The Righteous Brothers – Re-Birth (SVLP 9249) (1969)

RighteousInside The Next Issue of Thrifty Vinyl                                    DNA TESTS REVEAL RIGHTEOUS BROTHERS NOT RELATED

BROTHERSIn which the original blue-eyed soulsters, to judge by the sleeve, make a late bid for 60s RELEVANCE; all long hair, mustaches, paisley dashikis and tank tops. Then there’s that front cover. At least the newborn’s genitals are safely hidden, but it’s a pretty graphic image for 1969, even if it was trying to make a corporate point about the departure of Bill Medley (and replacement by Jimmy Walker, late of the Knickerbockers).

What we end up with on this lone RB record sans Medley is less the Wall-of-Sound that he, as the post-Spector producer, was able to duplicate, than a first-rate Sam & Dave-style blues/soul album with flourishes of contemporary rock. Ace.

One of the benefits of self-employment is the ability to go walkabout in the middle of the day, if the desire takes. Feeling thus, Mrs. Asbo and I sauntered the High Street of Hythe this Meridian whence, for one pound at Demelza House, came the item under consideration.

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Published in: on January 31, 2013 at 2:18 pm  Leave a Comment  

Celluloid Presents Disco-Rough

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Hello (says he, peeping his head sheepishly round the door at Thrifty HQ).  I’m the fella that started this blog a few years ago. Remember me? I was the one who posted all those stupid easy listening and K-Tel records.

Well, it seems that I haven’t posted anything here for over a year, so I thought it was about time I got my thumb out of my ass and did something about it. It’s not that I haven’t the time to blog, but I haven’t really been on the vinyl hunt much in recent times, so haven’t had much to report. But going through some records in my stash recently, I realised there were quite a few interesting artifacts I had yet to document here. So here’s the first of (hopefully) several new posts from Yours Truly.

So, what we have here is the splendidly titled ‘Disco-Rough’ compilation from Celluloid Records, released in 1982.  Only six tracks on the platter, but at least you get a reasonably decent, loud-ish pressing. Celluloid was established by the Frenchman Jean Karakos in Paris, so perhaps its no surprise that the record opens with the minimalist rockabilly of Alan Vega’s “Juke Box Babe”, which (it still amazes me to say) was a bit of a hit in France. Vega’s tremulous Elvis-Iggy delivery is up there with some of his best vocals, and the track retains the relentless repetition associated with his work as one half of Suicide, although here he trades in Martin Rev’s synth-noise for the guitars of Phil Hawk.  Not my idea of ‘Disco’ in any shape, way or form, but a welcome opener nonetheless.

Another name that might be familiar is that of Material, who contribute two tracks. “Secret Life” is their pulsing synth-disco ‘classic’, whilst “Upriver” is a mash-up of latin percussion, funk horns and southern-blues-rock, with a nice twangy guitar that puts me in mind of some mid-period Captain Beefheart.

The remaining tracks are filled by lesser known acts Elli &  Jacno and Mathematiques Modernes who each contribute some perfectly listenable alternative dance music of the era. Quite pleased with this purchase.

Published in: on January 31, 2013 at 11:18 am  Leave a Comment  

Moloko – “Sing It Back” (1999)

Sing It BackNEW WILL.I.AM REMIX TO FEATURE COMPLETELY DIFFERENT, BETTER  SONG
          (Santa Monica, California) — According to Interscope Records, the remix for “Scream & Shout” by Will.i.am and Britney Spears will consist only of Moloko’s 1999 hit “Sing It Back (Boris radio edit)” and feature no original elements from “Scream & Shout” itself. The Black Eyed Peas frontman claimed his new song, an awkward, unconvincing “party” track from forthcoming full-length album #willpower, was “absolutely not worth saving” via a remix and the Moloko single, which he called “a textbook example of brilliant dance pop”, is “simply the far better listen”.
           Initial attempts to utilise “Scream & Shout”‘s pedestrian and obvious rhythm track in isolation proved futile, while subsequent efforts to shoehorn the singing into a more interesting backing were just as problematic given the track’s poor melody, embarrassing lyrics and indifferent vocal performances. Producers and label bosses had just about given up when Will.i.am hit upon an ingenious solution: Why not use a completely different, better song? “It was a real ‘Eureka’ moment,” recalls Interscope head Jimmy Iovine. “here we had this super jive track that no amount of remixing was ever going to fix and Will goes, ‘Man, if only this song was as good as something like “Sing It Back,” and then we just looked at each other like, ‘Are you thinking what I’m thinking’.”
          The only problem then was which version of the Moloko song to sample. After listening to the “Boris Dlogosch music mix”, the “Can 7 supermarket mix (edit)” the “Herbert’s tasteful dub”, the “Mousse T’s Boot Edit”, the “Mousse T’s Bootleg Dub” as well as the drum & bass-style album cut from the I Am Not A Doctor Lp, producer Lazy J plumbed for the “Boris Radio edit”. It was ultimately decided to use the song exactly as it was when it appeared as a bonus track on Moloko’s third album, Things To Make And Do. “That was the mix that was a hit back in the day,” he said. “And we were looking to put out the best possible version of ‘Scream & Shout’.” Will.i.am has pronounced himself satisfied with the results saying, “I think we’ll be seeing a lot more remixes that are direct copies of different, better songs in the future.”
         “Scream & Shout (Sing It Back Refix)” will be released next Monday, but the video for it can be seen here.
Moloko
Published in: on January 28, 2013 at 9:27 am  Leave a Comment  

WAR – Greatest Hits (UA-LA648-G) (1976)

What Are They Good For?IRONIC COVER VERSION ONLY SONG ENJOYED AT LOCAL BAND’S GIG

(Columbus, Ohio) — None of those in attendance enjoyed any of the recent performance by local punk band Chuckberry Breakfast at Ace of Cups. Apart, that is, from a cover version of War’s “Low Rider” that subverted both the song’s original intent and the audience’s expectations of the band.

With even the band’s friends and acquaintances calling the north campus club show “dreary”, “remarkably unoriginal” and “full of obvious moves”, all patrons who were bothering to pay attention singled out the encore, “Low Rider”, as far and away the high point of the show. Not that onlookers thought the band were bad musicians per se, they just felt that each member seemed intent on performing with as little imagination as possible, deploying cliché after cliché.

“I guess they’re tight and played with ‘energy’,” sighed one of the Ace’s bartenders. “But it was really one of those ‘sound and fury signifying nothing’ situations. Other than that thing they did to the War song at the end. They really should do more songs like that.”

Candy Sexton, the girlfriend of Chuckberry Breakfast lead singer Curtis Paul, claimed she spent most of the band’s half-hour opening slot smoking out back on the patio, only coming in for the last song. “They practice at my house, so I already know how lame they are, except for ‘Low Rider’, which, even though it’s meant to be a joke, is way better than the rest of their shit.”

Headliners Nobunny were likewise dismissive of Chuckberry Breakfast’s performance: “Other than a kinda cool take on ‘Low Rider’,” complained Nobunny main man Justin Champlin, “it was super half-assed.”

“Learn how to write a f*ckin’ song before you start performing in front of people,” added the leporid underground star curtly. “Seriously.”

Reached for comment after the concert, Chuckberry Breakfast bassist, Jonah Petersen, called the show a “watershed moment.”

“It was the first time we played an all-original gig, apart from that goof at end,” he shared proudly. “That’s the old cover band mentality we definitely want to get away from.”

Published in: on January 21, 2013 at 7:59 pm  Leave a Comment  

The Oscar Peterson Trio – Night Train (Verve 2317 007) (1963)

Night TrainLOCAL MAN ABSURDLY PROUD OF DINNER PARTY PLAYLIST                                                                            “Brilliant Mix Of Genres, Critically Lauded Artists” Claims Host

(Reynoldsburg, Ohio) — Columbus area resident Eric Gardner, 37, was ridiculously pleased with himself for managing to program music that didn’t annoy his guests at the dinner party he hosted last night. Boasting a playlist that was spontaneously DJ’d, Gardner insists it was nonetheless “tailor-made” for those in attendance.

“I have to give myself a lot of credit,” smiled the Columbus State English Literature professor, “for knowing not only what my guests would like, but what this particular mix of people would like. And also having the wherewithal to react when I sense the mood needs to be changed”

“For instance, I know Pauline [Goodings] doesn’t really like jazz, but a number of the other people are partial to it,” he explained. “So I started off with Oscar Peterson’s Night Train Lp: it’s not too frenzied, a bit R&B, you know, not likely to scare any jazz-phobics off while at the same time not so mainstream that Kevin [Bruce], who’s a bit of a snob, would roll his eyes.”

The “brilliant” mix included a “variety of genres and critically lauded artists” that Gardner was convinced inspired an ambiance which allowed for a free-flowing conversation and convivial atmosphere. After Night Train, Gardner played Blue by Joni Mitchell, followed by the Louvin Brothers’ My Baby’s Gone. Other Lps spun during the evening include Studio One Dub, Voodoo by D’Angelo and People…Hold On by Eddie Kendricks. “You can mix up the genres,” he claimed, “while still maintaining a consistent feel.”

“Another trick is to play only one side of the vinyl so people don’t get, say, ‘reggae fatigue’. It’s a little more work,” he smiled, “and more than once I had to interrupt an anecdote to switch tunes. Still, I find it’s worth it.”

Guests at the party were seemingly unaware that their musical needs were being catered to so minutely. “I’m not sure, but I think Eric played some Fleetwood Mac [sic] and some Bob Marley [sic],” guest Rene Thompson stated when asked about the dinner party’s music. “To be honest, I wasn’t paying that much attention.”

“It was a bit weird,” claimed another guest, Carrie Matthews. “I thought Eric was off doing lines [of cocaine] because he kept disappearing every twenty minutes, but [husband] Peter [Matthews] says [Eric] never does blow. Anyway, Karen [Gardner] cooked up a nice pasta in creamy salmon sauce, so it’s all good.”

“I feel like my playlists are an education,” said Gardner happily. “And even if the people at my party don’t know it, their minds have been expanded.”

Published in: on January 20, 2013 at 1:24 pm  Comments (4)  

Smith & Mighty – “Anyone” (BEATM2 12) (1988)

Dedicated to 3 StripeHaving lived in Bristol a decade and a half ago, I’ve maintained an avuncular fondness for things ‘Bristol Sound’. And of all the 90s Brizzle groups, nominal underacheivers/cult item Smith & Mighty were probably my favourite; I even saw them at a festival in Fishponds north of the city center, subsequent to their Bass In Maternal Lp (not to mention once spying the distinctive looking Ray Mighty, wearing a Smith & Mighty t-shirt, at the Tesco near Ikea off the M32). A relatively poorly written précis of the scene, only partly due to its subjects’ reticence and inarticulateness, Phil Johnson’s Straight Outta Bristol, put me on the S&M tack.

I’ve got a couple highly listenable S&M cd comps on !K7, but I’m always on the lookout for Cup of Tea, Three Stripe and More Rockers vinyl and was quite pleased to find this twelve, the second time they successfully deconstructed a Bacharach/David, at a bootfair in Ashford. BTW, it’s a shame they’re stuck with that band logo, isn’t it?

Rob Smith, of course, has gone on to produce several interesting singles as RSD for various dubstep labels, for which I’ve had to pay retail. Somehow, I don’t see any Punch Drunk or Tectonic coming chaz shop-way anytime soon.

Published in: on January 19, 2013 at 11:53 am  Comments (4)  

The Hits of Edwin Starr (WL72429)

What is is good for?History Lives At the Thrifty Vinyl Archives — 1970

STARR LENDS VOICE TO GROWING PRO-WAR CHORUS

(Detroit, Michigan) — Lending a powerful, gritty voice to a movement that is rapidly gaining traction among today’s youth, Edwin Starr has just announced the released of his new single, the pro-armed conflict anthem,”War”. The second-string Motown vocalist hopes to strike a chord among an increasingly bellicose, arch-conservative student movement on the nation’s college campuses bent on prolonging the war in Viet Nam.

But this is no mere knee-jerk, bandwagon jump from a minor league singer in desperate search of a hit: Starr’s position is a thoroughly considered one. And persuasive.

“What is war good for?” he asked a group of reporters yesterday. “Absolutely loads.” ”

“If you think of the massive, positive economic impact of the military industrial complex alone, war more than pays for itself,” he explained. “Add to that our great country’s moral imperative to spread democratic, freedom-loving values and you’ve got yourself a very powerful pro-war argument.”

Joining the likes of John Lennon (“Give War A Chance”), Marvin Gaye (“That’s What’s Going On”) and Creedence Clearwater Revival (“Unfortunate Son”), Starr’s anti-anti-war protest will be as balm to both Conscientious Acceptors and defence industries alike across the US.

“Songs like ‘War’ give voice to the voiceless,” chimed University of California, Berkeley student Martha Weir. “I mean, when [Starr] says that ‘the point of war blows [his] mind’, it’s clear he speaks for the young people.”

Art Freidland, CEO of PowerCorp which manufactures wiring for missile guidance systems, called Starr “a true American, unafraid to stand up for the little guy whether he works at Lockheed Martin or BAE Systems.”

Starr, whose records thus far have tended to be reworkings of old Temptations songs, says he will follow up “War” with another explicit indictment of the peace effort called “Start the War Now”.

Published in: on January 17, 2013 at 7:19 pm  Leave a Comment  

More Bob Dylan Greatest Hits (67239) (1971)

SeedsAREA HIPPY BLASTS SECOND DYLAN ‘BEST OF’ Local Marijuana Enthusiast Calls Unipack Gatefold Sleeve A “Goddamn Nightmare” To Separate Seeds, Stems On

(Columbus, Ohio) — In a highly charged, paranoid speech to roommates in the common room of his Summit Street duplex, Myron Cartright today lambasted the inner Unipack-style gatefold of More Bob Dylan Greatest Hits as a “Goddamn nightmare of a surface” on which to break up his dried marijuana buds prior to their smoking. “And I swear Columbia Records totally intentionally made it impossible for the average stoner to sunder his herbs,” he ranted vehemently.

“It’s a total mind f*ck,” Cartright continued, “since they know everyone who listens to Dylan totally sparks up.”

Another occupant of the house, who gave his name as Eric The Half-a-Bee, claimed that “Carter’s been way flippin’ out seein’ as how he can’t de-seed the house reefer on that Dylan record. I’m like ‘Dude, just use the freakin’ ‘White Album’ like normal’ but he’s all, ‘I just bought this Bob record, I’m gonna use it.’ It seems a little single-minded to me.”

Cartright, who works at campus High Street head shop Waterbeds and Stuff, made clear the specific problems involved in using the 1971 double Lp compilation for stem and seed separation. “I’ve lost like three frickin’ lids worth of dope because it frickin’ opens up on the inner spine and slides all in,” he remarked between bong hits. “And all the shake is gettin’ stuck in there and I can’t close the gatefold now without, like, pushing down on it.”

Slouched on the living room sofa, Cartright began to express further, disparate thoughts on Bob Dylan: “Whoa, s’pose ol’ Bob came over to Summit Street to party and, you know, he’d wanna crush his smoke on one of his own records and he’d offer up a nice big fattie and I’d go, ‘Bob, toke on this,” an’ I’d pull out this humongous baggy of the most primo weed ever and pack [house bong] the Wizard…an’ then we totally f*ckin’ jam like I was f*ckin’ Happy Traum or something…[singing] ‘shut the light/shut that shade/you don’t hafta be afraid/I’ll be your lady [sic] tonight’…and he’d be like, ‘Man, you should definitely come out on tour’, that would totally rock. I’d be gettin’ more wang-dang sweet poontang than any of you Larrys, that’s for f*ckin’ sure.” He continued in this rambling vein for close to quarter of an hour.

“Dude, I got a coupon,” he concluded suddenly, “Who wants to order Dominos?”

Reached for comment at his Malibu, California home, Dylan called Cartright a “mungbean” for using the Unipack More Greatest Hits to clean his pot, arguing he should instead employ the Biograph box set as does Dylan himself. “Take out the [Biograph] booklet and Lps,” he explained, “and, bang, you’ve got a handy all-white, 12″ x 12″ dope separating surface with sides.”

“I haven’t lost a single bowl in a quarter of a century,” he smiled.

StemsEditor’s note: Perhaps the best Dylan anthology in terms of the listening experience, More Bob Dylan Greatest Hits flows like a proper album; it was apparently compiled and sequenced by the great man himself. I used to own a cassette copy of the American version (known as Bob Dylan’s Greatest Hits Volume II, two songs are different), purchased from Musicland at the Mansfield (Ohio) Mall one sunny afternoon with my friend Jovan. I know Bob’s not that highly thought of among Thrifty Vinyl readers, but there’s virtually a side of high quality material unavailable elsewhere making this, especially for £1 at Cats Protection, a worthwhile purchase. 

NB to law enforcement agencies and snoopy family members: the pile of pungent, verdant herbs in the top photograph is nothing more sinister than basil from my spice rack.

Published in: on January 15, 2013 at 8:18 am  Comments (6)  

John Martyn – So Far So Good (ILPS 9484) (1977)

Sofa, so goodSuccumbing to the strong persuasion of both Wilberforce and Darcy, I swung by Cats’ Protection in Hythe (on my way to the rental property to continue the massive task of redecorating) to claim my Court and Spark and…it was gone. I must console myself with this 1977 primer of deceased alcoholic uniped John Martyn‘s works, which I bought at the same time as Blue below.

Despite having released eight Island Lps by this point, So Far So Good contains tracks from only three records. Were the others that bad?

Published in: on January 14, 2013 at 1:43 pm  Leave a Comment  

Joni Mitchell – Blue (K44120) (1972)

Note the textured cover. I believe that means it's a first UK edition.

Note the textured (gatefold) cover. I believe that means it’s a first UK edition.


News In Brief                                                                                    JONI MITCHELL INSPIRES LOCAL GIRL TO WRITE SELF-OBSESSED POETRY

(Columbus, Ohio) — Anna Gadd, 14, has been inspired to write solipsistic verse after listening to Joni Mitchell’s masterpiece Blue. The 1972 Lp, which features stark revelations about the Canadian singer-songwriter’s personal life, has galvanised the Clintonville teen into believing that she, too, should creatively dispense intimate secrets that really should be kept private. To that end, Gadd has begun posting her whiny, self-obsessed poetry on a blog called All About Me.

“If I learned anything from Blue,” Gadd shared, “it’s that people need to hear my private thoughts, fears and hopes.”

“And of course loads about my love life,” she winked.

Her first poem, “Why My Mom Is Such A Bitch”, has already received two likes. Gadd’s mother could not be reached for comment.

Editor’s note: Another of those records perpetually on Top 100 lists that has thus far failed to charm me. But it was only a pound at Cats’ Protection this afternoon and I figured maybe I’ve matured enough to get it by now. A first listen has so far not put me off.

Published in: on January 12, 2013 at 6:25 pm  Comments (6)