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@vinylfromthevault
Whereâd you go?
I set up my own website www.vinylfromthevault.com
More flexibility in appearance and content than Tumblr allows
Murphy's Law "Back With a Bong" 1989. Profile Records. Clear vinyl. New York melodic hardcore, Back With a Bong is the band's second album and had an almost completely new lineup from their s/t debut in '86 - save vocalist Jimmy Gestapo (James Drescher) - that included Agnostic Front and Warzone guitarist Todd Youth (Todd Schofield).
Just a reminder that Iâm really not here on Tumblr anymore. I have a monthâs worth of posts since the last one -- www.vinylfromthevault.comÂ
Love and Rockets "Rock and Roll Babylon" 1989. Big Time Records/Beggars Banquet. 12" single promotional-only release. "Rock and Roll Babylon" appears on their 1989 self-titled album; it's a really lovely industrial-goes-psychedelic goth song. The 12" is a double A-side (like promos for radio stations tend to be, DJ's being in a big hurry and
Latest post on my website!Â
The Cure "In-Cure-Able: Punk at Its Best" 1981. Very much a bootleg, with a blank label and cheaply pasted on front and back images (that you can see are starting to peel). Discogs lists Centrefugal Records as the record label that released it: that information may have been on an album insert, now lost to
Vinyl From the Vault now has its own website!
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Joan Jett & The Blackhearts âI Love Rock ân Rollâ released 40 years ago today, November 18th, 1981.* This worn and well-loved LP was the first record I ever bought with my own money when I was 10 years old and I still love it (and since itâs an original pressing, it has the track âLittle Drummer Boyâ included as the record was released for the holiday shopping season. I donât like that Christmas song but Jettâs version is tolerable). Hard pop rock inspired by the late 50â˛s/early 60â˛s classic rock-n-roll sound, Jettâs second solo studio album (and her first with the backing band The Blackhearts) was a massive hit, hitting #2 in the US and #25 in the UK. The title track âI Love Rock ân Rollâ was the first single from the album; originally recorded by the Arrows in 1975, Jettâs version went to #1 in the US and #4 in the UK. But the single and the version on I Love Rock ân Roll wasnât her original take - she first recorded it with Steve Jones and Paul Cook from the Sex Pistols in â79 as the b-side to âYou Donât Own Meâ (which appears on her first solo LP Bad Reputation). Jett also released âCrimson and Cloverâ as a single, another cover song (by Tommy James & The Shondells), which hit #7 in the US and #60 in the UK. Jettâs version is so great, adding in a hard rocking beat to balance the sweetness of the original. Other notable covers that Jett recorded for I Love Rock ân Roll are âBits and Piecesâ originally by The Dave Clark Five, âNagâ by The Halos and âYouâre Too Possessiveâ (she basically covers herself: it was on The Runawaysâ album Waitinâ For the Night from 1977). The album isnât all covers, though - I really love Jettâs âLove is Painâ and the Bo Diddley-inspired âBe Straight.âÂ
*Reblogging myself from two years ago.Â
Nitzer Ebb âThat Total Ageâ 1987. Not on vinyl, but on ALL the other formats: I bought the cassette in â87 (and listened to it incessantly that year), picked up the CD sometime in the 90â˛s or early 2000â˛s, and am currently streaming it on Spotify (my tape player will probably munch the cassette and I donât have a CD player readily accessible). Last night we got to see Nitzer Ebb play at Turner Hall here in Milwaukee - it was insane!! I danced non-stop for almost 2 hours (logging in over 10,000 steps and 2 cardio workouts on my FitBit đ ). The last time I saw them was over 30 years ago, in the summer of â90 when they toured with Depeche Mode - the bands are/were good friends and continued to work together on tours and recording for years after. Nitzer Ebbâs Bon Harris and Douglas McCarthy look older; I suppose I do, too.Â
Relentlessly pounding EBM/industrial dance, That Total Age was Nitzer Ebbâs debut album. The single âJoin in the Chantâ hit #9 on the US dance charts and the crowd went insane last night when they performed it. They also played âMurderousâ and âLet Your Body Learnâ (two of my favorites and both also released as singles ), plus a hilarious ballad version of âViolent Playgroundâ and âAlarmâ as part of the encore. While not on That Total Age, Nitzer Ebb also played âHearts and Mindsâ (we have that 12âł single on vinyl). Another top pick from the album is the opener âFitness to Purpose.â My original cassette has the track âWarsaw Ghettoâ which was not included on the originally released CDâs (mine doesnât have it) but that track does appear on the 2018 reissue.Â
Led Zeppelin âIVâ released 50 years ago today, November 8th, 1971. IV is not  the albumâs true title: it is officially untitled and was supposed to be simply referred to by the four symbols pictured on the LP label. The bandâs name does not appear on the cover and there is no catalog number on the spine. Despite this, it is probably one of the easiest recognizable, best-known and best-selling  records of all-time (charting at #1 and #2 in the UK and US) and is considered one of the best albums ever recorded, landing at or near the top of a zillion best-of lists.Â
IV is definitely early heavy metal and certainly hard rock but Led Zeppelin always interwove elements of Celt/Anglican folk and Lords of the Ringsy imagery and IVâs iconic âStairway to Heavenâ is the epitome with its bustles in hedgerows, May queens and pipers piping. It was also the most confusing song to be confronted with at awkward junior high dances, starting as a slow dance (oh my God he wants to dance with me!!) and then breaking into an upbeat metal jam where weâd kind of drop our arms and sway self-conciously. Or maybe that was just me? Also Iâm realizing that particular junior high dance occurred only 15 years after IVâs release and oh my god Iâm also feeling very old. Anyway, I love âStairwayâ (and many of its covers/parodies, including the one by Little Roger and the Goosebumps âGilliganâs Island (Stairway)â which Robert Plant declared his favorite cover of the song) but even better are the absolute ripping opener âBlack Dogâ (#15 US), âMisty Mountain Hopâ (more mixing of Tolkien imagery with modern day youth culture), âRock and Rollâ (released as a single in early â72, hitting #47 in the US) and the supremely beautiful âGoing to California.â
*reblogged and revised from my post in 2017
Radioactivity âRadioactivityâ 2013. Dirtnap Records. I just finished listening to a podcast featuring Ken of Dirtnap Records (âFull on Church of Rock ânâ Rollâ Episode 48) and Radioactivity, among several other Dirtnap bands, came up in the discussion. Ken gave me this record awhile back and itâs been in my pile of new-to-me records to spin so todayâs the day! Radioactivity is powerpop-punk via Texas via Japan; when guitarist/vocalist Jeff Burke moved back to the States he reformed the band he was in overseas, The Novice, into Radioactivity. He joined up with Mark Ryan (bass) from The Marked Men and High Tension Wire and Gregory Rutherford (drums) from Bad Sports and High Tension Wire.Â
Radioactivity is punchy, melodic and a little bit snotty: punk in the spirit of the the Ramones with very few hard edges, a teeny bit of jangle and tons of energy. Better for pogo-ing than slamming. âWhat You Wantâ is a re-worked Novice song (also released on Dirtnap Records in 2013 as a 7âł) and one of my favorite songs on the LP. Other top tracks include the lead track âSickness,â âWorld of Pleasure,â âAlrightâ and âWhen Iâm Gone.âÂ
Duran Duran âFuture Pastâ 2021. Released just a couple of days ago, limited(ish) edition exclusive clear vinyl for âSpotify Fans Firstâ pre-orders. Today, October 27th, is also Simon Le Bonâs birthday (b. 1958)! Future Past is Duran Duranâs 15th studio album and it is GREAT! The track âAnniversaryâ is pure, crank it to 11 dancing bliss, put it on repeat and as catchy and addictive as any of their other great hits like âHungry Like the Wolf,â âPlanet Earthâ or âReach Up for the Sunrise.â My other top tracks so far (Iâm on my fourth listen since getting the delivery two days ago) are âAll of Youâ which has an excellent play-that-fucking-bass John rhythm, âBeautiful Liesâ which is synthpop goes funk (the secret Duran Duran sauce) and âInvisibleâ which was the first song I heard a few months ago with that wild AI generated video. Iâm working on really liking the songs upon which they collaborate with other artists (âGive It All Upâ which features Tove Lo, âMore Joy!â featuring Chai and âFallingâ which features Mike Garson). But Iâm just so happy that I still love this band and they continue to put out fantastic music. Â
The title Future Past is also resonating with me a lot: about a week ago an old friend of mine who I met through our mutual love of Duran Duran back in 1984 sent me ALL of her old Duran Duran posters, magazine pictures, little tiny newspaper clippings, etc. In that pile of goodness was a letter I had typed and printed out on my dadâs old dot matrix computer that I literally have no recollection of whatsoever. Apparently my Duranie penpal from California (who I did get to meet in-person I think in the summer of â84 or â85) and I had schemed to write a book about Duran Duran and sent out this form letter to people requesting photos and must have included some sort of survey that the letter references. Spoiler: that book never materialized.Â
Parliament âFunkentelechy vs. the Placebo Syndromeâ 1977. Today, October 26th, is Bootsy Collinsâ 70th birthday (b. William Earl Collins, 1951). Bootsy co-wrote all but two tracks on Parliamentâs 6th studio LP (those were "Wizard of Finance" and "Placebo Syndrome") and plays bass on most of the album. While known for being the funkiest of funky bassist, Bootsy did not play bass on one of Parliamentâs most famous songs that appears on Funkentelechy - âFlash Light,â which was Parliamentâs first #1 R&B chart hit; it also went to #16 on the pop chart in the US. That songâs bass line was, rather, a synthesized bass played by Bernie Worrell and Bootsy plays drums on âFlash Light.â Parliament released two other singles from Funkentelechy vs. the Placebo Syndrome: âBop Gun (Endangered Species),â the albumâs opening track, and the title track âFunkentelechy,â which went to #27 on the R&B charts. The song is so long that for the 7âł single it had to be split between the A and B sides. Â
The Cramps âPsychedelic Jungleâ 1981. Iâm spinning The Crampsâ second LP today, October 21st, on what would have been singer Lux Interiorâs 75th birthday (b. Erick Lee Purkhiser 1946, d. 2009). Psychedelic Jungle is a psychobilly punk blues 50-50 mix of covers and originals, including one of the bandâs most iconic tracks, the cover of âGoo Goo Muckâ (originally by Ronnie Cook and the Gaylads, 1962) which gained notoriety in â86 as part of the Texas Chainsaw Massacre 2 soundtrack. Other notable covers include âRockinâ Bonesâ originally by rockabilly great Ronnie Dawson (1959), the Bo Diddley-beat âJungle Hopâ by Kip Tyler and the Flips (1958) and âThe Crusherâ (a MKE-area favorite - we even have an annual Crusherfest) by the Novas (1964). The Cramps originals like âCaveman,â âDonât Eat Stuff Off the Sidewalkâ and âThe Natives are Restlessâ are creepy, weird and perfect for pre-Halloween listening.Â
Johnny Marr âFever Dreams Pt. 1âł 2021. Limited edition silver vinyl. 4 song EP released just a few days ago (October 15th), Fever Dreams Pt. 1 is the first portion of a double LP (Fever Dreams Pts. 1-4 to be released on Feb. 23rd, 2022) and itâs gorgeous. It has a big, polished 80â˛s-style production (and I mean that in the most complimentary way), is swirly and dreamy, and - it goes without saying - the guitar work is perfection. Marr released the opener âSpirt Power & Soulâ at the end of August and I literally ran to the computer to pre-order the EP upon one listen. Anthemic with a driving, almost industrial beat, itâs a dance-floor burner that would feel at home equally at an 80â˛s raver as it would in a 2021 club (well, if those were open). The other three songs are great, too. âReceiverâ is awesomely big, too, with an ominous opening/chorus and a Johnny-fucking-Marr hook. âAll These Daysâ is dark, too, brightened ever so by Marrâs jangle. The final track, âAriel,â is the most Smiths sounding of the tracks - I love it.Â
INXS âUnderneath the Coloursâ released 40 years ago today, October 19th, 1981 (in Australia only, they released it to other markets a year or so later). INXSâ second LP went to no. 15 in Australia. Maybe itâs because I have little to no emotional connection to Underneath the Colours, unlike most of INXSâ other 80â˛s releases, but Iâm really not crazy about this record. The funky title track âUnderneath the Coloursâ is pretty good (I believe released as a single in New Zealand, no idea if charted or not) as is the dark, post-punkish âBarbarian,â but the rest of the album is pretty bland new wave pop with little to none of their later infectious and anthemic sound. Besides the title track, they also released âStay Youngâ (#21 Australia) and âNight of Rebellionâ as singles. In 1982 INXS put out Shabooh Shoobah which took their sound in a new direction, one that gave them international success.Â
S.M. Wolf âPrecious Downtimeâ 2021. Romanus Records. Limited edition (50 copies) tricolor variant. Until now I was completely unfamiliar with Indianapolisâ S.M. Wolf but since one of my life goals is to have one copy (or more) of every Romanus Records release, I ordered one of these when it was released at the end of August. Precious Downtime is catchy and melodic, buzzy and shimmering indie pop with a dash of psychedelia.  Itâs S.M. Wolfâs fourth album and, according to one reviewer (who I will trust since I havenât listened to those other three records), the LP is lighter and more optimistic, which is interesting as the band recorded most of the material during the pandemic (as the recordâs title alludes to) and without the benefit of being together as a full band for most of it. My top tracks include the lead track âGood Vibration (not that one..dream No. 1)â (the title makes me laugh), âHeinous Scepterâ (the recordâs title is part of the chorus and despite the name of the song itâs a really upbeat track), the rocker âLet It Go,â âBangkokâ which is just lovely and accented with some unexpectedly soaring trumpet and the supremely mellow closing tracks âThe Sun Dies Too (automatic No. 2)â and âA Brighter Day.âÂ
S.M. Wolf headlined Romanus Fest last month - the fest doubled as their record release party - and Iâm super-bummed we missed it; weâve made it down to Indianapolis for all the past Romanus Fests and Iâm hoping we can get there in 2022 - maybe S.M. Wolf will perform at it again - their music is pretty much perfect for a late summer outdoor evening festival.Â
Jon Spencer Blues Explosion âNow I Got Worryâ released 25 years ago today, October 15th, 1996. Matador Records. JSBXâs fifth LP is one of my top 5 of all of their releases (though I may be guilty of saying that about all of their albums). Wild and noisy punk blues with some of their iconic tracks including âWail;â Weird Al Yankovic directed and made a cameo in the highly entertaining and hysterical video which includes Spencer popping out of a toilet and Judah and Russell doing the macerana). Other great tracks are â2 Kindsa Love,â âFuck Shit Upâ (a cover originally by Dub Narcotic who they toured with in 2002 - at the show we went to Dub didnât end up playing because they got there late but did manage to incite a mini-riot and get the club shutdown), âChicken Dogâ (with guest vocals from Rufus Thomas and Mark Ramos Nishita aka Money Mark), âR.L. Got Soulâ and âCanât Stopâ which has the greatest - and most truthful - line of all time: âThrow your hands in the air and kiss my ass âcause your girlfriend still loves me.â We saw JSBX during the tour for this record at the Barrymore Theater - and got to go backstage after the show - in Madison, WI about a month after its release (Nov. 9, 1996 - as always a huge thank you to pop-catastrophe.co.uk for having such a thorough archive!).
Prince âControversyâ released 40 years ago today, October 14th, 1981. Shockingly, our copy still includes the large poster which somehow escaped the normal rips, wears and tape tears from being attached to an 80â˛s teenagerâs wall (the image cropped a bit here because posting it in its full glory got me thrown into âviolates social standardsâ jail đ).Â
Controversy is Princeâs fourth album; it hit #21 on the US album chart and #3 on the Top R&B/Hip-Hop album chart. Funky and danceable, its themes are a mix of socio-political commentary (most explicitly on âRonnie, Talk to Russiaâ but also on the pro-gun control song âAnnie Christianâ), religion and sex sex sex without even a whisper of innuendo. Songs- and that poster! - like âSexualityâ (released outside of the US as a single - 1981 America was clearly not ready for it), âDo Me, Babyâ (which was released, hitting #41 on the single chart and #1 on the R&B chart; it was supposedly written not by Prince but by Revolution bassist Andre Cymone), âPrivate Joyâ and âJack U Offâ tell us exactly where Princeâs mind was at when writing the LP. Other singles he released were the title track âControversyâ (#70 US, #5 UK) and my favorite song on the album, the ultra-funky âLetâs Workâ which went to #1 on the US Dance chart. Â
U2 âOctoberâ released 40 years ago today, October 12th, 1981. October, their second album (no. 2 in the UK and no. 104 in the US) solidified U2â˛s epically big and soaring anthemic post punk sound with a heavy emphasis on religion and spirituality. âGloria,â with its soaring chorale chorus (âGloria, in te domineâ), is one of the strongest tracks on the record; it went to #55 on the UK single charts. âFireâ was another single (#35 UK). The album also has an air of beautiful sadness, particularly on âTomorrowâ about which Bono said, â[Its] influences: primarily Joy Division, Invisible Girls. A great example of how you can write a song and not know what youâre writing about. âTomorrowâ is a detailed account of my motherâs funeral. But I had no idea when I was writing it.â U2 wrote much of October while touring the US for their first album, Boy, but bad luck plagued the band: Bono lost the lyrics for the album backstage during a show and the songwriting process needed to be rushed along in order to keep the studio recording schedule. Producer Steve Lillywhite stated the recording sessions were "completely chaotic and mad.â Â