The problem with collecting records for so long, is the rather sad fact that from time to time, you’ll stumble across a record you have little-to-no memory of acquiring. Case in point, Church Mouth by Alaska-based indie band, Portugal. The Man. I used to frequent the bulletin board Vinyl Collective (I think it was called) affiliated with Colorado-based label, Suburban Home Records, and there was tons of buzz about this release back in 2007 (ok, it appears that I do remember this album now… interesting how that happens). Church Mouth was pressed into 1000 records, with a variety of random-ass colors. (Plum: solid w/ a drop of cream. Raspberry: solid with a drop of cream. Blue (blueberry?) with a drop of cream, and this, chocolate with a drop of cream.) All variants were limited to 250 pressings, making up the 1000 total because, math.
I loved the steel drum as a kid. I think I saw a demonstration on Sesame Street or something, but the tin-y twang was a sound I’d never heard before, and it fascinated me. That was 30+ years ago, so imagine my excitement upon finding this 1965 Virgin Islands release by The Steel Bandits titled, Steel Band Bamboushay. I can say I’ve had the pleasure of seeing the steel drum in action twice, and I’m grateful for the opportunity to welcome 12 steel drum tracks into the library.
Chicago-based emo-pop punkers Tuesday released exactly one studio album in their short-lived tenure. Presented here is Freewheelin, then and now. On the left, the 1997 original from Asian Man Records, and on the right, the 2016 reissue from the same label. There were two variants with the reissue, a red / blue vinyl pressing limited to 300 copies, and this, a purple / blue vinyl pressing limited to 100 copies. For those of you Alkaline Trio fans who are unfamiliar with Tuesday, for shame! For those in the know, when was the last time you dropped the needle on this record? It still holds up! (He said with no hint of sarcasm.)
More, much more from George Thorogood and the Destroyers on their 1980’s blues-rock number, More, or More George Thorogood and The Destoryers. Covered here are classic tracks by Carl Perkins, Elmore James, Willie Dixon, and John Lee Hooker, but you know, with the abrasive and hairline drilling of Thorogood’s galvanizing guitar. There are no bad George Thorogood records (yes, I’m including 1993’s Haircut in this assessment), and More is certainly no exception.
Chicago Slickers jumped into my arms faster than a wet dog desperate for warmth and unhinged affection. (Not sure exactly why we had to go down that road, but here we are.) Patiently waiting in the “need to listen to pile,” Chicago Slickers is a monstrous collection of Chicago blues dating back between the years 1948 and 1953. Though this copy is a 2017 reissue, the original was released in 1976 on Nighthawk Records, a Missouri-based indie label owned by parent Omnivore Recordings. I cheated and previewed a handful of tracks on allmusic.com, and I’m ecstatic with the results. This comp is going to be on heavy rotation for the foreseeable future.
Gah, do I love me some sensual 80’s sax! Critically unacclaimed (I’m going with it), Goodbye Cruel World is widely considered the band’s worst effort, and apparently Declan Patrick MacManus (Elvis Costello) was quoted as saying this record would be his final professional offering. The album isn’t monumental, but it’s certainly not terrible, and lucky for all of us Elvis lovers, Goodbye would in fact NOT be goodbye after all, as he’s gone on to record a total of 30 studio albums to date, up to and including last year’s Look Now. Insanity.
In keeping with the celestial rhetoric of the glorious (and seemingly never-ending) genre-bending umbrella that is space age pop comes this electro-theremin-filled futuristic take on cosmic-themed songs of yesteryear. Titled Music for Heavenly Bodies, Paul Tanner with Andre Montero and His Orchestra assembled 12 tracks of euphoric, though slightly eerie bliss. Tracks like Midnight Sun and Up to Jupiter offer jovial and uplifting beds of comforted seclusion, while Holiday on Saturn sounds more like a warm-up theme to an impending intergalactic space battle, one for the ages, I’m sure. Presented here is Modern Harmonic’s 2017 blue vinyl reissue. Heavenly bodies aside, this is certainly music for those of us with an adventurous ear.
I knew little-to-nothing about Sid Bass prior to his 1956 release on RCA’s Vik label, titled From Another World, but I was instantly sold by its engaging space-themed cover art. I mean, look how happy this space lass is! Doesn’t it just scream space age shenanigans? The upbeat mix of jazz-pop-easy-listening intertwined with hints of atmospheric warbles has both feet firmly planted in 1956, and its head far beyond the silent stars. Another space age pop acquisition for a (very) reasonable asking price.
The backside to Potshot’s 1997 debut, Pots and Shots brings back so many post-high school memories. I couldn’t for the life of me find this on vinyl back in the day, and instead had to settle for this rambunctious album on compact disc. I’m certainly not complaining, but I’m a little pissed at myself that it took me nearly 20 years to finally track down a copy on wax. Any, acquisitions aside, groovy standouts were, and still are Radio, obviously, and my first introduction to this Japanese ska-punk (J-ska) group via means of Asian Man Records’ Mailorder is Fun! comp, Mexico (killer bass playing here), and Time (just catchy as all hell). Though I could understand only a fraction of the vocals, I absolutely fell in love with this album’s raw and uncompromising energy. Give it a (pot)shot, you may as well find pleasure… it’s ripe for the picking.
Lynyrd Skynyrd Gold & Platinum Band… sounds important… shit, think I’ll check it out. Spanning the band’s most prolific years (1972 – 1977), Gold & Platinum is a monster of a compilation, and managed to go 3x Platinum in its own right. Skynyrd albums are fairly affordable these days, and while I always recommend starting with a band’s debut, then mosey on down the discography line, in a pinch, this heavy-hitter covers all the bases, and offers a few, subtle surprises along the way.
No, this isn’t a flyer for a must-see event coming up on Valentine’s Day, but rather a not-so-subtle reminder of a show I was unfortunately unable to attend. Swami John Reis & The Blind Shake released Modern Surf Classics in February of ’15, to great acclaim, and it ended up being their only collaboration to date. Shameful, these facts as I type them. I was, however, fortunate enough to catch this surf-punk-luau team’s Santa Ana show a few months later, which, obviously, like with all things John Reis-related, turned out to be an absolute riot. If you can stomach parting with the Hamilton in your pocket, and you aren’t one of the fortunate ones to already own this album, do yourself a favor and seek it out. High-energy surf, with lighting guitars, and classic Swami snarl. This album is damn near perfect.
Though my knowledge of ZZ Top ends far before the release of 1985’s Afterburner, and ignoring, for the moment, the programmed drum tracks, ‘Burner is classic, straightforward ZZ Top. These three dirty bastards found their groove very early on, and they’ve made a monumentally successful 50-year career out of filthy blues rock, perfect for any generation of beer and / or whiskey guzzlers. Sure, they may be your dad’s band, but give your pop some credit. ZZ Top is no joke, even with the accompaniment of programed, and very 80’s sounding beats. Still one of the best live acts I’ve ever seen!
I’d not heard of music by, or the name of Nick Waterhouse before agreeing to double date with a few close coworkers a few years back. To my subtle surprise, Nick Waterhouse puts on a friggin’ hell-of-a show! Backup singers, crooning vocals, hip-swaying rhythms… it was a perfect and unexpected, rather chilly evening that left me a lifelong Waterhouse fan. It doesn’t hurt that Nick fancies the wax, and was offering a tour-only cover variation to his 2016 album, Never Twice. If you’re into 50’s rhythm & blues, with a hint of fire, Mr. Waterhouse is your man.
Rachmaninoff, Tchaikovsky, Brahms, you name it, they’re here on this 1971 Columbia House release of classical classics covering two LPs. Titled 120 Music Masterpieces Highlights, 120 instantly recognizable melodies are displayed across 20 cuts on four sides of wax. Even if you’re not (always) into mood-setting classical charm, this catch-all is a perfect place to start for those of you curious, classical kids on a cent-saving budget.
Hot hits at cool prices… seems too good to be true! Man, do I miss the hype stickers of yesteryear. This one dates back, to at least ’75 with the Barry Manilow release, Tryin’ to Get the Feeling, the album in our library where this sticker can be found. Turns out, our copy of Tryin’ is sealed… not sure exactly how that happened, but there it is. Virgin vinyl, kids! Mainly, I just dig this hype design.
Does anyone remember Back to the Beach? That cheese ball “comedy” from 1987? Anyone? Anyone?! Bueller? Siskel and Ebert (remember them?) gave it “two thumbs up,” so you had to have heard of it. Still no? Well, no worries. Once the urge strikes you, and believe me, it certainly will, you’ll be digging back through early Big Kahuna, er, I mean, Frankie Avalon releases. Presented here is Frankie’s fifth studio album, 1961’s …And Now About Mr. Avalon. Wax down your board, grab your main squeeze, and settle in for some damn early Frankie Avalon, courtesy of Chancellor Records Inc.
I saw this short-lived supergroup at the Knitting Factory (RIP) in Hollywood back in “the day.” Surprisingly, I was one of only a handful of people in attendance (including a leather jacket-yielding Bill Rieflin). Seeing a post-Ministry Paul Barker play with Tomahawk and The Jesus Lizard guitarist Duane Denison in what appeared to be little more than a gig practice was mind-blowing. An intimate experience such as this was 1) not expected, and 2) one that I’ll never have the pleasure of witnessing again. Unfortunately, the band only released the one studio album (in compact disc form only, no less) with 2007’s The Spoils on Fuzz Records. It’s worth seeking out, if you’re into the whole aggressive, industrial-alt-rock thing, which if you aren’t, it stands to reason that you should be questioning everything you ever thought you knew.
Aside from the instantly recognizable British crooning, Big Audio Dynamite resembles very little of the apocalyptic force brought on by The Clash, you know, lead vocalist Mick Jones’ other musical venture. B.A.D., for those of you in a hurry, offers an onslaught of politically motivated clouds of dance-reggae-funk that either completely misses the mark, or is so unequivocally mid-80’s, that time hasn’t necessarily been so kind to its intentions. This is not, in any way to suggest that B.A.D. (in a hurry, here) doesn’t warrant your dedicated attention, it’s just that anything compared to The Clash carries with it a very high watermark. Think Cut the Crap with more samples and much more melody. Presented here is their first album, 1985’s This is Big Audio Dynamite on Columbia Records.
Hoarders are second cousins to collectors, and I jump rope on either side of this definitive and dividing line. Case-in-point, this disheveled, and thought-discarded flyer for The Observatory in Santa Ana from a few years ago (assuming we’re now calling 2015 a few years ago). I attended exactly none of these shows, though Smut Peddlers would have been a good time, and if my memory serves me right (doubt it), I acquired this flier from a Rocket from the Crypt / Mariachi El Bronx episode. Not entirely sure why I kept it, but let me tell you, upon its inevitable rediscovery, I haven’t, and will not throw it away…
1996 They Might Be Giants is some of my favorite They Might Be Giants. Not solely based off the studio album released that year, Factory Showroom featured here, but rather because this was arguably the height of my TMBG listening days, and simply put, I ingested all that I could handle. Flood was the obvious opener, my first exposure a few years prior, followed by ’94’s John Henry, then a slight detour to 86’s self titled and 92’s Apollo 18, then finally pausing on 96’s Factory Showroom. This was a massive storm of newly discovered music to consume in a short amount of time (remember, this was before the internet and digital downloads, kids). The following year would bring a game-changing double compact disc comp with, Then: The Early Years, and the rest is both a blur, and history. Sadly, I’d fall out of love with the Giants a short handful of years later, but they’ll always hold the deed to a bit of real estate in my heart.