Milwaukee: The Best Place? We're Vinyl Vagabonds?

Whilst visiting the fair city of Milwaukee, thou shalt imbibe large quantities of delicious local beer, huff down cheddar cheese, bike everywhere, and listen to piles of vinyl records.  Check. Check. Check. Check.  The last may be the more challenging of the activities seeing as beer and cheese are amazing, affordable, and available everywhere, and everyone bikes (this may not be the case during snowy wintertime, but that will be another trip).  Thanks to Pabst Best Place tavern, we were able to satisfy our last criteria. Miraculously, the VVers were able to enjoy an amazing all vinyl music night.

How did this amazing event happen you might ask?  While looking up things to do in Milwaukee in advance of the trip, we came across Best Place at historic Pabst brewery and just so happened to notice a "Retro Vinyl Night" the first Thursday of the month.  They had not yet scheduled the August events yet, but the spark had been lit!  Out of pure nothing-to-lose enthusiasm, VVer #2 emailed to request a vinyl night for our upcoming visit; letting them know we are in fact the Vinyl Vagabonds and we love Milwaukee.  Not only was the reply yes, but we got a choice of music that we wanted: albums from the 60's-80's or mostly 45s with a Motown vibe.  We opted to have Best Place arrange for either DJ that was available and let them know we would be sure not to miss out.  Basically, pick "the best one."  The VVers had a late arrival since we were busy catching up on free late-night art over at the incredible Milwaukee Art Museum, but we eventually made it to find quite a nice set-up.  Steve Kauth, our DJ, brought in all his handmade wooden crates of vinyl (maybe 15+) as well as two humongous movie theater-type speakers, stereo rig, lava lamps, and turntables.   He encouraged us to go up and rummage through the records and pick out some stuff that looked "interesting."  Steve was very welcoming and stated that he goes through all of this trouble (this was a huge amount of gear for one guy to lug) because "I enjoy it, sharing this with people."  After a short time he also asked "where are your people?" and seemed a little disappointed that we didn't bring in a crowd.  Apparently the Vinyl Vagabonds don't have much pull in Milwaukee just yet ... sorry Steve.


First record pulled out from the crates featured GODZILLA and KING GIDORAH on the cover!  AWESOME!

We ended up picking out a few interesting things and having a goofy/fun night. Unfortunately Steve refused to play the Godzilla record Slitherama (billed as teen trash from psychedelic Tokyo circa 1966-1969) and instead played these other vinyl guys' recent purchases.  It is worth mentioning that the other guys were well toasted and highly enthusiastic about their newly bought records so it seemed best to not interfere.  Who are we to harsh on people and their love of newly purchased vinyl?  Godzilla is the only one allowed to judge.

Oh, you want more stories about our record escapades in Milwaukee?  Ok, well we should mention that we also went and checked out No Bails and Static Eyes at Circle A.  This small, homey bar in a northern neighborhood was pretty much as close as you can get to being at a house show; literally in the living room of a house.  After the awesome show we picked up a Static Eyes/Drugs Dragons split single with a hand screened cover that also is the artwork for the 45.  Friggin a!  Haven't heard of Static Eyes?  The VVers randomly caught them at a Windian record label show in DC a while back and VVer #1 remembered they were from Milwaukee.  Garage punk sound; check them out.  Seeing them live is a psyched out experience, not for the meek.  From their Facebook description: "SNOTTY, FUZZ STOMP FROM THE MIDWEST! ROCK AND ROLL, STRAIGHT UP, NO FILLERS, NO SWEETENERS."

Too Much Mustard?!?

It's fair to say that while en route from Chicago to Milwaukee a stop in Madison (not exactly on the way) is worth your time.  The lakes, school campus, terraces, downtown, and National Mustard Museum are all amazing.  On the outskirts of the downtown is Strictly Discs.  Apart from having a stellar ground floor area well stocked with a plethora of new and used vinyl, they have a basement.  VVer #2 tried to warn VVer #1 not to go in the basement.   "You don't want to go in the basement!  Nothing to see here."  There was no way VVer #1 would heed the half kidding warnings.  Although hours could have easily been spent down there we made sure to set a reasonable time limit and then VVer #1 proceeded to ignore that.  The subterranean cellar was incredibly well organized and stocked with unusual discs.  We managed to pick up a copy of Urge Overkill Now that's the Barclords/What's this Generation Coming To? from the Sub Pop singles club circa 1991.  On transparent yellow vinyl, only 5,000 ever printed.  It's a neat-o find that happens to sound completely different than the LP release and happened to also fit easily into our luggage.  We also managed to find a cool vinyl wedding present which we cannot disclose any information about at this time, except that it also was luggage appropriate.  We'll let them post about it after our friends get hitched.


Are you catching the trend that the VVers are very conscientious about the weight of their luggage and seem to only pick up 45s while visiting other cities?  It's a great policy to follow.  They are portable, not going to set you back a whole lot, allow you to get a wide variety of music (usually local), and don't weigh as much as those damn 180-gram monstrosities.


Oh, by the way, Vinyl Vagabonds, who is us, now have issues 3 and 4 of our handcrafted zine on sale at Chicago's very own Quimby's (shout-out for them actually reading our zine and writing a mini-blurb about each issue!).  Haven't been?  It is a store.  It has books, comics, and zines.  You may like it.  Go now.   Browse books.  Crease comics.  Peruse and thumbprint zines.  Purchase the best ones.  Best!

Buddy Miles Live

Buddy Miles Live - 1971

Wowy.  This is some serious recording.
We picked this one up at the most recent incarnation of the DC Record Fair, knowing only that we already had A Message to the People from the same year which is a stellar funk-rock solo album from Mr. Miles: drummer, main vocalist, and band leader.  This self-produced, double-disc album was recorded while on tour in 1971 in Seattle, Santa Monica, and Bakersfield (where the...?).  The cover, donned in a psychedelic, blue-purple landscape accompanied by a flying, fiery heart (we're talking real heart here with veins, arteries and all), sealed the deal to give this record-set a new home.

Horn flourishes open up "Joe Tex" the funky crowd warm-up (probably served the purpose of making sure people made it to their seats for the good shit later to come).  This is a solid instrumental lead-in track which cleanly segues into the James Brown-esque "Take It Off Him and Put It On Me" full of whaaaoos, steady bass, and stellar riffs by lead guitarist Charlie Karp.  Karp tears it up in the second half here with the rest of the crew straining at full force to keep up.

Hello curve ball.  A song the VVers instantly raise a curious eyebrow to: Buddy Miles covering Neil Young's "Down by the River" to polish off the first record's A-side?  Yes, indeed.  It's got a bleating trumpet interlude, catchy horn riffs, and a lonely tuba.  The horntastic tooting on this majestic homage will get you going.  Wandering, esoteric, and jazzy horn solos give some respite in the mid-section of this tune.  Besides that, it is a true-to-form rendition with Miles sounding uncannily similar to Young.  It isn't until late in the performance where you can distinctly hear Miles' fiery baritone belt through.

A Batman-esque duddah duddah duddah dduahha duddah duddah duddah dduahha bass-line is heavily featured in the Isaac Hayes cover "Wrap It Up" which encompasses all of record one, side-B.  The hypnotizing bass riff combined with a dominant horn section carries through all the funkiness that is this epic track.  The lull in music could have you thinking the set is about to end, POW! the band pops right back to life, stronger than before to bring it. i.e., "the funk."

Side A of record two is "The Segment;" a 12-minute epic with so many slight returns it puts the concept to shame. The band is completely in sync and Buddy is in full-on crooner mode.  He goes from sweetly toned to snarling James Brown with little effort.  How is he making all this mayhem and drumming at the same time?  The horn section rolls with ominous tones that really help to set the drama and punch things up.  It all comes thundering down at the end with a mighty call and response jam out. POW!

Apparently James Hendrix Sr. was in the audience the night "Them Changes" was recorded, as Buddy gives a big shout-out to him and the accomplishments of his recently deceased son, Jimi.  Buddy then proceeds to call up the whole Hendrix family to the stage.  In case you didn't know, Buddy was a former member of Jimi's Band of Gypsys from 1969 to 1970.

These recordings are super jam-out sessions, completely loaded with chunky grooves and boogie.  Buddy shows a fierce earnestness in his delivery.  Really good stuff and apparently never released on CD.  Seek out that vinyl!

Here's Ten Random Records...

Friend and VV contributor shows up in the CT for a VVer #2 summer family BBQ and he brought this stack with him.  Apparently his aunt unloaded this pile of goodness from her personal collection.  Assuming we are the bloggers and we know stuff (big assumption), he leaves them in our trusting hands to do what we want with them.  Is this a joke on us?

Oh. Dear. God.  In.No.Particular.Order.

1.  Peter Frampton I'm In You.  CREEPY.   Seriously, just look at the cover, the title, silken pantaloons, and foofy sleeved blouse/shirt!  Perhaps the record is good?  Problem is, before it even gets to the turntable, a pamphlet falls out.  What's in said pamphlet?  I think only pictures can tell... (Note: I'm In You Necklace)

And no, the pathetic cheese music in no way saves this one.

2.  Jo-Ann Kelly Self-Titled.  First reaction "Is this a guy?  I thought the name was Jo-Ann." Oh wait, the back cover will answer all our questions, "the first and only white blues singer of sufficiently awesome skills . . . Jo-Ann is young, British, and feminine.  Her sounds are brawny, black, and Southern."  Mmm hmm.  This must not have been written in English, definitely written in Estonian and the translation is just not carrying over.  No one talks or writes like this.

3.  Love Out Here is sort of psyched out at times and then also corny and boring at times.  It's  a double from 1969 so it's gonna need more attention.  The cover art painting of a lone seated blue flame figure is really what makes this one.  VVer #1 keeps trying to try to give it another try, but VVer #2 says, AAAAGGGGHHHHH!!!

4.  Joe Byrd and the Field Hippies The American Metaphysical Circus.  Side A interesting, possibly even better if extremely high.  Side B however turns into a family sing-along (literally; it's called the "The Sing-Along Song") prompting VVer #2's brother who hasn't gotten off the couch in nearly three hours, without warning, to finally get up to TURN OFF THIS RECORD.  This song makes him feel "Not Happy."  Even though VVer #1 said we are in the middle of a "happening" after reading about the "happening-producer" Joe Byrd.  Possibly the weirdest record ever.  Wait, there's a "Sing-Along Song Reprise"!!!

5.  Black Uhuru Anthem from 1983, a great year to be born, but not a great year for reggae albums as witnessed by the recent purchase of Jimmy Cliff's The Power and the Glory. But really not bad. Yet. 1983 also happens to be one year after Neil Young's techno-influenced, computer-voice heavy album Trans.  The influence is palpable on the good tracks.  Needs more Trans.

6.  The Copper Plated Integrated Circuit Plugged in Pop is "plugged in pop presented on the Moog synthesizer and other Electronic Instruments by Sear Electronic Music Productions, Inc."  Yeah, we gathered that from the title.   In fact, there are no names taking the credits in the liner notes except this Walter Sear fellow.   Was this the dawn of electronic music?  Mehhhh.  This is what VVer #2 playing the keyboard sounds like.  VVer #1 actually shouts from upstairs "Is that you playing?"  It's like one-fingered picking at a keyboard.  What a scam.

7.  Randy Newman Little Creatures best known by our 11 and 8 year old cousins (who were dancing around the basement till we put this one on) for being the guy who did the songs from the Toy Story soundtrack.  Sort of Bob Dylan, but no... not really.  In fact VVer #2 is so un-interested she is outside hula-hooping right now.

8.  Colosseum The Grass is Greener is probably the best of this bunch.  It's improvisational rock/jazz/blues/disco: a little Spirit, Peter Green era Fleetwood Mac, a little Allman Brothers.  Genre-shifting music.  The singing is at times atonal and often weighs things down.  The instrumentation is impressive though.  Horn sections, sax solos, jazz drums, and a potent guitar assault combine into a rich soundscape.  "Butty's Blues" would be one to check out.  The album cover art would fit right into the 90's alternative music scene.

9.  Juice Newton JUICE.  Hey, she wrote one song on this one.  Remember that one song?  What is this drek?  Oh, hey!  She wrote that other song also?  Wow... please turn it off.

10.  Commodores Natural High is pretty solid for what it is.  Disco, funk, and pop all rolled into a totally harmless but well crafted LP.  Thanks Motown.  "Three Times a Lady" has not aged well at all, but the rest really hits.  Lionel Richie and crew are at the peak of their powers, and looking at the back cover, pretty fly as well.  Possibly worth a spin or two if the stars were aligned just so.

[Disclosure: Some of these records were barely listened to by the VVers and some probably deserve another listen.  But not for this blog.]

DC Zinefest

The Vinyl Vagabonds will be tabling for the second year at DC Zinefest in Mt. Pleasant.  We'll be sharing a table with Team KK and scarfing down vegan munchies all whilst hawking stickers, mini-comics, posters, greeting cards, and yes... you guessed it; ZINES.  Hand printed copies of Vinyl Vagabonds 1-4 and some other schwag as well (possibly records?!).  It will be delightful.

JULY 20, 2013

ST. STEPHEN'S CHURCH

1525 NEWTON ST. NW

11 A.M. - 5 P.M.

FREE! KID-FRIENDLY! B.Y.O. SHARPIES! (what does this mean?)

 

 https://www.facebook.com/events/397345050369966/

Lazy Record

Johnny Hodges and Wild Bill Davis - Blue Rabbit - 1964

What led the VVers to this album?  Honestly, it was the cover art.  The carrot dipped in blue ink and bunny foot prints leading off the edge is quite quaint.  Who doesn't love bunny tracks, and high contrast carrots?! The scripty header of the album is implied to have been written by the ink-dipped carrot.  Nice calligraphy skills bunny!  Secondly (and more importantly), it is on the renowned Verve Records - the label that recorded the most prominent jazz musicians of the 1940's to 60's.  To the VVers, the label is as good an indicator of the music inside as any.  Knowing nothing else about this record, except the aforementioned criteria, the VVers purchased it for a whopping $3 at local Joe's Record Paradise.  The price was right for testing out our buyer's instinct.

We have held onto this one a few months and given it quite a few spins, but the music didn't seem to be sticking.  Upon a recent spin we coined it "lazy jazz" and while writing this blog have also coined it "slouch-core."  The music that you first think of when you hear the term "lazy jazz" is exactly what this music sounds like.   Obviously, we are good at naming things.  On the vinyl, the players take a mighty stroll, set against the backdrop of Wild Bill's drawling organ.  Lolling tenderness in the guitar strumming, soft horn (soft porn?), and interplay of the organ gives these tunes a shuffling saunter.  Blue Rabbit is the cure for action.  Thank god there are no vocals.  Jazz vocals are the worst.  It seems that many of the songs are standards, but played in a slow, bluesy way.  The music is not bad or unlistenable, it just started to put VVers off.  This record would probably be good if you had a baby that you were trying to get to take a nap.

So what's the deal with the musicians who are recording this "lazy jazz"?  Are Johnny Hodges and Wild Bill Davis just some one-offs, or do they actually have a respectable musical resume?  Turns out the later.  Johnny Hodges, also known as "rabbit" (ah-ha, things make more sense now!) played alto sax in Duke Ellington's big band orchestra.  He learned from the legendary Sidney Bechet and joined Ellington's band in 1928.  By the 1930's he had become the lead soloist alto sax and was featured on a number of Ellington's small group recordings.  Hodges, who was known for his soulful, blues, is also known for performing "Jeep's Blues" with Ellington (his second nickname was "Jeep").  He later left and started his own band for a time, and re-joined Ellington's band before the legendary 1956 Newport Jazz Festival, putting Ellington back in the lime-light.  Hodges even got his oft-collaborator and organist, Wild Bill Davis, to join Ellington's band in the late 60's.  Davis, who often wrote arrangements for Ellington and Count Basie, may very well be the precursor of the popular organ sounds of Jimmy Smith and Booker T.

Seems these guys are the real deal.  VVer's personal view is that perhaps this album was recorded at just the time in jazz's history when big-band had transitioned out, Hodges' style of soul/sultry blues was fading in, and when combined with Davis' organ, creates "lazy jazz."  Learning about Hodges' style of jazz prompted us to pull out our Ellington records to see if he is on our other records.  In fact, he is given credits on three of our four albums.  Apparently we are super fans!  Just for fun we were prompted to listen to "Jeep's Blues" occurring on Ellington at Newport.  Revisiting this track, after listening to Blue Rabbit, really exemplifies Hodges' musical style, which is very apparent.  How 'bout that!

This write-up was intended to be a parting farewell to this record, but we wanted to learn just a little something about it before it hopped away to its next journey.  Instead however, we are now considering keeping it, as we have gained an appreciation for the musicians and we even learned something about other albums in our collection.  Maybe we're just a couple of "lazy" VVers after all.

Public Enemy - Yo! Bum Rush the Show - 1987

The vinyl of this album is so hard to find,
we had to photograph our own ratty-ass copy.

Chuck D, Flavor-Flav, Terminator X, and the Bomb Squad get things going in a nasty, nasty way on their debut LP.  Brought to you by the infamous Rick Rubin in his early producing days, Yo! Bum Rush the Show carries just as much bombast and bomb blasts as any album we've ever heard.  Similarities to Rubin's prior work with Run-DMC and the Beastie Boys are evident: there's the humor and swagger, the occasional guitar solo (Vernon Reid of Living Colour makes some nice contributions), and hard rock edge.   Still, Public Enemy is very much its own thing.  Plenty of echo, funk sampling, and vigorous verse punctuate nearly every track.  Yo! is replete with scratches, thumps, screeches, and explosions piled on over sirens and whining terror that drone and halt amongst the carnage.  It's surprisingly listenable, due to the dominant verbal stylings of Mr. Chuck D.  He gets in on the humor often and rhymes like a cocky, tough guy.  A lesser MC could easily doom the record, but Chuck comes off with power and a literary complexity that is well apart from his peers. "Suckers to the side I know you hate my 98!"  Flavor-Flav does his part as well, pitching in often clownish asides that help the listener to catch a breath in between screeds from Chuck D.  Flav is often referred to as "the hype man," but he more than holds his own on his verses here.  He flexes a style that is gritty and ridiculous, particularly on "Too Much Posse."  His voice sounds like he just ate a handful of gravel and nails.

"Megablast," an ode to horrors of the crack epidemic, is an ugly and rough-edged production that is in no way warm or inviting.  Flav and Chuck pass verses back and forth over the spare drum loop leading into a backwards verse and repeated chorus "Oh nigga nigga please, just give me one more hit."  The VVers are more familiar with its later incarnation: the track Tom Morello and Boots Riley (aka The Street Sweeper Social Club) did as a shout out.  Two totally different songs and both well worth your time.

Public Enemy Number One, One, One, One! samples our favorite wordsmith Kurtis Blow's "AJ Scratch" from Ego Trip on the namesake track (though, when listening to the two tunes back-to-back, we can't hear it, we tried).  Chuck brings fury and sick boasts one after the next.  It is relentlessly catchy.  You will be chanting "one, one, one, ONE!"

Check out "You're Gonna Get Yours" for some sweet underlying bass guitar in the hooks.  They even compare their 98 Oldsmobile to Green Hornet's Black Beauty:
  Smoke is comin' when I burn
  Rubber when my wheels turn
  Tinted windows--super bad
  Lookin' like the car the Green Hornet had
It's a pretty corny boasting and bravado track that could just as easily have been on a Sir-Mix-a-Lot album.  Why it holds up is due to Chuck D's flame-throwing interplay with Flav and the raw production.

The album is laced with lyrics that make you stop and think "Did I just hear that?" Take "Timebomb" where midway you hear, "I'll be the burger--you can be the bun, girl."  It's crass, but in no way mean-spirited. The album has a few lyrics that come off misogynistic, which can be a bit jarring. Thankfully they go by quickly. "Sophisticated Bitch" is the most obvious offender. It calls out uptight ladies that think they are all that, but are really closeted sex freaks. It's over the edge at times. If it's about a specific woman, then it's his personal view, but if it's a taken as a jab at women in general it's kind of ugly. The bulk of this album though is social commentary of urban life. Take this verse from "Rightstarter (Message to a Black Man)":
  I'm on a mission to set you straight

  Children-It's not too late
  Explain to the world when it's plain to see
  To be what the world doesn't want us to be
Chuck D has a knack for his verses sounding optimistic and menacing all at once.  He's all in for this debut.  As always the lyric sheet is useful for keeping up with the rapid flow, but it is fair to mention that often this sheet is way off.  Especially when things get going full force the typist just cannot keep up with Flav.

We picked this up at the Record Exchange that briefly existed in Takoma Park for two bucks; probably cheap due to the ratty condition of the sleeve.  We never see this record in stores and in trying to research anything about it, there is next to nothing to be found.  These VVers feel it just does not get the props it deserves.  And by the way, what's with "E" and "F" sides to the record?  Where's A, B, C, and D?  No one knows.  Last note: from the perspective of us vinyl lovers, the cover photo prominently features the members of the group reaching out for a turntable.  Flavor-Flav wants his vinyl!  

The Black Angels - Another Nice Pair/Indigo Meadow

Record Store Day from two years ago has worked its magic of introducing the VVers to a new band, The Black Angels.  Ka-Chunk! Records in Annapolis had a leftover 2011 RSD copy of Another Nice Pair sitting on the shelf waiting to be snatched up.  Although we had only heard of the band in passing, this was an easy purchase seeing as the cover art was attractive and the package not priced too high.  We really had no idea what to expect, but in the past two years this record has had frequent spinning action. The music is entrancing.  It will suck you into a vortex of methodical drum beats, guitar distortions, and ominous, yet catchy bass undertones.  This disc is actually a reissue of the band's first two EPs which apparently had not previously been released on vinyl.  Oh, and it's translucent red vinyl (yes, we are suckers for this).  Is Another Nice Pair named in homage to Pink Floyd's A Nice Pair where they also bundled-up and reissued their first two albums in one nice package?  Experiencing the psychedelic, retro vibe here...seems likely.

Great excitement hit the house of VV when we noticed The Black Angels were playing a show at the Black Cat, our local go-to venue.  We promptly snatched up tickets and convinced a bunch of friends to join along.  The show sounded stellar and was accompanied by a trippy light show.  We even found out they have a female drummer (the liner notes from the previous album are a bit sparse); regardless she killed it.  They brought along what was made out to be a mini-Moog or equivalent electronic, boxy device to emit waaa-waaaa-ing sounds.  Needless to say, we couldn't turn down buying their just-released LP Indigo Meadow.  The impressively hefty chunk of vinyl is accompanied by a song lyrics/picture book mounted in the cover, making for a nice little package.  Surprisingly, this LP features a more pop-friendly style, yet the band still manages a plethora of hazy guitar riffage and distorted vocals.  The vibe is more reminiscent of 60's surfer-rock than their previous stuff.  It is speckled with plenty of low-tuned chords, high pitched keyboards, and tambourines.  Many of the songs are heavy stompers with thundering rhythm sections and bass coming in hard at times.  The title track starts the album off with loud drums layered in with hypnotic, circular guitars, then semi-monotonal, fuzzy vocals which, when combined, create a very catchy, evil sounding tune.  "Black Isn't Black" channels Ray Manzarek on the keyboards to build up to a pulsing, yet menacing drone beat.  "Don't Play With Guns" is the first single from the album and it has one of those hooks that will stick with you.  It is unmistakably forward in sound even with all the retro touches.  "She lays down with her revolver.  She's so cold, my heat evolves her."  Black Angels lyrics are often vague, but we get a bit of hallucinogenic story telling here.  Vocalist Alex Maas has one of those old timey voices that haunts and occasionally warbles.  He tends to talk his songs which certainly helps for lyrical clarity.

Color runs throughout several songs on these records: Check out "Black Grease" and "Manipulation" from Another Nice Pair, and from Indigo Meadow the title track, "I Hear Colors," and "Black Isn't Black."  A truly visual listening experience (weird right?).  This isn't by accident.  The Black Angels make no bones about connecting to the LSD era of sonic exploration and make every effort to do it proud.  In their newest effort they keep their distinct sound found in their early work, but create a more concise format.  They are pulling from early Sabbath, Floyd, Doors, Jefferson Airplane, and early psych bands that we are yet to discover.  We would love to raid their record collection!  This VVer recommends that both albums should be played at escalated volumes to get the full experience.  But isn't that applicable to most records?  With such a high level of pounding fuzz you might be pissing off your neighbors (or perhaps the entire neighborhood), but it's worth it.

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.

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!"