A Spin on Relationships

Think that your record collection can just share space with a spouse, close family member, roommate, the neighbor's dog?  Think again!  Even if your significant other is into vinyl (if not, you have chosen poorly), getting to a healthy balance of packed shelves takes work, patience, and at times a thick skin.  You can't just assume that the other party is interested in having your super-amazing vinyl co-habitate with their substandard fare.  More to the point, the other party may not feel your super-amazing vinyl is so super-amazing and vice-versa.  It's ok not to agree on everything.  What to do?

In a significant number of musical arenas, VVer #1 and VVer #2 have melded minds on taste.  That's probably 60% of the time.  30% is "live and let live."  The other 10% is a knock down, drag out, carnage fest of warrior rage that goes something like this:

VVer #1 arrives home from work, pops on (insert great 90's alternative album here) and begins to cook dinner.  Just as he starts to hit a thrashing groove musically (as well as rocking it in the kitchen).
VVer #2 arrives home from work.  "WARRRRMMMM.  WHAT is this awful NOISE?  Aghuughhhh!"
VVer #1 "You can put something else on if you like."
VVer #2 "Aghhuuughagh!!!  Off!"

As wholesome as this back and forth must sound, the VVers are hoping to minimize bloodshed in their home and, in turn, help others out there who may be having similar dilemmas.  How to get along?  Here are a few questions to help you with those areas of avoidable misery:

  1.  When does the record come from?  If it's from an era that you grew up in, say the late 80s and not of your significant other, say the late 90s, there could be some conflict.  You may even be labeled as "living in the past."  Horrifying, right?  What can you do?  Try and show interest in the significant other's era.  Don't pigeonhole yourself by being a completest on every band from your favored era.  Be selective.  You don't need every single release from that indie label that came out between 1988 and 1991.  No, you don't.

  2.  Where did the record come from?  If it was purchased in a dusty estate sale or thrift spot, be mindful of what level of dust, scuzz, and fuzz you might be introducing to your home.  The quickest way to sour an impression on a purchase is if you disrespect the home (and more importantly the turntable) with a filthy record.  Take a few moments to inspect your purchase before it crosses the threshold.  Clean it outside if needed.  Do not force the issue.  Certain lines should not be crossed.

  3.  How much?  If you plunked down some hefty dough on a record or two, you better be able to back that up with some earnings, some solid playtime, or both.

  4.  How long?  Did you spend hours in a dumpy thrift store sifting through their Barbara Streisand albums looking for treasure?  Were you scouring the internet for rare platters?  Did you spend half your weekend driving to random and far flung yard sales hoping to find something special?  Digging for albums may be fun at times, but remember that the Pinocchio picture disc you found may be worthless compared to the time you spent in discovering it.

  5.  How many?  Any time you dedicate real estate to new arrivals you have to be very clear about your plans.  "I am going to listen to this once because I am curious and then I am going to donate this to (insert charitable thrift shop here)," or perhaps, "I am going to listen to this record all of the time and probably blog/DJ/make it my new favorite/wear it like a hat."  Stacking them up by the player and in front of the stereo, and next to the fish tank, and in front of the closet door, and in the closet, and (things can get out of hand very quickly) -- this is a losing proposition.

  6.  When are you playing it?  "When I get home it's not necessarily that the music is bad it's that I'm home and I need some peace and quiet and it BLARGH AGH CRASH RRRAAAAGHHH!!!"  This is very relevant.  Everyone has a comfort zone and if you're not paying attention to this, it doesn't matter what the record is in the slightest because you are going to lose that fight every time.  Sometimes music with too much multi-tonal activity is too much for the morning.  Sometimes jazz flute is a little too much like Christmas.  Sometimes you should just not play that record around the other person.  It's not worth the hassle and you are not going to convince your flatmate to like that album by bludgeoning it into their skull.

A smidge of advice:
  1.  Pay attention, dumbass.  Does this one really need an explanation?  If so then this entire write up isn't going to help you.  Dumbass.
  2.  Be respectful.  Timing matters.
VVer #1 "Would you like to hear record?"
VVer #2 "Yes"
VVer #1 "Is there something you would like me to play?"
VVer #2 "Play something I like."

Makes sense.

Hellraising Vinyl

By The Vinyl Apprentice

Some time ago, the Vinyl Vagabonds wrote an article about different kinds of interesting vinyl sleeves. I immediately thought of a single that a buddy of mine let me borrow once. The single was “Hooch,” a 45 by the Seattle grunge-metal rockers the Melvins, and it was a beast! Feeling in the spirit this most recent Halloween, I was summoned to “Vinyl Vagabond” it; any record this strange deserves writing about. What makes this particular one so special? To start, it is housed in an impossible to open Hellraiser "puzzle box” type multi-fold out sleeve (it's actually copyrighted as a "Hard to Open Package," so you know it's good). To get it open you actually have to bend the sleeve paper in such a way that you will feel you are going to tear it to get to the 45. Hence, once you have opened this unusual packaging, the cover automatically becomes damaged. ARRRGGH! And why ARRGH? This is a hand screened, 1,000-copy limited edition single, with the cover by none other than renowned California artist Frank Kozik. Kozik is famous for his raunchy, Day-Glo concert posters that he started making in the early 1990s. He also ran a record label for a time called Man’s Ruin Records that put out records by the Sex Pistols, Queens of the Stone Age, and many other primarily stoner metal bands. Today, Kozik is an institution in “lowbrow” art. True to his style, this particular monstrosity has devilish visuals plastered all over it. To start, the front cover has a Disney-esque Satan on it. The back cover art is creepy on a whole other level and completely different in style. It looks like a 16th century wood cut of the birth of baby Beelzebub himself. Not for the meek. Eeekkk, it is chilling to the bone. Inside the sleeve of evil, is a nasty two sided Kozik picture disc. The A side has an illustration of a cigarette smoking, mustached Diablo dad chuckling away. Side B has a green haired, red skinned, monster mommy also puffing away on a cancer stick.

But wait, there’s more to this vinyl vulgarity. Both of these tracks are from the Melvins 1993 major label debut LP, Houdini, which was partially produced by none other than, Kurt Cobain. Not only did the late Nirvana frontman produce these two songs on the 45, he also contributed with guitar work on the side B song “Sky Pup.” Now I know what you are thinking, does whatever music in those grooves live up to the collected talent involved here? I’m not sure. You see, the Melvins are one of the more experimental, noisy, punk bands. They have never created a radio hit in their lives, nor will they. It's just not in their nature. Also, while singer/guitarist Buzz Osborne’s voice is strong and interesting, it's substandard. He has zero range, he was born grotesque in this category. But wait … Kurt Cobain!?!? Surely his magic and genius would make these songs shine, and transcend the Melvins to greater heights? Wrong. Unfortunately, he was fired half way through the production of Houdini as Buzz has stated Kurt was "too out of control" with his drug problems at the time to continue producing it. If there is an ounce of Kurt on these tracks, I can’t find it.

But enough of that, let me talk about the songs themselves. The first song, “Hooch” has all the right notes to make it a classic Melvins track. It is loud and thrashy with a nice dirge-like hook and Dale Crover delivers a deep, bombastic drum beat. While the song does drone, it is a head banging, hideous tune, and I enjoy it. Side B is a different story. “Sky Pup” is a mysterious enigma. It sounds more like a song from psychedelic space rockers, the Flaming Lips than it does the Melvins. While it is kind of groovy and has a magnetic bass line, it is not very memorable. Drummer Dale sings on this track, which really sounds more like him just talking. His voice is frightful, and practically inaudible. In fact, the whole track sounds very quiet, and puts me to sleep. Snore. This song is a goofy head scratcher.

Contrary to how my review sounds, I really like the Melvins, and recommend spending your time and money getting to know them. And this single? The packaging alone is sick, and the music is decidedly weird. Pinhead would be proud. It's classic Melvins. Looking and listening to this creepy conundrum will definitely keep me up at night for years to come….

A Cover-Up?

For your listening pleasure, the Vinyl Vagabonds will be playing an entire night of covers at their next listening party on Friday, October 2, from 7-9pm at Bump N' Grind.  Here's a sneak peek as to how the night may go...

Surfin' USA - Beach Boys (Chuck Berry)
This here blog is about cover songs, so why lead in with this one, not even a true cover?  Read: The foundation of the music is a cover of "Sweet Little Sixteen," but the Beach Boys do their own lyrics and significantly developed instrumentation.  Having not owned any other Beach Boys, it was surprising how it really got these swingin' VVers thinking about how artists pay tribute to other artists.  Berry obviously is a huge hero to the rockers of the 60s, so for the Beach Boys to have done a straight cover would have been perfectly cool, but for them to do this wildly different version is downright revolutionary.  At its peak, the Beach Boys' iconic, high pitched harmonizing gives way to an organ solo that quickly mashes into some lovely electric guitar.  Though it's partially a cover, there really is nothing else to compare it to, even now.

Had ta be Playin' on the Jukebox - Rage Against the Machine (Allen Ginsburg) 
Another untrue cover, but does it matter?  No.  RATM creates the riffing, but the lyrics are Ginsburg's on this flipside to People of the Sun EP.  The beat poetry slam on the absurdity in the aftermath of the Kennedy assassination makes perfect sense piped through the ballistic assault that is RATM.  Though this is in many ways a spoken word track, minus the hip-hop, it's completely relevant to the RATM catalogue in representing their political bent.  Also it's dope to hear Zack de la Rocha lacerating this poem over a psyched-out slow jam.  "WORKING TOGETHER IN CAHOOTS!"  You should listen to this.

Do You Love Me - Nirvana (Kiss) 
This is the only Nirvana song that bassist Krist Novaselic ever split vocal duties on.  He's not cut out for this type of singing, but that in no way stops him from completely going for it.  How does that pan out?  Well, it's kind of awesome in its raunchola.  Thankfully, Cobain helps it along in the right spots with his powerful vocals and the Nirvana rhythm section is furiously on point.  The fact that it's a cover of a Kiss song... Kiss sucks.  There, it's out there.  The VVers are not in the Kiss Army.  Something about Nirvana absolutely ruining a Kiss song just makes sense.

Balls to the Wall - Puscifer (Accept)
Not initially knowing it was a cover, VVer #2 thought "Balls to the Wall" was a strange, yet stand-out song included on Puscifer's Donkey Punch the Night EP.  After a chance listen to the early 80's original in the car one night, things started making more sense.  The original version by Accept has a completely metal approach while Puscifer offers two versions: "Pillow Fight Remix" or "Silent Servant El Guapo Mix" both sounding exactly as their remix description describes.  Pillow fight is a fluffy, yet still hard rendition, while the silent is, well, sans lyrics and techno-esque.  The pillow fight remix is the one to hear; the alt-goth take is confident, well produced, and f%$#*^$ing catchy!  Nice work Puscifer!

Strange Moon - APTBS (Dead Moon)
A Place To Bury Strangers takes the obscure Portland, OR band, Dead Moon, and makes it their own.  This EP is drenched in APTBS' full on, echoey, distortion while keeping the garagey sounds of Dead Moon.  What's interesting is that this entire EP is devoted to covering one band (one the VVers had never even heard of).  Usually you might get one cover on an album or an album of all covers, but of multiple artists.  Not here, APTBS crushes their tribute to these 80s/90s unknown punk heros.

Bootleg? Never again!

By Vagabond Apprentice

I would like to start this review by telling you how I became a disciple of Vagabond Brother Samuel (aka VVer #1).  One score ago (that's twenty years to the common folk) I found a flyer on a wall to hear Brother Samuel preach about music.  The announcement intrigued me, so I decided to check it out.  I listened to his first sermon, dedicated to those 90's whippersnapper rock gods Nirvana!  After the gospel was finished, I became a Nirvana addict!  With the help of Vagabond BS' teachings I bought dozens of CDs by the Seattle alt band -- concerts, as well as rarities discs.  Even though the band only had four official album releases at this point there were other ways for the faithful to get their hands on more music.  Back in the mid-90's the strip of impressive record and CD stores on Thayer Street in Providence, RI was jammed with all sorts of ear candy.

Fast forward to 2013, I still watch with an unwavering eye for any new Nirvana.  This brings me to the following musings.  My recent trip to California helped aid my vinyl obsession when I journeyed to the most famous record store west of Pecos: Amoeba Music!  If there is a vinyl heaven, this is it.  I raced into the massive LA store and started flipping through the alphabetical bins.  It was twenty years since first hearing Nirvana, but the thrill was still strong.  Back in the 90's we listened on CDs and now here I was looking at the possibility of hearing everything anew on vinyl format!  I excitedly reached for the "sacred" section.  I spotted a curious LP titled Nirvana: Almost All The BBC Sessions.  This was a record I had never before laid eyes on.  Giving it a once over, my gut had a funny feeling.  I was dead sure it was a bootleg.  You know, those products that are illicitly produced, distributed, and/or sold without the authorization of the band or record company.  What tipped me off? The cover was made of a thin cardboard, sort of resembling a brown paper bag.  It had an obscure illustration that Kurt Cobain had drawn for a past concert poster printed slapdash across the front.  The back indicated it was made in Italy.  No Geffen or even a Sub Pop logo graced the sleeve.  Very unusual!  The track listing had a few song titles that were not on any of there original albums; names such as "Here I Am," "Pretty Scary," and "Meltdown."  Due to a few prior bootleg CD experiences I knew that these titles were actually lyrics or nicknames to real songs.  Songs such as "Endless, Nameless," "Turnaround," and "Aneurysm" were at one point these work in progress titles.  It was also signed and numbered 79 out of 100.  Super limited Edition!  The price was $20 so I decided "What the hey" I'll buy it, how bad could it be ...

Guess what ... it was absolutely horrid!  First of all, it sounded like a cloudy CD.  The vinyl had no highs and lows to my ears.  Each song had an entirely different sound quality with no smooth progression between tracks.  I frequently had to adjust the volume up or down track to track.  On certain songs the vocals sounded in the forefront, sometimes it was the drums, but mostly the guitars sounded very mushy, and stale.  Unlike a CD bootleg where tracks are listed as being from separate times, places, and recording sessions, this release had bupkis.  Past bootlegs I have owned suffered from these same issues, but never to such an abysmal extent.  The sound problems here were a total disgrace to the vinyl format.  The only cool aspect being the dark, red color of the vinyl was in no way redeeming; this LP was a mess.  Shame on the people who put out this garbage!  It did not deserve to have a place in my record collection, so I sent it straight to vinyl hell: the trash can.  I hope I will have better luck next time, though it's possible that the Nirvana vaults have finally been exhausted.  Either way, I will be more suspect of oddball vinyl releases.

What say you, vinyl disciples?

Rose-Colored Vinyl

A sampling of the colored vinyl from our collection.  Who knew we had so much flair in our stash!?

Should we care if a record is any color other than black?  Are flashy colors a gimmick to trick us into buying new vinyl?  "Hey, the new Mark Lanagan record is out; I heard it is supposed to be pretty good!  Should I buys it?  Meh.  Wait, wait, is that what I think it is?  Tie-dyed turquoise vinyl?  I wants the precious.  I WANTS IT!"

Everyone knows records are black.  It is the ubiquitous color.  Yet, more and more new vinyl is colored, especially first pressings and special releases.  Take Record Store Day 2013 -- these VVers purchased a fair chunk of records and the vast majority are on color or translucent vinyl.  These records look fantastic, especially when spinning, but does this have any effect on the sound quality?

The VVers have done a tiny shred of research on the subject.  Here's what we got:

Black.  Did you know vinyl does not start off black?  We sure didn't!  Since the majority of records are on black vinyl it just stood to reason.  It also happens to be wrong.  So, what color are records when they are born?  Only Godzilla knows.  Our research points to a carbon-black agent which is added to the vinyl before pressing.  This process homogenizes not only the color of the vinyl, but also is used to strengthen it, reduce noise, and smooth out sound.  The VVers approve of black; it makes dust and gunk show up easily and encourages good record hygiene.  I smell nice.  

Clear.  Clear/translucent vinyl is purported to have respectable audio quality, some even go as far as saying it is the best.  No clear evidence as to why.  Is it because it is what people consider "virgin vinyl" since it has no color additives and is not made from recycled material?  Or is it because as it is translucent, there are less chances for impurities?  If that's the case why don't they press all high fidelity records on transparent vinyl?  In the early age of pressing vinyl, quality standards may have been pretty low.  Is it possible that over the years vinyl quality has evolved to the point that it no longer needs this "black agent" added to it to extend the life of the record?  Is clear vinyl the way of the future?  These questions, and others, may never be answered.

Colored (including tie-dyed, opaque, speckled).  No real definitiveness on colored vinyl.  It's fun to look at.  It's attractive.  People want it...Especially when tie-dyed...And tie-dyed spinning on your turntable...Spin art?!  But, most folks (purists maybe?) consider colored vinyl to be of a lesser quality.  It has been suggested that the materials added to get that sweet color might hurt record durability.  What do the VVers think?  No opinion; too hard to tell.  

Just when we thought we were done with the blog,
we stumble into Jerry's Records
in Pittsburgh: a true vinyl mecca. 

Picture Discs. The Black Sheep. Common consensus is that picture discs are awful.  Although fancy to look at, sound quality is apparently inferior.  Seems there are two worlds of picture discs: the type where the actual playable surface is a laminate; and the other being thin, clear vinyl with a sheet of paper with the image sandwiched in between.  Basically these are made for ogling and as collectibles, not for their amazing sound quality.  VVer #1 pulled out his 12" (well this sounds rude!) picture disc copy of Nirvana Lithium.  The sound was great and frankly it was really cool to watch a spinning skeleton on the turntable.  Consider VVer #1 a sucker.

These VVers may have potatoes in their ears, but so far sound quality of our non-black vinyl has been groovy.

Bottom line here is that most of what we've said up to this point is moot if you take into account all the other important steps along the way.  The end product is only as good as the quality control, the people, and decisions made to bring it to the final release.  The mastering of the album has an enormous bearing on the final product.  The materials used to press the vinyl could be of poor quality or not mixed correctly.  The record company could put out an inferior run on fancy looking vinyl just to score a few quick dollars.  Also the amount of records per pressing makes a big difference.  For example, if it's a "limited edition" run, the record press may not have the time (or budget) to work out all the kinks before going into production.  Are you scared yet?  All this before you ever even get a listen.  If something goes flooey along the way your record will sound cruddy no matter how pretty it looks.  

BUT, how much fun is it to open a new record and pull it out of its sleeve to find out it is on tie-dyed green vinyl!?!  SURPRISE!  There are few things that compare with that feeling.  As mentioned, most purchases from this year's Record Store Day were on colored or translucent vinyl.  The favorite of the bunch is the aqua-transparent 10" Because the Night by Garbage/Screaming Females.  

The cover art (by Screaming Females leader Marissa Paternoster) is a creepy/cool ink illustration, but the vinyl within was the real treat.  In the right light it glows like one of those discs from Tron!  The single itself sounds incredible as well.  This crushing version is flush with deep vocals, an intense meter, and lean production.  Paternoster provides solid co-vocals with Shirley Manson and absolutely shreds on two lengthy guitar solos.  Two B-side remixes of recent Garbage songs round out this limited release.

It's fair to mention that VVer #1 has had a sweet translucent-pink copy of Nirvana Bleach since the beginning (my first ever vinyl purchase!) and it never ceases to impress.  Does it sound great?  Absolutely.  Does the 180 gram black vinyl version released last year sound better?  It's a possibility.  Is it worth it to upgrade?  Hell no!  Everyone loves the sight of that pink record bursting out of its black and silver sleeve in all its mystical glory.  Will we ruin the resale value of it when it gets worn out?  Probably.