By far the best pizza in all of Los Angeles, the newly opened Delicious Pizza not only takes its logo, hip-hop motif, and aesthetic flare from the LA-based label, it was in-part founded by non other than Delicious Vinyl co-founder Michael Ross. With wall-to-wall memorabilia from hip-hop’s golden age, Delicious Pizza is 2nd-to-none for great eats, great tunes, and dirt-cheap cocktails. Part museum, part hip-hop heaven, Delicious Pizza, in every conceivable way, lives up to its name.
Can’t upload a photo, can’t upload a post… to HELL with Palm Springs WiFi!
(Photo to come as soon as this 3rd rate, garbage bag Wi-Fi decides to start functioning…) So the lovely SO and I decided to take a trip to Sultan City, mainly because I’m a big dumb idiot. I have no idea what to anticipate, but expectations are certainly running on 11! (As previously stated, Wi-Fi at this Palms Springs hotel is garbage bag) #giveusakiss
Update @ 12:17: Wi-Fi decides to function, and allows my feeble image upload to compete. Don’t come to Palm Springs for the Wi-Fi, kids…
EBM… a former roommate introduced me to Nitzer Ebb, and I thank you explicitly, Tricia. This $3 necessity was had from a little hallway of a record shop across the street from Nick Nice’s shop in Madison, WI. This is the humble shop where I acquired my first Revolting Cocks record… where I snatched the Hot Snakes debut, the Lenny Soundtrack, the O Brother, Where Art Thou? Soundtrack, and Johnny Cash’s American IV… needless to say, $3 for Ebb’s debut, however mangled, was a bargain, given the circumstances. Covers be damned, until the time in which they be praised.
What can be said about Todd Terje that hasn’t been overstated already? Perhaps only this: better to get into this album, knowing absolutely nothing about it. Sub-classic electro-fun-zone… for those of you keeping score, that’s a solid 100%. No need to check your watch, because, It’s Album Time. Enjoy!
This is a fun one. So, long, sappy, convoluted story short, work has been a bear lately, so this past Saturday I decided to have some selfish fun. After liquoring up my SO on heavy margaritas and Mexican food, I nonchalantly informed her that we were heading to the local brick and mortar and that she had one, very important task at hand… one she certainly did not ask for, and one she admirably knocked out of the vinyl-spinning park. She was to pick out one record, period. See, she doesn’t collect vinyl… she cooks… and is amazing at it. I, collect… and eat her delicious goods. So, amongst a sea of Radiohead, Johnny Cash, and Beatles-related material, she picked Frank Froeba’s Old Time Piano 10″. I love this woman, and impromptu pairings of Mexican and record hunting is, I’m sorry kiddo, now a thing.
For reasons far beyond my level of feeble comprehension, here is the back (ass-cover) to The Zombies’ 1965 debut, Begin Here. Mind you, this is just a reissue (180 gram, half speed mastering at Abbey Road), but Mr. Rod Argent’s humbling write-up has all the makings for an entry worthy of withstanding the tests of time. Have a read, then a listen (if you’re already in the know). The Zombies : Begin Here…
This could have been pressed on oil black, single vinyl with no bonus tracks or download card and I still would have thrown fists full of my hard earned cash for an opportunity to own Old 97’s insanely classic debut, Hitchhike to Rhome. Lucky for me, this puppy is the Cadillac of vinyl releases, as clearly stated by this marketing sticker, and needless to say, I’m giddy over FINALLY owning this uncompromising release.
If MXPX on Fat Wreck Chords seems, let’s politically say, interesting, that’s because there may very well be something interesting about a “Christian” band recording for Fat Mike’s (NOFX) record label. I can honestly say, with a semi-clear (vinyl) conscious, that I’ve MAYBE listened to this record once in the 14 years since owning it. I can’t speak for its content, only for its visual clarity.
With arguably the most recognizable keyboard intro to any track to kick off any album in all of rock (save maybe for Baba O’Riley), Freeze Frame, the title track on 1981’s appropriately titled Freeze Frame by The J. Geils Band took second seat to the the band’s most successful incarnation, Centerfold. That’s right, both Freeze Frame AND Centerfold are featured on this album. Shocking, I know.
The band’s sound (somewhat) drastically shifted over its tenure, but it’s humbling to imagine a band can (finally) hit its stride on its 12th album. The J. Geils Band would ride on the success of Freeze Frame (the album, not the track) for another two albums until calling it quits with 1984’s You’re Gettin’ Even While I’m Gettin’ Odd. For a damn fine radio-friendly example of early 80s mind-numbing awesomeness, check out Freeze Frame. Your yester-self (it exists) could use a solid, loving punch in the shoulder.
I set out to acquire the Jaws soundtrack on 8-Track for the upcoming annual Jaws Day (July 3rd, don’t forget), and I ended up with a dirt cheap, fully functioning set of the following, all on glorious 8-Track: Jaws (Music from the Original Motion Picture Soundtrack), Star Wars (The Original Soundtrack from the 20th Century-Fox Film), and this copy of Star Wars – The Empire Strikes Back. All in (just about) perfect working condition. I never thought I’d enjoy the romantic static and bass-heavy warmth of 8-Track sound as much as I do… makes me glad I keep the player in the living room. My SO on the other hand…
Written by Ad-Rock and producer Rick “Def Jam” Rubin, the 1985 soundtrack (or “sound track” as it’s listed on the cover) to the smash-bang-hit, She’s On It, is little more than an elaborate, mediocre, wave two Beastie Boys offering. There’s a reason She’s On It never appeared on a proper album, and that’s because it’s shit. I love the Boys Beastie, but I’m sorry. This song is terrible… and the video is even worse. But… this razor-edged opinion in no way prevents me from seeking out this release to round out the collection. 1985 Beastie Boys was a very sad, but ultimately necessary phenomenon… one that would be all but eclipsed with the dawn of a new era (wave three), ushered forth by the impeccable Paul’s Boutique. It’s okay to question your heroes… RIP MCA.
What is it about hand-numbered releases that draws so much mild elation from the collector? Is it the rarity? The often, almost illegible scribble isn’t much of a draw. Perhaps it’s hoping to score as low a number as possible? Or maybe, in the case of this 2008 vinyl release of Lawrence Arms’ 1999 debut album, A Guided Tour of Chicago, the hand-written, numbered feature is just a bonus that accompanies this album’s debut pressing. Whichever the reasoning behind its appeal, hand-numbered releases certainly aren’t going anywhere, and to that simple fact, I’m remain indifferent.
(Is my obsession showing?) When subtle vigor overcomes wasted want, there stands the might Andrew Jackson Jihad. Featured here, again, is the 2nd pressing of AJJ’s first full length, People Who Can Eat People Are the Luckiest People in the World. Necessary ear candy, regardless of the pressing, punk-influences folk transcending 11 blissful, crass, comforting melodies… what more, no, seriously, what more could you ask for?
Back in 2007, Hear Music, co-owned label by Starbucks and the Concord Music Group, released four tracks by Sir Paul McCartney performing live at Amoeba Hollywood. I was working in Hollywood at the time and called to see what the situation was… are there tickets, how long is the expected line, stuff like that. I was told by the kind gentleman on the phone that there were already people waiting in line for the event, that wasn’t set to take place for another 28 hours, clearly the next day. I laughed and said my thank yous. A few months later I picked up this copy of Amoeba’s Secret, but for reasons I still can’t recall, never opened it. She may have her virgin spin sometime this weekend, but then again I may wait another 8 years. We’ll see.. Happy Friday!
– Purchase needs to be new; no duplicate purchases (a 3rd copy of Richard Pryor’s Greatest Hits does not qualify… as awful as that sounds)
– Purchaser understands that no other record will be obtained after said purchase, and that this particular record will “complete” purchaser’s collection (or some type shit)
– Purchaser understands the depressing limitations that once and for all, the hunt is finally over (bummin’ me out, man)
Talk amongst yourselves…
(Photo is a desktop reflection of June 8th’s posting, for those of you keeping score…)