Reason

Here is your spot to post your favorite "What makes a record so special?" story.  If you really go there, maybe we'll interview you for a future blog post.  Wouldn't that be something!?!

Top Secret - Omega Slice

Classified Information: Clearance Level - Omega Slice

The Doomsday Device.

The Pizza Platter Paradox!

Invented by a super secret society (actually it was me) to subvert the will and authority of an unsuspecting America. Crafted to combine the two things that cool people (also known as east coast hipsters) love more than anything: pizza and vinyl records.

When unleashed upon an unsuspecting public, citizens will be trapped in a cruel state of indecision. Eat the pie? Listen to the record? You cannot do both. Tragedy ensues. Citizens will rot in their apartments frozen in a coma of ecstasy, fear, and confusion. In a short time, extremely uncool people, already perched on the edge of domination will swiftly sweep into power. Hipsters everywhere, normally the first into the fray will be totally eradicated by this new menace. The escalation in food based musical warfare has begun.  Woe unto us all.

Here's your less than two week notice!

Come visit the VVers hawking their goods at the BROOKLYN ZINE FEST on April 21st!  We'll be debuting Vinyl Vagabonds #4 (the pizza deluxe edition) to add to your collection.  Twenty-eight scorching pages full of fun record anecdotes and artistry.  Hand printed cover too!  Also the lady VVer will be debuting her first mini-comic Adventures of a Terrified Pickle.  Did we mention the plethora of other really awesome zine-makers that will be in attendance?  Last year the space in Williamsburg was absolutely jammed with hipsters and zine lovers of all stripes. With so many interested and interesting folk, this year should not disappoint!  Be there, chicken pants.

Too far to travel for the show?  Failed in your attempts to invent a teleporting machine?  If you answered yes to both of these queries, but still desperately want a copy of the new Vinyl Vagabonds; it's time to pony up to PayPal.  $4 for #4.  How convenient!

Course Correction

Just because you put "Ray Charles" on the sleeve of your album, or lure in the curious with "songs of Hawaii" on it, does not mean it is worthy of your turntable.  It seems when eying this one I just picked out aforementioned key words, which when out of context, did not equal what I thought it did when actually heard from the speakers.  Upon first listen I think I almost melted.  Every track was on the verge of being a christmas sing-a-long circa 1950.  Not the sort of thing that is going to get a lot of mileage around this pad.

My mistake for not making the distinction between "The Ray Charles Singers" and the actual "Ray Charles," soul singer, that everyone knows.  Apparently this is none other than the no-one-has-heard-of Charles Raymond Offenberg, composer and leader of the Ray Charles Singers.  How does he get away with parading around as "Ray Charles"?  Does.Not.Compute.  Indeed the group appearing on this record, is also the group who did schmaltzy commercial jingles and choral records for 35 years.  GREAT.  Why didn't anyone inform me of this before spending an entire dollar at the RAG (Recycled American Goods) Shop in Berkley Springs, WV?

And since I'm slagging off on this piece of goodness, who is this faux Mark Rothko that contributed art to this album?  Is this a pig snout? A hippo face? Surely an animal, or a rendering of the Hawaiian islands that they are singing about.  Poop.

Well it's fair to say that the VVers only lasted for half of the first half of side A before running screaming to lift the needle.  In fact, it was so bad, that we took that chance that really nothing could be worse and threw on some Sesame Street tunes that we have in our listening queue for no reason.  In fact Bert's Blockbusters proved to be the perfect follow up.  There were only a few crayon marks on the vinyl.

Lots of gems here.  "Doin the Pigeon" is a stellar and catchy dance number.  The album ends with "Bert is Sick".  Ernie obliviously reads his "How to Tell Someone is Sick Book" to Bert while he is obviously ill.  Priceless.

So, in conclusion I would like to thank the Ray Charles singers for being so awful.  If not for their old-timey harmonizing from heck the VVers would not likely have spent the remainder of the night listening to all of our Sesame Street records.  Happy ending.

Wedding Playlist

Since we put all this time and effort into the tunes that would be the soundtrack to our wedding night, might as well share them with you.  All tunes are from our record collection.

Ceremony
Booker T. and the MGs (Golden Slumbers/I Want You) – pre-ceremony

Flash Gordon – Wedding March

The Hero – post ceremony (walk out)

Jazz Cocktail Hour

Getz/Byrd – Jazz Samba - Bata, Samba Dees Days

Getz/ Gilberto – The Girl from Ipanema

Django – Anything...

Louie Prima – Breaking it Up, Mint Julep

Benny Goodman – This is Benny – Anything…

Louis Armstrong – Plays WC Handy – St Louis Blues, Ole Miss

Duke Ellington – Daybreak Express – Anything…

Booker T – Green Onions – Green Onions

Intro (Meet the new couple for the first time as Mr and Mrs)

Black Sabbath – Black Sabbath – Black Sabbath – segue into...
The Gaylords – Pizza Party – Neapolitan Nights (first dance)

Reggae Dinner

Peter Tosh – Mama Africa – Johnny B Goode

Peter Tosh – Mystic Man – Mystic Man

Peter Tosh – Equal Rights – Downpresser Man, I am That I am

Ziggy Marley – New Love

Bob Marley – Catch a Fire - 400 Years, Kinky Reggae, Baby We’ve Got a Date, Midnight Ravers

Bob Marley Live – I Shot the Sheriff, Lively Up Yourself

Jimmy Cliff – You Can Get It If You Really Want, Harder they Come

The Clash – Black Market Clash – Armagideon Time, Pressure Drop, Justice Tonight/Kick it Over

Rockabilly

Chuck Berry – Johnny B Good

Chuck Berry – Rock n Roll Music, Roll Over Beethoven

Joan Jet – I Need Someone

Neil Young and the Shocking Pinks – Payola Blues, Kinda Fonda Wanda

Stray Cats – Built for Speed – Baby Blue Eyes

The Ventures – Walk Don’t Run or Rap City

Jack White – I’m Shakin’

Disco Funk Desserts

Herbie Hancock – Monster – Go For It

Stevie Wonder – Living for the City, Higher Ground

Kool and the Gang – Hollywood Swinging, Jungle Boogie

Blondie – Parallel Lanes – Heart of Glass, Rapture

James Brown – My Part/Make It Funky Part 3

James Brown – Make It Funky Part 1

KC Sunshine Band – Shake Your Booty

Michael Jackson – Off the Wall – Don’t Stop Till You Get Enough

Lipps Inc – Funky Town

Thomas Dolby – She Blinded me with Science

Dance Party

Peter Tosh – Mystic Man – Buk-in-hamm Palace

Run DMC – It’s Tricky, It’s Like That, Peter Piper

Run DMC – Run’s House

Duran Duran – Notorious

Kurtis Blow – The Breaks

Kurtis Blow – Party Time

Neil Young – Trans – Sample and Hold

Flock of Seagulls – I Ran

Go Gos – We Got the Beat

Fat Boys – Human Beat Box

Men Without Hats – Safety Dance, Modern Dancing

DEVO – Freedom of Choice – Whip It

James Brown – Sex Machine, Call me Super Bad

Stray Cats – Built for Speed – Rock This Town

Beastie Boys – Paul’s Boutique – Hey Ladies, Shake your Rump

Beatles – Red Album – All my Loving

Michael Jackson – Thriller – Beat It

The Faint – Dance Macabre – Let the Poison Spill From Your Throat

Madonna – Like a Virgin – Dress You Up

Madonna – You Can Dance – Into the Groove

Huey Lewis and the News – The Heart of Rock n Roll

Ramones – Blitzkreig Bop

Lou Reed – Vicious

Jimmy Smith – Hoochie Coochie Man – Hoochie Coochie Man, Mint Julep

The Stooges – Funhouse – Down on the Street

Sugar Hill Gang – Rappers Delight

Whodini – The Freaks Come Out At Night, 5 Minutes of Funk

Young MC – Bust a Move

Paul Simon – Call Me Al

Rolling Stones – Lets Spend the Night Together

Slow Songs:

The Cars – Greatest Hits - Drive

Billy Idol – Rebel Yell – Eyes Without a Face

CCR – Green River - Night Time is the Right Time

Marvin Gaye – Lets Get It On

Louis Prima – All Night Long

Queen – Night at the Races - Somebody to Love (last dance)

Louis Prima – Chop Suey

Frank Sinatra – I Get a Kick Outta You

Beatles – Red Album – And I Love Her

Lou Reed – Satellite of Love

Filler

Marvin Gaye – That’s the Way Love Is – Cloud Nine

Billy Idol – Rebel Yell

George Michael – Monkey

Madonna – Holiday

Lionel Richie – All Night Long, Running with the Night

Wham! – Careless Whisper

The Vinyl-Spun Wedding / Northern [Vinyl High] Lights

The VVers planned a big event last fall - getting hitched - and had one crazy idea (well maybe not just one, but only one pertinent to this blog).  We had it in our heads to get a pro, old school DJ that would spin our favorite vinyl for the nuptials and reception.  We actually didn't treat it as a crazy idea at all; in fact I think we would have spun ourselves.  There was pretty much no way that we would settle with someone else picking tunes.  We love our friends and family, but do we really trust them to put in song requests for our big night?  Nooooooo.  In fact, we are not the only crazy people in the world that want to play only records at their wedding.  Turns out Mr. Neil Young's daughter also recently had this magnificent idea (after our wedding, of course).

We found a few DJs early in the process that seemed like they could maybe do it, but there was a good deal of hedging of bets on the vinyl end of it.  Luckily we got connected to Aran at Ridiculous Entertainment.  Not only was he completely on board with the concept, he took it as a personal challenge!  Apparently, doing an entire event with just vinyl and minimal digital set-up was just not done anymore.  This did not seem to faze him in the slightest.  Interesting that on top of Aran having nerves (and wheels) of steel, he also is the "Executive Visionary Commando" for the BROS (Baltimore Rock Opera Society) which be, is, and are completely bad-ass.

The VVers set to the task of going through the entire home collection to find their favorite and most dance worthy tunes.  Said collection has a lot of musical variety and we wanted to reflect that in our playlist.  There would be jazz cocktails, reggae dinner, disco desserts, and anything-goes dancing for the remainder of the night.  I gotta say, this was difficult.  It was really the first time we've ever had to see eye to eye on music choices for a big event.  A good example of the difficulty is when one VVer suggested "She Blinded Me with Science" by Thomas Dolby as a great tune to get his brother up on the dance floor, while sneers ensued from the other VVer.  Ultimately this VVer was able to work the argument that seeing the brother-man shake his groove thing would be worth it (it was).  The entire process was a great relationship builder.  We had to try to get in each other's shoes a bit and try not to judge too harsh, all while driving the point on certain essential tracks.  Surprisingly we only had to track down a few additional records for our collection to add to the night.  Clearly the record selection at the Casa de VVer is getting quite sharp.

We sent Aran the working playlist and he came over about a week or so later to talk out the ceremony and iron out details.  There was some consternation about the set-up for the wedding and reception as they were going to be in two different areas of the venue (the incredible American Visionary Art Museum in Baltimore).  Aran suggested going to digital during the ceremony which was kind of a bummer.  Jokingly, this VVer pointed to a portable record player sitting in the corner of our living room which we picked up last summer in a spectacular find at a local estate sale.  This suitcase like object was in practically brand new condition and only set us back ten bones!  He bought into our joking plan to use it for the ceremony vinyl (Flash Gordon wedding theme anyone?) and he was all about it!  Now this VVer wouldn't normally invite a stranger to my wedding, but holy crap we wish you could have been there.  It was sick!  Pretty sure both my parents had a puddle under them and the brother-man's head almost caught fire.  Several of the friends also were in stitches.  The VVers had their vinyl wedding and all the guests exclaimed it was the best music at a wedding in like, ever!  Most important though is that we had an amazing time; especially at the end when Aran threw down Queen's "Somebody to Love."  It's fair to say that EVERYONE with a pulse was up dancing and singing with reckless abandon.  Queen came through and it made an epic end to our wedding celebration!

Off to the honeymoon in Norway which was not likely going to be a vinyl adventure, right?  Who's going to want to haul around a bunch of vinyl all over the Arctic Circle?  Hahahah!  The Vinyl friggin Vagabonds!  That's who mother#&^%@!

Anyways it wasn't that high up on the list of things to do, but we had some truly fun vinyl moments during our trip.  First off, whilst in Tromso (located within the Arctic Circle) we went to Verdensteatret, an amazing, old school bar/lounge in the front section of a refurbished movie theater.  The bar played 100% vinyl and the walls were stacked with plenty of selections.  Conversation with the bar man:

::VVer- Can I pick the next record to play?
::Bar Man- Yes.
::VVer- Which one to play?
::Bar Man- The best one.

Not only that, but when the bar guys were outside on a smoke break and the record ended they gave this VVer the go ahead to hop behind the bar and DJ.  Ha!  Was it mentioned that we were in the Arctic Circle?  Grand.

A later stop on the trip had us on a very brief day and overnight in Trondeheim.  While cruising about in the phenomenal city we happened upon a great urge for a frosty beverage (not uncommon).  We hopped into Cafe Lokka without any preconceived notions.  While relaxing to our libation in the comfy cafe we noticed above the bar several home-produced seven inch records for sale.  After a beverage or two we queried the tender about the music and he was kind enough to spin them for us.  Sale!  Local Trondeheim band, The Daily Hum, provided us with this easy-to-travel with little 45" performing "The Fireman" in two ways.  The very different renditions of the same song called for one side to be played at 45 speed, the other at 33.  Can it please be more confusing?!  Side "Major" proves to be a peppy, ska version of the track, while side "Minor" is a dark, samba-like distorted outlook on the same tune.  A very interesting find that is highly listenable both ways.  The sleeve features sharp, bizarre, melty artwork with brainy lettering and on translucent, red vinyl to boot.  A good find for the VVers.  Norge five!


Final stop in Oslo on the last night of our trek we end up in Nosbled (Nosebleed) Records, basically the most famous record store in all of the Norge.  We didn't know it at the time though, as we just happened to stumble upon it while being half lost in a mad dash to a museum that happened to be closed anyways.  Still, we were there!

Since we returned from our adventures, our new favorite question to ask each other when picking out the next record goes a little something like this (thanks Norge):

VVer 1: "What do you feel like listening to?" [longingly looking at endless spines of records on the shelf]
VVer 2: "The Best One"
VVer1: [Closes eyes and randomly pulls out a record] "Ahh, the best one!"

Puscifer - Conditions of My Parole - 2011

Don't.Judge.Albums.By.Their.Cover.  Well, at least not in this case.  The sound that blares from the speakers when listening to Conditions of My Parole is truly unexpected.  This is one of those records that I was just absolutely imagining would be lame.  Since the early 90's I've been an ardent follower of Puscifer ringleader Maynard James Keenan and his various bands: starting with the muscular metal prog group Tool, then to the more artsy A Perfect Circle, and now with the very hard to describe Puscifer.  Give me a second to explain why then that I would expect this album to be so crummy.  The first Puscifer LP totally underwhelmed me.  Not awful, but certainly not an "album;" more a pastiche of dance and goofery.  Strange singles welded together into an unwieldy mess.  According to Maynard the plan of Puscifer is to release songs a few chunks at a time as they are completed.  Thankfully Conditions of My Parole is quite the opposite from this in every conceivable way.  Said Maynard as to why Conditions came out as such a cohesive album was that the current line-up was "on a roll."

The album art is shockingly blunt, stupid, and brilliant all at once.  The costumed Maynard in a prison orange jump suit with Sharpied on numbers is comically cheap.  Music is beautiful, punishing, and crafted with care and complexity.  Near every song has this level of sonic effort.  Most of the tracks start out either with a simple beat or acoustic singing/guitar and grow more complex as the song builds.  Far from monotonous, it is done in a way that each song has its own clear identity. Lyrically it's a semi-linear blend of story, emotion, and poetic odes.  Maynard's vocals rarely sounded better and supported throughout by Carina Round; a brilliant vocalist in her own right.  Their duets are the peak reason to call this one of the great albums of 2012.

Stand-out track "Green Valley" begins with Maynard and Carina trading sweetly chanted lines over a calm, acoustic strum.  "You're a stranger until she says that you can stay.  You're a stranger until she says you're journey's over."  A beatific ode to a river or perhaps something more?  It patiently crescendos building to multi-layered guitar effects.  Then, something that sounds like a tuned down sledgehammer enters, followed with piston drums accompanied by Carina's angelic "ahhs" echoing around Maynard's vocals.  It's a complex composition that seems effortless.  If you are looking to listen to a Tool album, you've come to the wrong place.  It's fair to mention that listening to this song might have you bursting into a crab dance once that hellish riff kicks in.  I can't back that up in any way with a useful description.  VVers advice is to go see Puscifer in concert to better understand.

Coming to this as a Tool fan could cloud your expectations very easily.  You might be hoping for Tool's particular brand of soul crushing riffage and howling.  Puscifer doesn't go that way, but it's not something to cry over.  This is due to tracks like "Man Overboard," "Telling Ghosts," and several others where the thunder really gets cranked up.  Instead of getting hit with Tool's heavy, sonic wizardry you get sweet chanting, pounding drum rolls, and crunchy chords.  Yes, it has many layers of effects at times, but it always seems very deliberate.  Not just noodling in the studio.  You also are gifted with a fair punctuation of Maynard's signature growl.  Put this together and get a significant evolution from the earlier Puscifer cannon.

Lyrics on "Man Overboard" are foreboding where "turn it up to 11" could be Maynard's goofy side surfacing to reference Spinal Tap in this heavy music.  "Poseidon is on a mission" to destroy us!  The cacophonous noise doesn't kick in until the end of the track where lyrics "brace yourself for 12 ... all hands on deck." Aquatic references in this song could be a continuation of Tool's epic Aenima which has lyrics suggesting that California will (hopefully) get sucked into the ocean following a giant earthquake; thus turning Arizona into "Arizona Bay." Joy.

The musicality of "Horizons" is elegant.  "Dust devils swept you away.  My recollections are all that's left of you."  Little twinkles of beats and studio flourishes hinge onto the end of each section of this unusual little tune.  All of it sits comfortably on gentle piano notes.  Harmonizing between Maynard and Carina is crisply executed so that it can barely be noticed that there are two people singing.  They synch together perfectly adding a lush power to many tunes.

The album ends on a sweet yet melancholy note with the reflections in "Oceans" and "Tumbleweed."  The last song which rounds out the album features a poignant vocal solo by Carina accompanied by a twangy banjo.  Even in these calmer tracks, there are still undertones of something off-kilter and ominous, which I like.

Having been to Jerome, Arizona where the Puscifer folks do their "thing" (wine making, music, satanic rituals?) makes it easier to grasp the foundations of their musical influences.  It seems like this album is just Maynard making music - with his friends who help him make wine - while hanging around an old mining town on the side of a mountain, in the middle of nowhere.  These friends however happen to also be musically deft and turn in a solid effort on this phenomenal album.  I should also mention that the whole clan appears at their live shows, which these VVers were lucky enough to catch at the Lyric in Baltimore last year.  This very theatrical performance features Maynard in pre-recorded skits of his various personalities (one favorite standout of these is his police officer doppleganger who not so kindly warns the crowd to shut off cell phones and holster cameras).  These goofy skits are intertwined throughout a very earnest performance. It starts with Maynard pulling out his retro, chrome trailer by hand with Carina riding within.  He alone physically brings out every piece of stage scenery; a novel approach.  A stage set of an Arizona desert during sundown transitioning to a starry night prompts them to light a campfire. Performing these tracks energizes Maynard to go off on a few soliloquies of the philosophy of what Puscifer music is all about.  All the many unique, theatric elements melded with their propulsive music made for a stunning show.

Word is they are playing Lollapolooza Chile and Brazil, and although Chicago's line-up is not yet released, hopes are high that they might be playing there.  Since these VVers are going to be in Chicago just around the same time... hope, hope!

Puscifer is also set to release their new EP Donkey Punch the Night February 19th ...  seems like the folk in Jerome have been busy wine and music makin'... hell yeah.

Spirit

Spirit - 1968

The psychedelic era has, up until recently, just meant to me early Pink Floyd.  In college I was overexposed to The Wall and Wish You Were Here.  It's good music; but not really indicative of the rich tapestry of the early waves of psychedelia.  At the time I didn't know that.  I thought watching Wizard of Oz while listening to Dark Side of the Moon was "psychedelic."  I guess it is, but I am heartened to know that there is plentiful history that predates.

Spirit had never even been on my radar until one VVer, in the interest of buying random books from local bookstore Politics and Prose, and broadening her musical horizons, brought home "1000 Albums you Need to Hear Before You Die."  While not exactly the definitive authority on musical quality, this tome has provided some interesting direction. In the pages of said paperweight exists a write up of Spirit's 1972 album Twelve Dreams of Dr. Sardonicus.  Why the review piqued my curiosity is hard to say... it just looked strange.

So anyways, Sardonicus is a phenomenal album and it got me to keep an eye for other releases by Spirit.  I have no idea where we came across this copy of Spirit's debut; it's been sitting in our collection for the past few years with nary a play.  We liked it from the outset, but for some reason it sat mostly unspun.  Not sure why.  Perhaps it was the odd sleeve cover?  The collage of the mostly goofy looking members made goofier by their assemblage (it totally reminds me of the Feistadon cover mentioned in our 2012 year in review) and being almost life size staring right at you, is off-putting to say the least.  Get out of here you damn hippies!  Seriously though it's goofy and playful.  The photo of the guys, who all seemingly have their own look, strikes me as very contemporary.

Like Sardonicus, the debut LP is suffused with jazzy tempo shifts and meanderings.  The variety of musical instrumentation shows how much talent is here; organs, sitars, deeply fuzzed out electric guitar, stand-up bass, flutes, horns, and all manner of percussives.  Vocals are often more chants and hummings than full throated rocker moments.  Harmonies evoke a warm sing along in the shed out back kind of prettiness.  It's often a blissed out affair with traces of Zappa weird-osity in the lyrics and matter-of-fact 50's rock and roll.  Much like Zappa it works because that's not the focal point of the music, but just one trick in the many that the members of Spirit have up their sleeves (hippies have huge sleeves).  Songs venture often into acid jazz and even some lengthy moments of piano jazz solos.  It's a dog pile at times, but only atonal once or twice.  Production from 2013 Rock and Roll Hall of Fame inductee, Lou Adler, keeps it all sounding crisp despite all the ad-lib.  Even with a fairly experimental feel, many songs have clear structure and would make quality A-sides.  You will hear traces of The Doors and other California spaced out harmoniousness.  "Fresh Garbage" is a wry poke at wasteful consumerism. Catchy too.

Well look beneath your lid some morning,
See those things you didn't quite consume
The world's a can for
Your fresh garbage.

The final track "Elijah" is a perfect example of all that Spirit has to offer; all instrumental, lots of jazz and percussion.  There's a good deal of playful back and forth for much of the ten minute song and you could easily get lulled into thinking that they were just goofing off in between takes.  Present are several false endings and slight dodges.  I had to question if the guys had any plan at all.  That is until lead axe man Randy California blows the doors off with a wailing high pitched guitar tirade finale.  The tune is really the sum of its parts and a fitting finish to this first slab.

You will definitely here traces of The Doors, Sgt. Pepper era Beatles, CSN, and The Mamas and the Papas in here.  The song "Taurus" has a riff that predates Led Zeppelin's "Stairway to Heaven" by at least two years.  Apparently the Led opened for Spirit on tour in support of this album.  How convenient.

I've gotten a lot of pleasure from reading about Spirit in researching for this write-up.  Although they only managed to record four albums with this set of members, those albums are all incredibly influential and ahead of their time.  I highly recommend you seek one out.  I see them around a bunch and usually for cheap.  Happy hunting.

Best of 2012

Best New Vinyl: Puscifer Conditions of My Parole
Honorable Mention: Jack White Blunderbuss

This was a tough call between two heavyweights:  Jack White vs. Maynard James Keenen (Puscifer; also you may have heard of his other bands: TOOL and A Perfect Circle).

Conditions of My Parole is our album of the year.  Without question.  It gets a lot of table time.  As a complete, cohesive album, it has a good variety of tones, tempo, and lyrical experimentation.  Each and every track is sonically pleasing.  In fact, there will be a full blog post about this one soon.  Only major drawback is the 2 LP format which may indeed provide great sound, but leads to many record flips. Just when it's really getting going you got to get up and flip it.  Thanks for the extra cardio Maynard!

Props to Jack White for keeping his amazing debut solo album Blunderbuss to one single record; for new vinyl that is more of a rarity these days, and the VVers appreciate it.  We even played his rendition of "I'm Shakin'" at our wedding this year.  Quite a hit on the dance floor.

Best Used Vinyl: Fleetwood Mac Vintage Years
Honorable Mentions: Sir Shina Adewale and the Super Stars International Verse 7, King Oliver and His Dixie Syncopators

Weird to be writing about Fleetwood Mac, as they are not really a band that has never done much for me.  Going into a quality record store will learn you something for sure.  We happened upon an interest in the Mac whilst browsing at the small but well stocked El Suprimo! in Baltimore.  The store owner was blaring some sick blues and blew our minds when he told us it was early Fleetwood.  The vinyl itself was not ours to have until a month or so later when we picked it up at Joe's Record Paradise in Silver Spring.  Every tune on this two LP set is from "the vintage years" which means what exactly?  The sleeve has no insight on this kind of important info; just a goofy essay from the music producer about the band first getting together.  Having spoken with people in-the-know, we find that the tunes are all late 60s; or in terms of musicians rotating in and out of this band - the years of Peter Green, John McVie, Mick Fleetwood, and Jeremy Spencer and recorded on the Blue Horizon label.  Apparently these fellows were deeply into Chicago blues and that was the focus of this era of Fleetwood Mac.  Unfortunately, lead man Peter Green got to be a bit mentally unstable and had to depart the band in 1970 which led to the pop dreck and double pop dreck eras.

Best 45/12": The Faint 2012 Tour 12"
Honorable Mentions: Feistodon, Gary Clark Jr. Presents HWUL Raw Cuts Vol. 1, Lenorable The Prince

VV1: What's our best 45 this year?
VV2: Definitely The Faint 12"
VV1: You just got it, how do you know it's that good?

VV2: Well I've listened to it 12 times, one for every inch!

...which is entirely possible because this EP is full of heavy bass, psychedelic guitar flourishes, computer blippity bloops, "bouch bouch bouch," and chanting lyrics that can put you in a trance and find a way to replay itself in your head after just the first listen.  Only tiny drawback is no artwork.  This one looks as raw as possible with only the crudely stamped info on the all white label.  C'mon The Faint!  Hook me up with a glam cover!

Our honorable mention in this category features a mash-up of Feist playing Mastodon and Mastodon covering Feist.  They've done a sharp job of swapping tunes for this little 45er.  An interesting combination of genres along with a eye-popping collage cover.

Best Concert: Puscifer at the Lyric Opera House, Baltimore; Neil Young at the Patriot Center, VA; The Faint at 9:30 Club, D.C.

Three way tie?  Is that a cop out?  Each one was so good in its own way.  Musicians well into their careers, playing with carefree abandon to a sea of appreciative fans.  Good show(s)!

Best Record That's So Good We Bought It Twice:  Fat Boys (click for full review)
Honorable Mention: Queen II (click for full review)

Yes, there are now two copies of Queen II on our shelf.  I bought the duplicate in hopes that it would sound a bit less distorted than the first copy.  While the sounds are quite similar and I may have wasted my money, I have quelled my curiosity.  The record must have been recorded and pressed that way, and it's not that my copy is grungy.  Fingers crossed for a someday fully remastered version!  Not only will it probably sound and look amazing, but it will also fit nicely into next year's "Best Record That's So Good We Bought It Thrice" category.  2013 is the 40th anniversary of the first Queen album release... c'mon guys, do not let the VVers down!

Our clear winner in this category has to be the 2012 re-issue of Record Store Day and while not seeking it out specifically, it was on our mind to buy since our original copy has seen better days.  While at Joe's Record Paradise, I picked up their last copy merely to ogle the utter silliness of it.  As I stood there wavering over buying it (my self-imposed limit to spend on it was $30, and here it was marked for $29.99) in walks a guy who asked the clerk if they still had the copy that he called about earlier in the day.  Both sets of eyes turn to me in tandem.  PANIC - now I definitely should buy it.  IT'S MINE!  I did feel bad for the other customer, but I got my grubby paws on it first.  And that is the story of how the pizza box came to live in our record collection.  Did I mention that it sounds a million times better than our original copy?  Happiness.
the Fat Boys self titled album.  This re-issue is not only beautifully remastered, but is on 180 gram vinyl (who cares how heavy the vinyl is?  what am I trying to do arm reps with it!?!).  It's also a stunning picture disc of a pizza (pepperoni on the A side and crust on the B, mind you), with bonus tracks and a plush book.  This would have sold us; no problem.  Did I mention that it's all packaged up in a pizza box.  Yes, it is quite deluxe and also takes up a deluxe space in our record collection.  This savory little gem came out for Black Friday

Best Record That Was Not Meant to Be: Neil Young Psychedelic Pill
Ok Neil, we love you, but what the heck is with the insanely expensive vinyl?  Your latest (a triple record) is priced at $75 and even priced at a whopping $80 at the concert.  Now I get that this is a heavy record and that you don't skimp on the sound quality, but this is plainly prohibitive to vinyl junkies who happen to not be wealthy.  Please Mr. Young: stop being mean to us.  I take no pride in having a ripped version of this.

Best Gift Vinyl: A Place to Bury Strangers Exploding Head
Honorable Mentions:  Nirvana Nevermind, Orion Rockabilly

Exploding Head wins this one thanks to my brother picking this up for a random holiday present.  It's totally loud and distorted, but all done with a driving musicality.  Pressed on clear vinyl, which obviously matters, it's the kind of record that is so interesting that we'll need some more time to soak it in before the full review comes.

Rockabilly gets an honorable mention only because we would probably never have the cojones to buy it ourselves.  It showed up as a wedding gift which is pretty stellar.  People must know us or something to be buying us vinyl for our wedding! Did I mention the golden translucent yellow vinyl? Ha.

How about Nevermind for crying out loud!?!  Great record that really sums up my musical leanings for most of the last two decades.  The pressing is on blue vinyl and sounds sharp as ever.

Most Painful Gift Vinyl aka "The Levitated Stylus Award": Isaac Hayes And Once Again,
Honorable Mention: Orion Reborn

To accompany the best vinyl gift of the year, my brother also purchased me Isaac Hayes And Once Again because he "liked the cover."  Haven't we learned anything about buying records just because you like the cover?  This also suffers from the extremely dangerous "Naked Man on the Cover" syndrome.  Is there anything to say about this album?  "TURN IT OFF NOW!!!"

Orion Reborn wins the consolation prize.  It's bad in a way that just defies so much.  Funny that this showed up along with one of our better vinyl gifts, Orion's Rockabilly (thanks Dustin!).  Unlike that fun and light hearted album, Reborn sounds like "Schmaltzy Elvis Shit" - you know that 70's barf inducing type.  I've got nothing to say about the party masks and the shiny jumpsuits.  It was the 70's; I'm willing to forgive.  Pressed on golden translucent vinyl; like putting make-up on a pig.  It does help somewhat to listen to it at 45 speed.  Not enough to salvage anything.  Do not lower that stylus!

The Case of the Soundgarden Vinyl

Some wisdom from a newbie---
Written by Jeremy R. NYC 2012


Four albums and seven songs ago, the Vinyl Vagabonds schooled me in the joys of spinning the black circle.
Listening to their vinyl records, I heard beats, rhythms, and melodies I never knew existed in my favorite songs.  Songs I thought I knew so well!
I became a changed man that weekend. CDs were dead to me. The era of Vinyl had begun.

I bought a turntable, two speakers, a receiver, and some plugs.
Now all I coveted were some of my favorite albums on wax.
After an internet search of record stores in the area, I found a half dozen were a subway ride away.
Great!
I got my wallet and my want list, and set out the front door.
Tally-go!

After searching a few stores I discovered most of the LPs I craved were either out-of-print or hardly pressed at all.  Lame-o.
I couldn't find anything from my list. I searched high. I searched low.
My hopes dashed, I prepared to shuffle home empty handed when...
Eureka!
I found the mighty Soundgarden's studio album Badmotorfinger still in the plastic!
Wow, one of my favorite records from 1991. Too good to be true!
Without a moments hesitation I plunked down my cash for the LP and eagerly headed to home base.

The good stuff

I returned back to my place still excited by my find, when something caught my eye...
The album jacket appeared new; right out of the printing plant. It didn't look over 20 years old.  Not only that but the art seemed a hair fuzzy, not 100% clear to the naked eye.
There was a sticker on the cover that said "Made In Holland".
Something was definitely fishy....
Then it struck me-
Was I possibly holding a bootleg, an unofficial pressing of the record?  I'd had some experience with bootlegs in the past, many of which were from Italy.  Those boots were entirely concerts and unreleased material that the record labels were sitting on.  This was one of my favorite albums, available in any record shop!  Why would it be bootlegged?

I removed the plastic, and pulled it out of its paper sleeve so I could further inspect my purchase.
Hmmm....
The album felt heavy (a good sign because I heard that the cheap stuff is usually pressed on thin vinyl).
I checked out the center label stickers.
It had the "A & M Records" logo, printing information, and the sticker looked sharp and official.
Was I just being a doubter? I began to change my mind; this could be the real deal after all! 
One way to know for sure; lay down that crooked arm, and drop a needle on it...
AND....
I'm happy to say the vinyl sounded AMAZING!  Every Cornell yelp, Thayil crunch, Shepherd baseline, and Cameron crash right where it should be.  Soundgarden-ing richer than ever!
Why the fuzzy art?  My guess is, the album jacket looks unclear because it was tough for the manufacturing plant to get the original artwork.  They just computer scanned an old jacket, and reprinted it.  It's not perfect, but it's a minor gripe.  The vinyl itself is likely a master tapes pressing, recently done in Europe.  A legal reissue with pristine sound.

As far as I'm concerned, it's the real deal.  Case closed.

This Blows

As the Vinyl Vagabonds most written about tune-smith, hip-hop pioneer Kurtis Blow holds a special place in our record loving hearts.  One thing we have repeatedly mentioned in past write-ups is his lame B-side shenanigans.  They are so off-putting and shockingly bad as to rapidly ruin the groovy vibe that Mr. Blow leads off with.  The frequency of this has led to a near universal fear of all his B-sides.  What follows here is a list of KB's absolute worst tracks, in chronological order.  Other than number eleven, do not let this list deter you from purchasing his albums.  I have no regrets for owning and enjoying them.  Even some of the B-side stuff!  It's just nice to know when to pick up the needle.  

Let the song names speak for themselves and judge away. Should you feel so masochistic that you want to intentionally listen to these tracks you might consider using one as a form of punishment for your housemate who may have her hands full at the time and cannot run to shut off the tune.  It is a highly effective form of torture. HAAHHAHAHHAHHAHA (cackle cackle cackle)!!!  Think of this as a PSA. I've taken the risks here so you don't have to.

Kurtis Blow (self titled)
1. All I Want in this World (is to find that girl) - This song is wrong in every single conceivable way.  Made more disturbing by the fact that the rest of this prescient record is just about perfect. On this particular cluster KB croons in a cheesed out falsetto that all he wants to do is "find that girl".  He then goes on to describe said girl.  A rich one, a poor one, a sly one, etc.  That girl?  Which girl?  He's just named completely opposite traits and oh my god it hurts!  It is mind blowing that somebody didn't grab the man during recording and slap him hard.  Nothing can prepare you for this. 
As a first taste of how bad KB can be it is the most shockingly painful thing ever to hear.

2. Takin' Care of Business - This tune (not in tune actually) is the exception to the last sentence I wrote.  While not quite as painful as the previous track (a fact; nothing is more punishing), it is indeed challenging to get through without going into seizures.  KB seems intent on doing a rock n' roll thing, and approaches it with brio.  Unfortunately he just botches it completely due to his utter lack of strong musical accompaniment, singing voice, and judgment.  I'll say that at least it's an interesting premonition to what Run DMC was able to accomplish with Aerosmith on Walk This Way.  Interesting and awful.

Deuce
3. Starlife - This one just seems lazy.  It's weak and boring.  Campy and limp.  Disco without the fun and rap swagger without any direction.  It goes nowhere.

4. Rockin' - Another case of Mr. Blow trying to rock out and not having the musical chops to pull it off.  He's amply armed with the charisma and I'll give it to him that he seems determined to make it work.  Sonically it's his least offensive mishap, but that's being nice.  

Tough
5. Daydreaming - The VVers were "lucky" enough to get a copy of this one with both sides labeled side B.  F*@#!%*#!  Even if you want to dodge the B-side, you may get it anyways.  "Getting close to you, you're such a sweet sensation...Daydreamin' takes me where I want to be, Daydreamin' lets me have you here with me".  Ok, so he's going there with the balladry and it is what it is.  If you can get with that then it is kind of tolerable at first, with a solid bass beat and drumline.  The instrumentation is Xanadu synths and shimmering crap.  He manages to keep his voice from going sour for most of the way.  It's when he goes for the jugular in his finale of "Day day day day day skidela de da day, oh why why why oh why oooh why why..." scatting with reckless abandon.  It go on like this fer a while I tink, but it hard say 'cause my brian jus been purm damage by listen 2 dis track 'gain. Guh. Me am purty.

6. Baby, You've Got to Go - Another rocker; probably his best.  That isn't saying much.  It's actually more of a blues track and he's managed to get some competent musicianship with him on it.  I would imagine with the aid of a lot of booze or maybe after being hit over the head with something heavy this track might be a great finish to an album.  KB's the problem here.  He just sings like a goofball.  It's a good laugh; he just cannot pull it off as a real song.

Ego Trip

KB looks so happy Falling Back in Love Again.

7. Basketball - It's catchy for sure with a compulsively listenable chorus sung by lady backups.  Unfortunately the main lyrics are about as pedestrian as possible.  Let's try to remember for a second that this is from the guy who wrote The Breaks; arguably the best mainstream early hip-hop hit with serious lyrics.  "Basketball is my favorite sport, I like the way they dribble up and down the court, Just like I'm the King on the microphone, so is Dr. J and Moses Malone, I like slam dunks, take me to the hoop, My favorite play is the alley oop, I like the pick-and-roll, I like the give-and-go, Cause it's Basketball, uh, Mister Kurtis Blow".  Case closed.

8. Falling Back in Love Again - Like being stabbed in the eye with something pointy for three days straight.  Oh yeah, and it hurts your ears and soul also.  You will go sterile if you listen to this.  The track that convinced me that KB had been experimenting with some very bad drugs.  Avoid at all costs!

America

Back side of the sleeve - a good indicator of a what's to
hear on the B-side.

9. Super Sperm/Hello Baby/AJ Meets Davy DMX/Summertime Groove - These mostly instrumental tracks on America are just KB and his DJs goofing off.  The tracks aren't necessarily "bad", but they certainly do not warrant anything other than cutting room experiment status.  Semi-interesting sounds/lyrics with nothing to say in particular.  Gratuitous and pointless; they take up half the album. It's just filler.

10. Don't Cha Feel Like Making Love - The track hasn't even started playing yet and I'm already nervous.  There is no way this is gonna not hurt.  I imagine worst case scenarios and try to remember if I've written my last will and testament yet.  How many people are going to actually read this anyways?  Why am I taking these risks!?!  I have so much to live for!  Ok... calm down; it might not be as bad as I remember.  Hey, it just started... not bad!  Wow!  Total retraction.  Mr. Blow, I am sorry.  This one is awesome!  My bad.  Oh no.  Wait, he's starting to talk sexy and cooing and stuff.  I think I even heard some moaning.  Oh it's a train wreck and I'm right in the middle of the fade out, HELP!!!

Kingdom Blow

Something is not right here.

11. The entirety of the album Kingdom Blow with the exception of I'm Chillin' and the title track (both are pretty dumb, but generally fun enough).  This is where KB pretty much went off the rails.  Strange as it seems, this record features the most guest star heavy hitters, Bob Dylan and George Clinton.  Well it's basically a shit sandwich anyways and we wrote a review of the record because we were so deeply disappointed.  Why Kurtis?  Or to quote him better, "oh why why why oh why oooh why why...?" 

Back By Popular Demand
12. OK, so the VVers never actually listened to anything off of Back By Popular Demand.  We looked at it at a record store recently with the thought to complete our collection.  I personally am so scarred from Kingdom Blow that I immediately refused.  We may never know.  This could be his greatest blow yet.  

Uber-Vagabond

Enter Our Hero:
One of the VVers comes home saying "Guess what?!" and then brings in a box full of records when there are already piles of unlistened to records from a recent record fair stacking up.  The other VVer just sits there in disbelief.  The other VVer, being slightly upset that there are MORE records in the house, assumes that the hero has gone dumpster diving.  Sadly these records were ignored until the true vagabond VVer that scored them starts pulling out some of what's in the crammed box.  First out, some Allman Brothers At Fillmore East, Pink Floyd Wish You Were Here, Stevie Wonder Songs in the Key of Life . . . then some George Clinton, Chuck Brown, Kurtis Blow single AJ Scratch/8 Million Stories!  DING DING DING!!!  This is some serious box.  Not just s scrappy junk pile!  Someone went through and discarded all their old, dusty albums.  Emphasis on ALL.  Digging deeper, we find lots of reggae, funk, and a bunch of international artists that we have never heard of before.  Other than a few tattered sleeves and a healthy portion of dust, we find the vinyl all in impeccable shape.  The former owner definitely took very good care of this collection and probably did not own a cat.  You can tell that these albums were well listened to and carefully selected to remain in said collection.  Why the big dump off then?  Well it's apparent that many vinyl folks of yesteryear have either buried their record players or been buried themselves. 

The Flashback:
The pile in question was sitting all on its lonesome on a mid-afternoon weekend.  While driving I saw a bunch of signs for estate sales in the area, but had to pass them up to go to work (boo-hoo).  By sheer luck I was driving a work van down a side street transporting some folks home at the end of our activity.  I spied a box of vinyl out of the corner of my eye and wrenched the steering wheel to the curb.  I shouted out "It'll just be a second, this is important!"  I started flipping through the stack and found each title seeming more interesting than the last.  When I hit upon Magical Mystery Tour I stopped.  This is a record that I already owned but my copy is in lousy shape.  I had to grab it.  The rest came along just in case.

Happy Endings:
Thank goodness for just in case!  We have since made our way through this box of records with most remaining in our collection.  There might need to be a new "International" section cornered out from our usual alphabetical categorization.  A contestant for our newly established International genre is Cuban congo drummer Mongo Santamaria's Afro Roots.  Probably will be writing about that one someday.

The major stand out from the vagabond take is a record by Sir Shina Adewale and the Super Stars International, titled Verse 7.  Circa 1979, this record hails from Nigeria.  Not a whole lot of information out on the web about this; virtually nothing in fact.  World music is not a subject I am very familiar with other than some Paul Simon and bits of David Byrne.  The genre in question here is dubbed "Juju," not the witchcraft type, but in fact, a strain of drum based music focused around the Iya Ilu or "talking drum."  According to my brief wiki search "Sir Shina" is actually afro-juju's most popular artist, Shina Peters.  So popular in fact, that when this strain of music was in its heyday it was dubbed "Shinamania."  That said, the tunes are easy to get into and the musicians are top notch.  There are plenty of drum break downs and quirky metallic percussion elements.  Moments are extremely calypso and others strike more towards Hawaiian.  Up pitched, guitar picking helps with the rhythms and lays a nice ground for the vocals.  The singers are often grouping and layering back and forth over each other.  It's extremely pleasing to the ears and highly danceable.  The VVers broke into spontaneous dancing the first two times this one spun.  No doubt, a keeper. 

Cat Scratch Fever

Our copy of Run DMC Raising Hell purchased at the legit Arbutus Record Show looks like a cat either competed in a dance off on this LP, and/or was tasked with ferrying it to the player in its mouth, repeatedly.

The Fat Boys self titled debut album we own also has its share of skips and fuzz, particularly on Side A.  A very obvious food stain on the label as well (irony?).  Purchased for fifteen cents I feel we got the better end of the deal.  Thankfully the major damage is the album sleeve.  It looks like a frenzied cat chased a mouse on the it and missed its target, instead clawing out a corner chunk of the cover art.

Perhaps cats are getting confused with the real record player in the house and this awesome and equally confounding item... why are we teaching cats to do this!?!

The Mynabirds - Generals - 2012

This record came into my hands in true vagabond style - I won it - by way of Saddle Creek Records and local blog The Vinyl District, who do regular contests and give-aways.  Naming Queen II as my favorite "concept album" probably sealed the victory... or not, but nevertheless, this record is a welcome addition to the vinyl collection.

I first heard of The Mynabirds from following the lead singer, Laura Burhenn's, career evolving from local DC band Georgie James to the current band hailing from Omaha.  I got to check out The Mynabirds on a recent tour, when they played a stellar set at the Black Cat.  Heading into the concert I had no idea what to expect, as I hadn't heard any of the new album yet.  Thankfully, the entire band has such a well defined power to their music, that it made for a great concert.  Every song came through with a rare clarity -- the guitarist also doubling as the back-up vocalist, could have easily carried the band herself, as well as the drummer keeping the pulse of the music.  The interactive ditty "Generals" that counted on the crowd at the show carries through to the recorded version as well.  While not in the tune of DC go-go, it does pull from go-go's roots: rhythmic drum beats and call-and-response lyrics -- "to all my sisters-yeah-whatchu want? -- to all my brothers-yeah-whatchu got -- you want to fix it, or fuck it up?" This call-to-action vibe reverberates on most of the tracks on this album.  It is less of a call-to-arms, and more of a make-a-change-with-what-you-are-dealt undertone.  This is especially heard in the distorted pop-ish chants in "Radiator Sister."  Also of note is the stomp-clap beats and tempo change that create "Wolf Mother."  Despite the melodramatic lull of the ballad track "Mightier than the Sword," Generals is full of high energy songs that compile a cohesive album to be listened to in full, which, I find, is pretty rare to find these days.  Lyrically, Burhenn is looking for leaders to fight against all the wrong doing of our modern and maddening power structure.  Saying that we can do better in our corporate structure: quite appropriate for an election year.  With this artistic statement, she is being one of those leaders in a formidable fashion.

Oh, and did I mention that it's refreshing to hear such a good female vocalist from time to time?  Burhenn's voice is a rich, soulful punch.  Her full throated style is captivating regardless of the tempo of the tune.  She stands out as a woman in control of the swirling power of her sound.  It's a sonic statement and she rides the tidal wave of sound; leading the charge headlong.

Fast vs. Slow

Gary Clark Jr. put out a spectacular 12" this year that the VVers picked up at The Sound Garden in Syracuse. Maybe you've heard of Mr. Clark? He's been playing the circuit of summer festivals and played at the White House recently with BB King, Mick Jagger, Buddy Guy, and other blues rock legends. Well this guy is basically crushing it and comes from out of nowhere. He's been given the crown before raiding the castle. So we pick this up not really knowing what we're getting into at all. Drop the needle and it's like being transported to the first era of Black Sabbath. Pure thunder sludge (you get what I'm saying here, right?  No?  Oh... ). He. is. ever. so. patiently. crushing. it.  Right around the time when you can imagine sparking up the crack pipe things go a little funny. You see, this guy is all stoned out, distortion riffs and we have no real concept of what his voice sounds like. At first, the glances exchanged across the room were to the tune of, "is this guy doing a Barry White impersonation?" Pretty shortly into the vocals we recognize we've had it at the wrong speed for the first third of the song. Damn, but it sounded great like that! Not that he doesn't sound good normally, but it's hard to go there since we've gone there.  I still pretty much play it at the slow speed every time up till the vocals start.  As impressive as Mr. Clark is at "real" speed the crushing it just doesn't last as long.

Oddly enough, the opposite scenario recently played out where Beastie Boys 12" 3 MCs and 1 DJ was removed from the turntable and en queue was Duke Ellington's Daybreak Express, which has been on pretty good rotation for the past few years at the VVers house.  However, during this listen, there was a renewed "wow" factor in the sound, and I'm pretty sure there was some serious hipshakin' going on (most likely while cooking dinner).  Again, no vocals until a few tracks in, and POW... chipmunks.  Female vocals are NOT supposed to sound like that.  Having realized that I never changed the speed from the previously played 12", things started making sense.  I was so impressed by the jazz sounds flying from the speakers - they were on super speed and so were we.

Does it matter that the wrong speed is sometimes the right one?  Possibly, but it's all in good fun.  It's not like these records have a guide on them anywhere as to what speed you are supposed to use.  As the listener, you get to decide. This discovery was a happy accident; this ain't happenin on other music formats!

Vinyl Goes Atomic

Get your grubby paws on it right now!!!  The hand printed, limited run zines of Vinyl Vagabonds #1, 2, and 3 are now available for purchase!!!  In an actual store!!!! Each issue includes many of your favorite blogs from the site, plus heaps of additional art, a hand printed cover, and even a sticker!!!!!!  I just fainted.

Pick 'em up at Atomic Books in Baltimore's Hampden neighborhood.  Not only is Atomic one of the more interesting and well run comic stores I have ever been to, but it also happens to feature its very own record store.  That's right, a record store inside a comic store.  Celebrated Summer Records features primarily punk, hardcore, and indie rock vinyl.  No ebay; just a fun mini store with a chill owner.  All wedged into the back of a comic store!!!  I just fainted again.

This Forest and the Sea

Scott Key - This Forest and The Sea 1976


Picked up this obscure guitar record for fifty cents at the Montgomery County Thrift Shop.  I was initially drawn to the black and white cover art.  The lone nerdish looking hippie sitting with his guitar in a remote western landscape has a silverish tint to it.  The feel of the print is like something from the turn of the century and would still seem that way if not for Mr. Key's 70's jeans, thick modish glasses, and hang glider collared shirt.  Back cover is also in black and white; a white line drawing (or maybe it's a woodcut?) of a Japanese looking pine tree on the edge of a hillside.  This was all eye catching, but what really sold me (and at fifty cents it usually doesn't take much) was the odd poem/story at the end of the track listing.

Elroy snuck into the zoo one night and abducted a baby

antelope from its cell.  Whereupon, he proceeded to strangle

it to death and stalk away into the darkness dragging the

carcass behind him.  A few days later, the police came to

Elroy's apartment and soon discovered the deceased critter

cut up into bite-size pieces and stuffed inside a few lidless

jars in his cupboard.

Menacing enough for you?  Mind you, the poem seems not to be related to any specific track. When the needle gets to work I hear much of the same menace lurking through the spare minor chords.  Just the loner and his guitar.  He doesn't strike me as evil, more so intensely purposeful and introspective.  Tuned down with cycling chord progressions, most tracks take on the feeling of an Indian mantra or some sort of spiritual ceremony.  There are slow blurry string bends, playful chuckling strums, bottleneck slides, and plenty of tempo shifts.  "Goon Lagoon" has all of these jammed into under three minutes.  It's a standout track on an album full of bold and compulsively energetic tales.  I can't quite put my finger on how to classify the sound here.  It has moments that remind me of early Pink Floyd and others that remind me of the soundtrack to a trippy western.  He tends to keep it acoustic but when he plugs in it is seamless.  Parts of tracks have a sound like proto-alternative circa 1989.  Dark and looming moments in "Buzzard Blues" have a slacker charm that can be just a little spooky.

Key sings on just three tracks on the record.  His voice is somewhat atonal and the tunes suit a certain dark mood. Lyrics seem to be ruminations about alienation from the ways of the modern world of football players and politicians.  "It's a stone's throw away, today.  And it may just be your last."  Doom with a hint of optimism that better days must be a ahead.  Sounds like the 70's to me.

I've only found just a couple of mentions of this record on the internets.  A few bidding sites describe it as "Psychaedelic Folk" and I've seen one listing of a proposed rerelease.  I've asked the local record store guys as well as a gentleman who helps organize the massive collection of a local thrift store and nobody has ever heard of Mr. Key.  It seems that most of the world outside of Colorado never noticed the man, but those lucky enough to get a listen seem to be quite smitten.  I'd put myself in the category.  It's spare and perfect for contemplative days.


P.S. in the liner notes "Guitars recorded in Rush's sauna and elsewhere".

The Case for Vinyl

I find myself riding on the Metro on the way home from work listening to music on my iPhone. Playing is Streetsweeper Social Club, "Shock You Again" (full disclosure: not a great song) and thinking that maybe this is Tom Morello singing/shouting instead of normal lyricist Boots Riley on this duo's album. The voice on this track seems lower pitched and not rhythmic like Boots. Problem is, I have no way of knowing because there are no liner notes with digital music (or at least they remain on your computer not on mobile devices). Really, the point is that no one looks at digital liner notes. I immediately wish I had this album on vinyl so I could go home and look at the credits. And no, sadly, Wikipedia cannot tell you everything you want to know.

Would I have known that Peter Tosh's Bush Doctor was released on the Rolling Stones' Sticky Fingers label without looking at the record's liner notes? Possibly, but I bet I wouldn't have known that Mick Jagger provides vocal accompaniment on "(You Gotta Walk) Don't Look Back" and that fellow Stone Keith Richards appears on guitar on several key tracks. Moreover, would these VVers have known that Cat Mother's The Street Giveth and the Street Taketh Away was produced by Jimi Hendrix? I'm pretty sure that is the reason we bought that album in the first place, it seems a little risky to just buy a random Cat Mother album without knowing anything about it. A record sleeve with liner notes is the tree of knowledge for music enthusiasts and the curious listener. It is also a source of entertainment - as previously reviewed, Men at Work credits one of the band members, "Russell Deppeler, on the telephone and calculator" on their liner notes for the album Business as Usual.

Do you think some of today's newer artists even have anything to write on the sleeve of an album? Do people even play music on instruments anymore? "Instrument and musician credits to my computer, who I've named Steve." At the risk of being too harsh, who wants to even read that? Unless you are programming your own music it's mostly a waste.

Album artwork is an often superior feature on vinyl than any other format. Why even bother having anything cool on your cover when people are only going to view it on a tiny little i-device shrunken down to 1/16th or less the size of the real deal? You see it once and then move on because it looks like a shiny matchbook. A great example of something that just does not translate to other formats, the Devo album Oh No! It's Devo has a cardboard die cut fold out so you can prop the album art up on a table like a picture frame! Classy. Let's face it. Musicians are often trying to create art, in sound, but often visually too. Many of these musicians play music in person and the visual element just shouldn't disappear because an mp3 is cheap. Having a large image to enjoy is simply fantastic part of the vinyl experience.

Lastly, no one cares how many megabytes of mp3s you have downloaded on your computer. But a record collection! ... now that comes with bragging rights. No one can even tell what type of music you like via digital - unless you set up some sort of share network, but that often comes with having to share that music list with the entire world. I have friends that I know zero about when it comes to musical tastes, and if it weren't for concerts, I would still be in the dark. I love visiting friends and checking out what's on the shelf, not sitting at their console and clicking through the flat colorless playlist. Record sleeves spark music conversations, just like the tangible nature of books.

To be fair, here's a problem with records once they get too old...

Ravel's Bolero almost bought from an estate sale until the bottom half of it crumbled in my hands while pulling it out of its old packaging. Sadness.

All these reasons to appreciate vinyl and not even a mention of the sound of the actual music ... let's leave that for another discussion.