1976: Open Sesame

Open SesameCuts so deep, they hit the bone! Robert “Kool” Bell and his groove-Gang deliver brass-happy, (b)ass-slappin’, tummy-rubbin’, good-time-Saturday-night, Funk & Blues (F&B) music. There must have been a sizable influx of babies born 9-months after the release of this album.

Kool and the Gang effortlessly transition from dance floor front-runners to dusty, sun-filled, carefree, early evening comfort music. Because, you know, you need to get-down-on-it just as often as you need that lazy stroll through the park with your hands in your pockets. Kool was hip to this, and it’s apparent throughout Open Sesame.

A very, very upbeat album, Open Sesame’s main focus is, without a doubt, the single most popular theme throughout all pop music: Love. With titles like, Gift of Love, L-O-V-E, and the 3-minute lyrical chant of “Whisper you love me” on the Side 2 opener, Whisper Softly, Kool and the Gang make no effort to hide the untimely power that drives their feel-good approach to making excellent groove music.

Fan Club InfoThe highlight to this album would have to be Super Band. With lyrics like, “Super-cali-FUNK-a-listic-expi-ali-docious, the Super Band,” how could you not fall in love with this band? I mean, they’re super! They say so themselves!

1976 must have been a 365-day party. It’s no wonder the masses were hung-over for 1977 and the early beginnings of arguably the most important genre in the history of music: Punk.

1975: Pictures at an Exhibition

TomitaCapitalizing on the early 70’s popularity of reinvented “Electronic” adaptations of Classical classics, Isao Tomita focuses on the 1874 suite by Russian composer, Modest Mussorgsky, titled, Pictures at an Exhibition. Isao Tamita creates a very dark and dreary wall of impending, electronic-doom-music… AND IT’S AWESOME!

70’s Electro was made famous in large part by Walter/Wendy Carlos’ invigorating take on the works of Ludwig van Beethoven in Stanley Kubrick’s A Clockwork Orange. Although the back sleeve accurately indicates that (up to that time) electronic instruments had only been around for nearly 50 years (with the ethereal launch of Leon Theremin’s well, Theremin in 1927), there were only a small handful of “Electronic” albums obtainable by the social conscious. Four that I can think of are 1) the groundbreaking Soundtrack to Forbidden Planet in 1956, 2) George Harrison’s first studio album (yes, THAT George Harrison), 1969’s Electronic Sound, 3) Walter Carlos’ 1968 debut, Switched-On Bach, and 4) the 1966 release of The In Sound from Way Out! by Perrey and Kingsley.

Tomita BackCreating electrified modernizations of decades-old classics must have been difficult for some to digest in the mid 1970’s… boy were those narrow-minded purists in for a treat when Disco hit just a few short years later.

The late 60’s/early 70’s electronic movement is definitely something to explore. To say it is little more than a Classical suite or symphony with an electronic filter would completely sell this infant-like genre depressingly short. The guitar, invented in the 13th Century, didn’t get electrified until the 1930’s. Electronic music has yet to hit its centennial mark… imagine its overwhelming future. Isao Tomita did, and it’s evident by his work on Pictures at an Exhibition.

1974: Who’s on First?

Who's on the Cover? Naturally.Today we take a look at the record; a 12” spherical disc, not only as a vehicle for music, but also as an interactive time capsule for important, historical milestones. Although it need not be stated that the contents of today’s post preceded 1974 by over three decades, the release of this record is significant because it offered, arguably, the most famous comedy routine ever to be recorded, to a legion of new listeners. I am, of course, referring to Bud Abbott & Lou Costello’s classic, Who’s on First?

The classic baseball routine is as renowned as Baseball itself. Abbott & Costello’s Who’s on First? is Baseball’s unofficial psalm. It was so perennial, that Time magazine deemed it the Best Comedy Sketch of the 20th Century. Who knew this sketch would be so loved by so many people? He did. Who did? Naturally…

BackstopWho’s on first? is as synonymous with Baseball as Mickey Mantle, Jackie Robinson, and Rickey Henderson. And since the baseball season is underway (seems as though nobody informed the Milwaukee Brewers), I felt it appropriate to focus on this release from 1974 above all others.

This timeless compilation also offers a Moby Dick sketch, a Hertz U-Drive sketch and a complete broadcast of The Abbott & Costello Show, “exactly as heard on November 9, 1944.” A must for comedy and Baseball fans alike, Abbott & Costello’s Who’s on First? will forever live on wherever Baseball is played. Enjoy!

1973: Tres Hombres

Tres HombresI’d mistakenly written-off ZZ Top by the time I saw them at Alpine Valley in 2003. It took less than a minute into their first song for me to realize how strikingly wrong I had been about this Texas Blues-Rock band.

I’m not going to tell you anything you don’t already know about these guys. Yes, they formed in 1969. Yes, they’ve been around for over 40 years, yes they are still touring and yes, the three members have ALWAYS been Billy Gibbons, Dusty Hill and Frank Beard (listed on the back of this album as Rube Beard). What I will impart on you is the desperate suggestion of not doing what I did. Don’t write-off this band without giving them a proper listen. This is 1973, and this is American Blues-Rock at its finest.

Tres Hombres (translates to “Three Men,” courtesy of The Prudent Groove) is ZZ Top’s first Top Ten record, and the band’s third release overall. Although ZZ Top’s First Album (1971) and Rio Grande Mud (1972) offered a glimpse of the unquestionable talents of these “Three Men,” it wasn’t until Tres Hombres and its soul-crushing hit, La Grange, that the music world saw just how incredible this Texas band was.

TracksLa Grange is a nonstop, blood-boiling staple of Blues inspired Rock ‘n’ Roll. It’s chock-full of hard-rocking fire with a groove so catchy, you’ll swear you’re hearing it blasting from a dead-silent room. If you ask me, ZZ Top never reached the creative watermark set by La Grange, but looking back at their extensive catalog throughout their 44-year existence, they’ve come pretty damn close a number of times.

Do yourself a favor and pay attention to those rumors spreading around about that brothel outside La Grange, Texas. Word has it they have a lot of nice girls-ah! Oh, and don’t forget a ten-spot for the door.

1972: You Don’t Mess Around with Jim

Croce CoverAs far as solo songwriters go, there are three that loom atop all others. Presented in no particular order, because honestly, how could you logically rank these three? First is Van Morrison, who is probably the most obvious of the three. Second is Paul Simon, who is perhaps the most critically acclaimed of the bunch due to his hugely successful duo before branching out and going solo, and last but certainly not least, is Jim Croce.

Croce kind of flies under the radar when grouped with the great Morrison and Simon. His gentle, free-spirited storytelling, his whimsical acoustic guitar work, his clever, heartfelt and often hilarious lyrics, and the fact that he accomplished his timeless arsenal of music by the time of his untimely death at the age of 30 sets him apart from the aforementioned pair. The fact that the bulk of his success happened, unfortunately, after he passed, doesn’t take away from the emotional weight of his music.

LyricsYou Don’t Mess Around with Jim was Croce’s third and most successful album, spending 93 weeks on the charts. Due to the extraordinary single, Time in a Bottle, which peaked a year after his unfortunate plane crash, You Don’t Mess Around with Jim was the best selling album for five weeks in 1974. It’s sad ol’ Jim wasn’t around to see how many people admired his great work.

R.I.P. Mr. Croce. 1972 belongs to you.

1971: Bet I’ll Six!!

Rich - After HoursI didn’t get into “Craps” – After Hours until 1998, some 27-years after its initial release. This mundane fact, however, doesn’t detract from the laugh-out-loud hilarity offered by the “Crowned Prince of Comedy… His Royal Highness, Richard Pryor.”

I’ll humbly admit, that it was the Beastie Boys who inadvertently introduced me to the Great Comic Wizard. It was the sampling of Mr. Pryor’s, “I ain’t goin’ no place. MOVE me!” that starts Flute Loop, from the 1994 issued, Ill Communication that hooked me. If the Beasties sampled it, in my mind, it must be good. A philosophy still practiced to this day.

Craps is a vulgar, adolescent-minded, orgy-inducing nightmare of laughs. Keep in mind I’m focusing on this album instead of The Kinks’ 1971 country-influenced album, Muswell Hillbillies. For those who know me, they know that’s a BIG deal. For those who don’t know me, that’s a BIG deal. It doesn’t get any better than The Kinks… unless, of course, you’re talking about Richard Pryor.

Track ListThe astounding number of quotable one-liners from this album is enough to force any up-and-coming comedian to return to their pizza delivery job. Rich’s cocaine-induced flow is unmatched in terms of laughs per minute (LPM’s). Pulling absolutely NO punches, Richard Pryor suggests the scenario of a white president (at that time Tricky Dick Nixon) having a black baby, the genitalia-arousing boxing skills of Sugar Ray Robinson, a marriage proposal perfectly coupled with a male’s sexual release (I’m trying REALLY hard to keep these descriptions PG), spousal orgy advice, and an adolescent Rich’s response to the inquiry of a concerned father over what his daughter is doing behind a locked door… here’s a spoiler, Rich doesn’t have any pants on.

These are just a few of the MANY examples of comedic genius delivered on this essential album. If you’re in the mood for funny, it doesn’t get any better than Richard Pryor.

1970: Long As I Can See the Light/Lookin’ Out My Back Door

Light LabelFor the next 30 posts, or until I get bored, the post number will correspond with the year in which the post’s subject was released. It could be an album review, a song highlight, or an insert advert. The choices are by no means the best of any given year, nor are they my favorite. They are instead a representation of the digable grooves in my collection, broken down by year. With me? Ok, cool.

For 1970 (post #70), I’ve chosen CCR’s (Creedence Clearwater Revival) Long As I Can See the Light/Lookin’ Out My Back Door 45. CCR had some driving, Southern Rock-inspired jams in their heyday, and Long As I Can See the Light is NOT one of them. This is not to say it is inferior in any way. On the contrary. With its simple lyrics and low-key, slow-rollin’ drawl, Long As I Can See the Light reminds us that we can always go back to where we came from, so long as the offer is still extended. We all, at one point or another, feel the need to move on… to explore the vast unknown of uncertainty. But we’d like not to dismiss the comfort of returning home, when it becomes undeniably necessary.

Back Door LabelI can’t hear Lookin’ Out My Back Door and not picture the Dude smokin’ a jay and banging the roof of his car to Doug Clifford’s beat. It was used perfectly in The Big Lebowski, but given the song’s brilliance, I’d imagine this song would fit perfectly in any film that featured it.

My favorite line is, without question, “A dinosaur Victrola listening to Buck Owens.” In a song bursting with visual abnormalities (“A statue wearing high heals” or “Tambourines and elephants are playing in the band” for example), the image of an old Victrola shouting Buck Owens ditties always makes me chuckle. It’s easy to picture John Fogerty mentally returning to a happy place during the drug-induced hallucination he sings about in this song, and it’s generous of him to take us along on that ride.

I could have easily focused on Zeppelin III, Lola Versus Powerman and the Moneygoround – Part One, Dylan’s Self Portrait, McCartney’s solo debut, Joni Mitchell’s Ladies of the Canyon, or even Bitches Brew, but for me, 1970 screams Creedence Clearwater Revival.

Post 69: The Way to Groove and the Way to Suck Eggs

ΚΕΦΑΛΗΞΘ

Officially titled ΚΕΦΑΛΗΞΘ, Ministry’s 1992 release is often referred to by its alternate banner: Psalm 69: The Way to Succeed and the Way to Suck Eggs. Industrial Metal’s junky grandfathers, Al Jourgensen and Paul Barker (Hypo Luxa and Hermes Pan, their respected aliases as music producers), close out their undeniable stint of groundbreaking Industrial Metal with this, the third major release by the Jourgensen/Barker brigade. Ministry had been releasing New Wave BS since 1983, but it’s unlistenable. They REALLY didn’t start until Barker joined in 1988. “We call it, the departure point.” – Bruce McCulloch

Starting with 1988’s The Land of Rape and Honey, and continuing with 1989’s The Mind Is a Terrible Thing to Taste, 1990’s In Case You Didn’t Feel Like Showing Up (their live, and best in my opinion), and finally with 1992’s ΚΕΦΑΛΗΞΘ, Ministry single handedly created the iconic Industrial Metal sound. Pretty boy Trent Reznor and his vastly inferior NIИ be damned! About the only ups Mr. Reznor had was that he could control his heroin habit, thus granting him more commercial success. (I still can’t take Nine Inch Nails seriously, but I will admit their viral campaign for Year Zero was pretty amazing.)

ΚΕΦΑΛΗΞΘ starts with the Grammy nominated N.W.O. (losing out to pretty boy’s Wish), followed by Just One Fix (the 12” cover to this single features the William S. Burroughs painting, Last Chance Junction and Curse on Drug Hysterics, btw).

photo(1)Track 3 is the second in the TV series. A collection of various samples from obscure television shows set to a bed of Industrial thorns. TV III, the non-album track on 1995’s The Fall single is arguably my favorite Ministry song, but that’s a post for another time.

Track 4 features samples from the hit 80’s cartoon, G.I. Joe, and is titled, Hero. Jesus Built My Hotrod follows, then comes arguably the only skippable track on the album, track 6’s Scarecrow. This unfortunate cloud is quickly lifted and all but forgotten by the title track, Psalm 69… clearly the climax of the album.

Corrosion and Grace round out the album, offering well deserved breathers after an intense, Industrial workout.

ΚΕΦΑΛΗΞΘ, or Psalm 69: The Way to Succeed and the Way to Suck Eggs is by far not Ministry’s best, but it does neatly sum up an unparalleled 5-year adventure, unimagined by anyone before, and untouched by anyone since.

April Come She Will

Sounds CoverApril has come (as if you didn’t know), and she brought with her an excuse to write about one of my all-time favorite songs: Simon & Garfunkel’s April Come She Will.

You wouldn’t know by listening to it, but it’s actually a pretty short song. Clocking in at only 1:49, April Come She Will is the shortest track on the 1966 masterpiece, Sounds of Silence. Although written by Paul, April’s sweet melodic melon collie was sung by Art. It must have been difficult for Mr. Garfunkel to go to work each day. I mean, sure, Art Garfunkel is great in his own right… great singer, great range, but his partner is Paul freakin’ Simon! One wonders how powerful Simon & Garfunkel would have been without Art. Maybe he was the man behind the successful curtain. Who knows?

April LyricsApril Come She Will is the prefect soundtrack for those moments when you just wished you were somewhere else. Alone, walking between silent, somber trees, or alone, walking amongst a sea of warm strangers, this dreary song reminds us that new eventually becomes old, and judging by the song’s length, how quickly that can happen. A kind of hopeless notion if you think about it.

May April offer you blossoming new beginnings, and may September not rob you of the aging beauty of those beginnings. Old doesn’t need to lose its alluring frenzy. We just need to be reminded of how new it once was. Here’s hoping September doesn’t forget to remind us.

A Not So Sweet Easter Treat

P. CTailMy “Jesus Rose from the Dead” records must be on loan, so I’m reluctant to write about rabbits. My only Bugs Bunny record is a Christmas album, so I’m forced to inundate myself with Peter Cottontail Plus Other Funny Bunnies and Their Friends.

That Pete Cottontail was a sly one, wouldn’t you say? I mean, just look at that face… deep in profound thought.  Released in 1963 by the racist, homophobic granddaddy of greed and deceit, Walt Disney Productions, Peter Cottontail Plus Other Funny Bunnies and Their Friends is a heavily produced, fantasy-inducing, rabbit nightmare that’s sure to linger inside your head long after the point of discomfort.

Weaving between catchy kid tunes and one-woman interpretations of classic rabbit stories, Peter Cottontail Plus Other Funny Bunnies and Their Friends does NOT come recommended by The Prudent Groove.

LPsOn the plus side, the back sleeve offers an eye-catching display of previously released Disney “Musical Highlights” (I shudder to think) in the shape of the letters, “LPs.” For only $1.89 in 1963, which would be $13.99 today, you could pollute your ears with everything from Little Toot to Savage Sam. Save your money, and your sanity, and skip any and everything Disney related.  Your soul will thank you.

Happy Easter, everyone!

Music to Make Time By

CoverOk… there’s a lot going on with this 7”, and I don’t have a lot of time, so please, no talking and we’ll get through this quickly. Okay? Okay. First and foremost, this record is NOTHING more than an audio advert for Caravelle watches (a division of Bulova, which originated in 1875).  I know, shocking, right? I mean, the cover SCREAMS wisping romance, but wait… huh! What nice timepieces!

Second, the “band” is called, The Caravelles. Well, isn’t that just the cutest thing you’ve ever seen?! Take the name of the company, and slightly tweak it to label your vehicle for perfectly timed music. See what I did there? Perfectly timed… nevermind.

Third, and this is a big one. The songs, all four of them, ARE ABOUT WATCHES! But wait! There’s more! Side one is about male watches and side two is about… wait for it… female watches.  Allow me to present the tracklist for those of you too lazy to look at the above picture:

1. I Didn’t Know the Date it Was

2. I Get All Wound Up

3. I Change My Charm From Day to Day

4. Charmed I’m Sure

Back“I Didn’t Know the Date it Was?” Really? That’s the best Caravelle could do?

The music is just as hilarious as you’d think by seeing the cover. I Didn’t Know the Date it Was is a quirky easy listener about a guy who got his days mixed up. Uh oh! Time for a new Caravelle watch! Side two’s Charmed I’m Sure is a little bubblegum popper that seems to aim for the tween demographic more than the 30-somethings who actually care about ugly, dangling heart clocks.

Music to Make Time By is a hidden gem I honestly didn’t even know I owned.  A copy recently sold on eBay for $9.99, but I assure you, it’s worth 10-times that. Watch out for one, won’t you? (That was terrible.)

The Triple P

Mercury Phonograph InsertOn my quest to find the perfect portable phonograph (the Triple P, as I call it), I stumbled across this weathered insert from who-the-hell-knows-when. A quick Google search reveals that Philips began manufacturing these beauties in 1963, so I guess, now-we-all-know-the-hell-when.

This insert features two, distinctly different looking players. First is the AG-4026. This compact player is perfect for annoying your temporary beach neighbors with your controversial Lenny Bruce albums, and plays 4 speeds on 7”, 10” and 12” record. Operating on easily accessible flashlight batteries, this lightweight (8 pounds) transistorized phonograph offers distortion-free response from 80-16,000 cps from its new 7” TICONAL speaker. The word around the waves is that it’s the “Big Set Sound” so, there you go.Beach Bums

The second is the AG-9115. Think of the AG-4026 as being the “Four” series and the AG-9115 as being the “Nine” series. This is NOT a kids toy. This portable Hi-Fi STEREO phonograph provides two TICONAL speakers, separate tone and volume controls, a new “auto-manipulator” tone arm and weighs a slender 24 pounds. Alright, that may be a little heavy to tote around on a bike trip or on a romantic picnic, but I’d still love to see the AG-9115 in action.

Made in Holland by Philips, these two portable players, one mono and the other stereo, would be perfect for my everyday record-listening mobile needs… if, you know, it were still the early 60’s. My hunt for the Triple P marches on.

Reform and Bust

JLIt’s comforting, just how powerful the sadness of others can be. One man’s sadness is another man’s solace, I always say (I’ve never said that).  I’m not saying go out and make someone cry, I’m just saying the emotional release that some artists offer can be a wonderful companion.

While painting pictures of our ancestors desecrating the Plaines of our nation’s majestic beauty, Jeffrey Lewis & The Junkyard offer a beautiful imagine of how the diseased minds of those ancestors would respond upon seeing their failed endeavors being overtaken by beautiful, luscious flowers. “Let us sacrifice our time, our family’s time, our souls, our worries, and our lives to the building of this conveyance called, the railroad… then lets abandon our progress and allow for nature’s beauty to restake her claim,” said no one ever! Probably because “restake” isn’t an actual word.

8Bugs & Flowers is a rolling wave of solace. It’s that much needed alleviation when you had no Earthly idea you were in desperate need of it. Clocking in at 4:13, Bugs & Flowers is the comfort from a loved one that you want never to leave your side, but eventually always does. The entire album could be this song repeated, 11 times and show no hint of getting old. Melancholy is a powerful thrill.

Throughout the song, Mr. Lewis talks of taking a solitary walk in the forest over a series of deteriorating crossties. Along this self-reflecting journey, he comments on the backs of shiny bugs, infinite dust, and crosstie devouring flowers.

It’s difficult sometimes, when the whiskey takes over. It’s as though solemn innocence loses its struggling will to survive. Lucky for me there’s a soundtrack to this struggle.

Do You Take Sugar? One Lump or Two?

SugarAlternate titles to today’s post are 1) The Groove Gets Nostalgic, 2) My Undeniable Infatuation With This Song, and the Reason My Father Hated It, and 3) So What If I Had Def Leppard Posters Up on My Walls as A Kid.

Def Leppard. It took me a few years to realize how much of a rip-off their name was, or, to put it more lovingly, how much of a COINCIDENCE it is that their name mirrors the mighty Led Zeppelin. If you’ve never seen this mind-blowing parallel, here it is:

Def Leppard

Led Zeppelin

Notice 1) the three letter first word, 2) the second letter to the first word being an E, 3) the first word having one syllable, 4) the second word containing EPP, and 5) that I may be obsessing over this a bit too much… nah!

My father, whose favorite band was Led Zeppelin, always seemed to have it out for Def Leppard and specifically the song, Pour Some Sugar on Me. This may have been because it was a striking departure from the music of his youth, but more likely it was because I played this song… ad nauseam… everyday… for like, two years! Can you blame me? I was eight! I know, I’m still making my round of apologies.

Pour Some Sugar on Me was the Stairway to Heaven of my youth. It spoke to me in a language I’d never heard, but instantly understood. I wanted to share my feeling of exceeded joy with any and everyone who would listen. More times than not, my biggest audience consisted of one individual… my cat.

One could say I got burned out on this song. A sensation, at the time, I’d never experienced. I’ll still give the ol’ girl a spin now and again. And when I do, I’m back in my bedroom, frantically trying to learn the lyrics, and understand what “sugar” actually meant.

I won’t go into how I used to hide my arm in my t-shirt and pretended to drum like Def Leppard’s Rick Allen. That’s an embarrassing revelation for another time.

Music by the Hour

Music by the HourYet another insert? Either I’ve got a stockpile of particular inserts, or I’m excessively lazy. The jury has been out for over a week.

There’s a lot to learn from an insert. They’re a time capsule filled with images and ideas of what men in suits, getting paid a lot of money, thought people desired. They’re ripe with branding, marketing ploys, and artists’ renderings of “regular people” enjoying their product. In this particular case, its Columbia Records.

Columbia Records was pretty monumental in the heyday of record utopia. Here are a few facts that Columbia Records would like you not to forget. These, and others, can be found within this iconic promotional advert. Who knew learning could be so stunning?

– The “LP” (short for Long Play) was introduced by Columbia Records and was legally backed by a registered trademark.

– Men liked to smoke.

– The “LP” debuted in 1948.

– Women enjoyed picking their nails while listening to music by the hour.

– “LPs” allow for up to thirty minutes of music per side. That’s up to one full hour of music!

– Women loved to lean, uncomfortably, on the backs of men.

Mondays are for Wankers

ElvisIt’s Monday, and you know what that means… it’s time to push that rock of content up the endless hill of life. It’s also time to revel in the rhythmic delights of Declan Patrick MacManus (AKA Elvis Costello) and his solemnly realistic fantasy-bursting reality-screamer, Welcome to the Working Week.

Arriving at track one, side one from his debut album, My Aim is True, Welcome to the Working Week is a playful pass of judgment to the 9-to-5’ers; the head-crushing business men and women of our land pushing papers so that the fat have the means to get fatter.

Side oneWelcome to the Working Week, it’s album, My Aim is True, and pretty much ANYTHING by Elvis Costello comes highly recommended by the Groove.

If you haven’t spoiled yourself with the sweet musical nectar of “the other Elvis,” I’ll pass judgment and offer these words spoken by the man himself:

You gotta’ do it till you’re through it so you better get to it.

Post #60: The Insert that Stopped Time (If Only Briefly)

'59 Insert_SmallerThe curious reader asks, “Hey P. Groove, why wasn’t this fine looking insert from ’59 YESTERDAY’S post topic?” I’ll tell you, inquisitive peruser of yesteryear gems… and it may, or may not involve Don Draper.

Thank Artie Shaw and his 1958 album, A Man and His Dream, for this Madison Avenue beauty. A modern approach to selling a catalog of varied taste, this insert, with its subdued album-stacking design, pushes the consumer’s focus to its center, where we find the two, overlapping numbers of illuminating nobility: 59. This eye-grabbing approach renders an immediate connection between that number’s meaning (the year), and the everyday existence of this album’s original buyer. To look at this insert in 1959, is to self-reflect on the years that preceded it, and to project future hope into the years that follow. In other words, this insert stops time for a split second to offer deep cogitation.

Needing to reach the hip cats of Latin Airs, as well as the squares of Strauss Waltzes (I own Strauss Waltzes, so my insults only cut so deep), RCA Victor’s approach to reaching the spectrum of 1959’s musical audience needed to be forceful, yet memorable. I believe stopping time for meditation achieved this goal. Nicely done, Mr. Draper… nicely done.

You’ll see, neatly tucked into the corner of Latin Airs and George Beverly Shea’s Through the Years, the thesis to this modern advert:

Recordings so real and exciting they are a year ahead of any others you have heard.

Exactly one year… 59+1=60. And thus, Post #60: The Insert That Stopped Time (If Only Briefly) finds its inevitable message.

On Legal Speed (The American Way)

Lag FrontCoffee is a wonderful drug. Its stimulating warmth delivers that little bit of pep so often missing in the early morning hours… whatever you consider those “early morning hours” to be. If noon is early for you, good on ya’. I won’t judge. But I will ask that you save me a cup.

Lagwagon’s 1992 debut, Duh, is a metal-influenced-punk-long-player, featuring a Creedence cover, a melodic romp about the deceptive eyewear resulting from drinking too much beer, an aggressive interpretation of the Inspector Gadget theme, and most importantly, Duh fosters a vicious ode to the mastered art of straining hot water through ground up roasted coffea seeds.

Lag BackLagwagon’s Mr. Coffee provides the audio equivalent of orally consuming a hot cup of joe. With its rapid approach and short-lived tenure, it leaves the consumer wanting another two-minute and fifteen-second fix. Mr. Coffee has been an early morning favorite for me since discovering Lagwagon nearly 20-years ago (yes, I’m old).

There really should be more songs about the essential joys of coffee. Its importance cannot be understated.

“TRINK, SING, TANZ!!!”

Zillertal“All the gusto and fun of an authentic German Beer Hall in your own home.”

You don’t need to be German to enjoy music arranged, performed and recorded solely for the purpose of drinking beer.  It’s Friday. Why not relax with a cold one? Fill your stein, put up your feet, and surround yourself with the friendly swells of The Zillertal Band and their jolly-good-time-music. This album was however recorded live at the world famous Zillertal in Hamburg, Germany, for crying out loud! (Do people still use that phrase?)

You can rest assured that the quality of this album will exceed your High Fidelity-hipster needs. After all, the back cover explains, in striking detail, just how great the audio quality is:

Editing and transfer from tape to lacquer has been under supervision of the top audio engineers in the industry. All metal parts used in the pressing of the finished product are solid nickel to guarantee the finest surfaces and distortion free reproduction.

Free Fact-Packed Book

Cert BackMarketing records can be an embarrassingly hilarious industry. From the album cover, to a free book on The Wonderful World of Country Music used as incentive for consumers to purchase and collect 5 insert certificates, it seems as though Time Life Records in 1981 would go to great lengths to confirm the sales of their Country Music series. Such a clever title for a series, don’t you think?

Let’s take a look at the top selling points for The Wonderful World of Country Music, shall we? I mean, if I’m going to hunt down four more albums in the Country Music series in order to get this “free” book, I’m going to want to know what I’m in for, right?

Cert FrontFirst off, it’s a “big” book. This certificate was nice enough to offer the book’s dimensions (8-1/4” x 10-3/4”). Second, it contains 240 pages and the biographies of more than 150 stars! ARE there 150 stars in country music? And I’m talking about the GOOD country music here. Maybe that “150 stars” thing was a typo and they meant the “15 stars.” That makes more sense. Third, this book contains the history of the Grand Ole Opry. Alright… any country music lover worth their weight in Hee Haw one-liners NEEDS the history of the Grand Ole Opry. Forth, you get an intimate glimpse into the astrological future of your favorite 15 stars by the horoscopes offered in this monumental book, and finally, “bluegrass, outlaw, oldtime.” I’ve got to admit, I have no idea what the hell that means. Perhaps the book touches on these off-shoots of Country music? Yeah, no idea.

I’ve got to say, I’m not entirely sold on this ploy, but a quick ebay search yields five The Wonderful World of Country Music auctions currently underway. So, at one time, somebody found these selling points irresistible… but the novelty must have worn off because now the book can be had for only $4.74. Tempting…

Barbi Mandrell