These New Jersey mooches… These Yoohoo-drinking, rooftop toilet-throwing, adolescent-minded seniors of punk are coming to Los Angeles in May… and we just secured tickets (Thanks, Kyle!). I can’t wait to hold an overpriced beer and spit snotty lyrics at top volume in the back of an overcrowded room along with this seminal band, surrounded by like-minded idiots of similar and sophisticated taste. It’s comforting to see these punk elders still arousing the crowd into a much-too-short “East Coast, fuck you!” call and response. (Photo cropped and ripped from my phone and provided by, I suppose, the Bouncing Souls?) Check ’em out.
Perhaps, just, perhaps, it’s time for some Mantovani. The “Moulin Rouge” Theme, Lonely Ballerina, or even the rambunctious Greensleeves, yup… Annunzio Paolo Mantovani’s got you covered tighter than cellophane on a PB&J. Waltz Encores was, to the best of my knowledge, released in 1958 on the British favorite, London Records. With 12 tracks in total, whatever time you determine is Mantovani time, Waltz Encores is at your beck and call. Candlelit chandeliers sold separately.
Presented here in photo form (and little else) are the complete lyrics to Led Zeppelin’s (severely overplayed, yet historically significant) Stairway to Heaven, by means of the insert from the band’s untitled, 4th studio album, commonly referred to as Led Zeppelin IV. It’s a quick read, whose melody is, I’m sure, already implanted in your brain. Enjoy.
We have a lot to celebrate as The Prudent Groove turns six today, but nothing more important than offering a heartfelt thank you to those of you who have stopped by to say hello. Over the now 2193 posted blurbs of random, mind-numbing amusement, it’s clear, year after year, which post tickles the most fancies: “The 1966 Philco High-Fidelity All-Transistor Stereophonic Radio-Phonograph” with 3,468 total views as of this posting. I’ve gotten some recent requests (mainly for more vintage inserts), I had my original PG Gmail account hacked, and I’ve met a bunch of amazing, like-minded time-wasters along the way. Thank you all for continuing to share in this goofy-ass exploration into a hoarder’s obsession. I can’t predict the coming future of this page, but six years has certainly been a phenomenal ride. Cheers, and happy birthday, Prudent Groove!
This… is a cutting board, and a damn fine one at that! Now, is the Tomato label a play on Apple Records, or an obscure call out to Tomato Records, distributors of Philip Glass and Robert Wilson’s 1978 contemporary operatic classic, Einstein on the Beach? Either way, dinner prep is always, and instantly much more groovy with a cutting board shaped like a record. (Four out of four stars.)
We (rather by accident) unearthed this Bottom of the Hill event calendar from March of 2006 today. A trio of us (while vacationing up in SF) ducked in on the 4th to see Minneapolis native, and lyrical monster P.O.S. perform a righteous show with his fellow Doom Tree alums DJ Turbo Nemesis and SIMS. If you aren’t already on this indie hip hop legend’s band wagon, strongly consider it. Smart music for smart people, kids.
Broke out the Walkman today, just to make sure it still works… and it does… perfectly (I know you were concerned). Though my cassette collection is a fraction of what it used to be, as you can see, I held on to the essentials. Presented here is the first EP by the Beastie Boys, Polly Wog Stew (which I’m convinced is a bootleg, but that a topic for another time), and the 1994 compilation, Some Old Bullshit. That is all.
We FINALLY acquired the latest Obits album, this orange vinyl version of the Sub Pop released, 2013 album, Bed & Bugs. Nothing beats their first effort, 2009’s I Blame You (as far as I’m concerned), but it’s certainly satisfying to finish this garage rock band’s discography. Straight up, classic, dedicated rock n’ roll music here, kids, and let’s face it, from one of the guys that brought us Pitchfork, Drive Like Jehu, and Hot Snakes, I’m game for anything Mr. Froberg involves himself with, and you should to. (Looks to camera.) Call and order now!
One Nation, under Groove… Presented here is a rather nifty insert to Nation of Ulysses’ second album, Plays Pretty for Baby. Fancy yourself a pair of Star Trek Vulcan Ears, you’re in luck. Surprise Packages go for a cool $1 (circa: who knows?), and the classics like X-Ray Specs and the party favorite, Vibrating Shocker get equal page time with Trick Black Soap (which makes you look like Hitler, apparently), and a Midget Spy Camera (they maybe should have reconsidered the title of that one). Let’s face it. Who in their right mind could turn down an Electronic Lie & Love Detector? It detects love AND lies. Not me, I’ll tell you what (he says in elderly man voice). Lots to explore here while you spin some fascinating DC hardcore. Fun for the eyes, AND the ears. Enjoy.
Looking at this record, and this is no disrespect to the Sydney-based alt-rock band, but looking at this record, I get the sudden urge to purge the less than desirable records in the collection. Purchased at Amoeba in Hollywood for $1, I don’t remember ever having listened to this 1987 record. Acquired for the Ralph Steadman-like platter scrawling (both on the cover and the lyric sheet within), Diesel and Dust is very close to making its grand and permanent exit. But of course, we’ll give it a spin first. 🙂
Urban Outfitters… not necessarily my cup of tea, or coffee, or any type of cocktail of any sort, but for reasons beyond my comprehension, I kept this Record Store Day freebie. I can’t say that I’ve ever listened to it, and as there appears to be a minor following for Urban Outfitters Mixtapes online, I may attempt to “trade this in” for something say, more my speed. I’m thinking of FINALLY finishing my Kinks discography, and a store where I’ll never set foot may be helping me out with that.
My long life of thrift store shopping can (kinda) be traced back to this album… It was found, rather discarded, among brick-a-brack drivel in rural Wisconsin at a converted thrift store where I used to hunt down vintage Star Wars figures (it was called the Value Village, but I called it the Ewok Village, because, well, I was a kid). Having known the heavy hitting songs, but not the cover, I inquisitively searched the item for any semblance of tagging, which I found only on the record labels. I’m a bit ashamed to admit that I was so old (16) before I understood this album (a bit of self-loathing here). I’ve since acquired a copy in much better condition, but I keep this version around as a reminder. A sort of symbol of much-needed things yet to be discovered.
God, I love this band. One of the most unappreciated and exceptionally underrated bands in recent memory. I’m not too familiar with Plays Pretty for Baby, the band’s second album, but their debut, 13-Point Program to Destroy America is so explosive, I’m a subscriber for any and everything this short-lived gang spit out. Hardcore punk fans, it doesn’t get much better than The Nation of Ulysses.
Haven’t done an insert in a while, so, here’s an insert! Straight from the crooked minds over at Columbia Records, promptly found within our copy of Blood, Sweat & Tears’ self-titled monster. A handful on this list can be found within our collection (Super Session, Johnny Cash at Folsom Prison, Cheap Thrills, The Graduate), but something I’m now just noticing is that I don’t have any Paul Revere & The Raiders in my collection. Hmm. Something to consider.
Everybody wants to get funky, let’s face it, but an entire TOWN of funk without even a mention of P-Funk? Well, that’s just a horse of a different color all together! Don’t blame Melbourne’s own Psuedo Echo, they were only covering Lipps Inc. with their charting version of Funkytown. One of my first “favorite” tracks, I knew Pseudo Echo before I knew Pseudo Echo, you know?
Man, I haven’t heard this Grammy winning “jazz-rock” album in what seems like three lifetimes. Released in December of 1968, the band’s self-titled sophomore effort carried with it three singles with And When I Die, Happy, and Spinning Wheel (which I just heard on AM radio this very morning), and was a commercially successful monster (quadruple platinum… that’s a shit-ton of records). Though the musicianship behind leader Al Kooper is, without question, on point (Kooper, you’ll remember, was part of the Super Sessions record, together with Mike Bloomfield and Steven Stills, released July of the same year) the album as a whole requires a certain mindset that isn’t necessarily anywhere close to default. A fun and insanely well-pieced collection, I’m happy to put BS&T back on the shelf for the foreseeable future.
Oh, the power of Lard. 1997’s Pure Chewing Satisfaction was a burrowing larva harassing my ears on a rather routine basis some 20-odd years ago (picture a screaming Chekhov in Star Trek 2… you remember the scene). I. Simply. Couldn’t. Get. Enough. Sadly, releases by this industrial supergroup can only be counted on one hand (with an angry finger to spare), but Pure will always be the gateway drug to a heavily explorable universe of side projects, one-offs, and wasted anticipation. (Cocks head and wonders to self), maybe I should unearth my old mix tapes. Lard was a frequent flier on my sides (laughs to self), much to the dismay of my less-than-understanding friends.
Presented here is a brief representation of last night’s spins. You can see how the evening progressed into an outright cacophony of carnal violence with the first Revolting Cocks release (1985’s No Devotion, as good of a nightcap as there ever was), but what isn’t instantly apparent is the decision making that tied these releases together. James Booker’s The Lost Paramount Tapes followed by Thee Midniters’ debut self-titled, then finally the grandfathers of Wax Trax! Records, RevCo. I can’t for the life of me remember the motivation, not that it matters, so I guess this telling was little more than a mundane tail of unrelated entertainment, if that is in fact how what we’re calling it.
This album has brought me close to tears, multiple times. Not only is this “New Orleans Jazz” release a perfect standalone, it bridges the geographic gap between my previous chapter in Wisconsin, and my current stint in Los Angeles. James Booker and his iconic Junco Partner happened to be the last melody of any significance I had giddily immersed myself into days leading to my permanent departure from the rural Midwest. What turned out to be rather serendipitous was that The Lost Paramount Tapes was, in fact, the first album of any format (compact disc) I was able to acquire upon my arrival to sunny, congested, southern California (September of 2003 with thanks to Grady’s Record Refuge in Ventura, CA). The first soundtrack to my new life has, today finally joined the fold. Thank you Vinyl Me, Please (a damn good record of the month club that I only recently discontinued) for seeing the unspoken greatness of this absolutely and profoundly perfect record, and for FINALLY providing it a much deserved, and greatly anticipated vinyl release. James Booker was most certainly a character, both sides of the coin, and his efforts on The Lost Paramount Tapes not only resonate on a deeply personal level, they make for one of the best (expletive) albums I’ve ever had the pleasure of spinning. Top 3 records of all time. Hands down.
So admittedly, it’s been a while, but I went to pull out Viva! La Woman, Cibo Matto’s debut album on Warner Bros. Records from 1996, and to my dismay, I noticed that my copy is sealed! All those years listening to Viva! and Stereo Type A must have been digitally, come to think of it now. I have zero recollection of any hint of reasoning why I would have kept this classic record sealed, but here it lives, suffocating in time. Now, the question is, obviously, whether to keep this virgin record cocooned, or to free it for the celebratory maiden voyage… Where’s my knife?