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These albums, or parts thereof, were recorded at Wally Heider Studio. The Collection.Crosby, stills & Nash Crosby, These albums,stills or parts & thereof,Nash were J recorded Crosby, at Capitol Studios. stills, Nash & youNg Déja Vu J little The Band Terence FeatMusic Dow FromN o NBig the Pink Farm • J gram Boylan TerenceParsoN sBoylan GP J Grie • cValderaous aNG Skyel J IslandsJohN • DaviJ.J. caleD sTravel-Logicouther johN • Da ViD J J dane donohuesouther DaneThesThe Collection.Donohuete Collection.PheN s •tills Michael 2 These albums, or parts J thereof, were recorded at A & M Studios. maNassasThese Piealbums,Ces or partst thereof,. rex were recorded eleC attri Gold CStar Studios. Franks The Art of GeneTea Clark W •HITE Michael LIgHT · Dillar FranksD & Clark warrior JT tHEom FANTASTIC Waits ExPEDITION small OF Sleeping GypsyD •ILLARD Michael & CLAR Franksk · The FlyinG BurriOneTo Bros. 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Overboard JOHN THE • NIGHT emigre LO-RES wilson ThatTRIPPER Lucky Old GRIS-GRIS typeSun C LEON RUSSELLlibrary LEON RUSSELL C MALAGA NARROW TRIPLEX CONDENSED TRIPLEX Wally Heider Studio, 1604 North Cahuenga Blvd., Hollywood, CA (Former location) www.emigre.com A & M Studios, 1416 North La Brea, Hollywood, CA 53 34 OBLONG Capitol Studios, 1750 N. Vine St., Hollywood, CA 44 Gold Star Studios, 6252 Santa Monica Blvd., Hollywood, CA (Former location) Introduction. a type specimen can be about anything or nothing, as long as the featured typefaces are prominently displayed. It’s all about exploring and exhibiting the versatility of the typefaces. As such, TYPEFACES USED ON FRONT COVER: designing a type specimen can easily become an Brothers Council exercise of style over content, the proverbial crystal Fairplex Narrow goblet turned inside out—the goblet intentionally Mr Eaves XL Mod Oblong obscuring the content because the content is fake. 3-D typefaces But type specimens need not be limited to stacked COUNCIL created with Illustrator CS5 and justified compositions of arbitrary words and XL MOD MR EAVES phrases. Although the text is necessarily subservient in the typographic exercise, there’s no reason to neglect the content. This particular servile story starts in 1971. It encom- passes the analysis of a record collection, a series of 17 architectural photographs of historically significant buildings and sites in Los Angeles, and a selection of anecdotal quotes about music recording. It fuses these disparate elements into a visual presentation serving the dual purpose of showcasing selections from the Emigre Type Library while providing a story that can be enjoyed like a nice goblet of wine. Rudy vandeRLans 3 Main text set in Mr Eaves XL Mod Heavy Alternate 12/15 pt. Lead-in set in Council 24 pt. The Collection. IN 1971, WHEN I WAS 16, I used to work as a grounds keeper at a tennis court complex just outside The Hague. It was a summer vacation job, and my goal was to save enough money to purchase my first two LPs. I had my sight set on Boomer’s Story by Ry Cooder and Everybody Knows This is Nowhere by Neil Young & Crazy Horse. Tracks from the albums were often played late at night on Radio Caroline, a pirate radio station off the coast of Holland, and I was mesmerized by the power of the music. Vinyl albums, especially imports from the U.S., were expensive in those days. It wasn’t something a 16 year old MRS EAVES XL MRS EAVES FAIRPLEX WIDE FAIRPLEX kid could just go out and buy. In my case, I had to work and save up. This made the purchase of an album a serious occasion. Trips to the record store were like pilgrimages. Entering the shops, which were usually small and located in obscure side alleys—the good ones at least—was like entering secret domains, patronized by motley crews of mostly male characters for whom music was a way of life. Each trip held out the promise of encountering long awaited album releases, chance discoveries, or hard-to-find collectables. The stores were aural and visual overload, with as many album covers prominently displayed as wall space allowed, their bold graphics beckoning for attention. In those days, you could walk over to a counter with two or three turntables with headphones attached and ask the store clerk to play the album for you. The clerks were older and knowledgeable and you felt a sense of pride if they nodded in agreement with your selection. RVDL, BY CIRCA 1975. , MEMBER OF DILLARD ILLUSTRATION BURRITO BROTHERS AND FOUNDING MEMBER OF THE EAGLES. PENCIL & CLARK, THE FLYING U.S. imports were objects of desire and treated with utmost reverence. I remember the thrill of carefully freeing the BERNIE LEADON sleeves from their shrink wrap, upon arriving home, and 4 5 Main text set in Mrs Eaves XL Serif Regular 10/13 pt. Lead-in set in Fairplex Wide Black 15 pt. The Collection. THOSE FIRST TWO ALBUMS I PURCHASED IN 1971 put me on a path that would lead to an enduring personal preference for what can be trying to pull out the shiny black vinyl disc, crackling with best described as California West Coast music. Before too long, and static electricity and clinging to its inner sleeve. Discs were after my collection had grown significantly, the names of musicians, gingerly held by edge and label area, between thumb and producers, and engineers alike had become familiar, and connections middle finger, heeding the warning printed on the inner and relationships had started to emerge until I held in my mind a sleeve not to leave greasy finger prints. Then, after placing sprawling family tree described by music critic John Rockwell as “the mythically tangled genealogy of the Los Angeles music scene.” the disc on my (parents’) turntable and lowering the stylus While perusing record bins, spotting names from that lineage on an onto the vinyl, I’d relish that initial crackle upon contact as album cover would make it instantly worthy of consideration. the needle was guided into the spiral groove, and then the Recording studios, too, became an item worthy of study. Seeing music would come booming out of the speakers filling the a particular studio name listed in the credits guaranteed a certain living room space. Nothing compared to that sensation. It level of audio quality. They also gave a sense of place, of where the was pure bliss, pure happiness. In an instant I would forget music was being made. “Recorded at Sunset Sound, Hollywood, BROTHERS MRS EAVES XL MRS EAVES the long hours of utter boredom dragging a heavy net up and California,” the credits would read, filling my mind with images. WIDE FAIRPLEX down those clay tennis courts. In general, the studio names were tantalizingly descriptive—as The euphoria wasn’t limited to the music. While the disc pleasing to the imagination as the sounds they engineered. Gold was spinning, the album’s sleeve itself was something to Star, Western, Hollywood Sound, Ocean Way, Cherokee, Elektra... enjoy. Every bit of information printed on the sleeve was to me they read like pure poetry. The palm and eucalyptus lined studied intently. From the lyrics, to the credits, even the boulevard depicted on the center label of the old Warner Bros. re- leases amplified the promise of paradise. “Burbank, Home of Warner fine print regarding copyrights and contact addresses. An Bros. Records” it read. I imagined an environment perfectly suited extra insert or foldout would bring double the pleasure. U.S. imports were like exotic artifacts. Possessing them was like owning a little piece of California, where most originated. The realization that they had physically traveled nearly half Main text set in way around the globe to my home in Holland made them Fairplex Wide Medium 10/12 pt. Lead-in set in prized possessions. Brothers 10 pt. Caption set in Fairplex Wide Bold & Fairplex Narrow Book. 6 7 Main text set in Mrs Eaves XL Serif Regular 10/13 pt. WARNER BROS. LABEL. THE LAST RECORD ALBUM, LITTLE FEAT. RELEASED BY WARNER BROS. RECORDS, 1975. The Collection. These albums, or parts thereof, were recorded at Gold Star Studios. THE BEACH BOYS PET SOUNDS C SMILEY SMILE C SMILE C BUFFALO SPRINGFIELD BUFFALO SPRINGFIELD C AGAIN C RESTROSPECTIVE C The Collection. for bringing to life the heavenly music that was reverberating from the loudspeakers in my parents’ living room. THE DILLARDS WHEATSTRAW SUITE And while I’ve strayed far and wide musically, since those first two purchases, with a significant detour to British music of the late 80s and early 90s, I’ve always maintained a bias for California West Coast music, particularly of the 1970s. This was confirmed when I analyzed my collection.