Watch Collector’s Notebook: Tudor by Rolex

Hans Wilsdorf's official Tudor announcementt

In any discussion, Tudor by Rolex must be mentioned as one of the highest quality, most diverse and most appealing brands in the vintage watch world, and one that often offers terrific bang for the buck. Tudor was officially created as Rolex’s junior brand in the post-WWII era as a way to fulfill founder Hans Wilsdorf’s desire to offer Rolex quality at a slightly lower price. They achieved this by outsourcing the movement production.

Ca. late 1940s/early 50s Ref. 951 "Bumper" Auto

Ca. late 1940s/early 50s Ref. 951 “Bumper” Automatic

Ref. 951"Bumper" Auto Movement (A. Schild 1250)

Ref. 951 “Bumper” Auto Movement (A. Schild 1250)

The first “official” Tudors were actually bumper automatics with A. Schild movements. But these did not really fit Wilsdorf’s dictum that the new subsidiary brand should share the full-rotor automatic “Perpetual” movement that Rolex pioneered and, I believe, still had many proprietary rights to even as late as the 1950s.  Therefore, Rolex commissioned outside movement manufacturer Fleurier (FEF) to build a bespoke version of their manual caliber 350 with an auto-rotor module added, thus creating the first exclusive Tudor calibers: 390 (non-date) and 395 (date). You will not find a 390 or 395 in any watch other than a Tudor, as FEF only sold this ebauche to Rolex under exclusive agreement. The debut of these movements marks the real launch of the Tudor “Rotor Self-Winding” Oyster-Princes. Initially patterned after pre-Explorer Oysters, they were also sent on expeditions as their progenitors had been so successfully, to build up their reputation as tough and durable watches for the man of action.

Early cal. 390 ref. 7909

Early cal. 390 ref. 7909

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RIP Nelson Mandela

Photo via ABC News

Photo via ABC News

We don’t really do politics here at MFL but when a colossus of human rights like Nelson Mandela passes on, respect must be paid.

For thorough coverage of the great man’s life and legacy, check out the New York Times’ sterling coverage.

And for those of us of a certain age, it’s not hard to remember that the sainted figure that we pay tribute to today and the cause that he championed was not embraced by all in the Western world. Here’s to those who got it right in real time.

http://www.youtube.com/watch?v=TlMdYpnVOGQ

What We’re Listening To – Three Great Non-Reggae Songs Built Around Reggae Riffs

After my last post about Joya Landis’s version of “Angel of the Morning”, I thought it would be cool to take a look at how three distinctly non-reggae bands incorporated some reggae influence into their music. All of these songs are built around reggae guitar riffs, the key attribute of which is “the skank”, or striking the chords on the off-beat (think hitting the “and” in a “1 and  2 and 3 and  4” progression.) What I love about all three of these songs is that they maintain their autonomy. They’re not reggae rip-offs, but instead do a great job of building that influence into their music. So here we go…

First up is “Eyes of a Stranger”, by The Payolas.

Being of Canadian blood myself, this one is my sentimental favourite. However, it’s also just a great song. Probably best known as the standout song on the “Valley Girl” soundtrack, the boys from the Payolas did a great job on this one. The riff doesn’t kick in until the first chorus, but when it does it sends the song into a completely different and unexpected groove that is pretty brilliant, and certainly sets it apart from all of the other radio hits from that era, making it a pretty timeless groove. You can find the song on their album No Stranger To Danger, produced by the great Mick Ronson, available on iTunes or on Amazon.

Next up is “The Dreaming Moon”, by the Magnetic Fields.

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What we’re listening to today — Sam Cooke

Following in Ray Charles’ footsteps by fusing gospel music with secular lyrics, Sam Cooke packed more soul into a 3-minute single than most singers can muster over an entire lifetime. In fact, many critics contend that he “invented” Soul music (although for me that is too simplistic an interpretation of the pioneers and sources of the genre). Blessed with suave charisma and a magical voice, Cooke’s all-too-brief career was filled with terrific highlights and smash hits, including 30 Top 40s between 1957 and 1963, as well as several posthumous successes like the glorious, Civil Rights-infused “A Change is Gonna Come”.

http://www.youtube.com/watch?v=nOYuhLNwh3A

That epic song points to the direction Cooke would undoubtedly have headed had he lived: politically aware music committed to the cause of Civil Rights and social justice, just as he was in life. “A Change is Gonna Come” also prefigures the social awakening that such artists as Curtis Mayfield and Marvin Gaye would undergo as the 1960s wore on by showing that protest music was a natural fit for R&B and soul and not merely the sole province of white folk singers.

Though there are a ton of songs to choose from among the less political, from “Wonderful World”, “Chain Gang”, “Cupid” and “You Send Me” to name just a few, the more classically blues-structured “Somebody Have Mercy” has always seemed to me one of the best Cooke recorded during his breakout crossover period onto the pop charts: soulful but not too sweet, lyrically very clever and featuring top notch musical backing.

Obviously, we can say that at 33 Sam Cooke died far, far too young, robbing us of a full lifetime of his rapidly evolving greatness. But with his enormous influence on the artists that followed him such as Otis Redding, James Brown, Al Green, Gaye, Ben E. King, Bobby Womack and on up to today’s soulful R&B singers, as well as popular music as a whole, we can also say that Sam Cooke never really died at all. The true immortals never do.

What we’re listening to on Thanksgiving — Thank You (Falettinme Be Mice Elf Agin) by Sly & the Family Stone

Blogging could be sporadic with the upcoming Turkey Day blowout but wanted to throw this great Sly & the Family Stone tune out there for y’all because it seems just right for the occasion…

One of the last gasps from that great interracial collective before drugs destroyed the band, 1969’s “Thank You (Falettinme Be Mice Elf Agin)” could be cited as truly revolutionary for its bass line alone. Seeming to infuse nearly every funk track to follow in the 70s, Larry Graham’s “slapping” style of percussive bass is literally the sound that launched a thousand R&B bands. And of course the pure stoned compositional genius that is Sylvester “Sly Stone” Stewart is on full display here, with enough sonic and lyrical mischief happening to bring a smile to the most jaded hipster. It may be a cliche but it happens to be true: If Prince has a musical daddy, it’s Sly Stone.

Even after a full turkey dinner with all the trimmings, when you hear “Thank You” you’ll wanna shake it to the groove. So let’s take a moment to give thanks for great music and great food. And especially to the great friends & family who so importantly let us be ourselves–Thank You!

http://www.youtube.com/watch?v=6Ptrc2cWRxU

Thoughts on the astounding results from Christie’s Rolex Daytona “Lesson One” Auction

Like many vintage Rolex enthusiasts, it’s taken me some time to fully digest the incredibly high results from Christie’s November 10th auction, “Rolex Daytona ‘Lesson One’: 50 exceptional examples of the world’s most celebrated chronograph wristwatch”, held in Geneva. When I say incredible, I mean it literally: the prices achieved by the majority of these Cosmographs really did defy belief. Some examples…

Right out of the chute, Lot 1’s lovely pump pusher 6239 with Underline and double-SWISS markings and slightly “Tropical” brown sub registers hammered for $296,250.

Lot 1, ref. 6239

Previously, I would have said that the estimate of $44-$88k was spot on with $88k being very ambitious.

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