While supplies last, or so I’m led to believe based on the discounted price, one, such as you, could adapt your large hole 45s with these stylish, slightly non-conformist plastic adapters. Featuring the classic Alternative Tentacles logo we all know and love, this set of three comes in translucent red, reflective silver, and reflective gold. I ordered two sets myself, because for $3 per set, why the hell not? Adapt your baby records with style, courtesy of Alternative Tentacles Records.
Monthly Archives: January 2016
In all its unorganized, selfishly-inept misery, here is the overflow of miscellaneous tomfoolery, that which I have no Earthly idea what to do with, aka, the byproduct of one’s collection. 10″s, 78s, 7″s, 45s, slipmats, random inserts, vacant sleeves / covers… all of these random orphans make up the corner of the office, whose permanent location needs severe and well-planned consideration.
Listening in Depth Part II aka Sound at its Noblest
You have to go way back to July 17, 2013 for the first Groove post on fine quality Columbia Phonograph ad-serts. As you’ll recall, “Listening in Depth” is a buzz term used by Columbia sound laboratories to promote their seemingly revolutionary Directed Electromotive Power (D.E.P.) phonograph console. Featured here is Model 535 which boasts and brags about all the same cabinet wood finish variations as Model 532, but ups the ante in overall power and sound quality (if only marginally). This beautiful piece of 1958 machinery would go perfectly in any (or every) room in my house, and I’ll personally shake the hand of the first person to send me one. Email me for shipping address.
Arthur Lyman just made my list of musically most wanted. His otherworldly album covers from the late 50s are something heavily deserving of frameable art, while his music carries a luscious, easy listening, space-age brilliance rarely found in today’s dollar bin. Hawaiian Sunset, released in 1959, was the followup to his 1958 debut Taboo, another captivating package necessary for any cocktail lounger on a budget. His album covers start to tame-out in the early 60s, but man, these late 50s covers are something of sheer, cheeky brilliance!
From Romantic Places
Stereo Exciting Sounds from Romantic Places… wait, or is it, Exciting from Romantic Stereo Sounds Places? Likely, it’s Exciting Stereo Sounds from Romantic Places with Leo Diamond’s Orchestra. Whichever way the mischievous title unfolds, Leo Diamond kills this 1959 easy listening LP. From cover to groove, this hi-fidelity ear-grabber sets both the mind, and body at ease. Listen with caution, if you dig.
The Benson Birthday Bash aka Happy 3rd Birthday, Baby Groove!
Beats for Bernie ’16
Zero, Hero, Not No Small Fee
Event 2 checked through interplanetary security some 13 years, a decade (+) some would say, after the initial ignition of innovative insanity spawned the red-eyed cloud of sophisticated satisfaction. Muddy your mind, and tap your toes, ’cause Deltron Zero and Captain Aptos have been serviced, and are accessible for all of your control-alt-deleted needs.
Tom the Peep
As an avid follower of all things Mike Patton, I’ll confess that it’s taken a bit of research and development to man the interweaving road of his illustrious and diverse career. Irony is a Dead Scene (The Dillinger Escape Plan with Mike Patton) skipped past my radar upon its first release, but I was happy to find my way with the 2010 reissue. Now with social media playing a fundamental roll with any discernible artist with a “like,” information for upcoming releases don’t require as much legwork.
Peeping Tom here, was an unplanned discovery during a time that (more or less) predated the uncomfortable knowledge of every artists’ every move. Gravy for us collectors, a bit awkward for the talent. Anyway, if you ever wanted to hear a wacked-out collaboration between Mike Patton, Dan the Automator and Norah Jones, Peeping Tom is your guy.
Viva la Doors!
I Will Refuse
In 1987, industrial-metal pioneers, the illustrious Ministry, teamed up with straight-edge mogul, Ian MacKaye (of Minor Threat and Fugazi), for an ambitious, yet magnificently executed collection of hardcore punk-industrial hybrids. Calling themselves Pailhead, the short-lived supergroup released six tracks over three releases and a comp. Featured here is their first record, well, the 12″ version of it, titled I Will Refuse. It’s not surprising that the record received both a 12″ and 7″ release, catering towards both the industrial (12″) and punk crowds (7″) respectively. Swap out MacKaye for Jello Biafra, add a few years (1989), and you’ve got LARD, another, more long-lasting venture into the punk-industrial genre that these Pailhead fools almost single-handedly established. It’s not perfect, but it’s pretty damn close. Check ’em out.
The Definitive Reissue
The Violent Red of Steve Allen
Steve Allen, via means of Coral Records wants you to understand the complex necessity of Romantic Rendezvous… in fact, Mr. Allen is (was) so adamant, he enlisted the help of his Piano with Neil Hefti and his Orchestra. Romance, however it is defined, starts here, with a blue radio, and a red comforter. Apparently opened toed shoes are also a plus, but with Steve Allen, accessories are questionable.
Friday the 15th, AKA Johnny Cash and the Obvious Natural Background of The Blue Train
The comp work on the cover of Johnny Cash’s The Blue Train is borderline laughable (sorry Betty Cherry), but that doesn’t diminish the phenomenal tracks it houses. A late 70’s comp released by Sun Records long after J. R. Cash left the label, The Blue Train lifts five of its tracks (half of the record) from the 1963 album, All Aboard the Blue Train, also released on Sun Records. Repackaging and repurposing was certainly nothing new by 1979 standards, but the lack of attention to detail deserves strong criticism, at least, in my humble opinion. Anyway, happy Friday!
I did some DTA (Dan the Automator) research today, and boy-oh-boy, am I missing a truck-ton of records in THIS discography?! What I dig about this pioneer is his consistency in releasing instrumentals for his notable collaborations. Dr. Octagon, Lovage, and Deltron 3030, to name a tiny few. Deltron 3030, their first album at least (I need to revisit their 2013 follow-up) is classic, early millennial, sophisticated hip hop, and although Del is greatly missing, it’s a refreshing option in rediscovering this classic album.
12 Sides of Glenn Miller
I’ve been in a bit of a pure, uncomplicated mood lately. Yesterday, Simon & Garfunkel got some play, along with Metronomy, and today we’ll celebrate Glenn Miller with this six LP box set titled, The Unforgettable Glenn Miller 70 of His Greatest Original Recordings. Little to nothing is left out on this massive collection, which was released by Reader’s Digest in 1968. All the obvious classics are here, but what I find most interesting is the various collaborators found within. Glenn Miller and The Modernaires, Glenn Miller and the Army Air Force Band, Glenn Miller and Ray Eberle, Glenn Miller and Tex Beneke, Glenn Miller and Marion Hutton, and Glenn Miller and Kay Starr to name a few. Six LPs will most definitely take some time to finish… I just hope I’m not out of my melon collie mood before then.
I’m Down with the Boys Beastie
What’s not to love about a bootleg of the Beastie Boys covering their version of a Beatles song?! This unofficial 7″ from 2013 is as hilarious as it is historical. From the bird on the cover (here) to the Licensed to Ill-era schoolboy lyrics, the Beasties’ version of I’m Down has the classic Def Jam hip hop power guitar you’d expect, and I’m not even joking, their reworked lyrics are gut-bustingly priceless. The quote on the back of the sleeve, however, takes the cake.
– Los Angeles Times, February 1, 1987