We Be Pearl Jammin’

November 22nd, 2011

Here is the rare Pearl Jam I was going to post a few weeks ago, but was too disgruntled to bother. My heart really isn’t in talking about the group still, which is why this post is kind of brief. Good tunes though.

Pearl Jam
Of The Earth (Live)
This is a new song that Pearl Jam premiered on their 2010 European tour. This live recording is an after-credits easter egg on the concert documentary film The Kids Are Twenty, the “for the fans” documentary about the band that the fans can no longer buy because the band chose to make it a limited edition release. But I’ve bitched about that enough…moving on.

Foldback
Harmony
Thunderclap
These three tracks are instrumentals that were used as background music for a couple of montages from the Touring Band 2000 DVD that came out in 2001. Slight, but still worth a few listens. Much like their origin suggests, they make for great background tunes.

No Jeremy
Falling Down
The annual “holiday” single is the only reason why I stick with the Ten Club (Pearl Jam’s fanclub). Over the years the band has used the Ten Club single to premiere many great tunes, including “Last Kiss,” and their covers of “Sonic Reducer” and “Love, Reign O’er Me.” This year’s single was one of the best, featuring these two incredibly rare tracks. “Falling Down” is an entirely original song that was only performed once, while “No Jeremy” is a radical reworking of “Jeremy” that restructures the song into something else entirely. Both recordings are taken from the same 1995 concert at Red Rocks.

Even though it’s Thanksgiving this week, I hope to get at least two more posts up before the holiday, including another Duane Bruce bootleg.

The probability of this happenings is directly related to how insane my family drives me and how much vodka is in my father’s house.

Nirvana Live at the Axis Nightclub – September 23rd, 1991

November 17th, 2011

A couple weeks ago former WFNX DJ Duane Bruce was kind enough to share a recording of a rarely heard Nirvana concert from 1990. He put it up on Soundcloud, but it hit its download limit there within minutes. I contacted him about sharing it through my site, and he was kind enough to oblige me.

He also shared with me this tease:

I’ll have something else just as rare coming around thanksgiving. Not saying anything else right now, but you will be very happy.

He wasn’t kidding. This is…awesome.

Nirvana: Live at the Axis Nightclub – September 23rd, 1991 (Complete concert download)
Intro
Aneurysm
Drain You
School
Smells Like Teen Spirit
Come As You Are
Sliver
Jesus Don’t Want Me For A Sunbeam
Floyd The Barber
Polly
About A Girl
Breed
Rape Me
Blew
Been A Son (Excerpt)
Negative Creep

I’ll let Duane share the details:

Well my friends…here it is. Nirvana’s full length set from the now legendary WFNX 8th Birthday Bash at Axis on Sept. 23rd 1991.

But, you must take the bad with the good. I did not record the show . However, the party that did was in the pit for the first 4-5 songs, so it is historical but muffled at times. Axis was packed to the gills. Think ‘Green line on a Friday rush hour with a Sox game at home’ packed. By the time “Come As You Are” starts, the sound quality improves to about as good a bootleg as you could hope for (thanks to Mike Zeigler at nirvanaguide.com for the assistance).

The concrete walls and floor of Axis provided the perfect acoustics for the raw energy. Dave Grohl’s first Boston gig with the band. This is also the first time that they ever played “Jesus Don’t Want Me For A Sunbeam” by the Vaselines. Both Kurt Cobain and Krist Novoselic comment that “We just learned this one today”. It was a rare night that only a small number (1200+) saw.

I remember that the WFNX staff was pumped for this show more than any other in its history and deservedly so. The Axis staff was also ready to go. MTV was on hand as well as a number of other local, national and international journalists. The show was later written about in NME. By the time that you get to “Rape Me” you will be transfixed and may even start to tear up a bit. It was only the fourth time that they had performed it live. WFNX had an early copy of ‘Nevermind’ and we played some tracks for the great Lenny Kaye, guitarist for Patti Smith, about a week before the show. He had never heard of Nirvana, but upon hearing them declared “that somebody has to protect them”.

I have had this recording as well as the previously released Nirvana show at ManRay for the past 20 years and realized that it was time to share with everyone. One day, I will be gone and they will wind up on the curb. They deserve better than that. It’s rock and roll history. Thank you Maxell for making a quality product that lasted.

I remember that right before the set, both Krist and Dave were on stage and ready to go, but no sign of Mr. Cobain. I had to dash upstairs through the thick crowd and met Kurt on the stairwell as his bandmates cat-called him from the stage. I can still hear Krist in his falsetto voice…”Oh Kuurrtt” coming through the speakers.
30 seconds later, then WFNX Music Director Kurt St. Thomas introduced them……..enjoy!

Some technical disclaimers: I made no effort to clean this up, and the only edit I made while cutting the concert into individual tracks was to decrease the volume at the very beginning of “About A Girl” because it was way louder than the rest of the recording. Part of “Been A Son” is missing, but that is also the fault of the source material and not me.

Like Duane says, it’s a rough recording, but it’s not unlistenable – I’ve heard (and posted) way worse boots. The power of this performance pushes its way past the technical limitations of the recording. If you consider yourself even the slightest of Nirvana fan then you must download this now.

And thanks again Duane! You are a Golden God for sharing this.

The Smiths: So This Is America – A Bootleg That is Criminally Vulgar

November 14th, 2011

The Smiths – So This Is America (Complete Album Download)
Intro
How Soon Is Now
Hand In Glove
I Want The One I Can’t Have
Still Ill
Frankly Mr. Shankley
Panic
Never Had No-One Ever
Stretch Out And Wait
The Boy With A Thorn In His Side
Cemetery Gates
What She Said
Is It Really So Strange?
There Is A Light That Never Goes Out
That Joke Isn’t Funny Any More
The Queen Is Dead
The Draize Train
I Know It’s Over
Heaven Knows I’m Miserable Now
Big Mouth Strikes Again
What She Said (Encore)

Vinyl bootlegs have always fascinated me. Anyone can record a concert and put it online today, and in the 90s it wasn’t too terribly difficult to press a small run of bootleg CDs (or just burn them to cheap CD-Rs), but going through the effort of pressing an illegal album to vinyl is rather impressive.

As I’ve read it, many bootleggers were able to get their albums pressed thanks to down-on-their-luck pressing plants looking for any source of income. The bootlegs would usually be pressed “after hours” when the major work of the day was done. Then the bootleggers would take their stash and the major labels would be none the wiser. That’s a lot of cloak and dagger work for muddy audience recordings, but hey, some people are dedicated.

I’ve also always found the outrage of labels towards bootleggers to be idiotic, and the idea that concert bootlegging somehow hurts legit album sales is a stupid one without any basis in reality. No one is going to pick up an audience-recording of a concert in lieu of a legitimate release. The person who buys a concert bootleg is the kind of person who has already seen the band on tour; owns the band’s entire discography; and most likely has many of the artist’s import releases and singles. They’re fanatics.

I don’t know about you, but when I think of bands that have fanatical fans, The Smiths are usually one of the first groups that come to mind. So it makes sense that there are tons of Smiths bootlegs out there. I don’t proclaim to be a huge Smiths fan (I’m just not that miserable anymore) but when I saw this one at Jerry’s Records for $15, I knew that price was most likely a steal and I snatched it immediately. Considering I’ve only seen one copy for sale online, for close to $100, turns out that I may have been right about this one.

This sounds like it was recorded by a fan in the audience, so it’s not the clearest bootleg you’ll hear. Still, since The Smiths never released official live versions of many of their best tracks, including “How Soon Is Now,” it’s worth at least one listen if you’re a fan of The Smiths.

Additional note: If you download this and wonder why the ID3 tags list 22 tracks and you only have 21, it’s because the bootleg had a “bonus” track: U2’s “Wire (Celtic Dub Mix).” While oddly fascinating (and kind of random), that track is on the deluxe edition of The Unforgettable Fire, so I’m not featuring it here.

I’m 50% certain my next post won’t be a bootleg. But I’m not making any promises.

Urgh! Revisited Again (Not For The First Time)

November 10th, 2011

Now that I have a great turntable and pre-amp, I’ve been visiting the archives to see which albums and singles deserve to be re-recorded and re-posted. Obviously, the soundtrack to Urgh! A Music War was one of the first on the list. These new recordings sound light-years better than my last attempt, and I highly recommended you download them even if you have an older copy I posted.

I’ve talked about Urgh! several times over, so I’ll keep the intro brief. It’s an amazing document of a time period in music, when the punk rock influences of the 70s were starting to find their way into pop music; the white British kids were discovering reggae; and when people like Gary Numan determined that any musical problem could be solved with more synthesizers. I don’t think there’s ever been another movie like it, and there certainly hasn’t been another soundtrack like it. Let’s take a look at it, one side at a time.

Side 1
The Police – Driven To Tears
Wall Of Voodoo – Back In Flesh
Toyah Wilcox – Dance
Orchestral Manoeuvers In The Dark – Enola Gay
Oingo Boingo – Ain’t This The Life
XTC – Respectable Street
Urgh! starts out a little weak, with one of The Police’s more bland efforts serving as the opening track. Things pick up quick though, thanks to an awesome lesser-known number by “Mexican Radio” fans Wall of Voodoo, followed by a freak-out of a performance by Toyah Wilcox. OMD calm things down a bit with their mid-tempo ode to nuclear warfare, but the calm doesn’t last long thanks to Danny Elfmann and the rest of Oingo Boingo rocking out “Ain’t This The Life,” one of their best tracks in my opinion. Closing side one out is a live cut by XTC, delivered so passionately and powerfully that it makes that eventual retreat from live performances all the more heartbreaking.

Side 2
The Members – Offshore Banking Business
Go-Go’s – We Got The Beat
Total Eclipse – Klaus Nomi
Athletico Spizz ’80 – Where’s Captain Kirk
Alley Cats – Nothing Means Nothing Anymore
Jools Holland – Foolish I Know
Steel Pulse – Klu Klux Klan
Side two is polarizing for me. It has some of my favorite tracks; Go-Go’s “We Got The Beat,” and the crazy “Where’ Captain Kirk” by Spizz, but it also has many of the album’s lesser numbers (at least in my opinion). I’ve never enjoyed reggae, so I almost always skip The Members and Steel Pulse tracks, and Jools Holland’s little piano bit is just annoying to me. Still, this side does have the jaw-dropping Klaus Nomi on it, so in the end it’s more good than bad.

Side 3
Devo – Uncontrollable Urge
Echo And The Bunnymen – The Puppet
The Au Pairs – Come Again
The Cramps – Tear It Up
Joan Jett & The Blackheats – Bad Reputation
Pere Ubu – Birdies
Gary Numan – Down In The Park
If side three of the Urgh! soundtrack was a standalone release it would still be worth buying. Amazing tracks by legendary bands such as Devo, Echo and The Bunnymen, Joan Jett, Gary Numan and The Cramps! All back-to-back! Epic. The Au Pairs hold their own against these more well-known bands, with their fun and quirky song about getting off (or not), and Cleveland-born freaks Pere Ubu accomplish the impossible and out-weird Gary Numan’s offbeat performance of his best song from the time period. All awesome stuff.

Side 4
Fleshtones – Shadow Line
Gang Of Four – He’d Send In The Army
John Otway – Cheryl’s Going Home
999 – Homicide
X – Beyond And Back
Magazine – Model Worker
Skafish – Sign Of The Cross
Side four is kind of a let down after the jam-packed collection of awesome that is side three. Yes, it does have X and Gang of Four (wanna hear a secret? I don’t like them!) but it also has forgettable tracks by forgotten artists like John Otway and Skafish. 999 does save things a bit though with “Homicide,” the best tribute to murdering fools that you’re ever likely to hear. Also, while some of these tracks are kind of mediocre, none of them are bad or annoying (save maybe for the Gang of Four number – but don’t tell anyone I said that), so it’s still a worthy finale to a near-flawless record.

But wait, there’s more!

Did you know you can buy Urgh! now? It’s available to purchase via Warner Brothers’ Warner Archives site. It’s just a DVD-R, but it’s in anamorphic widescreen and it sounds incredible. It definitely looks and sounds better than my worn-down VHS tape.

As you may know, there are many tracks in the Urgh! movie that weren’t featured on the soundtrack. Here are those songs, ripped directly from the DVD’s audio track (except for the Slodgenessabounds tune, since that’s not on the DVD for some reason).


Non-Album Tracks Ripped from DVD (Slodgenessabounds taken from VHS)

John Cooper Clarke – Health Fanatic
Chelsea – I’m On Fire
Dead Kennedys – Bleed For Me
Surf Punks – My Beach
Invisible Sex – Valium
Splodgenessabounds – Two Little Boys
UB40 – Madame Medua
The Police – Roxanne
The Police –  So Lonely
Klaus Nomi – Aria from Samson and Delilah (End Credits Music)
Highlights here include John Cooper Clarke and his breakneck punk rock poetry slam; the Dead Kennedys’ Jello Biafra comparing the oppressive governments of Afghanistan to living in Nebraska for his intro for “Bleed For Me,” and the…I don’t even fucking know what of Invisible Sex’s “Valium.” The extended jam version of “Roxanne” by The Police isn’t that bad either (and I usually can’t stand that song).

Enjoy and I’ll see you all next week.

Nirvana Live at the Man Ray – 4.18.90

November 7th, 2011

I don’t know if you all knew this, but I kind of like Nirvana.

So when word spread last week that a previously unreleased Nirvana concert had made its way online, I had to have it. Unfortunately the only place you could get it was on Soundcloud, and they have a 100 download limit cap. Also, the Soundcloud copy of the concert cut out early, leaving four tracks unheard.

Undeterred, I reached out the Duane Bruce, the former Boston DJ who recorded the concert and uploaded it to Soundcloud, and he agreed to send me a copy of the concert to distribute here. Everyone thank Duane!

“Thank you Duane!”

Okay, you can all download it now, since you’ve been so nice. The first link is a zip with the entire show, the others are the individual tracks (and in case you’re wondering, I’m posting links to the MP3 files directly so the post gets picked up by various MP3 aggregators).

Nirvana – 4.18.90 – Live At The Man Ray Nightclub, Cambridge, MA
Intro
School
Floyd The Barber
Love Buzz
Dive
Scoff
About A Girl
Spank Thru
Breed
Some tuning and rambling
In Bloom
Big Cheese
Molly’s Lips
Been A Son
Stain
Negative Creep
More tuning and rambling
Blew
Pay To Play
Quick disclaimer: for a bootleg recording this sounds great, but it’s still a bootleg. There’s a lot of line noise and hum, and a few odd clips and cuts near the end, but none of that should affect your enjoyment of what sounded like a totally kick ass show! Highlights include  a great version of “About A Girl” (which I always thought sounded better “plugged”) and blistering early versions of “Breed” and “Stay Away” (the latter of which is presented in its early “Pay To Play” incarnation).

Thanks again to Duane Bruce!

Unidentified Flying Vinyl – File #733 UFO

November 7th, 2011

File #733 UFO  – Courtesy of Jack Jenkins. This record may not be copied without his permission.

Sometimes the weird records I buy take me on weird journeys. This one was one of the weirdest, but also the most fun and surprising.

File #733 U.F.O. is a documentary record. I posted one of these a few months ago, although that record – which was a collection of interviews with prostitutes – was more exploitation than proper documentary.

This record is far more serious and well-produced than that piece of pseudo-titillation. But what is it?

I’ll let the record’s linear notes explain:

“What is a U.F.O.? If you’re looking for a simple answer to this question, you won’t find it in this album. Instead you will hear eye-witnesses claim the UFO’s they’ve seen to be from football-sized to 70 feet wide, flashing every color of the rainbow. Some insist the UFO’s are here on a peaceful mission; another quotes an Air Force officer who states UFO’s accounted for the utter disappearance of three of our aircraft. And a Florida resident wears a lump of scar tissue on his forehead where he says a UFO shot him with a blinding beam of light.

“FILE #733 UFO brings actual voices of Americans who are just like you and me…except for one or two startling experiences. Like the lady who played hostess to seventy people, and every one of them saw the frightening glowing objects that plagued her hillside home for weeks. Or like the California man who rode in a fourteen-room, thirty-foot tall space ship and discussed religion with the commander but who has been asked by the Air Force to soft-pedal the experience. Or the lady whose journey to the corner store was delayed by a firey flying object which stopped her car and ruined the battery. Or the…

But what do the ‘officials’ say? The Air Force spokesman questioned on UFO’s seems to brush the subject aside, leaving only a crack of light beneath a curtain of indifference: yet their project “Blue Book” admits a small percentage of UFO sightings remain unexplained. Scientists meanwhile back away from the subject.

Whatever your notion about Unidentified Flying Objects, “FILE 733, U.F.O.” will be an absorbing listening experience you’ll play over and over again. And, who knows? It may turn out to be history in the making!” – Jim French Radio K.I.R.O.

If you have any interest in UFOs, then you should get a real kick out of this production. The interview subject range from 100% credible to 100% certifiable (more on that in a bit) and regardless of their believability, they’re always entertaining and interesting.

I’d never heard anything like this record and wanted to know more about who made it. The linear notes did include a bit about the record’s producer/narrator, Jack Jenkins:

“Who is Jack Jenkins? The young producer-narrator of FILE #733 UFO is Jack Jenkins, a Korean veteran and inveterate seeker of truth, whose part-time hobby investigating unidentified flying objects reports has consumed thousands of hours – and hundreds of dollars. His search for information on the UFO has taken Jenkins to plausible-seeming pilots, earnest and modest matrons, impassioned self-professed prophets and nerve-wracked homemakers who have grown to wish they’d never been visited by UFOs. The narration contained in this album is concise and documentary in tone, and the voices of the actual UFO contactees or authorities were recording by Jenkins with a minimum of tape-editing, removing only pauses and redundant material. As a broadcast, as well as a long time friend, it’s a pleasure to know that thousands of Americans will now enjoy the opportunity of meeting one of the communications industry’s most promising young men: Jack Jenkins. – Jim French

Those notes did a good job of answering the question “Who is Jack Jenkins?” But I wanted to know “What happened to Jack Jenkins?” I also wanted to find out how he put this record out, what he tought of it, and what he did after it’s release! But as you can probably imagine, information on a 40+ year old record about UFOs is hard to come by, so I had to do the digging myself.

As you can probably imagine, Jack Jenkins is a pretty common name, so finding any information on this Jack Jenkins was really tricky at first. I did searches for “Jack Jenkins KIRO” “Jack Jenkins UFO” and “Jack Jenkins Century Records,” all with no luck. I tried countless other variations as well, each with no credible results. Eventually, I did a search for “Jack Jenkins radio commentator” and I came up with this: a commercial for a film about growing your own food “narrated by former nationally syndicated radio commentator, Jack Jenkins.”

That sounded promising.

The DVD was being released by Country Living Grain Mill, so I visited their website and sent an email to their contact address:

This is going to sound very strange, but I’m trying to track down someone named Jack Jenkins who produced a record in the 1960s about UFOs called “File #733 UFO.” It’s a documentary record that claims to have interviews with actual abuctees and assorted other people connected with UFOs….I know it’s an incredible long shot, but are they the same person? If so…I’d love to get a chance to ask Jenkins a few questions about it. If not…I’m sorry to waste your time with such a very strange question!

The response shocked me:

My father, Jack, produced and narrated File #733 after visiting and interviewing a number of people who claimed to have experiences with UFOs.  He’s not around today, but he’ll be in tomorrow if you’d like to give him a call and chat with him.

-Joel Jenkins

(It is at this point that I would like to remind any of you looking for a freelance researcher/writer that I am always looking for additional work.)

Well, I wasn’t going to turn down an offer like that, so last Wednesday I talked to Jack on the phone for about half an hour. He seemed just as shocked that I was able to track him down as I was, with the first words out of this mouth being “You should be a genealogist! You dig deep!”

After I told him how I was able to find him, he told me the story of how File #733 UFO came to be.

In the mid-1960s Jenkins was a radio host for KING radio in Seattle. During that time he would frequently get calls in from people claiming to have seen UFOs. He already had an interest in the subject, as did many at the time, and these phone calls piqued his curiosity even higher. Starting with the people he talked to on the radio and then going from there, Jenkins went out with a reel-to-reel tape deck and microphone, recording conversations with all kinds of people who claimed to have encounters with alien spacecraft.

But anyone can do that, so how did Jenkins manage to get his conversations pressed to vinyl?

Well, Jenkins knew how to record an album, and he was able to get it pressed, because he was a franchise for Century Records, a small record label based out of California. Working with Century, Jenkins recorded hundreds of local bands, choirs, vocal groups and other acts who wanted their music released. He had this record pressed just like all those others. About a thousand were made, and they were sold primarily in the Pacific Northwest.

As for the content itself, Jenkins considers some of the stories on File #733 UFO to be highly plausible, with reliable witnesses telling credible stories. At the same time, there are also many crackpots on the record whom Jenkins exposed as such. According to Jenkins, this created some scary situations after the record came out.

“I started to get thinly veiled threats that made me begin to worry about my wife and family” he said.

Thankfully, it soon became apparent that the crackpots just wanted what every crackpot wants: money. Eventually, they caved in on their threats and asked Jenkins for a cut of his profits. Since the record didn’t actually make any money for Jenkins, that ended that issue.

As for the more credible people on the record, Jenkins stayed in touch with some of them years after the record was released. He tried to stay in touch with Sid Padrick, one claimed abductee on the record, but some years ago Padrick had apparently vanished without a trace. According to Jenkins, Padrick did always say that he believed the aliens would return for him someday…

(Cue X-Files theme music).

As for Jenkins himself, he eventually left the recording and radio industries altogether. Today, he runs Country Living Mills, selling home grain mills to people around the world. The obvious enthusiasm and energy young Jack Jenkins displayed while talking about aliens on File #733 UFO, the 77-year-old Jenkins shows while discussing grain and grain mills. He believes that people today are too reliant on mass-produced grain and other foods that suck out all the nutrients and are full of harmful chemicals. According to Jenkins, more people should rely on locally grown food and, when possible, prepare their own grain and other foods.

While so many people preaching against big business and corporate food sound like the very crackpots Jenkins exposed on his record, Jenkins comes off incredibly likable and polite, explaining his views in a way that makes sense even to someone like me, who knows next to nothing about food production.

Although Jenkins is no longer involved in radio and he hasn’t worked on another UFO-related project since this record, he’s still immensely proud of the record he made all those years ago, and his faith in the subject remains unwavering.

“I’m delighted with it. I know UFOs are out there and there’s no question about it. And I consider some of the people I met absolutely honest and very plausible. It’s one of those things we probably won’t know for quiet a while. But that’s okay. It’s good to have a few mysteries.”

I thank Jack Jenkins for the opportunity to talk to him about his unique record and I would also like to thank him for letting me share it with all of you. I hope you all find it as fascinating as I do.

 

Sigue Sigue Repost

November 4th, 2011

I have at least two really awesome posts lined up, with some great content and in the case of one, some original research and even a real interview with someone involved with the record! They’re going to be awesome.

But they also take a ton of work, so here’s some Sigue Sigue Sputnik until I get them done.

Sigue Sigue Sputnik
Love Missile F1-11 (Extended Version)
Love Missile F1-11 (Dance Version)
Love Missile F1-11 (Single Version)
Sex Bomb Boogie (Magic Flute)
Sex Bomb Dance
Success! (12″ Dance Mix)
Success! (7″ Single Mix)
Success! (Funky Mix)
Success! (Balaeracidic Mix)
Success! (Metal Hammer Mix)
Success! (Micro-Dub Mix)
I have posted all these tracks before, however they were recorded on my old shitty turntable. These are all new recordings taken from my Technics 1200. I also originally posted most of these tracks in 2007, when no one read this blog, as opposed to now…when dozens of people read it! But if you were one of the eight people who downloaded the remixes of “Success!” back when I first posted them, download them again, these versions sound light years better.

“Love Missile F1-11” is SSS’s most well-known track, but in my opinion both “Sex Bomb Boogie” and “Success!” are far superior, especially “Success!” SSS was a band whose image and music perfectly encapsulated the mid-80s, but “Success!” is their only track that also manage to capture in lyrics everything that was brilliant and bullshit about that ultra-superficial era. It makes sense that many of the remixes incorporate aspects of the “Greed is good” speech from Wall Street, it was a creed that the members of SSS no doubt (ironically) embraced with gusto. Now, with all the Occupy Wall Street shit going down, the song is ironically relevant all over again! In my mind there are choreographed protests set to this song.

My mind is kind of weird.

Anyways, some really good stuff next week I promise! I hope you enjoy the reposted synthpop.

Game Theory’s Lolita Nation – The Best Album You Never Heard

November 2nd, 2011

The music is so good tonight let’s just get right into it.



Game Theory
Not Beacuse You Can
We Love You Carol And Alison
The Waist And The Knees
Mammoth Gardens
Chardonnay
I would say that approximately 20%-30% of my record purchases are random, meaning I know next to nothing about them when I decide to buy them. Why do I buy them? Maybe they have exceptionally awesome art; a great cover tune; or I recognize someone in the linear notes (like when I bought that Lisa Dalbello album because Mick Ronson produced it). It’s a habit that has given me a lot of clunkers, but for every 10 piles of forgettable wax, there’s at least one amazing discovery that made all the failures more than worth it. The Urgh! soundtrack (which I totally have to revisit here soon); that previously mentioned Lisa Dalbello album; that crazy Fireballet album – all of them were albums I wouldn’t have bought if I stuck solely to the safe stuff, artists I recognize or genres I’m comfortable with.

This weekend I made such a random purchase when I picked up Lolita Nation, a 1987 album by the now-defunct California band Game Theory. I bought it only because I recognized Mitch Easter as the producer, and it featured a guest appearance by someone from Paisley Park records, Prince’s label. That’s all I knew about the record when I dropped the needle on side one.

When I lifted the needle at the end of side four, my mind was freaking blown.

Since that first listen I’ve replayed the album about 10 times. I love it more each time I hear it. I love everything about it. I love Scott Miller’s vocals; I love the odd combination of art-rock and jangle-pop; I love the complexity of the lyrics. I LOVE IT ALL. If I had to make a list of my top 10 albums of the 80s right now, it would probably be on it. (For the record, I’m never going to even try to make that list.) It’s like some dream combination of early REM, mid-80s Sonic Youth, Big STar, and every album every power-pop band has ever wanted to make but failed. It’s perfect.

How the hell does something this amazing get lost in the shuffle?! I could see it not catching on like wildfire in 1987. That was the year that Bon Jovi ruled the airwaves after all, but how come it hasn’t caught on since then?

Well, it’s probably because it’s never been re-issued in any format since its original release in 1987. Enigma Records, the band’s label at the time, went belly up a few years after the album’s release, and none of Game Theory’s back catalog, Lolita Nation included, has seen the light of day since. A lot of blogs have tackled the topic, and Game Theory drummer Gil Ray even wrote something about the album’s (lack of) availability.

His sentiments are shared by me: Lolita Nation should be re-released, not because a reissue would make someone a lot of money, but because it would make a very small group of people very happy. I own the album on vinyl now, and was given a lossless CD rip by someone, but I would gladly buy a new copy of the album just to show my support. This album is so magnificent that I have no problem buying it multiple times over out of principle alone.

I think people should buy this album – but they can’t, and that’s a situation that has left me with quite the moral dilemma. Usually when I have a record that is out-of-print I have no problems posting it in it’s entirety here. But with Lolita Nation…I just can’t do that. I can’t allow myself to contribute to any lack of sales the album might suffer from me posting the record for free. So instead, I’m just putting up a few highlights, my favorite tracks from the record. Sorry to be such a tease about it, but I just can’t morally justify posting this one in its entirety, I hope you understand. I also hope you download the tracks I have posted, because they’re audio perfection personified.

Enjoy them, and expect something completely different for my next post.

Seriously, you have no idea.

Halloween Horrors Part 2 – John Harrison and George Romero

October 29th, 2011

I live in Pittsburgh, and let me tell you, people in Pittsburgh love their zombies.

It’s all because of George Romero. The director of Night/Dawn/Day/Land/Diary/Survival of the Dead was born and raised in Pittsburgh, and he set most of the films in the series in and around the greatest Pittsburgh area.

George Romero is known for keeping a semi-constant cast of actors and behind-the-scenes people with him. Both Gaylen Ross and Ken Foree from Dawn of the Dead went to star on in other films by the director, and Tom Savini’s pretty much been his right-hand gore man since the beginning. He’s even had actors grandfathered into this films. “Chilly” Billy Cardille was in the original Night Of The Living Dead, and some 18 years later Billy’s daughter Lori was cast as the lead in Day of The Dead.

Another person who has stuck around with Romero over the years has been John Harrison. A friend of Romero, his work with the director goes all the way back to Dawn of the Dead, where he had the uncredited role of “Screwdriver Zombie.” A couple years later, Romero cast Harrison again for another bit part, this time in the drama Knightriders. From there, his work with Romero increased. He was credited as the first assistant director in both Day of the Dead and Creepshow, and more recently he served as an executive producer on Diary of the Dead.

But wait, there’s more! Harrison didn’t just work as an A.D. and bit-part cast member for Romero, he also worked as a composer (and I thought John Carpenter’s multi-tasking was impressive). Harrison composed the scores for both Creepshow and Day of the Dead. Unfortunately, both of those soundtracks are out of print and go for a damn fortune online, if you can even track them down. But hey, that’s why you come here, right?

 

 Creepshow – Original Motion Picture Soundtrack

Prologue/Welcome To Creepshow (Main Title)
Father’s Day
The Lonesome Death of Jordy Verrill
Something To Tide You Over
The Crate
They’re Creeping Up On You
Epilogue
Until Next Time…(End Title)
Creepshow is a pretty awesome movie, and one of the best examples of comedy/horror ever made. Each of the film’s five short stories work great on their own, and both as a larger conceptual piece that pays homage to the EC horror comics of the 1950s. It’s such a great movie that I don’t want to say that much about it just in case someone reading this hasn’t yet seen it. It’s on Netflix Watch Instantly, so if you have that, check it out and marvel at Adrienne Barbeau’s ability to transform herself into one of the most unlikable characters in the history of motion pictures.

The soundtrack to Creepshow is kind of a modern (well, modern for 1982) marvel. As the linear notes state, almost the entire thing was composed on a PROPHET V polyphonic synthesizer and a pair of grand pianos. While the score does have an undeniable electronic sound (which is one of the reasons why it’s so great), it also has a depth and complexity that deny its rather humble origins. Parts of this sound like they came straight from of an orchestra. It’s without a doubt one of the best synth scores of the 80s, and works both as creepy background music and as a standalone piece.

This recording is from my personal vinyl copy, which looks like it was well-loved by its original owner. There are some scratches in parts, but as a whole it sounds pretty good.

 

George A. Romero’s Day Of The Dead – Original Motion Picture Soundtrack

The Dead Suite
Breakdown
Escape Invasion
The Dead Walk
If Tomorrow Comes
The World Inside Your Eyes
Deadly Beginnings
Diner Of The Living Dead
Dead Calm
Bub’s 9th
Dead End

In the five-plus years (holy shit!) years I’ve been writing here at The Lost Turntable, I’ve posted more than my fair share of rare and hard-to-find recordings. So trust me that it means something when I say that this soundtrack might be the rarest and most difficult to track down recording I’ve ever posted.

The Day of the Dead soundtrack was originally issued on vinyl and cassette in 1982 1985. It was comprised of six tracks, with “The Dead Suite” taking up the entire B-side of the record. That version of the soundtrack is rare enough as it is, and you can usually find it going for somewhere between $20-$40 online.

However, like many soundtracks made for vinyl releases at the time, the score to Day of the Dead had to be severely abbreviated to fit on one record. It was not until 2002 when the soundtrack would be re-released on CD, courtesty of Numenorean Music. As far as I can tell, Numenorean Music no longer exists, and in their brief existence they only issued three releases: a 2-CD remaster of The Dark Crystal soundtrack, a release of the score to the 1990 remake of Night of the Living Dead; and this expanded edition of the Day of the Dead soundtrack.

Each of these releases were given extremely limited runs. They printed 5,000 copies of the Dark Crystal soundtrack, and only 3,000 each of the NOTLD and Day of the Dead soundtracks.

Today, these go for insane prices online, if you can find them at all. A new copy of the Dark Crystal score goes for almost $90 on Amazon, and for about $70 on Discogs marketplace. A copy of the NOTLD soundtrack is for sale for $70 on Discogs also, but the highest it has ever sold for is $32 bucks.

Then there’s this soundtrack. As of right now, someone on Discogs is trying to unload their copy for a whopping $425. They’re probably asking a bit much, but Discogs records show that the CD has actually been sold for as much as $112. I tried to find out if that price was an anomaly, but I couldn’t. I could hardly find anything about this release online. I don’t know how much it routinely sells for because, quite frankly, none of the 3,000 people who have a copy seem to be looking to let it go.

I don’t even think anyone has even ripped a copy and shared it online before, which means I’m making history here tonight!

So how is the soundtrack? It’s good enough. Unlike the score to Creepshow, it actually features some full instrumentation thanks to Pittsburgh band Modern Man. Two of the tracks also feature vocals by the awesomely named Sputzy Sparacino and a gospel singer who goes by the name Delilah. While the soundtrack to Creepshow is an awesome product of its time, parts of this score are a little dated, and the two pop songs are just downright silly in the context of an apocalyptic zombie movie. The 20-minute “Dead Suite” remains a highlight though, as do many of the other instrumental pieces on the record.

And in case you’re wondering how I got a copy of this bad boy, my mom bought it for me at a used CD store for 10 bucks. Go mom!

Halloween Horrortracks

October 28th, 2011

I love horror movies.

I also love their soundtracks. It always amazes me how many soundtracks to great (and…not so great) horror movies end up going out of print! A well-crafted horror movie soundtrack can be just as memorable and creepy as the movie’s villain. Think of a movie like Jaws or Halloween, those movies are scarier because of their amazing scores! It’s a shame that so many soundtracks to lesser horror films have become lost over the years.

While I’ll be the first to admit that none of the soundtracks I’m featuring tonight can hold a candle to the films I just mentioned, they are still worth mentioning and might serve as great background music to your Halloween party, if nothing else.

 

The Fog


Matthew Ghost Story
Main Title Theme
Walk to the Lighthouse
Rocks at Drake’s Bay
The Fog
Antonio Bay
Tommy Tells of Ghost Ships
Reel 9
Can anyone else name a director who also scores most of his or her films? I sure can’t think of one – John Carpenter walks alone. With awesome keyboards.

For a long time John Carpenter’s scores were nearly impossible to find, but over the past few years many of his best soundtracks have found their way back into release. Today you can easily pick up the scores to such classics as They Live, Prince of Darkness, Escape from New York,  and the first three Halloween films, complete and uncut! The soundtrack to The Fog was available on CD for a while too, but for some reason that version has lapsed back out of print. It’s a shame. It may lack some of the hooks or melodies that made Carpenter’s other scores so memorable, but I still enjoy it immensely. It has a atmospheric, brooding feeling that perfectly encompasses the slow dreadful feeling you get from the film as you see the zombie-filled fog slowly roll its way across the town, killing anyone who gets in its path. I haven’t seen The Fog since I was in high school, I really have to re-visit this movie. If you haven’t seen it, I highly recommend it.

Just avoid that remake. Ugh.

It’s Alive 2 (AKA It Lives Again)


Main Title
Birth Traumas
Lamentation
Savage Trilogy
Nightmares
Beautiful and Bizarre
Revulsion
Basement Nursery
Evil Evolving
Living With Fear
Stalking The Infants
Climax
It Lives Again, the sequel to the only movie that I know of that put my mother into shock while she saw it (true story – Hi mom!).

Despite what my mother might tell you otherwise, the original It’s Alive is an awesome movie, and not just for its schlock and shock value. For a movie about a mutant killer baby, there’s a lot going on there! It talks about women’s rights, the environment, government corruption, prejudice, and tabloid journalism. Deep shit!

The movie was directed by Larry Cohen, a twisted genius of a filmmaker who also made The Stuff, a movie about killer ice cream, and Q: The Winged Serpent, an AMAZING movie about a giant winged serpent that lives on top of the Chrysler Building and eats people. Seek those movies out, they will change your life.

The score for It’s Alive 2 is just a slightly modified version of the score to the original film, which was composed by the legendary composer Bernard Herrmann. During his illustrious career, Herrmann composed the scores to countless classics, including Citizen Kane, Vertigo, Psycho, The Birds, Cape Fear, Journey to the Center of the Earth, Jason and the Argonauts and Sisters. The last movie to feature one of his scores to come out before he died was It’s Alive, his actual last score was for Taxi Driver, but that didn’t come out until after he passed away.

Of the three scores I’m featuring here tonight, this is my favorite. Just like a great horror film, it’s filled with mystery, intrigue and the occasional jump scare. I also love its subtle use of electronic instruments, something that Herrmann was known for as far back as the 1960s.

This recording sounds amazing too, because until about three hours ago, my copy was sealed and had never been played.

Killer babies!

 

Leviathan


Underwater Camp
Decompression
Discovery
One of Us
The Body Within
Escape Bubbles
Can We Fix It
Situation Under Control
It’s Growing
Too Hot
A Lot Better
In 1989, three underwater-themed horror/sci-fi movies were released in American theaters; The Abyss, Deep Star Six, and Leviathan. Of the three, The Abyss is rightfully the most remembered. It was directed by James Cameron, had a huge budget with jaw-dropping and revolutionary special effects, and a touching story that managed to simultaneously deal with small, interpersonal relationships as well as the dangers of the military-industrial complex and cold war paranoia (at least it did in the Director’s Cut).

Deep Star Six, on the other hand, is a horrendously awful underwater monster film by Sean S. Cunningham, the director of Friday The 13th. It’s only redeeming quality is it’s incredibly bizarre cast, which includes Nia Peeples from Fame, Miguel Ferrrer (The Stand) and that dude from B.J. and The Bear. Don’t see it.

Somewhere in between (although admittedly closer to Deep Star Six) is Leviathan.

Leviathan certainly isn’t a good film by any means, but it’s not horrible, and is definitely entertaining. One thing is for sure, it has a pretty stellar cast of B-movie stars and characters actors, including Peter Weller (fucking Robocop!) Ernie Hudson (a fucking Ghostbuster!), Richard Crenna (fucking Trautman from Rambo!) and Daniel Stern (fucking….Daniel Stern! Dude was in Home Alone! And CHUD!).

It also probably helped that the film had a halfway decent director in George P. Costomas, a work-for-hire director who churned out entertaining films of questionable quality during the 80s (Cobra, First Blood: Part II, Of Unknown Origin) before somehow scoring a gig directing Tombstone in 1993 (although Kurt Russell would later claim he ghost-directed that film). The man knew how to work with a limited budget, and manages to make the most out of the rather silly practical monster effects throughout the film.

The plot of Leviathan is almost identical to that of Alien, so it’s probably more than just coincidence that they hired the composer of Alien, Jerry Goldsmith, to do the film’s score. It’s not the most creepy of scores, but it does feature whale songs! So hey…that’s something I guess.

Random thought: Wouldn’t it be fucking incredible if the heavy metal band Mastodon made their album Leviathan to be in sync with this movie? Hey, you potheads out there, go find that out for me.

By the way, the babies in the It’s Alive movies could totally fuck up the monster in Leviathan.