I Ain’t Afraid of No Ghost

GhostGlow in the dark vinyl… is it a necessity? Well… no, but what music-infused medium is ever necessary? Generations of record collectors are turning in their graves as I type this. Today, was (is still in Hawaii) Record Store Day, and to celebrate the 30th anniversary of one of the greatest supernatural-comedy films of all time, Legacy, a sister company of Sony, released a ghostly 10” on this, the 7th annual holiday for record collectors.

Ray Parker Jr. is the real winner today, as his timeless anthem became immortalized in metaphysical glory for all record collectors from here until the end of time. The novelty that it is, was (I’m telling myself) well worth the $17.82 price tag Record Surplus (Santa Monica, CA’s finest) slapped upon it, and most importantly, resembles the first light-defying (natural or otherwise) slab of vinyl I’ve had the pleasure of owning. If anything, I can convince my SO that this record will help us maneuver through the blinding darkness that is scheduled to blanket our next, panic-inducing blackout. Functional, ghost-repelling mediums of music… well, all right.

Love American Style

Love“Anything you can pat your foot to is good music.” – Louis Armstrong

Love American Style, the 1998 reissue of the 1989 accompaniment to the legendary Paul’s Boutique record is not only the 64th release from Grand Royal Records (Guaranteed Every Time), but also one that was released on black, white, and of course this, red vinyl. Produced by both The Dust Brothers and the Beastie Boys, Love American Style includes the Hey Ladies singles in its entirety (b-side Shake Your Rump), while including Dust Brothers jams, 33% God and Dis Yourself in ’89 (Just Do It). Fans of Paul’s Boutique and the Beastie Boys alike will instantly recognize 33% God and Dis Yourself in ’89 (Just Do It) as rehashed instrumentals of the record’s a-side, which stand as monumental achievements of pre-Beastie Boys, all-Dust Brothers party-jams. Are the b-side’s two tracks worth seeking out this four-track 12”? You tell me.

Tuxedo Junction AKA Things You Acquire, Then Completely Forget About

TJQ: What’do’ya get when you mix two parts 1977 dansco (dance-disco), one part swing / big band, and a fist-full of ice? A: If put into a shaker, shook until your arms felt numb, then poured into a martini glass, you’d get the perfect, intoxicating blend of traditional American fanfare with the (then) modern, club-packing, rhythmic-gyrating, pelvic-thrusting, controlled substance-ingesting roars of disco.

Limited EditionDays, and posts, like this really make me happy I started this little time-suck (the PG). I found this album several years back, and doubt if I’d ever listened to it… until right now. Attracted to its alluring, golden glow, the first in my (then) budding collecting, I snatched it up like a thief with an opportunity, then got distracted (probably by Image Comics, work, or God forbid, tech school) and forgot all about it. Listening to it now, with crestfallen, virgin ears, I can say it’s certainly not a record this collection needs, but it’s a fun trip to take, even if the ticket was purchased some 17 years ago.

Demonstration – Not For Sale

No ShelterRemember when Best Buy (the slowly dying, North American electronics conglomerate) gave away 7” records? I have more than a few “promotional giveaways” from my short-lived DVD and CD collecting days of the late 90s and early 2000s, a few of them acquired by the big, yellow and blue super-store (an Intergalactic “jukebox only” 45 by the Beastie Boys, and a white vinyl copy of Another Brick in the Wall (Part II) Live by Pink Floyd).

Red ShelterNow, my memory could very well be rewriting history here, but I distinctly remember buying RATM’s The Battle of Los Angeles (on CD), and getting with it this transparent red No Shelter 7”. I remember thinking how odd and out of place it was for Best Buy to even have records, let alone be giving them away, a sensation all but lost just recently upon the realization that certain Best Buys now carry severely overpriced vinyl reissues. I should be happy that the vinyl-collecting community is large enough for Best Buy to take notice, I suppose, and even though my Best Buy shopping days are almost completely exclusive to gifted gift cards, it’s comforting to remember a distinctive era in music collecting history (regardless of how individual and / or particular to me).

Chronic Sick

Cutest FrontThick, molasses-like sick has infected the otherwise healthy offices of the Prudent Groove this morning. So as not to spread my unhealthy funk, my frail and nauseated digits will shuffle out today’s post in rather brisk fashion (so that I may return to the couch with my tea and abhorrent daytime television). Chronic Sick, the New Jersey hardcore band from the early 80’s struck me by surprise when I discovered them some four or so years back. If there were such a genre as pop-hardcore punk, Chronic Sick would be its chain-smoking grandfathers.

Cutest WaxCertainly not something for the whole family (to put it lightly), Chronic Sick are tight, agile, crunchy, hilarious, catchy, and tend to never overstay their welcome. Comprised of the 1982 LP, Cutest Band in Hardcore, the 1983 7”, Chronic Sick, and three unreleased tracks, this 2009 reissue is a perfect discography for those looking to acquire this band’s catalog on the cheap (their 7” sold on discogs for a whopping $892.94!). This particular version happens to be a bootleg, limited to 100 pressings, or so the internet is telling me.

Give the gift of 30-year-old sullen music, and allow Dr. Chronic Sick to cure your senseless ailments.

NO F-X

NO F-X CoverBack when NOFX was NO F-X, the now prolific and household-recognizable band was signed to Mystic Records. In early 1985, then again in 1986, NO F-X released their first two EPs for the label (NO F-X and So What If We’re on Mystic). Both EPs, along with a bunch of early demo tracks (1988’s The Album) made their way, without the band’s permission, to the 1989 comp, E is for Everything, then again to the exact same comp (with a different name), 1992’s Maximum Rocknroll.

NO F-X VinylThe version featured here is a reissue of a reissue of a reissue, and was promptly released in 2008. Not that any of this matters, because, like it should, the music speaks for itself. Stripped of the tongue-in-cheek humor the band is now known for, these 22 tracks are much more straightforward, dirty hardcore punk rock. Fans of the band’s later material (Ribbed, Punk in Drublic, Heavy Petty Zoo) who haven’t stumbled across this gem may hear it and not know it was NOFX (or, NO F-X).

These poorly recorded, poorly played songs have a certain charm and angry grace that inevitably gets abandoned when money and opportunity get in the way. In that regard, Maximum Rocknroll is a great collection of classic hardcore by a much younger, haven’t-yet-made-it NOFX, and is worth seeking out. I guarantee it.

Me & Julie Down by the Bowling Alley

Me First CoverEvery so often the (pitcher beer ordering) mood for late 90s pop punk versions of mid 70s radio hits rolls down the cherry wood lane of life and lands a perfect strike (phew… that came desperately close to being a run-on sentence… I miss those).  Times like this, it’s comforting (although not really) to know Me First and the Gimme Gimmes is good for a round, and some damn good classic covers.

This, their first full-length released on Fat Wreck Chords back in 1997, features pop punk-ified versions of John Denver, Kenny Loggins, Paul Simon, Billy Joel, Neil Diamond and some other hit-making individuals of considerable musical talent. Covers, not unlike Social Security, are the third rail of musical politics. On one hand, paying homage to a classic can be somewhat of a respectful gesture, but on the other hand, these lazy, talentless bastards could just be riding the coattails of other, more innovative artists. Lucky for all involved with today’s post, Me First and the Gimme Gimmes is comprised of a lucrative series of already established bands, so the results are smooth and well produced.

Me First VinylAllow me to introduce you to the band:

Vocals: Spike Slawson (of the Swingin’ Utters)

Lead Guitar: Chris Shiflett (of No Use for a Name and Foo Fighters… in that order, the order of importance)

Rhythm Guitar: Joey Cape (of Lagwagon)

Bass: Fat Mike (of NOFX fame, also the owner and operator of Fat Wreck Chords)

Drums: Dave Raun (of Lagwagon)

A pop-punk all-star band if ever there was one, Me First is deserving of a listen from fans of that 70s drawl, and bay area pop-punk. Now, set up those bumpers and let’s go bowling (courtesy of The Prudent Groove Lanes Across America Bowling League*).

*Does not exist

Christmas with VIBRAPHONE and GUITAR

Christmas in KillarneyIf Christmas were a time for heart-sucked mourning, or generally, if your dog, Holly, was just struck and killed by the mail truck (oh the sad, but delicious irony), Music for Christmas by Paul Carson would be JUST the dismal, grief-stricken, collection of anguished holiday hits that you’d give just about anything to forget.

Performed beautifully, this pipe organ-driven assortment of “holiday cheer” is a tear-stealing demon bent on sucking the hope clean dry from any and every last joy-expecting gentleman or woman within reasonable earshot, and succeeds in forcing those not too distant feelings of habitual skepticism right up to the surface in a boiling frenzy of left field emotion.

Bloody ChristmasWhat I’m saying here, is that this album is a Debra McDownerson, with her husband Daniel McDownerson and their 2 children, Doreen and Dennis McDownerson. If you’re looking for a little seasonal pick-me-up, LOOK ELSEWHERE, you poor, misguided sap! Music for Christmas by Paul Carson may seem as enticing as a 7-Eleven 1/3 lb hot dog, but as per usual, what is disguised as joyful elation is in fact forlorn regret in disguise. Merry Christmas… pass the tissues.

O Tannenbaum aka A They Might Be Giants Christmas

O Tannenbaum1993 was a good year for a lot of good reasons. Mainly, it saw this two-track holiday offering by the two Johns (Flansburgh and Linell) of They Might Be Giants. Featuring O Tannenbaum and the b-side Christmas Cards, this nifty little stocking stuffer comes on mistletoe green vinyl, and bridges that perfect gap between early 90s college rock and classic holiday warm and fuzzy music.

Christmas CardsAlthough released in 1993 (wow, that’s now 20 years ago!), both songs harbor that “timeless Christmas” vibe, and if you’re like me and enjoy the cheese-filled, gluttonous, help me forget about my everyday life kind of distraction, They Might Be Giants have a neatly wrapped 45 with your name on it. It’s under the tree next to the zeppelin and the Red Ryder carbine-action, two hundred shot Range Model air rifle.

The In Sound from 1995?

In SoundsThere seems to be a bit of controversy surround the release of the 199? instrumental compilation by the genre-bending kings, the Beastie Boys. The back sleeve indicates the copyright as 1994, it’s advertised in issue #2 of Grand Royal Magazine from 1995, it’s listed on Discogs.com as a 1995 release, then is given a 1996 release date on both Wikipedia.org and allmusic.com. MAKE UP YOUR DAMN, GROOVE-TASTIC MINDS, PEOPLE! One thing we can all agree on, however, is that this 13-track comp is nothing short of sheer brilliance.

In Sounds AdvertListening to this album, you would have no Earthly idea these guys were forged from Mt. Hip-Hop (or Mt. Hardcore, depending on what you consider their introduction to the social conscious to be). It’s as if 1975 dropped into the studio and graced the soundboard with its majestic polyester swagger to produce arguably the closest thing to a perfect album the world has ever heard. It’s staggering to realize this album is a comp, recorded over a 4-year period, and not the result of a neatly planned out instrumental album, the band’s first of 2 (the other being 2007’s Grammy award winner, The Mix-Up).

This album is a must needed addition to any collection, and although more talented musicians have played more groundbreaking music in this style (mainly throughout the 70s), the esthetic range of the Beastie Boys need not go overlooked.

Four Old Seven Inches On A Twelve Inch

12Dischord Records did a remarkable thing for fans of early, D.C. based hardcore. Back in July of 2007, the label, owned by Minor Threat frontman and drummer, Ian MacKaye and Jeff Nelson, reissued four, LONG out of print 7” EPs as the 12” comp, Four Old Seven Inches On A Twelve Inch.

When you consider how much these original records sell for (brace yourself, because this is crazy: Teen Idles – Minor Disturbance E.P. – $750, S.O.A. – No Policy E.P. – $450, Government Issue – Legless Bull E.P. – $208.35, and Youth Brigade – Possible E.P. – $538.40), fans of the genre, like myself, may not otherwise have heard these historic rants had a compilation such as this not been released. Totaling $1946.75 for the originals, the $12 price of the comp still doesn’t seem so bad.

Let’s Talk About Maturity

LTAFSave for the compilation, Let’s Talk About Leftovers, 1998’s Let’s Talk About Feelings was the last studio album by the Goleta, CA pop-punk rockers… the illustrious Lagwagon… that demanded my immediate, consistent, dumbfounded, and adolescent attention. I believe, shortly after the release of this album, the wings of my music evolution stretched into the dark, disheveled world of industrial music, so needless to say, Let’s Talk About Feelings left a lasting impression.

To fly over the specifics of this album, allow me to ramble off a few key (irrelevant) facts. Let’s Talk About Feelings was released, as I stated, in 1998 by Fat Wreck Chords. It was offered on compact disc and via wax by means of a 10”. Lagwagon released a box set of their major albums back in 2011, and Let’s Talk About Feelings was finally given a proper 12” format. Ok… back to the lamenting.

LTAF 10Let’s Talk About Feelings was one of those albums that never left the car. You know those albums, those discs of the compact nature. This particular disc postulated my attention for what seemed like SEVERAL years (I was 19 then, so a day felt like a week, and a week felt like, well, two weeks). Let’s Talk About Feelings, or LTAF, marked something of an uncomfortable maturity from the band that, at the time, I was both not prepared for, and unwilling to accept. Again, I was 19… daft, irrelevant, thick, and extremely pissed off.

LTAF PinkWith only 25 minutes dispersed throughout 12 emotionally weighing tracks, LTAF feeds that driving need for fast-paced, melodically moving, and hook-tastic pop-punk, that, for me, acted as a perfect half-hour soundtrack to the inevitable, adolescent-abandoning struggles of my late teen years. Let’s Talk About Feelings is a difficult album… not by what it presents, but by the nostalgia it unearths. My experience with this album is certainly only isolated to me, my actions, and the immediate concerns of a 19 year old pizza delivery driver facing the woes of the budding responsibility that erupts from the inevitable mountain of mastered maturity.

Let’s Talk About Feelings… I just did.

Editor’s note: This post was by request, and marks the first of (hopefully only a few more… just kidding) many friendly, reader-based requests to come. Do you have a specific request? Email me or drop me a line in the comments. I can’t promise you’ll enjoy what you read, but your requests certainly will not go overlooked.

Pitchfork – Saturn Outhouse – Clear Vinyl

Pitchfork CoverPlease excuse the lateness of today’s post. It was for a legitimate, and vinyl related cause, I assure you. Here’s the skinny: So yesterday, on our way back from our 6th year at Comic-Con (in San Diego), my vinyl collecting doppelganger and I hit up Lou’s Records in Encinitas, CA. We’d read a few reviews and decided to check it out. We were less than impressed with the selection, as it was really kind of picked through. Apparently Lou’s is a famous little joint. My doppelganger informed me that Pearl Jam used to play there, but I didn’t pay it much mind, since I don’t care for PJ and/or much that comes from this guy’s face. So, after only about five minutes, and upon quick realization that all the grooves we were looking for could not be found, we decided to bounce. On our swift escape, something caught my eye. It was… a clear vinyl version of Pitchfork’s first EP, Saturn Outhouse. Limited to only 100 copies on clear vinyl, this little 7” also happens to be hand numbered. This copy reads: 6/100.

Lou's RecordsSo, like the intelligent and forward thinking chap that I am, I passed it up. I left it there, got back into the car, and headed back to Los Angeles. Late last night, an itch started, and it wouldn’t let up no matter how much I attempted to ignore it. I began searching for any info on this clear vinyl release on the inter-webs, but couldn’t find much of anything on it. The black vinyl version can be found just about anywhere, including amongst the 45s in my collection, but I’d never heard of this version, and since it was the first ANYTHING released by Rocket from the Crypt mastermind, John Reis, I’d felt I’d made a HUGE mistake by not picking it up.

Lou 2Fast-forward to this morning. After reading a thoughtful post about this clear vinyl release, I started to feel bad for this guy. He’d been hunting all over for this particular record, up to and including contacting the band, and he ended up finding one for a hefty $250. I thought, hmmm. It took this poor guy 18 years to track this record down… and I know where I can get one for a cool $25. So I called Lou’s to make sure they still had it, hopped in my rocket ship and drove an hour and a half to Encinitas. I just got back (traffic was a bastard on the northbound 405), so, yeah. Today’s post is late. But look at what I have!!!

Your Eyes Deceive You, Don’t Trust Them

AglioDo you own Aglio E Olio (pronounced ahl-yo ay ohl-yo) by the Beastie Boys on wax? If you don’t, discontinue reading and go here. If you do, have you ever noticed the subtle misconception with the record? It’s not a wrong impression so much as a blatant deception. Allow me to briefly explain.

EHere is the record, right? Nothing out of the ordinary, at least at first glance. It plays, doesn’t skip, everyone is happy. With me? Ok, good. So, for years I thought this was an ordinary record. I’d purchased it new, kept good care of it, saw that it wasn’t colored, only the basic black, would play it from time to time, and that was it. It wasn’t until about 10 or so years later that I discovered (thanks to Beastiemania.com) that the record wasn’t black, but instead an excellently executed bit of trickery by the band.

Olio 2If you hold the “black” record up to the light, you’ll discover that it’s actually very dark translucent brown, made to look black. Needless to say, this blew my feeble mind upon immediate discovery.

I’m 99.9% sure every Aglio E Olio record is translucent brown, so if you own this album, and you haven’t heard of this before, check it out. While you’re at it, Check Your Head.

Another Brick in The Groove

Black and WhitePink Floyd’s bevy of psychedelic, mind-expanding rock n’ roll continues to spark a wide and varied spectrum of individual, and self-important interpretation with seemingly every unique spin. From their plastic, cookie-cutter-outlook-crushing, interstellar Syd Barrett days, up to, and including, the never-too-overstated masterwork from the prestigious Roger Waters, 1979’s The Wall. Their work can be dissected and analyzed both as individual pieces, bricks if you will, or we can evaluate and examine their musical foundation as a whole.

This post, not unlike your standard, sluggish, overly simplified cluster of molded cement, by itself, offers no protection, provides no structure, and requires minimal user involvement. But… stack these posts, and the foundation to a lifetime of investigating, examining, rummaging, inquiring, and collecting begins to take form.

This isn’t a post about Pink Floyd, but rather a commentary on the perspective in which we choose to approach any given subject. For me, that subject is record collecting, and with each new addition, there is attached to it a story; a vivid memory, not unlike a time capsule of both the recorded material, AND the personal fable that surrounds its threshold-breaking inauguration into “The Collection.”

As a whole, the infrastructure of my music library expands infinitely in every conceivable direction within the X, Y, and Z-axes, and each record, each thin-layered medium to share and transfer waves of sound, represents a single, plotted point throughout this never-ending, collector’s journey. All in all, each new circular disc is just another brick in The Groove.

The Kinks Are the Village Green Preservation Society – An Album Review

Remembering WalterTHIS IS NOT AN ALBUM REVIEW

Please be advised that this is not an album review of The Kinks Are the Village Green Preservation Society. Being, arguably, my favorite album of all time (an argument I have, with myself, almost every other day), any review by me, or The Groove, would require something more than a 15-minute effort. (This is not to say this post only took me 15 minutes… I’ve been struggling lately.)

Gawl Darn It, Isn't It A Pretty SceneTHIS IS NOT AN ALBUM REVIEW

Mainly, I just wanted to show off this beautiful reissue from 2011. If you have ears, and they work, do them, and yourself, a favor and get The Kinks Are the Village Green Preservation Society. Like Jack Black’s character from High Fidelity prominently states, “It’s gonna’ be okay.”

Beware the Vegas Sun

Red CoverThis may be a no-brainer for the majority of you fine lovers of high fidelity, but unfortunately, I had to learn this bitter reality the hard way.  Let this be a lesson to those of you to whom this has yet to happen.

A few years ago, wow! It’s been five years now. Crazy. Moving on… a few years ago, I was visiting my parents in Las Vegas. You see, my father is the President of a Steel Workers Union in Wisconsin, and every once-and-a-while he needs to travel to Vegas for meetings. My mom joined him, and since Vegas is only a 4-½ hour car ride from Los Angeles, I met up with them for the weekend. Plus, at the time, one of my closest High School friends lived in Vegas, so it was a gathering of the happies if you will. Or, if you won’t. This happened 5 years ago, so there really isn’t anything you can do about it now.

Long story short, my buddy took me to Zia Records where I picked up the (then) new self-titled Weezer album (their 3rd self-titled album). For those of you who are unaware of how violently hot Vegas gets in the summer, allow me to paint you a wet, sticky picture. Being mindful that records warp when exposed to extreme heat, I opted to place my recent find in the trunk of my car instead of in the front or backseat where the Sun had been playing all day. So, this guy here thought the hot, oven-baked trunk would be the logical solution to a potential $22.99 problem.

photo(14)As you can see, my decision was a poor one, and this copy of Weezer’s 3rd self-titled album is clearly unplayable. I’ve since repurchased this album (with grave hesitation), and I keep this guy around to remind me of how stupid I was on a hot summer day in Las Vegas.

Learn from the idiots, kids. Take your records indoors instead of locking them in the car where they die a painful, never-played death while warping in the 112 degree Vegas heat. Weezer would hope you’ll learn from the errors of The Prudent Groove, and take better care of your records. A thought just occurred to me. Maybe Weezer was working closely with the Sun so they could sell more records. Well played, giant middle-sized star & Weezer. Well played indeed.

1999: State Songs

State SongsThere is nothing more patriotic than a green record in the shape of the continental United States. John Linnell, of They Might Be Giants fame, showcases his solo abilities on this two-track appetizer from his full-length album by the same name. Actually, side two’s Louisiana is an unreleased track from the album and is only offered on this “Go America!” record, so if you needed any incentive to seek out this record, there you go.

Montana

Told from the perspective of a hospital bed-ridden patient, Montana is a catchy little song about said patient’s electric realization that the shape of Montana resembles that of a leg. I love the esteemed talents of the two Johns and their innate ability to write catchy, whimsical songs about seemingly banal subjects. I mean, we all have these little thoughts throughout our day, like, how I wonder if the birds in the tree outside my porch are secretly planning an all-encompassing war against the squirrel that knocked over their bird bell, but I don’t ever think to write a song about it! Kudos to John Linnell for taking the mundane and making it extraordinary.

USLouisiana

Leave it to my clever girlfriend to figure out that Louisiana is a song about the annoying humidity engulfing the stale air within the imaginary walls that make up the state of Louisiana.  Referring to (the life-sucking demon that is) humidity as a blanket, John Linnell pleads for a break in the weather and asks that Louisiana, the state, to remove its hands from around his neck so he can breathe more clearly. A song about humidity… again, who looks to uncomfortable weather as a subject for a song?

LabelIf I’ve learned something from this green-tinted record in the shape of the contiguous United States, it’s that ANYTHING can be the subject of a song and also, I have no Earthly desire to step foot into the hellish wave of demon-heat known as Louisiana.

1997: BS 2000

BS CoverNot many people enjoy BS 2000, which is interesting considering this album has only ever been release on vinyl. To say the music is unconventional would be an understatement. To say the music is unlistenable, distasteful, or simply, not music, would be like judging a book by its opening sentence. BS 2000 is most certainly an acquired taste, and once the walls of ignorance are torn down, the appetite for more becomes primal.

BS RecordWith its 23 tracks, this debut side project from Beastie Boy, Adam Horovitz, and teammate, AWOL Amery Smith, is a brilliant collection of looping Electronic Breakbeats, pitch and time-altered samples, and various other momentary flashes of abstract genius. In Brian Newman’s well written, but point-missing review of this album on allmusic.com (he gave it only 2 out of 5 stars), he explains, “Listening to BS 2000’s self-titled debut album is almost the equivalent of watching a Federico Fellini film or reading a William S. Burrows passage.” This is a fairly accurate assessment of the music, and certainly a proficient crew to roll with.

BS Back

Absolutely unsuitable for the masses, BS 2000’s music cuts and runs at the same moment you’ve finished tuning your ears in order to ingest the wall of head bobbing, groovy noise. The album is only 33 minutes long, so when you take into account the number of songs, you get a pretty good idea of how short these all-but-throwaway beats are.

This is a must listen for any fan of the Beastie Boys, and anyone who enjoys experimental, abstract sounds. There is definitely a clear rhythmic beat to each and every track on this album, so don’t misunderstand me and think this is a boiling pot of erupting noise. Listening to it as I type, and having not given it a spin in a while, I’d almost forgotten how damn good these hodge-podge beats are. If you’re in the market for this album, but can’t find it, email me and I’ll hook you up.

Nobody beats BS 2000.

1995: The State of Art is On Fire

ArtRock ‘N’ Roll gets kicked in the teeth with this fire-themed gauntlet of raging energy. Led by Speedo’s spitting vocals and Petey X’s stabbing bass work, the glorious Rocket from the Crypt, over just six songs, show everyone within shouting distance why they’re helmed as the best Rock ‘N’ Roll group ever to walk the Earth. The State of Art is On Fire, and Rocket from the Crypt lit the match.

The State of Art is on Fire was the first in a trilogy from RFTC (Rocket from the Crypt) in 1995, followed by August’s Hot Charity and October’s Scream, Dracula, Scream!. This particular release is, well, a bit peculiar since side A plays at 33rpms and side B plays at 45rpms. It should also be noted that this EP was the first to feature JC 2000, the band’s trumpeter, and also included a lyrics sheet, which was rarely included in releases by this band.

InsertThe hair-raising back-to-back shots from Rid or Ride and Human Torch are arguably the best one-two punch by any band on any album ever. I know this statement is subjective, but you’re wrong if you think otherwise.  Like a violent flame, this album starts to burn your ears, your neighbor’s dog’s ears, your feet, the pear on your kitchen table, your memories of Senior Prom, and the blood flowing through your veins, and it doesn’t let up until the needle breaks on the final groove.  The State of Art is on Fire is an experience. One that is not quickly, or let’s face it, EVER forgotten.

RecordOnly 300 copies exist of this blue marbled staple of Rock ‘N’ Roll awesomeness. Currently none are for sale of either this or the pink marbled version, but the black version can be had for only $8 at Discogs.

Art has been burning now for 18 years. Sit back and enjoy the flames.