Another London Records insert today (actually, just the flip side to 11/28 insert to be exact). Featured here are a few early Stones offerings (Aftermath, Out of Our Heads, Flowers, and Got Live if You Want It!), Mr. Cat Stevens, The Moody Blues, and of course, John Mayall. Power Blues looks good, based solely on the cover (never heard of it / them / ‘er), and I’m kind of interested in what Savoy Brown sounds like. Caravan, meh. Anyway, enjoy this colorful snapshot of late 60s psychedelic pop rock, won’t ya?!
London Records, am I right?! Founded in 1947, London Records was an avenue for British Decca records distribution in North America. Decca’s ownership had been split between the UK and the US, and since “Decca” was only exclusive to the original UK market, London Records was born. Ahhhhhhh! Same releases from over the pond (for the most part), but under a different name. Today, Universal Music Group (Boo!) owns British Decca, and subsequently London Records after they purchased Polygram in 1998. Polygram had purchased them in 1979 (RIP Polygram ownership 1979 – 1998), and the rest is money-hungry, hand-changing history. Confused? You won’t be after the next episode of The Prudent Groove.
The Rolling Stones’ 1966 album, Aftermath (the band’s fourth studio effort in the UK, and their sixth in the US… figure that one out) is the first Stones album to 1) be recorded entirely in the United States, 2) consists of all Jagger-Richards compositions, and 3) was the band’s first “true stereo” release (thank you Wikipedia.org). Though the covers differ depending on your side of the pond, the flip side features (generally) the same layout. None of this matters, of course, because Aftermath features the following, early Stones classics: Under My Thumb, I am Waiting, Lady Jane, and a personal favorite, Paint it Black. (The UK version also includes Mothers Little Helper… the bastards...). If you don’t already own this essential piece of rock history, put it at the top of your list.
The elegant mysticism that surrounds the ethereal journey that is Days of Future Passed is as inviting as it is comforting, and is, for this blue-skied Saturday afternoon, the perfect melodic mate. The Moody Blues and I are forever intertwined, as they were the first live band I’ve ever seen. I used to scoff at that fact, but now embrace it with humbled pride. Thanks, Big Guy for introducing us.
Happy Saturday, kids! Please drink / consume responsibly.
Not unlike the London / Parrot / Coliseum advertinsert from last April, this London / Parrot / Deram insert features, once again, Them, the Stones, and The Zombies under the “teen beat” umbrella, but this time around sporting a seasonably fashioned blue trim. My SO mentioned the other night how I hadn’t done an insert post in a while. Truth be told, I’m desperately running low on inserts, so… off to the local brick and mortar I go for another blaze orange hunt for early Kinks, late Hardin, and vibrant record inserts. Happy Friday, kids!
London Recordings, with all her lofty divisions, offered a red, white and blue window into the mid-60s English Assault, and was home to some pretty significant acts producing some pretty extraordinary cuts. Their mainstay, and supplier of the label’s flowing honey, were, as you’ve probably guessed, the Rolling Stones, but what I didn’t recognize until earlier today was how many other British Invasion favorites, or in this case Teen Beat favorites, also strolled under the London Recordings umbrella. Unit 4+2, the Moody Blues, the Zombies, and Them all saw early offerings on London, or one of her sisters, and in such a short amount of time, helped propel this label into the upper, heavily coveted realms of rock n’ roll history.
If you’re in the mood for sweet-low, (<— comma… please notice the comma…) quality instrumental guitar music with a hint of blues and a touch of country twang, look no further than Wisconsin native Les Paul.
The Now part is a bit arbitrary, but the Les Paul part is pure, unmistakable 6-string joy. Two things I learned from (very, very briefly) researching this album are 1) Les Paul came out of retirement to record this album for London Records and 2) by this time, Les and Mary Ford had officially split.
Released in 1968, Les Paul Now!, with its voluptuous purity, must have seemed somewhat out of step with the majority of pop music being produced in the closing years of the waning, hip-tastic 60s. Lucky for appreciators of prudent ear candy everywhere, virtue knows not how to tell time.