Organ

Organ records have a very poor reputation, no doubt because of the plethora of pipe-organ dreck "in the Ken Griffin style." The electronic organ changed everything, particularly as later developments led to the synthesizer. The overwhelming popularity of the Hammond among all keyboard-playing musicians, including its acceptance as a lead instrument in jazz, gave the organ new homes away from the skating rink, church, and ballpark. The competition in pop organ was fierce, and the best stars not only mastered the music but also helped develop the instrument. The top stars all "discovered" new sounds and most of them directly influenced the engineering of new models.

Electronic organ shares many traits with the early (Moog) synthesizer. Emulation of standard instruments, such as a saxophone, was impressionistic at best. Space sounds were easy, however. The most tired old chestnut played on a new instrument would sound fresh. Old, previously "warm," sentimental favorites could become lively, cold, rockers on the organ. Then came a "missing link" crossover with the synthesizer, as the new spurred further development of the old. Most of the early synthesizer players were in fact organists attempting to adapt a style that in most case had been adapted from piano years before. Grotesque, grandiose "super organs" were the organ companies' last effort to compete with the new. Promotional albums were issued for these as well as odd, commercially unsuccessful hybrid instruments. And some players from the "too much is always better than not enough" school played both organs and synthesizers on the same records.

Buying: The cheesiest, wackiest, and best albums are by the gods: Wunderlich and Dee. For lesser artists, go by the tunes covered. Dick Hyman's Lowrey work can be terrific, but he has been overrated at the expense of others. Also, earlier organ records (even some pipe organ) may have very worthwhile exotic and deep percussive effects.