Rockpile – Seconds of Pleasure (XXLP7) (1980)

When loading the lone Rockpile Lp (named for a then-unreleased Elvis Costello song, trivia buffs) on to the spindle of my turntable yesterday, my eye was caught by the inscription on the run out groove: “DEY DOO DONT DEY”. And so, flipping over: “WEN DEY DUZ IT DEY DUZ IT”. While I’ve seen many such messages, I wonder why it doesn’t happen more often. Incidentally, there’s a further notice to the effect that the vinyl was “A PORKY PRIME CUT”, which I had noticed on my recent Venus and Mars album; an explanation for which can be found here. Another Barney Bubbles design.

This represents the second time I’ve thrifted the glorious Seconds of Pleasure, the American Columbia edition I got (now lost) came missing the Nick and Dave Sing The Everlys ep, which, as it happens, I’d already picked up at a Flea Market years before in Mount Vernon, Ohio. So, that’s like three times, then.

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Published in: on March 15, 2012 at 2:25 pm  Comments (7)  

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7 CommentsLeave a comment

  1. I got that the other day, minus the EP, but was fairly confident it was worth a little bit. Not so, apparently 😦

  2. Alas, but you still have the music, which, in this case, is top notch. 🙂

  3. Plenty of Porkys and Peckos in my collection.

  4. He seems like a sweetheart, too.

  5. i used to wonder (and still do) why record producers would spend hours (if not days) slaving over mixing desks to achieve an optimum mix of their labours… and then allow some jobbing guy who wasn’t even involved in the recording process never mind mixdown to decide how their tracks should sound on a record?

  6. It does seem like a fairly important job to outsource, but to describe Porky, Marino, Ludwig et al. as mere jobbers is probably doing them a disservice.

    Perhaps the idea of having an expert set of ears that haven’t been fatigued/lost perspective through the recording/mixing process to do the mastering is the thinking. Good question.

  7. i see your point about not seeing the wood for the trees, but even so had i ever got to the point where my recordings were being pressed onto vinyl, i would have done whatever necessary to ensure i was present so i could give approval or otherwise…

    when i used to record demos with various bands at studios in the 80’s (the only media format they ever ended up on were cassette tapes alas) the custom was to have whacking great speakers over the mixing desk which made what you’d recorded sound brilliant. so you’d do a mixdown using them as your guide… and then take a cassette of it home to listen with great expectation, only to find it sounded shit on your cheapo cassette deck speakers! and the other thing was that as you were skint you couldn’t usually afford the luxury of another day in the studio, so the engineer would flatten the desk and any opportunity of correcting what was wrong was lost! (other than starting again from scratch of course, but that was even more expensive)

    having learnt the hard way (and being a perfectionist), in later years i always did whatever was necessary (regardless of the cost) to avoid such pitfalls and only “sign-off” a recording in the knowledge that i had done everything possible properly and it could not be improved on (or made sure if it needed extra work it was not a problem to do so)… and i’m glad to say listening to them years later it turned out to be pretty much worth the extra time and effort, and money well spent!


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