Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Track Listing - Disc 1. Little Bitty Pretty One. Robert Byrd. Thurston Harris. Yakety Yak. The Coasters. Loving Arms. Tom Jans. Dobie Gray. Go Jimmy Go. Jimmy Clanton. Two Lovers. Smokey Robinson. Mary Wells. Corinna, Corinna. Ray Peterson.
Sugar Shack. Jimmy Gilmer. Wooly Bully. My Heart Is an Open Book. Carl Dobkins, Jr. Yes, I'm Ready. Barbara Mason. Poison Ivy. This Diamond Ring. Gary Lewis. Down in the Boondocks. This particular album cover was drawn by a certain starving artist that was destined for stardom.
His name? Andy Warhol. There are only seven known copies of this record in existence. Half soundtrack, half dialogue recording, this record was scrapped when Herman Wouk, writer of the novel on which the critically-acclaimed film was based, threatened to never allow the studio to use his work ever again if they released the album.
Wouk was furious at what he saw as blatant theft of his intellectual property, since the B-side of the record was a recording of the climactic courtroom scene, lifted verbatim from his novel.
Columbia agreed to halt the release of the album and destroy all copies. A few employees filched some copies before they were demolished — there are rumored to be close to a dozen that survived. There were 25, copies of this single pressed. In a story that since become punk legend, the Sex Pistols terrorized their label so badly that they were dropped six days after signing the record contract in a publicized ceremony in front of Buckingham Palace.
The very limited Australian edition on translucent vinyl is said to only have 50 of its kind — though only a small handful have surfaced over the years. The song references the assassination of Martin Luther King and the civil rights movement, but Bono says he could have better fleshed out the lyrics. According to him, the Edge and producer Brian Eno convinced him that keeping the lyrics vague would allow the song to resonate deeper with non-English speakers. Rumor has it that Olivia Newton-John hated the way she looked in the picture printed on the front of the disc so much that she had the record company stop the pressing.
Between 20 and 30 records survived. Jazz fans rejoice! There were between and 1, copies of this record printed in , but a small variation in printing makes one particular version especially valuable. The story goes that famed jazz record label Blue Note ran out of labels when printing the record. In theory, the other version should be worth even more.
According to blues legend, Johnson met with the devil at the crossroads between Highway 1 and 8 in Mississippi. There, Johnson traded his soul for the ability to master the guitar. There were only 15 copies of this record pressed, and the cover of each was hand-painted by Dave Buick, founder of Italy records. The copies were made for a Detroit record release show for the band in , as the fledgling band was on the incline, destined for stardom.
Hopefully, you kept it safe. The record label that handled the release, Tiger Lily, was a tax scam operated by the mob. The scam worked like this — a large portion of records would be pressed and later written off as unsold.
A few of these records made it into the right hands and achieved cult status. The pressing of the record that is particularly valuable, however, is one that features a stencil rendition of the front jacket painted by none other than notoriously elusive street-artist Banksy.
There were only of these limited edition hand-spray painted versions made, with several different color variants.
The record label decided to be cautious in the wake of the controversy and political turmoil and ordered the records destroyed. You may remember this record from an episode of Pawn Stars. The price was deemed too steep for the vinyl, which was not in the best shape. One lucky Canadian record collector picked up a copy sans the Warhol artwork-adorned sleeve for 75 cents at a flea market, but this was no ordinary re-pressing.
The acetate record ended up being a test pressing that featured early versions of many of the songs — there are only two in existence, and one belongs to former Velvet Underground drummer Moe Tucker. Gordy ordered the pressings destroyed. Soussan unscrupulously bootlegged the record and released it by crediting Eddie Foster as the musician.
The record was a smash hit. Such is the case with this already valuable record. A few tracks were meant to be replaced before the release, but someone at the pressing plant missed the memo, and a few copies featuring the wrong songs were pressed.
There are said to be less than 20 mono copies of the record and only two stereo copies. In the studio we were just stifling each other. I wouldn't let him get any of his ideas out, and he wouldn't let me get any of mine out, so it became pretty heavy going. We mutually agreed to part company on the creative level. Richard and Andy wanted to stay with me, so Peter went. I think it was a good move for both of us.
This having been agreed, Bardens completed the forthcoming set with his erstwhile colleagues, again their handiwork being a bundle of individual songs rather than following the concept framework which had already featured primarily in their rise to fame thus-far. There was never any intention to draft in a Bardens clone, so when Mr. Sinclair suggested the employment of two former Caravan roommates adept on the 'eighty-eights' his cousin Dave and Liverpudlian Jan Schelhaas, the Andys saw bright new horizons opening up and readily agreed.
Happily, so did those approached. With the boys able to support its appearance via live dates, Arista moved in on Billboards Top come 10th February and thereafter galloped northwards to during a 10 week stopover. There were smiles all round. Once home though Dave Sinclair, who had only signed on for the duration, waved adieu, but, more importantly, Richard also called time owing to pressure of touring. Jan was staying put; all wished to pursue the twin-keyboards idea further, so in the summer ex-Clancy, Steve Hillage and Carol Grimes four-stringer Colin Bass came in along with America's own Kit Watkins, once of Happy The Man, who brought his numerous electric descendants of the harpsichord to complete a.
They set about penning new material immediately, and after only a few weeks together way-back-when Andy Latimer stated ecstatically: "It's better now musically than it ever was. We've got the capability, both for more complicated pieces and the power for straight-down-the-line things. The level of enthusiasm has brought the new numbers along very quickly. Recording is fun rather than an effort.
The new rhythm section's so tight. It's a joy to play over. We're proud of the stuff we've done in the past and will continue to play it live. We're still distinctly English and like to take chances.
The new material sounds more commercial but we only do what we want to do. Monday, August 31, W. What if he chose to do something totally different and high-tailed it out of America and settled in Jamaica as a recluse.
What if Elvis's drug addiction went to the next level and he got stuck into some of the local 'wacky weed'. So folks, this post certainly ticks most of the WOCK boxes for this month's consignment - it's W eird, it's C razy and definitely very K orny. Page a run for his money, so this album is not a total parody and worth the listen. But I'm still not sure about those Elvis vocals - thank you, thank you.
Posted by AussieRock at PM 1 comment:. K - , Their radio-friendly sound debuted in with Fantasy Girls and the group managed a steady stream of moderate FM hits in the U. Despite the added prominence this single and tours with the Doobie Brothers, Styx, BTO, and the Kinks brought them, the group remained primarily a cult favorite for their nearly decade-long career. Charlie's swan song came in with 'In Pursuit of Romance', which featured Thomas as the only original member.
Charlie, to most people in Oz were virtually unknown so it was tempting to treat their selftitled album as a debut. Both received good critical acclaim but failed to spawn that vital ingredient - a HIT Single. Charlie in '83 undertook a new direction. We had been working for a long time to attain the kind of success we all wanted but hadn't quite achieved.
The frustration level for the whole band was very high at that point. There was no doubt in anyone's mind that a major change was needed to freshen up a stagnant situation.
As soon as I took this approach the material I had written for the album took on a new clarity and direction about it". Charlie Link Mb. Posted by AussieRock at PM 16 comments:.
Canadian - Rocker upon the album's release. I'm also pleased with the way we've been able to utilize a stronger sense of melody and vocal harmony. In hindsight, it has less to do with rap music of the era, playing out with an almost sci-fi meets beatnik vibe.
Ultimately, the song's lyrics zero in on common concerns and questions, with the semi-existentialist coupling, "Why are we here? Because we're here! Either do something or not do something, so I thought, choose the risk, choose the adventure.
The path from high gloss to harder edged sounds would be complete with 's Counterparts. We spent 10 weeks writing and rehearsing, which is probably why the recording went so quickly. The band is three weeks into a world tour, backing the newly released 'Roll the Bones' album. They perform at the Civic Centre Tuesday. To some, the enduring appeal of the music lies in its consistency - complex lyrics over intricate bass and drum work, with Lee's soaring vocals providing a distinctive hook.
But from Peart's perspective as a musician and songwriter, the playing and writing has changed enormously during the years. You grow out of them and you're either embarrassed or a bit nostalgic about them," he says. For me, anything much before , I don't honestly relate to in any direct way anymore. In the s, too, increasing numbers of record buyers in the US and Europe were listening to music from distant cultures, a process encouraged by recovery from post-World War II economic austerity, affordable international air travel for the middle classes anyway and the increasing prevalence of LPs.
By the end of the decade, recordings of African, Indian, Latin American and South Asian musics, sometimes mediated by jazz and exotica, sometimes presented in their authentic states, were commonplace. Looked at chronologically, as in this list of the some of the most enduring and collectable releases of the decade, the s were soundtracked by a giddying, multi-coloured galaxy of music. Some of the discs are by artists widely-celebrated today, although where possible an effort has been made to avoid the most obvious choice of releases, others are by musicians who were little known at the time, and remain so today.
Hopefully, you will find a few surprises along the way. Christian pioneered both the frontline role of the electric guitar — on which he played his solos single-note style, like a saxophone or trumpet — and the more complex harmonies which defined the style. The album catches Christian away from the highly-structured surroundings of his rent-paying gigs, the Benny Goodman sextet and orchestra, jamming with fellow revolutionaries Thelonious Monk and Dizzy Gillespie. The LP consists of two, hard-driving, nine-minute workouts.
The riff that launched a thousand blues-rock bands in the s. James and Johnson both lived in Mississippi in the late s and it is possible that James was taught the song by Johnson himself.
His legacy inspired a generation of younger experimentalists including John Cage — and, later, Frank Zappa. The owner let Zappa have it cheap because in four years he had been unable to sell a copy. The royalties from that and other cover versions allowed Smith to retire to bucolic Colorado, where he opened a guitar store and became a music teacher. A box-set collection of tracks first released between and , the monumental Anthology Of American Folk Music was compiled by the Hollywood film-maker Harry Smith, who during the s had put together a library of thousands of folk, blues and country discs.
In the s and early s, the anthology was a primary resource for a new generation of folk musicians, and Bob Dylan and Joan Baez were among those who acknowledged its importance.
The best live album Parker ever recorded. Charlie Parker was an admirer and other musicians who championed Moondog included the bandleader Woody Herman, for whose Mars label Moondog made this eight-track EP. It was recorded by Tony Schwartz, an urban folklorist who worked the streets with a portable tape recorder.
Ambient sounds such as ambulance sirens and foghorns from ships on the East River pepper the tracks. The cover shows some of the instruments Moondog invented. Outsider music of the first rank. Musically, he was by this time on much the same page as Ahmad Jamal, and both musicians were dismissed by the jazz establishment as lightweights.
But while Jamal was boosted by an enthusiastic Miles Davis, Haig was left on the margins, reduced to playing cocktail lounges. Although he was always a more emotional player than popular history remembers him, Stan Getz was in the antithesis of Big Jay McNeeley — poised and ultra-melodic. The contrapuntal interplay between the two is on a par with that on the contemporaneous West Coast recordings of Gerry Mulligan and Chet Baker. Norgran was another of the pre-Verve labels founded by Norman Granz.
The album artwork is by David Stone Martin, collectable in his own right. Based in New York, Vladimir Ussachevsky and Otto Luening were early adopters of the reel-to-reel tape recorder as a sound source.
Tape Recorder Music is a recording of a concert given at the Museum of Modern Art in , believed to be the first performance of purely electronic music to be presented in the US. Despite its introspective ambiance, it reached number two in the US charts.
Sarod player Ali Akbar Khan was the first Hindustani musician to make an impact in Europe and the US, a year ahead of his contemporary and brother-in-law, the sitar player Ravi Shankar.
Accompanied by tabla player Chatur Lal, Khan takes the string sarod — a heftier, bassier cousin of the sitar — through two mind-bending improvisations. The instrumental arrangement was by tenor saxophonist Jimmy Wright, who led the studio backing-band.
The duo effectively disbanded inSep 15, · The physical condition of your vinyl is a large determinant of selling price. For instance, if the record is scratched, sounds muddled or crackles and pops when played, the record may have a low value. The condition of the cover and sleeves determines an album’s value just as much as the vinyl .