New Clear Days

New Clear Days - The Vapors - 1980

This is the first and last album I sought out at the old location of Joe's Record Paradise in Rockville. Joe's has since moved to the heart of downtown Silver Spring and the new location is absolutely jammed with goodies (read about the VVer's hometown paradise here). It certainly takes the cake as the most complete record store in town, but to be frank, there aren't that many record stores left in DC anyways.

The Vapors lead off with the impossibly catchy single "Turning Japanese", which will likely give you a nose bleed if played too frequently. The single is slightly cheesy, and has some dinky instrumentation. Put simply, it's dumb, pop fun. The remainder of the album on the other hand is mostly solid, fast paced, and easily tops the lead song. Strong influences from The Jam, The Stooges, The Clash, 60's pop, and a little ska can be heard as well (how dare I make comparisons to such stellar bands as these?). Each side has a great closing track: "Letters from Hiro" and "Bunkers" respectively. These are both downbeat pop rockers that have plenty of thumping rhythm, but none of the same peppy mood as "Japanese." These guys frankly seem depressed at the state of world (hey, it was 1980, things were looking pretty bleak. I mean, the hair styles alone made it seem like the world was going to end at any moment). "I've got no idea where we go from here, maybe that's why we're living in bunkers". The only dud on here is "Waiting for the Weekend" which is catchy, but not in a way that makes you want the weekend.

Every song on this disc has its charms. "Somehow" is an odd apology to a lover song. "Don't leave me now, I'll make it up to you somehow." It's tight and effective. Several side-B tracks have a Ramones style chug-a-lug, made even more complete with sing a long set to a drum track. The Vapors never really bring out the big guns though. They never wail or squeal vocally or on guitar. The heaviest thing they have going for them is lyrics and the aforementioned rhythm section. Pop all the way.

Album art work is strong here. The cover depicting a news weather man pointing at a blue screened weather map of the UK. Several of the typical storm clouds and suns have been replaced by a mushroom cloud and a nuclear fallout symbol. Pretty dark stuff. It perfectly matches the gallows humor and punkish pop of this 80's LP. Less effective is the back cover where you get to see the band members end of the world hair styles. AAAAGGGGGGHHHHH!!!

Old Stand Bys

Records that get frequent play time and are dependable for a good listen at a moment's notice.  Here is just a handful that we could write a whole lot about, but wouldn't it be a lot better if you just listened to them?

T. Rex - The Slider

The Doors - self titled
Run D.M.C. - self titled
Guns N' Roses - Appetite for Destruction
Talking Heads - Speaking in Tongues
Black Sabbath - Paranoid
Duke Ellington - Daybreak Express
CCR - Willy and the Poor Boys

Find these records.  You will be happy.  Then you can write a review, because we're too lazy.

"Play The Clash! [blup blup blup]"

Call us crazy, but our little fish tank dwellers tell us when they like albums we play.

The small six gallon tank is right next to the turntable so they have a bird's eye view (fish eye view?) of all the action. Certain records clearly insight a playful curiosity and fanciful swimming. The main residents of the aquarium are guppies. Their phonic tastes are a bit hard to decipher though. They are almost always in a state of bopping around with their fluffy colorful tails... but if I were to guess, they mostly like early hip hop (read Kurtis Blow, Fat Boys, Run DMC). Water carries sound waves incredibly well so with enough bass the little guppers are bouncing up and down as if they were at a night club.

The king of the tank however, is an algae eater, named Giuseppe, who lives in a castle. Being vastly larger than the guppies, he has a more refined and developed taste in music. He speaks Italian, enjoys playing chess in his castle, and absolutely digs The Clash. His favorite Clash album from the collection is definitely Combat Rock. He actually requested we buy it for him! Weird right? Play this one and he comes out of his castle and cleans the entire tank, has a starring contest with the nearest VVer, or relentlessly chases the guppies around. He's a good fish. I'm pretty sure he was excited when we walked in a few weeks ago with a copy of The Ramones - Leave Home. GIUSEPPE IS A PUNK ROCKER NOW!

P.S. - We have a little white foofy dog next door that cries for hours when his parents leave him home alone. Guess what happens on our side of the wall? VERY LOUD Black Sabbath. In fact, we hope the little foofer likes any type of VERY LOUD music. We always make sure to really crank it when he's at home by himself. One would think that the pooch would learn by now that his parents will return; they always do. My theory is that the dog now secretly likes to howl to the sound of blaring Sabbath early on a Saturday morning. This is why he keeps up his whining as a prompt to "PLAY MASTER OF REALITY!(AROOO-ROOO)". Smart dog, at least I like to think so.

Party Time?

Party Time? EP - Kurtis Blow - 1983


This is the current go-to Blow album in the VVers ever expanding collection. Several factors have led to this:


Let's put the obvious out there: The album title is amazing and is often put into this context:  "What record should we listen to? Party Time?  What time is it? Party Time?  Should we get another round?  Party Time?"  You get the idea.


Party Time? taken as a whole is the only Kurtis Blow album to date that is great from start to finish. Granated it's only an EP, but maybe that's the format that suits him best.  No cringe inducing tracks on side two (see prior reviews here and here), which makes flipping the record repeatedly a pleasure instead of a terror.

Opening track, "Party Time?" is way ahead of its time as a fusion of musical genres, hip-hop and go-go (It's a DC thing. Don't know about it? Keep reading). It has a bouncing tempo that instantly gets you moving. Lyrics are a straight up thank you to the good that having great tunes around can do, especially when times are tough. Conveniently enough, at just over eight minutes long it is the perfect length for a morning abs workout. Nice! The track also features wailing horns that will rapidly transport you to the opening credits theme music of Saturday Night Live. The fact that Beastie Boys lift one of their more well known samples from this track (see, Hey Ladies) gives this disco synth sing-a-long track some major additional cred. Not that it needs it. It is a dance floor classic in this apartment.

Blow collaborates with early champions of DC based musical cornucopia known as go-go, EU (Experience Unlimited) for the majority of tracks on this platter. The go-go sound is a hypersmorgasbord of rhythm, funk, call and response shout outs, conga drums, and general R & B mayhem. For the uninitiated it can be a tad overwhelming, but in the case of this EP, Blow manages to get the manic vibes to compliment his old school style. "Party Time?" is the purist example of this but, "Gotta Dance" is a potent funk and synth jam that will have you moving fast as well. Blow pulls out all the verbal tricks and the slinky synth hook matches well with the gut punch bass lines.

All dancing and good tunes aside, Blow makes a concerted effort to point out that things are tough out there for the average American. The album cover art is a straight look into the audience eye with Kurtis standing in front of a line of folks waiting to pick up unemployment checks; perhaps it is not yet party time. Maybe that's a simplistic touch but I think it would have been mighty easy for the fun loving rap star to focus on the bling and disco sheen that was still common in his time. Instead he shines a light on inequities around. "Nervous" talks a lot about how the world is a constantly litany of dangers for folks. He rails about politicians, the legal system and "missiles every place," but in a way that isn't mean or nasty. He's a story teller at heart. Closing jam "One-Two-Five" is a classy funk shout out to the main drag in Harlem. Lyrically he manages to name drop Fidel Castro, The Count, The Duke, and Doctor J amongst many others. It's an impressive ode to his home and a great send off for the EP.

The Telephantasm

The Telephantasm - Soundgarden 2010 (recorded in 1987)

Record Store Day 2010 this VVer was busy doing something important or some such (probably working) and so the other VVer was very nice and went to the neighborhood CD/Game Exchange to pick up this oddball 7", limited press of only 4,000 worldwide. So of course I'm feeling great about all of this.

Listening to The Telephantasm is another story entirely. It is not really a proper song, but an instrumental. As a single I've got to wonder, umm, do they know what a single is? Telephantasm is a giant riff (with some moaning from Chris Cornell) track by axe master Kim Thayil. Thayil has always been reliable for laying down the heaviest of guitar riffs; notable for their stellar sludge hammering. Sludge hammering? Wha? Anyways, I think the guy is basically a guitar demon. Listening to Telephantasm we get that riff. THE UBER RIFF! And it keeps coming over and over. Pretty much non-stop. The track has a sort of mantra chant of the guitar monk thing going on. Here comes the pulsing giant riff in overdrive! It has been a real journey to wrap my head around this track. I've listened to it many times over (not all at once mind you - doing so would likely cause some sort of convulsive drooling fit.). Telephantasm has been a furiously confounding listen. At just under three minutes it is over and done with almost too quickly. Pounding riff, devastating drums, weird moaning and atmospherics. It is an odd thing indeed. Loudness and a few cocktails help exponentially.

I haven't been able to track down anything close to a review of this track. Just a tiny snippet about the production. Apparently whilst preparing to put out a comprehensive best of collection (also named after this, the oddest of odd tracks; another strange decision) they found this outtake from their very first record; the amazing Screaming Life. With a little studio hodge podgery, mixer Adam Kaspar was able to polish it enough to put out into the world. But why as a single? Isn't that what Black Rain was supposed to be? Most peculiar thing about the Telephantasm single is sandwiching it with an unreleased live version of GUN; a song from two albums later; the spectacular Louder than Love. Why put these two together? How about a version of Heretic or Nothing to Say, you know, at least something from the same time period as Screaming Life?

It seems there is little to be gained and I would say a lot to be lost with a goofy ass single like this. It kind of turned me off for a while. Is this a joke? Who was high that day? Who sobered up? Ultimately it makes me really question what kind of reunion album the guys in Soundgarden are working on. Telephantasm, while interesting in its peculiarness, does not bode well for the future.

2011- A Year in Vinyl Music

Best New Vinyl: Beastie Boys - Hot Sauce Committee Part Two

For sheer kitchen sink bravado this record is the clear winner of the year. Strong in every category, plus great packaging and cool freebies. The only bad thing was having to wait to get our greasy mitts on it. Full review here.

Honorable Mentions:

Crocodiles - Summer of Hate

Dum Dum Girls - Only in Dreams

Tom Morello the Nightwatchman - World Wide Rebel Songs

Best Used Vinyl: Big Brother and the Holding Company - Cheap Thrills

What really sets this record apart from the pack (and it was a pretty large pack this year!) is a hard to describe quality that is very rare in records these days. I'd call it the wow factor. On every song it sounds like every facet of the music is just going full thunder. Positive and soulful with a realness that is unmatched. Nice that a record that is as famous as this earns every touch of praise it has garnered over the nearly 50 years since its release. Full review here.

Honorable Mentions:

Kurtis Blow - Party Time?

Devo - New Traditionalists

Queen - Queen II

Peter Tosh - Mystic Man

Best 45: Rage Against the Machine - The Ghost of Tom Joad

No contest, this record was found almost by accident at the Idle Times Bookstore in Adams Morgan. We didn't even know they sold vinyl at all! Frankly, the VVers rarely go out of the way to find 45s, but this one was just sitting by the counter in glorious translucent purple vinyl. We'd only just recently seen Tom Morello, the Nightwatchman, perform this Bruce Springsteen cut as a faithful to the original cover. These two versions couldn't be more different. In this case the RATM assault version is superior. Why? Well, for one Tom Morello's atomic riffage will quickly incinerate any doubts. Did that guy learn to play guitar on Mars or what? Two, the earnest vocals from Zack De La Rocha give a different kind of snarling urgency to the tune that neither Tom nor Bruce can match. Awesome woodcut artwork adorns this beauty; the 45 cover art is even bigger than a CD cover. Vinyl wins again!

Honorable Mentions:

Beastie Boys - Pop Your Balloon

Dum Dum Girls - Coming Down

(Both were freebies that came with the full album releases. Both on white vinyl. Classy!)

Best Concert (yes, it's not vinyl, but it is a big part of our musical lives): See-I @ U Street Music Hall

This show was incredible! Featuring the local reggae luminaries in all their glory. The VVers had seen See-I as side men for Thievery Corporation on multiple occasions and were extremely excited about the chance to see the duo command an entire show. The Jamaican rhyme splitters dominated the venue and had everyone dancing from the moment they took stage. Ironically, this is the only band listed here that we have no vinyl by . . . get it together See-I.

Honorable Mentions:

Tom Morello, The Nightwatchman @ the Birchmere

Patti Smith @ Merriweather Post Pavilion, Virgin FreeFest

Devo @ the State Theater

Sleigh Bells @ 9:30 Club

Best plan to deal with all the crappy vinyl we went out on a lark to try out: Turn them into bowls to use as centerpieces at our wedding.

Hope everyone had a quality musical 2011. 2012 is already off to a good start. The year kicks off with the VVers heading out into the world to acquire new and expanded shelving for all these records that seem to be multiplying exponentially. Expect upcoming reviews of DEVO, Queen, and yes . . . more Kurtis Blow.

Crocodiles

Crocodiles - Summer of Hate 2010

The Crocodiles debut record sounds like a cross between the Doors and a crappy 80's goth act. It does work, honest. "Summer of Hate" thoroughly delivers on hooks, angst, droning guitars, distortion, and shamble. Some of these tunes, "Flash of Light," "Summer of Hate," and "I Wanna Kill" seem angry and sad, but are deeply infused with pop shimmy. Dance you sad S.O.B., DANCE! "Soft Skull" is covered with low-fi vocals layered over convulsive beats to make you want to get up and jump around. Singer Brandon Welchez yelps and chants his way through the record in an organic stream of consciousness way. He seems at times to be channeling his inner cult leader. I can hear Jim Morrison in there for sure. "Sleeping With the Lord" has a -happy cause I'm high- kind of thing going for it that comes through loud and clear. They don't beat you over the head with it; more they invite you into the haze of their blissed out day-glo nightmare. What they are going for... well I can't figure it out; maximum happy and bottom of the boards sad all at once. The entire thing lumbers forward with an off the cuff organ instrumentation that seems to have creeped out of somebody's early 70's church basement.

WARNING: Certain portions of this album could led to strong feelings of homicidal madness. It should not be listened to over morning coffee or while reading the paper. Apply only when you are feeling active and doing things. Do not look directly at this record. Do not taunt this record.

The VVers have seen Crocodiles twice as opening act (Ladytron/The Faint and Dum Dum Girls) so it's hard to imagine what a full set would bring. The funeral dirge organs would probably be something to behold in a sweaty encore.

Visually the record has a nice little trick. The cover; a pixelated photo, is reproduced on the little inner circle printed on side one and two of the record. The only difference is that side one is zoomed in a little more so you can only see one eye, side two zoomed out a little more to see both eyes. Clever.

The Gaylords - Let's Have a Pizza Party - 1956

Seriously, I dare you not like this album! Everyone loves a PIZZA PARTY (unless you're lactose intolerant; bummer)!!! I have no good reason why I bought this, only because of an impending vacation to Italy, and that pizza is my desert island food. Oh, and there's a super cool mint green Vespa on the cover. Really, the Vespa would have been enough.

As it turns out, the music is not only REALLY good, it's at times soulful and rich with brio. Having returned from the Italian voyage, I can't help but to wax nostalgically on the accent of the country. Lyrics are recorded in Italian, so despite my efforts to master Italian, I really have no idea what they are saying except for the occasional "mi amore". The harmonies are smartly backed with accordions, mandolins, and a chipper xylophone, which makes for an old world Italian restaurant charm. There is a wisp of a romantic carnival in it all. The clicks, pops, and clacks of the old record just add more to the atmosphere. Picture being serenaded at an outside piazza in Italy while sipping on amazing Chianti and enjoying an apertivo of parmesan and prosciutto on crusty bread.

It's true; this can happen to you ... if you listen to this album. At a mere fifty cents, the VVer's are feeling like millionaires for this score. By the way, this is also Giuseppe the fish's favorite album.

THE HOOK will grab you

The Hook - Will Grab You - 1968

This album, hailing from 1968 unveiled its cover to me at a thrift store in Bethesda recently.  I have a fun obsession of making a hand gesture of "the claw" (seen clearly on this album cover) when people/things annoy me.  I would love to have an album with "the claw" or as they call it "the hook" on it.  Into the our buying pile it went.  At fifty cents a pop, why not?  When Mr. VV went through our pile of potential purchases, he decided against The Hook and slyly put it back in the bin (not just in the front of the bin, but cleverly sandwiched in the middle, in hopes I wouldn't realize we weren't going to buy it).  I knew absolutely nothing of the album, but I decided I wanted it solely based on the claw-tastic cover.  So, I dug around for it a bit and that is how the album clawed its way into our collection.

Expectations were low for the first spin of this record, I mean really, "The Hook Will Grab You" - way to be cliche on your album naming conventions.  We made it all the way through Side A (nervous looks for what was to come) without wanting to run screaming, and in fact, it was even good!  But would the B Side hold up?  It got a flip and surprising enough, it wasn't bad.  Their sound is very reminiscent of their contemporaries, The Doors, mixed in with some Cream and Jimi Hendrix.  They are a tablespoon tie-dye pysch rock, a teaspoon blues rock, a teaspoon rock and roll, and a pinch of whimsy.  "Garbage Man" is literally a love song about a girl swooning over the local garbage man which is accompanied by garbage truck sounds - think shattering glass and truck varoooom noises.  There's also some lalala-la-la-la-la-ing.  Pretty fun.  But then take the bad side of whimsy with a track "Everything's Groovy" which is a low (or high) point in the record.  It is in fact very groovy.  Hopefully they were super drugged out when the lyrics came to them: "everything's groovy, things are nice, think we're living in a paradise!"   Think of "Afternoon Delight" but sung by Ron Burgundy and cohorts in Anchorman.  Yeah.

However, this is not representative of the rest of the tracks on this album.   Opening track "Homes" has distorted guitar solos and screeching a la Rolling Stones.  Harmonica kicks in on "Looking for You" and catchy double time beats define "Turn Your Head" which sounds like it is recorded in lo-fi - maybe inspiration for the Black Keys.  Heavy guitar riffs (sounding like a precursor to Black Sabbath) and vocals on "Son of Fantasy" prove they are a serious band.  

Something tells me this gem of an album has gotten lost in all the format medium crossovers in the past decades.  It seems only to be available on a grossly overpriced import CD and of course the vinyl.  Further proving a good reason to listen to vinyl and to rummage through bins at your local thrift shop!

Peter Tosh - Equal Rights

A blog on Peter Tosh has been writer’s block to me.  Having accumulated six out of his seven solo studio albums, I am still in search of his first, “Legalize It” to complete the collection.  Yet, out of the albums that I do have, at least two stand out as brilliant recordings, start to finish: “Mystic Man” and “Equal Rights”.  I have been wanting to write about them, but without knowing how to get started.  Usually a drink helps – which it did last night – when Mr. VV played a record with “Get Up, Stand Up” and (without having seen what record was spinning) I found myself asking if this was our Bob Marley or Peter Tosh record; in this particular instance I genuinely could not tell the difference.  This got me wondering who actually is credited for this song, because inherently, the tune is more in the style of Tosh - writing about injustice, war, and poverty - not Marley’s one love, three little birds, and that the sun is shining.  Well it’s a split bill on this one, both get the recognition for the penning of “Get Up, Stand Up”.  However, let the record show, that I prefer Tosh's rendition.  Tosh seems to really own the lyrics a bit more than Marley... just sayin'. 

           

Ms. VV vs. Writer’s Block: 1-0

Peter Tosh, being a founding member of the Wailers, released his sophomore solo album “Equal Rights” in 1977 starting with “Get Up, Stand Up"; how stylistically appropriate.  But it really only gets better from here.  His lamenting sway in "Downpressor Man" is his Jamaican roots take on "Sinnerman", an American folk song made popular by Nina Simone.  Its multi-tonal instrumentals come through as captivating on this track, and make it my favorite on the album.  This is followed by the thoughtful "I Am That I Am" and the politically motivated "Equal Rights" starts off the B-Side.

Peter Tosh's inspired vocals matched with the backing musician's drumbeats provide a definitive heartbeat that can be heard throughout the entire LP and it is worth many a listen.

I Gatti

Gato Barbieri - Chapter One: Latin America, 1973


Well this record wins the What Just Happened Award for the week.  It comes to us from being bought on a whim at Woodwards in Hampden, Baltimore, and with having known nothing about it.  Its a total chaotic cluster.  I'm tired after listening to it only once.  Perhaps, there will be a second listen and blog in the future, but, I need to recover first.  I don't think its a bad record, just different.  As "G.V.A" (possibly a former owner of this record) has scrawled on the back cover, "Gato could be better one side not bad", which sums it up pretty well. 
Tip of the day: I do not recommend listening to this record while hungover.

America

Kurtis Blow - America - 1985


Yet another Kurtis Blow album with an awesome cover. This was eyed while checking out at Joe's Record Paradise last night as  it was sitting behind the counter. Our cashier said this "concept album" was for sale and upon flipping to the back cover, we were all immediately in awe of Kurtis Blow's "sweet mullet" as quoted by the Joe's cashier. Add this to the collection of Kurtis Blow ridiculous back album covers (see our post for his first album).


So buying this record was a toss up, since it a) was not $1 or less for an album that we knew absolutely nothing about, b) is from 1985 c) gives special thanks to Slick Vick (who is this? Slick Rick's inferior brother), and d) has a track called "Super Sperm". However, it does contain a track "If I Ruled the World" - music and lyrics by Kurtis Blow. Could this be the original of the song that I know by Nas and Lauryn Hill? I had to find out.


Of course it is the archetype of the song that I know from the 90's by Nas; I should know by now that very few 90's rap and hip hop songs are originals. The hook is the similar, but the verses of Blow's song sound more like Will Smith's Fresh Prince of Bel-Air theme. "As I arrived, the crowd started to cheer - And then someone yelled out, 'The King is here!'" Many lyrics on this one will likely remind you of early Will Smith, one song "Summertime Groove" in particular seems a straight steal by Mr. Smith... perhaps an homage.


The rest of the songs sound a lot like beat boxing, but with a beat machine on a keyboard. This makes sense since this same year he produced the Fat Boys album which pioneered the human beat box along with Doug E. Fresh. I sorta wish I had a boom box to rock this album.


Overall, I think I would be ok just buying a single of If I Ruled the World, nothing REALLY stands out on the rest of the album, but its fun to listen to. The first track has a few moments of inspiration, but it is kind of watered down.


PS - try really hard to not listen to the last track on Side B - "Don't Cha Feel Like Makin Love" - its as bad as your would think for a Kurtis Blow Side B track. What is it with this guy and his incredibly bad album ending tracks? It's like he's trying to prove a point that he can indeed embarass himself at least once per album. This track sounds like the worst Poison song ever recorded. BAD!!!

Medicine County

Holly Golightly and the Brokeoffs - Medicine County

This album made its way to our turntable from the pretty damn awesome city of Milwaukee, WI, where we saw Holly Golightly play a boozy show at Mad Planet. While in town for a random "check out the city" vacation, we stumbled across the listing for this gem in a local free paper and got tickets on a whim. Definitely a good choice! We trekked to a northern neighborhood despite the rain and tornado warnings and caught this great duo in between honking back many cans of Blattz and games of pool with some nice locals.

So who is this Holly Golightly lady anyway? Well, shes been making retro tunes since the early 90's and is currently touring with "the Brokeoffs", her longtime US bandmate Lawyer Dave.  She describes her music as a "a mixture of pre-rock electric country blues, folk and less frantic rock & roll".  Less frantic is right.  This stuff is the opposite of frantic.

The album sounds like it was written after a lot of smoking and drinking took place, but in a good way. "Two Left Feet" and "Forget It" get this album going with a stuttering swing that fits in perfectly with the duo's off-kilter vocals.  There are bright and sunny spots, but not in a cheesy way.  "Escalator", "When He Comes", and "Medicine County" are good examples of a goofy, deadpan, skiffle cheerfulness.  It seems these two know their share of boozin', screwin', and losin'.  Some lovely fiddlin' on "I Can't Loose" also.  How about that?  A least they seem to have a powerful appreciation for old school country.


The show itself was very cool as the band really seemed to have a solid sense of doing a show without any BS.  Holly and Dave had a stellar rapport with each other and the audience.  They also stuck around for a while post show (on a Monday!) to talk music, sell/sign records and were both absolutely cool.

Cover Notes: The quaint cover art was painted by Holly's mom and the back cover sports a creepy/cool picture with a male/female merged image of the duo.

Inside the Sleeve: Tie-dyed lime green vinyl w/ hot pink...SCORE!

Taj Mahal

Taj Mahal - The debut album from this legendary blues artist was a lucky find and pick-up at the CD Game-Exchange in Takoma Park. There was a hunch that this fella was a mean music maker, but I couldn't put my finger on why. Well, about twenty spins later the proof is in the playing. Side A is full of classic sounds, several of which remind me of Hendrix blues of the same era. These are the blues that make you want to get up and dance, while he really gets the sad jazzy, county blues on Side B. Taj Mahal (aka Henry Saint Clair Fredericks) studdied animal husbandry in school, but for some reason decided to rock out instead. Good choice Taj.

Of note on this album is his rendition of "Statesboro Blues", which in my opinion is better than the later to come Allman Brothers version. "Diving Duck Blues" is reminiscent of what The Doors were doing with funky blues and soul. A dimly lit bar and whiskey on the rocks is what comes to mind with "The Celebrated Walkin' Blues" and I wouldn't be offended if someone put this track on repeat on the jukebox all night. In fact, this album should definitely be a staple in the jukebox of a good bar.

Dum Dum Girls

Through the influence of a good write up in the Washington Post we went to check out these LA ladies at DC9 a few weeks back. They were opening for a group never heard of and not worth naming for this blog. Dum Dum Girls played a short, tight set. Maybe ten songs... they opened up with Rolling Stones cover "Play With Fire". A retro choice for a retro girl group with a modern goth drone wall of sound.

So why talk about the concert on a vinyl site you ask? It's because the full album was not available on iTunes so I picked it up on vinyl at the show for $15 bucks (probably the most I have ever spent on a vinyl record). A lot of the fun of this "vinyl thing" has been in seeking out unusual and lost discs at random record repositories and getting them DIRT CHEAP. Well, this is the first brand new full length record that I have purchased since the vinyl fascination began in earnest and it's solid.

The record was concocted from lead lady Dee Dee, with some minor assistance from Yeah Yeah Yeah's guitarist Nick Zinner and Crocodiles singer Brandon Welchez. The album is produced by Richard Gottehrer a veteran of 60's girl-pop, 80's new wave punk, and several recent stabs into the new indie world.

Listen to this album when you are in need of an antidote to your hip-shaking doldrums. Other than one slow burn ballad, the whole album shimmies like a be-sequined flapper.

Vagabonds

In the attempt of searching out new and wonderful tunes, we've made some missteps. Here are several that we gave a brief home to, but ultimately passed back into the record stores of DC.

No explanation needed. Seemed like a good idea at the time.

Are We Not Men?

Q: Are We Not Men? A: We are Devo! - Devo - 1978

There is so much I want to write about this album, found in a thrift shop in Langley Park, but I really have no idea where to start. Any ideas VVer #2?

Yea Yea YeaYeaYeayayayayaaa!!

Sorry busy with the uncontrollable singing.... wow that was corny, but so is this song!

So everyone knows Devo as that silly band wearing red plastic hats and yellow jumpsuits but did you know they were on the tail end of the first wave of American PUNK?! That puts them in the same ranks as Iggy and the Stooges, the Ramones, Velvet Underground, Television, Patti Smith, and New York Dolls! This album (Q&A) has all the hallmarks of a great punk album from this era, its fun, noisy, creative, and oddball. Songs you should check out immediately are "Uncontrollable Urge", "Jocko Homo", "Mongoloid"... David Bowie and Iggy Pop were directly responsible for DEVO getting a record deal with Warner Brothers. Nice to have famous fans.

I think its appropriate to add that the VVs recently checked out a band called the Polysics play at the Rock N' Roll Hotel in DC. The Polysics are a Japanese band that get their name from a brand of synthesizer the Korg Polysix, and are heavily influenced by DEVO. Think Devo, heavy synth, in Japanese, plus extra punk, plus LOTS of jumping around, oh, and dressed in Devo-esque jumpsuits. Pretty awesome.

The hunt for further Devo vinyl has proven rather difficult. Only their most recent super synth records are in the bin. Still, a copy of "Freedom of Choice" is probably out there somewhere, in some forgotten pile of some dusty thrift shop...