Another percussion piece to ponder… Don Catelli and the All Stars’ sophomore effort, Potent Percussion received the same dynamic stereo treatment as Monday’s Passionate Percussion, complete with badass minimalist cover art. You should check on this Directional Sound series, but don’t take my word for it. Have a brief read from the inner gatefold. Circa: 1961-ish.
The strikingly colored program of durable standards has been inventively arranged to provide new perspectives on these songs with particularly brisk and yet supple use of the full resources of a modern percussion section. As in all of DIRECTIONAL SOUND’s full-ranged high fidelity series, all the intersecting lines and cross-rhythms are recorded to perfect balance with thrilling clarity and depth.
This is, sadly, what is left of a once 1000+ compact disc collection. What’s worse, it now sits deep within the frigid bowels of our guest room closet. (Sigh.) Adequate space for LPs is not the only format issue to overcome it appears.
Passionate Percussion was Directional Sound’s answer to the largely popular Command Records series Persuasive Percussion and Provocative Percussion. Don Catelli and the All Stars belt out easy listening Bossanova-style jazz with a Latin twist and a bombastic, almost passionate backing percussion. The covers from Directional Sound rival those from Command Records and feature minimalist, mid-century designs on high quality gatefold sleeves. There appears to only be 22 released from Directional Sound between 1960 – 1963, so start your checklist today with Passionate Percussion. You won’t be disappointed.
The 2012 7″ compilation box set, Bizarre Ride II: The Pharcyde (The Singles Collection) is convenient way to quickly obtain (nearly) all of the singles, and their subsequent remixes, from the monumental debut album, Bizarre Ride II: The Pharcyde by, well, The Pharcyde. This box set features the album version, acappella and instrumental versions, and various remixes for (nearly) every single from the album (save for Otha Fish and 4 Better or 4 Worse where only the album and acapella versions are present). There is another, busier box set of this 7″ collection that contains CDs, a poster, and a 120-piece jigsaw puzzle. This version however, does not.
So, here is another perfect example of the growing benefits that acquiring albums online can yield. I pulled the trigger on purchasing Candido’s 1957 Afro-Cuban Jazz number, Candido the Volcanic, and when it arrived, it was sandwiched, not on poppy seed buns, though, my surprise would have been about the same, but instead, between The Blues A La Dixie (Pee Wee Hunt, 1959), and Giant Steps (Woody Herman, 1973). Ladies and gentlemen, this are free records! Free! While I sip my Kona coffee and delight in my crackling dixieland blues, that I paid nothing for, and hurriedly scrape together a post that I should have submitted yesterday (note the date), I crack a smile and think of ways I can pay it forward. If anyone wants a digital copy of these or any other album you see here, email me. How’s that?
Bob Newhart released his 2nd comedy album, The Button-Down Mind Strikes Back! just six months after his debut recording, The Button-Down Mind of Bob Newhart (both in 1960). This award-winning sophomore effort (winner of 1961’s Grammy for Best Comedy Performance for Spoken Word aka Best Comedy Album) granted this decades-long dry-humor mogul two Grammys for two albums, all within one year’s time. A clear indication that Bob Newhart would become and continue to be a household name, even some 58 years later. Prepare yourself for some straight man comedy brilliance.
Five years ago today I started an asinine, little daily tradition focusing, let’s say, “inwardly” on my ever-growing collection, and 1828 posts later, I’m no smarter than when I began. I mean, let’s be honest here. I’m not saving lives (nor do I really want to), but that certainly is not to say that these past 1828 days 1) haven’t been worth it, 2) haven’t allowed me the opportunity to discover a plethora of adventurous new records to spin, and 3) the ability to rethink all the minute elements that make a “record collection.” Thank you for taking the time to assist me in rediscovering my collection, be it through 8-Tracks, Inserts, the short-lived Audio Odyssey (man, was THAT a mistake), and of course, the always-growing Colored Vinyl category. Cheers to you and your subtle enjoyment of analog entertainment. Happy 5th birthday, Prudent Groove!
Though not as prolific or, let’s say, monumental as their debut album, Deltron 3030’s 2nd offering, 2013’s Event 2 carries with it substantial clout and unparalleled brilliance, both in original and instrumental form. As a pair, this 4x LP set provides stellar DTA (Dan the Automator) production, and a with or without “optional” Del the Funky Homosapien vocals (read: vagrant poems). Event 2 is essential, for even the laziest hip hop connoisseur.
Dug into the 7″ records last night and shoveled out a few of the greats. Starting with Diesel Boy’s Strap on Seven Inch, followed by Drive Like Jehu’s Bullet Train to Vegas, we then weaseled our way through Nation of Ulysses (Nation of Ulysses and The Birth of Ulysses Aesthetic), then on to Beastie Boys’ Polly Wog Stew, and finally concluding with Can We Be Mature? by The Dismemberment Plan. It was an interesting evening, to say the least. Can’t wait to do it again.
Cheers to another pop-punk band doing another groovy beer. This time, Pennywise and their collab with Lost Coast Brewery appropriately titled, Pennywiser. I’ve yet to try it, but it appears to be a modest or “easy drinking” session IPA, and if my sources are correct, has a limited release dating back to last September. For a full list of participating venues, have a hop over to the band’s official site here. Cheers.
The real estate market within my library is growing increasingly scarce. This unfortunate fact has made me second, third, and fourth guess my vagrant decisions to grant specific records access to this congested population. I mean, would I really keep Ace Cannon’s Memphis Golden Hits if it wasn’t for the gaudy cover? Or how about two copies of Asia’s Alpha, not to mention (by mentioning) 8 copies of Sean Lennon’s debut, Into the Sun… well, that one seems viable, but still! All of these one-offs start to add up, and before anyone is the wiser, space becomes a great concern.
Last October, Jane’s Addiction’s debut studio album received the Rocktober treatment from Rhino Records. Nothing Shocking is available on 180-gram crystal clear vinyl and is limited to 6,000 copies. With that many pressed, you can still find this essential reissue for a relatively cheap price (I acquired mine for $22). Other releases under the Rocktober umbrella were Loaded by The Velvet Underground, Love it to Death by Alice Cooper, and Electric Warrior by T. Rex. Here is the link if you’re interested.
Finally, and for the first time in our 8-track collecting history, the cartridges are organized. It feels good to know that Kiss, Led Zeppelin and John Lennon are neighbors… it’s, let’s say, comforting. The only trick now is to find an adjustable, and somewhat portable shelving unit to house some 140+ analog tapes.
Though the Ian Fleming novel (Dr. No) dropped in early 1958, the film adaptation starring Sean Connery and Ursula Andress hit the big screens in late 1962. This, the first James Bond film had a modest budget (even for the time) of $1.1 million, and grossed just under $60 million throughout its tenure. The soundtrack, featured here, was composed by Monty Norman and was released in 1963. As far as firsts go, this film (and soundtrack) perfectly set the tone for this decades-long franchise, and should be considered essential listening material for any collector.
2 contemporary classic John Williams film scores on one, RCA Red Seal record (Charles Gerhardt conducting the National Philharmonic Orchestra). Abridged versions of both film scores on a single disc for your convenient listening pleasure. Don’t pay more than $5 for this record… they’re currently going for $2 on Discogs.
Good things often come in pairs… socks, cocktails, pears, and as far as I’m concerned, exotic bird caws and mysterious xylophone melodies are no different. Presented here are Arthur Lyman’s 1958 smash Taboo, and his 1960 follow up, Taboo Vol. 2. The former had been sitting in the collection for three or so years, but the latter just showed up at our doorstep (he shudders in the attempts to contain his excitement). Now, I’m slowly beginning to realize that drunken bird calls aren’t necessarily for everyone (though I’m not entirely sure why), but both Taboo volumes do a phenomenal job of uplifting the listener to bygone nights of exotic, island bliss (think dirty feet, tiki torches, and a lot of rum). For you newbies, start with Taboo (obviously), and when you’re ready for that perfect paired compliment, hunt down Vol. 2. Like with all other space age pop albums, the exotic sounds of Arthur Lyman come highly recommended.
Taking a day off from half-effort documents of analog entertainment. So with feet up, I toast to ears I will never speak to, ingesting sounds from records I’ve I’ll never hear. Enjoy your spins, kids.