My listening affair with The Rolling Stones carries with it a heavy satchel of struggle and self-inflicting restraint. The evolution from tolerating, through hating, and ultimately to accepting has been a long and winded excursion. Not completely unlike the band’s 1967 compilation album, Flowers (or the majority of these posts). This collection of (some) previously released tracks (about half) and unreleased (at least in the US) songs from Aftermath and Between the Buttons sessions create a (money-grabbing) faux-flower-power album, perfect for the rainbow of hipters gallivanting their way through the free-spirited summer of ’67 (the album was released on June 26th). If you can stomach the overindulgent counterculture cover, you’ll find the seeds within are anything but psychedelic (compared to say, early Floyd), and are actually heavy hitters of oldies radio airwaves (Mother’s Little Helper, Lady Jane, Ruby Tuesday, etc.). Whatever your personal feelings are towards this dominant group, Flowers is worthy of an in-depth exploration, even if you’ve heard the bulk of it before.
I’ve yet to find a turntable where this reissue of Rainbow Ffolly’s debut, Sallies Fforth DOESN’T skip like a rock over a calming pond… I hesitate purchasing another copy, on principle alone, but I really want to enjoy this quirky and bubbly album. Until I can overcome my personal demons and pull that proverbial trigger, I’ll stick to the digital copy.
FINALLY! The Burbs, the late 80s classic summer blockbuster (more like cul-de-sac-buster, am I right?!) gets a deserving vinyl pressing on this double, 180 gram “suburban sky” colored wax by Waxwork Records. This extended score by Jerry Goldsmith is flawless from start to finish, both in its superior audio quality, and its newly-imagined packaging. Some might scoff at he $36 price tag, but all things considered, this essential score, for the first time, of this quality, well, that’s something worth chanting about, right Ray?
Before what?! Though the mighty Budos Band released a few 45s and a 12″ since the coming of their fourth studio album, Burnt Offering, it’s been a solid four years since we’ve seen a substantial output by this exceptional nonet. Released back in October of 2004, BO carries with it the monsters, Magnus Mountain and the title track, Burnt Offering (both singles). Though I’m partial to 2005’s The Budos Band and 2010’s The Budos Band III, Burnt Offering sees a level of maturity that only emphasizes the raw, instrumental force conjured up by this insanely talented group. We encourage you to acquire each of their records, and to play them at top volume.
Wish I could make this hoppin’ holiday installment of the Liquid Kitty / Harvelle’s Punk Rock BBQ, but with family and friends pulling out all the stops, we’ll need to sit this one out. I hope those of you in the Los Angeles / Santa Monica vicinity enjoy this free, cheap-ass show! (Photo courtesy of Liquid Kitty’s Facebook page.)
Am I the only one to discover that Sir James Paul McCartney co-wrote and performed on the studio version of Declan Patrick MacManus aka Elvis Costello’s 1989 classic, Veronica? A recent acquisition to the fold, complete with all the juicy credit details is this slightly used copy of Spike, Mr. Costello’s 12th album. I’m not prone to spend $8 on used records these days (cheapskate), but when the obsession takes over, there’s no telling what the outcome will be.
Versus carries with it a strong connotation… perhaps it should be more like, The Music Machine as respectfully interpreted by Rocket from the Crypt, or The Music Machine who you’ve never heard of because you suck and don’t know shit about good music, but we do because we’re Rocket from the Crypt. However you label it, if labels are your thing, both The Music Machine’s debut LP, 1966’s (Turn On) The Music Machine and Rocket’s 1995 5″, Plays The Music Machine are a perfect pair of connecting puzzle pieces that help to line the interwoven fabric of the great rock n’ roll battlefield. This particular copy of Turn On is a RSD exclusive from last year, where both the Rocket 5″s were released by Sympathy for the Record Industry (original releases, both of them). If you’re into garage rock, own a garage, or hell, can SPELL garage, you need to check out both The Music Machine and (damn near) anything by Rocket from the Crypt. Happy Friday, kids.
My current obsession… Mr. Declan Patrick MacManus aka Elvis Costello, and specifically his debut work with The Attractions (and second studio album overall), 1978’s Last Year’s Model. Up until (very) recently, all I’d spin was Elvis’ debut, 1977’s My Aim is True, but with a little LA traffic commuting help from Spotify, I’ve rediscovered my love for clever lyrics and shrewd, earworm hooks. This man truly is king.
So, Mondo made available their 20th anniversary vinyl pressing of The Big Lebowski on White Russian colored vinyl, and just as you’d expect, if you weren’t one of the lucky few to set your 10am work alarm today (12noon CT), you’d find yourself clear out of luck. Both the cocktail and black vinyl versions are now sold out, and although I remembered to set an alarm and nabbed a sweet cocktail for myself, a work buddy, and accidentally I might add, managed to nab a pair of cocktails before they ascended to that great Mondo shaped cloud in the sky. I hope you were one of the lucky ones, if, you know, you’re into great music and flawless movies. (Photo courtesy of Mondo Tees.)
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?!
Defacement of currency is a violation of Title 18, Section 333 of the United States Code. Under this provision, currency defacement is generally defined as follows: Whoever mutilates, cuts, disfigures, perforates, unites or cements together, or does any other thing to any bank bill, draft, note, or other evidence of debt issued by any national banking association, Federal Reserve Bank, or Federal Reserve System, with intent to render such item(s) unfit to be reissued, shall be fined under this title or imprisoned not more than six months, or both.
Man, I miss this band. Raunchy, heavy, sweaty dance music at its finest. This gone-but-not-forgotten Canadian duo released a handful of singles prior to and after their only studio full-length, 2009’s Thunderheist. Bubblegum, showcased here, was released on Canada’s Bigfoot Records label back in September of 2007 (which seems like an eternity ago), and features, of course, the original version, a Wicket Lester Remix, a Wax Romeo Remix, and a Ghislain Poirier Remix. Thunderheist’s discography is relatively small, and every track is solid MF gold. Man, I miss this band.
So, I’m trying to convince my wife that Apocalypse Now is arguably the best war film ever made. It’s not my favorite, but the dismal and carnal world that F. F. Coppola crafted, coupled with the otherworldly performance by Martin Sheen makes for a gasping concoction of audio and visual stimulation that never really leaves the subconscious. She’s never seen it (gasp!), so we’re going to begin with Carmine and Francis Coppola’s Original Motion Picture Soundtrack. Fingers crossed we both survive the horror.
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.
Sun Ra has done a fantastic job of eluding me for much of my “listening career.” I caught wind of this intergalactic wizard only a few short years ago (when I’d bring my portable turntable into the office… you know, the day job…), and somebody from the Lighting team brought in an original, though severely damaged, copy of Sun Ra and His Arkestra’s debut LP, Super-Sonic Jazz. Since then, and rather recently, I’ve acquired the “space age pop” compilation Exotica, and this RSD Black Friday exclusive, Crystal Spears. If you’re in the riveting mood for avant jazz with little-to-no boundaries and a whimsical, yet rhythmic drive, take a deep, lasting breath, and give Crystal Spears a spin. Not one for the faint of heart, this record cuts deep, and should be spun quite regularly.
Another thrift store find was this bootleg, colored vinyl pressing of Three Top Guys’ The Third Album from First Record (FL-1192). As Discogs states, “First Record is a label of questionable legality from Taiwan, catering to solders (mostly from the US) stationed there.” Thanks, Discogs! Anyway, there were a handful of these colored vinyl bootlegs at a random Goodwill in Chatsworth (circa: 2006?) and of course, I nabbed each one at the $1 asking price. If pressed (ha! a little vinyl humor…), that handful would be some of the first to go if I had to “make room” in the library. The quality is garbage, and I can’t ever see myself thinking, “Huh… I should spin some Three Top Guys.” The allure of colored vinyl, am I right?!
So, Netflix has a new documentary out featuring the late, great Johnny Cash titled, Tricky Dick & the Man in Black (episode 2 of season 1 of the Remastered series, a Netflix original, or so they tell me). It’s well worth checking out, even for the casual JC fan. Featured in the doc is a very short mention of the commercially unsuccessful 1964 album, Bitter Tears – Ballads of the American Indian. If you watch the 59 minute episode, you can’t miss it. This copy found its way into the library by means of my grandfather, and like the doc, is well worth the time.
A much younger version of yours truly stumbled across ZZ Top’s first three albums at a thrift store in Ventura County, California for $0.99 a pop. No need to state the obvious, but I was quick to overlook the rather “experienced” condition of each of these classics (peep bottom left corner). Rio Grande Mud, ZZ Top’s 2nd studio album, was released in April of 1972, and contains only one single, Francine. As far as I’m concerned, Top would strike gold with their follow-up, and 1973’s Tres Hombres, obviously due to the inclusion of the raunchy La Grange, but Mud, in any condition, is certainly deserving of heavy spins (just ask the previous owner, whoever the hell they were).