Amoeblog

New "What's In My Bag?" Episode with Nick Waterhouse

Posted by Amoebite, June 25, 2019 02:11pm | Post a Comment

Nick Waterhouse - What's In My Bag?

We were recently schooled in the ways of classic R&B, jazz, blues, and exotica by Nick Waterhouse, who shared his extensive knowledge with us here at Amoeba Hollywood. The LA-basd retro-rocker and producer had lots to say about all of the records he found at the shop, including El Chico by drummer Chico Hamilton who Waterhouse calls "one of my favorite Los Angeles musicians of all time."  "This record absolutely rips," he told us, going on to praise the album's guitarist Gabor Szabo. "This type of playing really was influential on my own guitar style," he explained.

Nick Waterhouse is known for his glossy, modern take on classic soul, blues, and R&B. After learning to play guitar at age twelve and playing in a series of throwback retro-soul/rock bands, Nick Waterhouse - Amoeba MusicWaterhouse recorded and self-released his debut single, "That Place," in 2010. For his first live performance later that year, he assembled a backing band, The Tarots, and a group of female singers, The Naturelles. He signed with the Innovative Leisure label in 2011 and released his first full-length, Time's All Gone, in 2012. That same year, he produced the Allah-Las' self-titled debut and embarked on a North American and a European tour with them.

Continue reading...

Best of 2018: Kelly's Top 5 Picks

Posted by Kells, December 31, 2018 03:35pm | Post a Comment
It's that time of year again—the end! But before I dive into my five faves of 2018, I'd like to briefly salute Destiny's Child Kelly Rowland's new single "Kelly" for adding some much needed beef to the existing "Kelly" songs menu. It's a shameless strut of an anthem that blows the hatches off Air's sweetly space-crafted "Kelly Watch the Stars" and stomps the throat of Woody from Cheers' dopey "The Kelly Song". But for all it's sass (and "ass"), Rowland's "Kelly" can't surpass the scandalous charm of Del Shannon's wistfully two-timing "Kelly", not by my reckoning anyway. That's just this Kelly's opinion though, and, no matter what, it is good to know that that Kelly's "got flex", et cetera. In other words, i.e. her own words, "go Kelly go—go, go Kelly go"! 
 
Read on for more of this Kelly's opinions re: top five records of 2018, it's been one helluva year...


BEST DAMN RECORD
Dick Stusso - In Heaven
(Hardly Art)

I don't know who Dick Stusso is, but I'm convinced he's got it all figured out. His tight yet loose roadhouse-rock sound is so right, with heavenly guitar tones and twangy saloon piano interludes that sway and swagger over close-carpeted rhythms and far away vocals so in your face and from the gut it sometimes feels like an arm creeping 'round your shoulder to give you a sip and questionable life tips. Maybe it's too easy to say Stusso's got a little bit country of a rock'n roll thing going on, but that's a good place to start. Also, I don't really want to get political here, but anyone remember that time before the 2017 inauguration when folks were saying stuff like the incoming administration would make Punk great again? This review has nothing to do with that exactly, but as far as present times fostering better modern music goes, Dick Stusso’s In Heaven achieves the level of excellence I’ve been waiting for in terms of any silly "great again" shorthand beckoning a means to a musical renaissance, or something similar. Cue title and final track on the record for a come down fitting for a new year and a new you; may the things you like always last...






MOST ESSENTIAL COLLECTION
Various Artists
- Technicolor Paradise: Rhum Rhapsodies & Other Exotic Delights
(Numero Group)

Leave it to the tireless diggers at Numero Group to unearth and lovingly compile a buy-or-die collection of musty, dusty,  mid-century musical curios from the tiki craze heyday. This 3LP
 box set of deep Exotica, Jazz, Surf and other tropical novelties is easily the most crucial release of the year by my reckoning. With so many standout tracks and impressive behind-the-music research packed into it, I'd be hard pressed to highlight any way in which this label has not outdone themselves (yet again) with this project. Make mine a triple!




MOST INSPIRED RECORD
Cold Beat
- A Simple Reflection
(Dark Entries)

Sometimes the best obsessions come from flipping through records (an obsession in and of itself). This dreamy 7-song collection of Eurythmics covers began when Cold Beat front-woman Hannah Lew came across the Eurythmics' early works while digging through a bin of 12"s,
sparking an obsession that crystallized into A Simple Reflection. With tracks plucked from the Eurythmics' early b-sides, their In the Garden debut, and Sweet Dreams (Are Made Of This) follow-up, Cold Beat's reimaginings sound as fresh and organic as they play faithful to the original material, their synths and rhythms seemingly maintaining the bands' overall sonic trajectory while likely informing new directions to come. As always, Lew's high level of aesthetic taste is on display, this time exhibited playfully on the cover in a series of Annie Lennox-inspired looks.

Speaking of inspired looks, and given that songs from A Simple Reflection were featured in Moschino's Spring/Summer 2019 fashion show(!), I was thinking to button up this blurb by including show footage backed by Cold Beat's version of "Love is a Stranger", especially considering its lyric that delivers the word "obsession" so deliciously. However, because 2018 may be remembered as a peak year for RuPaul's Drag Race, what with the debut of season 10, seasons 3 and 4 of All Stars, and the "Holi-Slay Spectacular", I've to go with the show opener video featuring "Never Gonna Cry Again" and champion Ru girl Violet Chachki both on the runway and in the air! Feast your eyes and ears:

Best of 2017: Kelly's Personal Picks

Posted by Kells, December 22, 2017 07:45am | Post a Comment

sometimes the past burns itself down

This year has been, in a word, unbalanced. Thankfully there was a wonderful array of music and movies to take the edge off the chaotic instability. Here are ten or so of my personal favorite new releases that got me over and through this year's peaks and troughs...


Once & Future Band - Once & Future Band
(Castle Face Records)

This molten monolith of masterful musicianship dropped back in January and, dammit, it is without a doubt the best record of the year. Sounding a little bit like a bygone vision of future sounds, I like to think of this album as the melodic equivalent of going thirty years into the future and replacing the plutonium fission reactor on your homemade time machine with Mr. Fusion before returning to 1985. You could wear yourself out trying to dial-in the potential influences that inform the shifting paradigm of sonic cues, fluid syncopation, beyond-the-friend-zone journal excerpts et cetera at work here, or you could just let go and let this progressive psychedelic jazz-rock splitter take the wheel. Either way, you'll be totally taken in by this beast. It rules!

Check out this trippy rainbow Rorschach sponge art video for "Rolando":





Grace Sings Sludge
- Life With Dick
(Empty Cellar)

I've already said a lot of what I wanna say about the wrapped-in-plastic, trauma-folk singer/songstress stylings of lady Grace Sings Sludge earlier this year in my review of Life With Dick right here, but I wanna reiterate my love for this spooky-ooky mood record by urging everyone to creep up on it and let it smother you with its provocative freakouts and unabashed bedroom devotionals. Sounding not too, too far from her contributions to The Sandwitches (RIP), Grace's solo works harbor a larger, almost uncomfortably huge, betrayal of her competence for crafting ominous pop dirges and unchained melodies that shatter whatever home-recording confines she commits herself to.

Here's the second music video from Life With Dick, "Everlasting Arms"—a single-take shot and directed by Chiva MF of Tirando Terror (Mexico):





OOIOO - Gold & Green
(Thrill Jockey)

This is has been one of my “desert island” records since the very first time I heard it nearly seventeen years ago. It still sounds fresher than fresh today, in a delightfully almost alien way, as if it were the kind of music weather would make if it could stop shifting Earth’s elements long enough to galvanize an improv rock band for a interstellar open mic gig. From the opening clarion call of “Moss Trumpeter” to the moment “I’m A Song” bursts wide open into concentric sonic layers, Green & Gold plays as much like a visionary “headphone album” as it feels like a guided navigation of pulsating terrestrial rhythms, atmospheric river melodies, and electric celestial sorcery. Thankfully available for the first time as a proper and complete vinyl release (the very limited 2001 edition was available only in Japan or at some international shows and didn’t include the full album or it’s extensive lush artwork), this is probably the pinnacle of OOIOO’s output to date and a great place to start for anyone curious about Japanese underground rock and the wonderful women who continue to lend their experimental musicianship to the genre. Fun fact: I named my little corner of this here Amobelog after a song on this record because it rules so hard("Grow Sound Tree"—see the vid below). Bonus fun fact: The Flaming Lips found a muse in OOIOO founding member Yoshimi P-We and named their 2002 album Yoshimi Battles the Pink Robots after her.





Twin Peaks: Fire Walk With Me
OST

(Death Waltz)

This year there were not one, but two reissues of this devastatingly essential masterpiece of a motion picture soundtrack composed by Angelo Badalamenti (with David Lynch), and this "Black Lodge" styled 2LP set is the one to get if you've already splashed out on the "White Lodge" companion package Death Waltz created for their reissue of the original Twin Peaks soundtrack last year. Having been haunted by the mysteries of the music created for Fire Walk With Me since my best friend gave me this soundtrack on cassette as a Christmas gift in 1992, I'm almost at a loss for adequate words to describe how these songs have impacted and inspired me over the years. Simply put, it is a beloved piece of work that continues to move me deeply (with real indications spurring longing urges for nighttime drives of yore). Also, Criterion bestowed Fire Walk With Me with its patent deluxe DVD/Blu-Ray treatment (including crucial bonus content) for new release earlier this year which, altogether with Mark Frost's Dossiers and Twin Peaks' return to the tube in what is likely the most unbridled televised art-moment to date, makes 2017 one helluva twelve-month for Peakers, or I don't know—what do TP nerds call themselves?

Anyway, I wanted to button-up this blurb by including a video for "The Pink Room", but the best one I could find is essentially the entire scene from Fire Walk With Me that occurs while said song is playing and, movie spoilers aside, it features a little too much rude nudity so here's a barely there video for "Sycamore Trees" instead (RIP Jimmy Scott).




Speaking of films... 

The Bandit (2016)
dir. Jesse Moss

I fell in love with this documentary in 2016 and now it's finally available on Blu-ray! That is, it is available as a bonus feature included with the Smokey and the Bandit 40th Anniversary Edition Blu-ray (which makes perfect sense because even if you're buying it to own a hard copy of the doc, you're gonna wanna see the OG Smokey and the Bandit movie). Although created for and funded by CMT, San Francisco-based film maker Jesse Moss' motivation to make the documentary was the relationship between actor/wanna-be stuntman/star of Smokey and the Bandit Burt Reynolds and his best friend/stuntman/wanna-be actor/director of Smokey and the Bandit Hal Needham. From this key moment in their careers, Moss' documentary takes an archivists' dive into the lives of Needham and Reynolds, following their trajectories from humble upbringings to the titular buddy/road movie that solidified their status as 1970s superstars and beyond. What's more, the film conceptually explores the past, present, and future of "the Bandit" as a character (a part originally written with country music super-picker Jerry Reed mind, but it's all good 'cause he ended up in the movie in more ways than one), a car (specifically the iconic 1977 Pontiac Trans-Am), a look (apparently Reynolds bit Needham's personal style pretty hard in his portrayal of Bo "Bandit" Darville in the film), and an American cultural artifact (as Paul Williams says in the sneak peak video below, "you know, in the South they think of Smokey and the Bandit as a documentary.").

Chock full of incredible footage, photographs, interviews, and insights, The Bandit is more than a documentary about the making of a definitive buddy/road movie, it is itself a buddy/road movie defined by a creative union the likes of which we may never see again (not outta Hollywood anyway). I only wish some of the loose ends that lend a bit of mystery to all this sweet tea could have been explored a more thoroughly, even if they couldn't be completely tied up due to those who passed on before this doc was made (namely Needham, Reed, and Jackie Gleason) and those who apparently passed up on being included (Sally Fields). Still, it's an entertaining viewing experience overall, and super dank cross-section of high seventies culture made possible in large part by Reynold's contributions (you can almost smell the Florida funk on the artifacts and ephemera featured throughout the film) and Moss' skills and interests as a deep-diggin' documentary filmmaker.





GWAR
- The Blood of Gods
(Metal Blade)

After all the feces GWAR has faced in the last few years, the simple fact that they managed to release a new record during these feculent times is proof that 2017 hasn’t been a total flush. The Blood of Gods is a tribute to founding member Dave Brockie, who also portrayed GWAR’s lead vocalist Oderus Urungus until his death in 2014 and whose influence clearly lives on despite his untimely passing. That said, the big question remains: this being the first record released after the death of their fallen leader, does this shit shred like a GWAR album ought to?

While I miss the uniquely raspy, round depth of Oderus’s voice, current GWAR vocalist Blothar the Berserker (Mike Bishop) possesses a bellowing vocal vigor that really suits these new tracks, especially catchy single “I’ll Be Your Monster”. It seems the band is attempting a nostalgic return to 90s GWAR sound, which is rad, and each song delivers a lot of fans might expect from any GWAR record: pristine guitar-work amid heavy riffage with plenty of political satire (“El Presidente”), humorous social commentary ("Death to Dickie Duncan"), anti-humanity anthems (“Fuck This Place”, "Swarm"), and a grand continuation of the GWAR saga (“War On GWAR”). So yeah, this shit shreds, but there’s also a closing dirge/tribute ballad for Oderus/Brockie called “Phantom Limb” that punctuates this curiously satisfying new chapter in the GWAR epic with grace. Actually, the real closing track on the album is a cover of AC/DC’s  "If You Want Blood (You Got It)" which really shows off Blothar’s 70s hard rockin' Bon Scott-like vocal capability, but ultimately serves as a reminder that GWAR is best experienced as a live show (so they can drench you in blood during this song) therefore this last banger feels more like a bonus track than a part of The Blood of God's total package. All told, GWAR lives! Rest In Power Dave and Cory.





Cold Beat - Chaos By Invitation
(Crime on the Moon)

Ever since Oakland-based visionary artist/musician/filmmaker Hannah Lew (Grass Widow, Bridge Collapse, Generation Loss) founded Cold Beat to channel her, uuh...”cold beats” into, the band has consistently delivered cool, catchy, icy-glazed dark waves of contemporary post-punk computer goth fantasy for your nerve despite any shift in creative contributions, style, or direction. This third LP of theirs may begin (and end) with a quasi-standalone transmission of blown out gossamer synths accentuated with subtle yet driving basslines (see the video for "In Motion" below), but it perfectly bookends the record's inner spacial shifts from dreamy hypno pop smog to danceable electro art punk static and back again as Lew's crystalline ethereal vocals soar over every swerve along the way.




Speaking of inner spacial shifts...


Earth Girl Helen Brown - Mercury, Mars, and Saturn
(Empty Cellar Records)

Described as limited edition "seasonal series" and initially offered on "100% post-consumer recycled cassette tapes", Earth Girl Helen Brown (aka Heidi Alexander from The Sandwitches) has thus far released three really great mini-album EP thingies with the enlisted assistance of a veritable mega-group of musicians known collectively as the Earth Girl Helen Brown Center for Planetary Intelligence Band (featuring a lotta earthlings from Thee Oh Sees, Ty Segall, Sonny & The Sunsets, Citay, Mikal Cronin, and The Fresh & Onlys and so many more it's as if the band idea came second to establishing a roadside artists colony). Beginning with Mercury last April, Mars in August, and Saturn this past November, each installment tributes, tackles, or aspires towards a bounty of Earthsongs focused on universal issues via fuzzed out twangy outsider pop abstractions n' things. I don't know what it is about Ms. Brown's vocalizations, but I've had noting but time for her melodies, harmonies, and spoken word treks since I picked up Story of an Earth Girl way back when. Here's hoping the series continues and Venus or whatever is ready for lift off.

Peep this video for Mercury's "Earth Elevator" (directed by Ryan Browne):




Speaking of Earth elevators...

Various Artists - Voyager Golden Record: 40th Anniversary Edition
(Ozma Records)

"Experience the historic interstellar message for extraterrestrials the way it was meant to be played," says the kickstarter campaign created by Ozma Records to get the historic Voyager Golden Record recordings from the original tapes (that sat untouched in an underground warehouse since the Voyager launched in 1977) into the hands of the humans that need these kinds of things—who doesn't need more records?! This mega-deluxe 3LP box set includes all of the same music (from Bach and Beethoven to Chuck Berry and Louis Armstrong, Navajo Indian chants to Gregorian chants, Japanese shakuhachi to Solomon Island panpipes), spoken greetings (in 55 human languages and one whale language), and other sounds of our planet (weather, birds, insects, animals, tools, transportation, etc.) contained on the original golden phonograph records as curated by a visionary committee lead by astronomer and science educator Carl Sagan before being mounted to the two Voyager spacecrafts launched by NASA forty years ago. That's nearly two hours of audio attempting to tell a brief yet comprehensive story of life on our planet, can you dig it?

The set also includes a bunch of other great Golden Record relevant goodies, but considering that Voyager I is currently the farthest human-made object from Earth, chilling somewhere in the interstellar medium, I can't get over the simple quiet thrill that comes with putting on this record, hearing a song like Blind Willie Johnson's "Dark Was The Night" and knowing it's somewhere out there floating like a message in a bottle, inching ever farther into deep space. Pardon the idiom, but it'll hit you right in the feels.




Various Artists - Seafaring Strangers: Private Yacht 
(Numero Group)

I'm a sucker for a conscientiously curated compilation, and 2017 was not short on great collections of various artists. This year was so good in fact I could make a whole other Best of 2017 blog post focused entirely on comps (maybe I will?), but whittling all the top contenders down to one, this "wreck-diving the private American AOR ship graveyard" effort released by Numero Group, a label well-known for sorting treasures from trash with the masses in mind, is golden. For more love on this jam check out my blog post from earlier this year here, or peep the preev below for a taste, or take a dive and come all aboard this sweet collection of breezy n' smooth soft rockin' deep cuts by pickin' up your own copy cold turkey. My favorite track in the cut is still "One More Time" by Salty Miller (a.k.a. Nelson Miller of The Monzas—I'm eternally a sucker for anything remotely Carolina Beach Music related).




 
Only Yesterday (1991)
dir. Isao Takahata

Saved the best for last! I'm not much of an anime nerd, but I absolutely adore Studio Ghibli's works, especially the films written and directed by Ghibli co-founder Isao Takahata (the Yin to Hayao Miyazaki's Yang). When it was announced some years ago that Disney had acquired the worldwide distribution rights to all Studio Ghibli films I was worried that some of their best movies (i.e. Takahata's films) would be shelved indefinitely for being too culturally anchored, not kid-friendly enough, or, even worse, suffer heavy editing to make them more appealing for global consumption or something. Over the years, however, Studio Ghibli's high quality filmworks have slowly surfaced one by one and now finally, finally, Takahata's 1991 masterpiece Only Yesterday is available in North America, something I never thought possible because, aside from it being an animated feature film, it is realistic drama that seems to be specifically made for an adult female audience.

In Japan in 1982 an unmarried woman over the age of 25 is considered past her prime, but 27 year old Taeko, a Tokyo professional tired of her office job, is too busy planning her upcoming vacation to the countryside to help harvest safflower at family friend's farm to fuss about guy troubles. The one thing she didn't count on was meeting the hunky farmhand man of her dreams along the way—just kidding! No, the one thing she didn't count on was unpacking a constant stream of vivid memories of her fifth grade self while embarking on her agri-tourism getaway. The seamless mashup of Taeko's mid-1960s flashbacks within her real-time traveling to and working in rural safflower fields makes for a meditative sort of storytelling that is effectively heart-warming and melancholy in the best way. And yeah, okay, maybe there is a guy, but don't get it twisted. This movie is about adult issues, processing childhood memories, embracing nostalgia, and facing your truths in order to live your best life.

The English dub ain't half bad and features the voice talents of Daisy Ridley (speaking with an American accent for some reason) and Dev Patel (who's rockin' some sort of decidedly non-American accent), but I find that so much of the nuance and tone of the original dialogue is lost in the English versions of Ghibli films (Spirited Away being one of the most difficult English dubs to endure). That said, I'll take what I can get. Check out the trailer for the English dub new release below, and have a happy new year everybody! xoxo




Fair Winds and Following Seas Aboard Numero Group's Seafaring Strangers: Private Yacht compilation

Posted by Kells, July 31, 2017 10:11pm | Post a Comment
Is popular music pounding a hole into your Summer soul? Are you tired of your local "light rock, less talk" radio station slicing out the same old top-forty farts? If you're looking for deeper-than-deep Soft Rock cuts, other songs titled "Sailing," and generally more "yacht," less Lil Yachty in your life, then Chicago-based label Numero Group has got you covered. Welcome aboard Seafaring Strangers: Private Yacht, the latest addition to their stellar Wayfaring Strangers series of compilations and a twenty track bounty of sonic solutions for anyone in need of a latitude adjustment à la boxed pinot grigio soaked, gently-rolled joints of poolside AM GOLD.

Numero Group's knack for mining oddities and essentials from America's private press netherworld and beyond is legendary at this point and, given the scope of known and unknown genres already showcased in their broad range of compilations, Private Yacht feels as delightfully inevitable as it sounds immediately right-on at first listen. In many ways it plays as if it's picking up where their Record Store Day 2012 compilation WTNG 89.9FM: Solid Bronze left off, each track possessing similar stylistic qualities whether they skew more towards AOR, Modern Soul, lite Disco/Funk, dockside singer-songwriter Folk, or Smooth Jazz-tainted Southern Rock session throwaways.

Sometimes the best part of digging into a lovingly curated comp spread over two LPs (like this one) is discovering which tracks standout with each pass, back to front, sides A through D. Clockable similarities and differences in style and composition aside, standouts in this mix ebb and flow in a steady tide of mood, here a slappy, bass-y space groove, there a quasi-Beach Music/Surf Rock hybrid, all awash in a pleasantly mysterious fidelity reminiscent of a thousand sun-baked snack bar boom boxes blasting on their third lowest volume setting. That might sound a little shitty, but trust: it's just right.

My current favorite track is the Carolina Beach Music-adjacent jam "One More Time" by Salty Miller (a.k.a. Nelson Miller of The Monzas). It's got a captivating late afternoon shuffle framed with the sounds of seagulls and gently rolling surf, languid guitar strums, shore-strolling bass lines, soothing backing vocals, and breezy strings 'n things that just make you want to loose your shoes already. Check out Numero Group's promo vid for this "wreck-diving the private American AOR ship graveyard" expedition below, featuring Paul Skyland's superbly easy-going windjammer "Give Me Your Love"—welcome aboard. 

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Ten More Recommended Picks for Record Store Day 2017 (for folks who don't know what to get)!

Posted by Kells, April 18, 2017 09:11pm | Post a Comment
Ever felt lost at Amoeba or so overwhelmed by the selections that you forget what you're looking for? Or, worse yet, you don't even know what to get?
Generally speaking, it can be tough to stay focused at Amoeba, and on Record Store Day, what with the increased scope of releases both in terms of limited RSD offerings and other freshly stocked new arrivals, not to mention the scope of the crowd, the struggle can be all too real. Each year come Record Store Day we do our very best to provide everyone with personal copies of our comprehensive RSD product list as well as directions to where these items are stocked in the store, and we always try to accommodate all individual queries, quandaries, and quests with safety and fairness. Sometimes this is as simple as recommending something to someone who doesn't know what they want, but knows they definitely want something because it's what? Record Store Day! With that in mind, I've created a list of RSD product picks especially for those folks who don't know what they want, but surely want something.

For more Record Store Day recommendations, please see the links at the bottom of this post. Happy hunting everyone thank you for continued support!


Johnny Cash - The Johnny Cash Children's Album (LP)

Sounding sometimes like Johnny Cash doing his best impression of Jerry Reed doing a Burl Ives record, you just can't go wrong with this lighthearted ramble into Cash country whether you're buying it for yourself or as a gift—it's good, it's weird, and it's, you know, for kids! Originally released in 1975, this sweet li'l collection features songs like "Nasty Dan" (penned by Sesame Street writer Jeff Moss—do look up Cash's Sesame Street performance of this song to an unusually enthusiastic Oscar the Grouch who refers to The Man in Black as "Johnny Trash/my kinda guy") and “I Got a Boy (and His Name is John)” written about Cash’s only son, John, and performed as a tongue-in-cheek duet with his wife, June Carter Cash. Worth it for "The Dinosaur Song" alone.



Def Leppard - The Def Leppard E.P. (45 RPM 12")

Pour some sugar on yourself all you want, but holy smokes is this very first Def Lepp effort an eon away from the bankable high-gloss of their MTV-friendly Pyromania and Hysteria. Which is to say that, despite it sounding like an obviously homespun self-released recording, this debut EP effing rocks, hard and rough! Originally sold at Def Leppard's first shows in 1976 (printed, glued, and assembled by singer Joe Elliott and his mother—aww), this reissue of a riff-laden NWOBHM rarity is a faith-restoring record of the bad as hopeful young lads treading early currents of heavy metal, all beacons lit, all engines revving and ready to cruise 'n bruise 'n have some fun. No disrespect to "Rock of Ages", but this here is real rock for the ages.



Noise Addict - 10,000 Kids With Guitars (2LP)

Chicago-based label Numero Group never pushes crap on Record Store Day so even if you aren't familiar with the totally 90s sounds teenage Aussie alt-rockers Noise Addict, this is definitely a record worth sniffing out, especially as the other two Numero RSD exclusives (Southwest Side Story Vol. 19 and the White Zombie Gods on Voodoo Moon 7”) might disappear fast. With a record cover that doubles as working chalk board, this comp spans the band's charmed career, including their darling acoustic ode to Lemonheads' frontman Evan Dando, "I Wish I Was Him", their Thurston Moore produced demo, and choice cuts from their Young & Jaded EP and Meet the Real You LP reissued during the mid-90s on the Beastie Boys' Grand Royal label. File under: cuute



The Cure - Greatest Hits Acoustic (2LP Picture Disc)

This was included in a previous Amoeblog post of RSD 2017 recommendations, but the part of me that still lives in 2001 (bless!) feels compelled to also include it here/push it again because, even if you're only remotely fond of The Cure, this record is a must have (even though it's a picture disc). Back in 2001, The Cure released one of those obligatory contract-fulfilling greatest hits compilations filled with kinda predictable tracks spanning their then 25-year history plus two new songs that were just kinda okay. However, wanting to provide something different/new for their fans, they re-recorded acoustic versions of their greatest hits and bundled it with first pressings of the Greatest Hits CD. Finally, a vinyl version of that splendid bonus disc! So good.



Dolly Parton - Puppy Love (7")

If you've ever wondered what simpler times sounded like for Dolly Parton, ponder no longer for this reissue of one of her earliest recordings (originally released in 1959—she was thirteen!) will enlighten you. Complete with packaging that is "as true to the original as we could make it", the upbeat A-side and comparatively tamer “Girl Left Alone" on the flip, a track written by Parton, her Aunt Dorothy Jo Owens, and her Uncle Bill Owens (who sound as if they may be backing up her vocals on the recording), makes this record interesting and downright adorable as it is. However, I can't help but wonder how these songs might sound slowed down to 33rpm.



Moondog
- Moondog (LP)

What is it, Jazz? Classical? Some kinda symphonic soundtrack? With spoken word? Yes, and maybe no, but surely there is no mistaking that Moondog's seminal 1969 self-titled album is one of those rare and thrilling cosmic oddities that must to be heard to be believed. If you haven't heard it, you probably don't own it, and that means that Amoeba, and the internet, has failed you. But no worries, Moondog's Moondog is getting a fresh pressing on white wax for Record Store Day this year (its first pressing in over a decade) making it a prime item to fill that Moondog-shaped void in your vinyl collection. Folks may be too hasty to declare this or that to be "everything" these days, but this record is pretty much it.




Various Artists - Sharon Signs To Cherry Red (LP)

"Darling, it's Cherry Red Records on the phone. They want you to go to London and record some songs while you're still feeling tortured and angst-ridden..." It could be argued that these two lines, spoken during a lull in the lead-off title track, are a neat summary of this compilation's many parts, but that would dismiss the multitude of reasons why this mix is exciting. Culled from a 2CD compilation of the same name showcasing "Independent Women 1979-1985" these creative and insightful female-led post-punk delights offer  varying glimpses into was happening outside the comparatively cheesy commercial pop of the time. That's not to say this mix is completely without its cheese, but it is guilt-free. 




Allen Toussaint
- The Allen Toussaint Collection (2LP)

This is the first ever vinyl release of a 1991 CD compilation of songs taken from the legendary New Orleans composer/piano guru's first four studio albums (From a Whisper to a Scream, Life, Love and Faith, Southern Nights, and Motion). I'm including this here because the first time Toussaint's music really reached me is when someone long ago played that CD comp at work and—blam!—I was completely rapt in that way that only music, and okay maybe also cute animals and inspirational landscapes, can instantly seize one's soul. Toussiant's compositions and performances themselves are like little landscapes of Soul, R&B, and Funk that maintain a distinctly New Orleansian tint, magical music that is as grounding as it is transportive.



Mungo Jerry
- In The Summertime (7")

This year's list of RSD exclusives is not short on 7-inch reissues of down 'n dirty ditties and other cruddy psychedelic garage door openers, but I predict that this one won't be flying off the shelves as fast as the others thus making it a prime target for late afternoon shoppers browsing the leftovers. I could be wrong though! Anyway, Summer is coming for half the planet soon (heck, in some places it feels like Spring barely got a day in) and "In The Summertime" is a pretty good song to have tucked in your arsenal of party 45s if you don't already have it. However, the B-side here, "Baby Jump", is where the real action's at, even if it boogies like it's wallowing in how bloozy-gross it is. Either way you play it, you got two bonafide horndog hits on your hands!



Colleen
- The Golden Morning Breaks (LP)
 
In an effort to end this list with the suggestion of a purely enchanting and ethereally beautiful album, this reissue of Colleen's long out of print and highly sought after second LP, originally released in 2005, is probably not an item you should sleep on if you're serious about getting your paws on it. But, again, I could be wrong! Pressed on gold vinyl (to further treasurise its tangibility?), The Golden Morning Breaks' melange of live instrumentation and experimental electronic interference, mixing courtly strings and music box chimes with atmospheric sweeps and intrusive bloops, marks a departure from sample-dependent sound of Colleen's debut effort. Altogether now a strangely nostalgic sound, but 2005 was good like that.

Looking for more Record Store Day recommendations? Check out this other list of RSD highlights, our RSD soundtrack picks, RSD Star Wars exclusives, Billyjam's overview of the Get On Down label's RSD exclusives, and come see about us this Saturday as we celebrate record Store Day at all three Amoeba locations! Best of luck to everyone and, again, thank you for continued support of local record stores everywhere!
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