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Tuesday 1 March 2016

Haunted Houses

The 1939 Register
 
Somewhat obsessively, I have been an active researcher of my family history for over twenty years now, buying countless genealogical resources and subscriptions. Along the way have been some surprising and even astonishing findings, as well as many mundane, but in February when the findmypast site released a new resource, The 1939 Register, I experienced an entirely new reaction.

The 1939 Register

Rather like a census, The 1939 Register records the names and addresses of everyone living in England and Wales on the 29th September, 1939, just after the outbreak of the Second World War. It did not go into as much detail as a normal census, but was carried out in a similar way for wartime purposes: to issue national identification and ration cards, to administer conscription and to plan population movements in the event of mass evacuation. It was later used by the National Health Service at its inception in 1948. As no census was taken in 1941, and as the records for the 1931 census were destroyed by fire during the war, the Register is the most complete survey of the population between the as yet unreleased censuses of 1921 and 1951.

What makes it different for me is that, as a snapshot taken just over a decade before I was born, The 1939 Register is almost contemporary. Other population surveys such as the 1911 census were from so long ago that just about everything has since changed, which will also be true of the 1921 census when they finally let us see it, but much of the information recorded in The 1939 Register remained unchanged into the nineteen-fifties. Many of the same people were at the same addresses as I remember them. If my parents were still around they would be fascinated.

First home
I can see the two-bedroom terraced house my parents rented from 1946, where I first lived. It is occupied by a canal tugman and his family. They had brought up six children there. Wherever did they put them all? 

The people next door are the same as I remember, as are those at the corner shop next-door-but-one. Across the road is the same gentlemen’s hairdresser, then newly married. He would remain there with his wife, childless, for the next thirty years. It was where I used to be sent for my hair cut – short back and sides the only style on offer – every three or four weeks throughout the nineteen-fifties and nineteen-sixties. Once old enough to go unaccompanied, I would wait my turn in the smoky den of his barber’s shop (it would never have been called anything so epicene as a salon) trying to make sense of the swaggering conceits of the older customers. From time to time the hairdresser’s timid wife would materialise at the through-door from the house to leave a cup of tea, and then dematerialise as silently as she had arrived. 

In the mid nineteen-fifties we moved to a new address, up in the world to a small semi-detached house. The 1939 Register shows it occupied by the shipwright’s family we bought it from. The adjoining neighbours were still there when we moved in, father, mother and grown up children. The mother and father would die in the nineteen-sixties but one of their daughters would remain in the house, unmarried, for the next sixty years. The neighbours at the other side are a young widow still in her thirties and her elderly mother. They too were still there when we moved in. The mother died soon afterwards, but the widow remained long after we had left until she died at an advanced age in the nineteen-nineties. Up and down the street are so many other familiar names: the master mariner; the butcher; the mother and her daughter who in turn became the mother of the boys we played with when they visited their grandma. 

The Register is more flexibly searchable than almost any previous resource. Whereas the censuses, for example, can be trawled only in limited ways, The 1939 Register search is so powerful you can find almost anyone, even when they are partially mistranscribed in the index. The main limitation is that you are not supposed to be able to see anyone born less than a hundred years ago, although often you can. In most households, such as my father’s parents’, the children are blacked out, and only the names of the adults are shown. But despite being born in the nineteen-twenties, my mother can be seen with her parents, her name amended after marriage, a result of parts of the Register continuing in use with the National Health Service until 1991.

You can find just about any house built before 1939. In Leeds I can see the elderly couple I lodged with in 1970 at the same Kirkstall address in 1939, although then they are not elderly. The husband is a railway clerk. The address also has one ‘closed’ line for their daughter who would later marry a corporation surveyor and have one son. At other places I lived, much later in some cases, the 1939 residents had moved on long before my time. One through-terrace is occupied by an engineer’s turner and his wife, both born in the eighteen-seventies. Another is occupied by a wool forman with his wife and four children. The only back-to-back I lived in is the home of a shoe repairer and his wife, both in their mid-twenties. At yet another mid-terrace there are nine residents: a couple born in the eighteen-seventies and seven grown up grown-up children. The father and one of the sons are asphalters. Again, how did they fit them all in?

Some houses I have known were larger. In the Levenshulme area of Manchester, in the early nineteen-eighties, I lived in a three-bedroom, bay-windowed terrace with front and back gardens. Next door lived a widow who in 1939 is there with her husband and mother-in-law. The husband, the neighbours and the occupants of my address have mainly clerical occupations. I still have some of the next door neighbour’s late husband’s drill bits and an ancient tobacco tin full of wire staples which she gave me when clearing out her shed. The hardware was probably there in 1939 but the Register lists only people. I lived in yet grander surroundings in the Avenues area of Hull. In my day they were already what are now called HMOs (Houses in Multiple Occupation) but in 1939 they were occupied by the likes of Ministers of Religion, newspaper reporters, merchants, lecturers, collectors of taxes and people of private means. 

Like having the gift of premonition, if you are near my age or older, you look through The 1939 Register and find you knew or can remember so many of those named in it. You know what happened to them, who they married, who their children were and when they died, or at the very least, what became of their houses. Do they return as ghosts to light their coal fires in the mornings, the husbands going off to work and the children to school as they must have done so many times? Do the wives cook and clean for their return? Do they relive their happy days, sad days, sunny days, rainy days, Easters, Christmases and holidays? Will we?

Monday 15 February 2016

Recording Artiste

Tasker Dunham reprises his Akai 4000DS tape recorder, Teisco MJ-2 Tremo Twenty guitar and 1970s multi-track guitar recordings

Well, who didn’t want to be a rock recording artiste in the early 1970s? They were stalked by groupies and earned a fortune. Rock music was still proper music, and posers who were more interested in what they looked like than how they sounded were still a minority.

Sadly, my own career as a rock musician progressed no further than the occasional front-room jam session with friends, and most of the time it was just me on my own in my bedroom. But with the help of my Akai 4000DS I did make some recordings. And you can hear them here. What a treat! Or maybe not.

Akai 4000DS

A year or two after upgrading my record player to hi-fi with a Heathkit AD-27, I began to think about getting a stereo tape deck. There was a lot in the press about the Akai 4000DS, and on seeing one in a York shop window I decided that was it. It took some time to save up. I eventually bought one in February, 1975, from Comet, Leeds, for £94.50. I still have it with its original box, and it still works when I have the urge to get it out just one last time. With it I bought a pair of first-rate AKG K160 stereo headphones. The documents at the end of this piece were at the bottom of the Akai box.

Overnight, I became one of the most active borrowers from the music section of Leeds Central Library which then consisted almost entirely of vinyl LPs. Naturally, most of what I borrowed I taped. The Akai sound quality came near to that of the original records, and easily outperformed the audio cassettes and soon-to-be-obsolete stereo audio cartridges that most people were using then. Perhaps the main disadvantage of reel-to-reel was lack of convenience. The spools of magnetic tape could be awkward to load and manipulate, and could never be played in a car. But what they lost in convenience they gained in quality. Even when audio cassette players were enhanced by Dolby Noise Reduction to reduce tape-hiss, the 4000DS was still superior. Akai did in due course pay lip service to market fashion by bringing out its own Dolby model, the 4000DB, but it seemed unnecessary.

In the record library, I chanced upon lots of lesser-known recordings – serendipitous discovery tends not to happen these days with online sources. Among the most memorable were recordings by Eric Kershaw, the subject of an earlier post, and Laura Nyro. I became fascinated by Laura Nyro’s multi-layer recordings in which she sang all her own harmonies.* I wanted to try it myself – not necessarily the singing but the multi-track recording.

Laura Nyro of course had a state-of-the-art recording studio which was beyond me, but I did have a newly-bought Akai 4000DS. Among its facilities were tape dubbing, sound mixing, sound-on-sound and sound-with-sound recording, which allowed you to mix and merge two tracks at a time.

Teisco Tremo Twenty MJ-2 E-200
Now, let’s be absolutely clear about this. Nothing of my own unoriginal music, insensitive compositions, bad timekeeping or clumsy performances are in any way comparable to Laura Nyro, but I did manage to put together several pieces, and in recent years digitised them to YouTube. So now, the nearest I’ll ever get to being a rock star with a recording contract, I am going to post them here.

The guitar in the recordings, incidentally, is a nineteen-sixties Tremo Twenty, also sold as the Teisco MJ-2 or E-200. Until I got it out of its original stiff canvas/cardboard case to photograph for here and looked it up, I had no idea that, despite being pretty basic, the Tremo Twenty version is fairly rare. One collector states he knows of only three still in existence, one in a museum in Switzerland. Well mine makes four. It might originally have come from Woolworths, but I bought it second hand from a friend of my brother for £10. It no longer has the original knobs because I had to replace the pots, and is a bit worn and battered now and unflatteringly adorned with forty year old stickers and transfers, but it still plays.**

First efforts were simple two-part chord and melody improvisations mainly around Beatles’ songs, followed by three-part pieces which involved laying down a bass line first. In places these improvise some way from the original melodies. I also attempted a Bach Two-Part Invention from some piano music left in the rented house I lived in. There are a couple of my own tunes I later reworked with music software. Except for one short example, I will spare you me singing.

Here is the list of recordings:

  • Here, There and Everywhere  (chords and melody with some planned improvisation)
  • Yesterday  (chords and melody with some planned improvisation)
  • It’s Only Love  (bass, chords and melody with some planned improvisation)
  • You’re Going To Lose That Girl  (bass and chords with planned improvisation)
  • No Reply  (bass and chords with planned improvisation)
  • J S Bach Two-Part Invention #1, in C Major  (two melody lines) This is a long way from perfect but I was fairly satisfied with it at the time, despite one or two slight synchronisation problems in the recording.
  • Improvisation to an unknown piece (chords with truly improvised melody). I wish I could still improvise lead guitar parts on the spur of the moment as in parts of this. Most of the above were pre-planned, but this wasn’t.
  • Red Mini Van (own composition: three-part bass-chords-melody jazz piece)
  • Walk With Ladies (own composition: three-part bass, chords and melody, followed by a section reworked more recently with music software)
  • Blue (own composition: three-part bass, chords and melody, followed by a section reworked more recently with music software)
  • Not Good Enough (also called Impress - own composition: bass and chords with two voice parts - oh dear!)

Leak 3200 tuner-amplifier and Wharfedale Glendale XP3 speakers
Leak 3200 tuner-amplifier and Wharfedale Glendale XP3 speakers

The 4000DS was not my last piece of expensive hi-fi equipment. When at last I got to university in 1977, I expected to have to self-fund the first term due to a previous grant for four months at teacher training college. Surprisingly, I was awarded a full grant, so the money I had saved went on hi-fi equipment and a holiday. My dad had commandeered my earlier Heathkit stereo to play his Bing Crosby records, so I bought a new system for university: a Leak 3200 tuner-amplifier and a pair of Wharfedale Glendale XP3 speakers. I later added a Sansui SR-222 turntable and a Sharp RT-10 cassette deck.

In total, the tape decks, headphones, tuner-amp, turntable and speakers came to roughly £500, which is today’s inflation-adjusted equivalent of about £2,800, and possibly half as much again in terms of earnings growth. Not bad for a university student. Reckless perhaps, but not as reckless as the risk of blowing it by feeding an electric guitar through it.


POSTSCRIPT: I contacted the owner of the website MIJ_60s_Guitars who responded “That is one rare guitar. It’s the first real Teisco I have seen with that logo. And the first surf green MJ-2L guitar as well. So I was double excited to see it. I have one like this that is copper brown, but Teisco brand. It is still the only copper brown one I’ve seen. But any surf green Teisco is really rare.”

** If you want to hear an MJ-2 played well, take a look at this. Bear with it for a couple of minutes - he starts with the chords to the Beatles Day In The Life before he really gets going. 

* Laura Nyro (1947-1997) is not especially well known, but she was a major influence upon a whole catalogue of distinctive and original artistes. Elton John described her as one of the most important, overlooked performer/songwriters. I was knocked for six by the genius and originality of the first of her records I borrowed from the library, Christmas and the Beads of Sweat, and by the energy of the next, Eli and the Thirteenth Confession. She rarely performed live; her forte (perhaps in both senses of the word) was the recording studio where she layed down impressive multiple layers of sound, singing all the harmonies herself. Eli’s Comin’ illustrates this brilliantly. 

There is an identical instrument, same colour, same instrument number, but much cleaner, pictured a couple of scrolls down at http://www.jedistar.com/jedistar_vintage_guitar_dating_t3.htm.   Here are close ups of my own logo and instrument number:
Teisco Tremo Twenty MJ-2 E-200

Instruction booklet covers and receipts:


Images: 

Instruction booklets: Akai 4000DS, Leak 3200, Wharfedale XP, Sansui SR-222, Sharp RT-10