aggressive dynamic of this period is well-documented already, the really interesting part is the idea that the Beatles may have had at least one more properly recorded LP in them before their break-up. Lewisohn notes that, while recording Abbey Road, “they were in an almost entirely positive frame of mind,” despite what’s shown in films like Let It Be or the hindsight vindictiveness of John and George recording “How Do You Sleep At Night?”

“They had this uncanny ability to leave their problems at the studio door,” he continues. “Not entirely, but almost.” Read the entire piece for more on Lewisohn’s work, the Beatles’ final years, and more.

 

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