As a general rule of thumb, it’s often and widely understood that starting with the first album by any new artist as an appropriate and logical decision to make. Not the case with Tim Hardin’s first album, Tim Hardin 1 I’ll have you know. His 1966 debut was officially his first record, but it wasn’t his first, or even the second recorded. 1967’s This is Tim Hardin and 1968’s Tim Hardin 4 were both recorded prior to the release of Tim Hardin 1, and I’ll say again (like a broken record), both are by far his best outputs. Sure, Tim Hardin 1 has Reason to Believe, a song in which he wrote, but that which Rod Stewart made famous, and sure it has Smugglin’ Man (a personal favorite), and of course How Can We Hang On to a Dream (another which he wrote), that was covered by Emerson, Lake & Palmer and Fleetwood Mac, but newbies to the Tim Hardin carnival should start at the beginning, with This is Tim Hardin. Thank yourself now, and thank yourself later. You’ve had a rough week… treat yourself.
Monday mornings are about as celebratory as striking a 10d x 3in nail through your foot, but that didn’t stop the newly formed supergroup (circa: 1975), Fleetwood Mac, from churning out a righteous soundtrack that pairs perfectly with a stiff cup of joe on this, the beginnings of another working week.
Written by Lindsey Buckingham, Monday Morning launches the 1975 self-titled album (the band’s second… self-titled that is), and features, for the first time, the inclusion of the now defunct, but once romantic pair, Lindsey Buckingham and Stevie Nicks.
Many of you know and love Jason Hardwick for his comedic brilliance, his Ohio chili and his patented white belt and thumb ring. We here (me) at The Prudent Groove invite you to take an inside look at the legend (man-child and closet bed-wetter) with this insightful, informative, and need I say humorous interview with the man. Ladies and gentlemen, get to know Jason Hardwick for who he pretends to be, instead of who he truly is.
I recently sat down with Mr. Hardwick to discuss collecting records, chicken noodle soup recipes and proper restroom stall etiquette.
PG: What got you into collecting records?
JH: My love of classic rock, Half Price book stores (www.hpb.com), and being a poor college bastard that couldn’t afford a box of mac & cheese, let alone new, incredibly over-priced music. Plus, CDs are just lame.
PG: What was the first record you ever purchased?
JH: If memory serves (and it always does), I believe it was Jethro Tull’s third album Benefit (1970). To this day, it is still one of my favs. What can I say, I’m a sucker for a man with a flute. Wait…
PG: What is your favorite record?
JH: Really? You’re gonna make me choose? Well, shit, man. If pressed, I would have to say, from start to finish, George Harrison’s All Things Must Pass (1970) is consistently among the revolving door that is my top 10 list. There may be many other albums that I deem to be near perfect, given that my “top 10” list consists of roughly 30 albums, but I’m being forced to choose, so this is my choice. Deal with it. Celine Dion’s Les chemins de ma maison (1983) would be a VERY close second. My heart will, indeed, go on, Celine.
PG: Have you ever purchased an audiophile version of Fleetwood Mac’s Rumors only to return it the following day? If so, please explain.
JH: I’m sure I have no idea what you’re talking about. And yes. Let me set the scene for you: It was Record Store Day 2012, and after waiting in line for nearly four hours–for three Kinks albums, which I was led to believe were actually being sold in the U.S. (mis-information perpetrated by Mr. Prudent Groove, himself)–I was exhausted, not in my right mind, had a stack of records, many decisions to make, and a profound inability to make said decisions. Needless to say, the album was purchased and promptly returned. Returned, not because I don’t like Mic and his marry band of Fleetwoods, but because I’m a cheap bastard that couldn’t justify spending nearly $50 on something I already owned in one form or another. I also have a distaste for double LPs. Too much turning going on there. I’m lazy. But that’s beside the point. Stop making me feel bad about this, dammit. I’m writing your friggin’ blog today!
PG: What are the top 2 records on your “WANT list?”
JH: I don’t have a “want” list. I have a “need” list. And those TWO records are… the THREE re-released, 2012 Record Store Day, colored-vinyl, U.K.-only KINKS albums: Face To Face (1966), Something Else (1967), and Arthur (Or the Decline and Fall Of The British Empire) (1969). Thanks again, by the way.
PG: Do you collect any specific artist and/or label? If so, what is/are it/they?
JH: I’ll buy anything by Jethro Tull. I have nearly completed my collection of all their proper studio albums–at least the ones released on vinyl, that is. I will also buy any vinyl release by The Beatles, Radiohead, and Pearl Jam–even if I already own it on another format. As far as specific labels are concerned, I love WAX TRAX! No, I don’t.
PG: Living in Los Angeles, I’d imagine (because I also live there) there to be a slew of great record stores. Which do you prefer?
JH: Wait, you live in Los Angeles?!!! Moving on… Amoeba Music, in Hollywood, is a must for any vinyl collector. It’s a veritable Mecca of music. Record Surplus, near Santa Monica, is also a hidden gem.
PG: Is there a record you passed up but wished you could go back and nab? If so, what was it?
JH: The re-released, 180 gram, audiophile version of Fleetwood Mac’s Rumors.
PG: Can I have your collection? Thanks! Please bring them over.
JH: Yes. Omw.