I didn’t realize until recently (he humbly admitted) that the original pressing of BS 2000’s vinyl-only debut was pressed on black wax. I’d heard rumors and praises about a Beastie Boys side project with the numbers “2000” in the title, and when Grand Royal released pink vinyl versions of the debut, I (stupidly) thought it to be the original. As it turns out, the black vinyl (and original) pressing was released in 1997, and the pink reissue followed two years later. It took until last week for me to 1) understand that I did not have the original of this album and 2) acquire the original of this album. This is now the third time I’ve purchased this album. BS 2000, you’re welcome.
MGM Records, circa: 1968 was the “now” label, or so it thought. With the likes of Eric Burdon & the Animals, Roy Orbison, Herman’s Hermits, Sam the Sham, and Every Mothers’ Son, very few would argue that boasting claim. Throw in the father-son combo of Hank Williams & Jr., and you’ve got yourself “The Sounds of Now” er, then. Fancy design layout, too.
Last month’s VMP (Vinyl Me, Please) insert looks, well, it looks exactly like the picture on the left. Nothing too exciting on display, but what’s missing, and what could have been a full page ad was the (now out of print) debut reissue by The Avalanches, Since I Left You. Can’t WAIT for that one to show up.
Another day, another Decca disc-sert… just made that up. Simple, yet elegant arrow design, drawing a varying path from Hawaiian Music, through Deluxe Albums, Vocal, Classical & Semi-Classical, Latin, Movie, and Dance, ending up at a new world of sound… on Decca Records. Nicely done, early 60’s design individual. Nicely done, indeed.
When someone, let’s say Timmy. When Timmy thinks of a tremendous emotional experience, Timmy often doesn’t think of achieving this tremendous emotional experience by listening to high quality records. Timmy is a fool. What Timmy isn’t realizing is that Timmy isn’t in tune with Audio Fidelity Records. If you own a bow tie, or know what one is, you can enjoy a smoke, a stiff buttoned-up shirt, and the high quality hi-fi listening pleasure of Audio Fidelity Records. Don’t be a Timmy. Treat yourself to a tremendous emotional experience. Go ahead. You’ve earned it.
IMPORTANT MESSAGE TO OUR CUSTOMERS
Have you ever asked your record dealer for a Dot album and found that it is not in stock? If so, we’d like to tell you about the Dot Customer Service Plan and how it works.
If your dealer does not have the Dot album of your choice, ask him to use the Dot Customer Service Plan postage-paid post cards to order that album directly from Dot Records in Hollywood. Your order will be sent to him by return mail, and you will be notified of its arrival at your dealer’s by post card. Thus, your dealer gets credit for the sale even though he did not have the album in stock. Support your local dealer by availing yourself of this plan.
It’s been a while since we’ve seen a new Decca insert. This one, from a 1963 album by Irving Fields Trio features a rather minimal Jazz section, but boasts a hefty sum by both Bing Crosby (titled Bing’s Hollywood) and Al Jolson. The Mood Music section is where I’m going to spend my time cherry picking, but there is plenty for even the novice listener to explore.
The flip side to Thursday’s Full Dimensional Stereo insert from Capitol Records is this beautiful and informative breakdown of Capitol’s Full Dimensional Stereo sound, or as they state, The Eight Questions Most Often Asked about Stereo Records. Have a read, enjoy the mid-century art, and don’t forget to take notes… there will be a quiz at the end of the week.
Pimping the sensuous, splashy stereo sound to a mass of minions mothering mono was a popular venture in the dawn of this new recording and distribution era. Many vibrant inserts painstakingly detailing this new process were produced, such as this from Capitol Records from the late 50s. It’s an interesting feat to fancy a world where this (by today’s standards) common technique was the shiny new toy on the shelf. I’m gratified that so many labels of the time spent so much on promoting this recording method, which now only seem to exist stuffed inside an indiscriminate album jacket at the thrift store. Beauty, is indeed, in the eye (and ear) of the beholder.