Skid Row / Slave To The Grind / (1991) I was shocked to see this crate digging at @roughtrade in #london - I’ve never seen it anywhere before on wax. one of the most powerful and influential #heavymetal reases of the #1990s - #skidrow took a huge leap on this their second studio #lp - lead signal “Monkey Business” signaled the band intended to strip away the gloss of their debut and punch up the power. melodically the song still carries its weight in gold, but @sebastianbach gives a torrid vocal performance underneath the shit kicking riffs from @officialrachelbolan and #scottihill the title track strides into thrash territory, their friendship with #pantera a clear influence - @officialrobaffuso and the guitarists nearly careening off the rails. this a truly complete #album without a moment. “The Threat” is an undoubtably highlight, hardening back to their debut with is chain gang chorus but pouring on the bone-crushing riffs and world beating vibe. “Beggars Day”, Living on A Chain Gang”, “Creepshow”, “Riot Act” and “Mudkicker” all slay, a constant onslaught of power metal that thrives and writhes with pugnacious attitude to spare and a sumbline sounding, huge production. and then there’s “Wasted Time”, maybe the band’s finest studio moment - a riveting #powerballad with the emphasis on power. an absolute knee-buckler where Bach stakes his claim as one of the best metal vocalists of all time. #slavetothegrind was the first metal album to debut at #1 - an impressive accomplished by these boys from #newjersey#vinyligclub#recordcollector#vinyladdict#vinyladdict#vinyljunkie#nowspinning#vinyloftheday#nowplaying#33rpm
0 22 minutes ago
Martin Mull and Orchestra - "Dueling Tubas" (1973)
Właśnie skończyłem oglądać (po raz kolejny) „Daft Punk Unchained”. I przy okazji wróciłem do debiutanckiego „Homework”. Co ciekawe, po obejrzeniu dokumentu dostrzegłem, że wnętrze okładki nie tylko zawiera elementy muzycznej przeszłości (logo Darlin’ czyli pierwszego zespołu Thomasa i Guy-Manuela), ale i przyszłości - jednym z założycieli Chic był Nils Rodgers, który lata później był współtwórcą sukcesu „Get lucky”.
Regular, semi-conscious readers may remember that @rideox4official were my fave band in those crucial teenage years (16-18) when one’s music taste is indelibly formed. Well, a mere twenty-six years after buying the US import CD of the _Smile_ compilation, I’ve finally picked up a vinyl copy of their mind-bogglingly precocious debut EP: recorded before they signed to Creation, and were all about eighteen themselves. This means I’ve now amassed all of Ride’s Creation EPs and singles on vinyl but for “I Don’t Know Where It Comes From” (by some distance their weakest single) and the parting “Black Nite Crash.” First pic, top row, L to R: “Ride,” “Play,” and “Fall” EPs (all 1990). Middle row, L to R: “Today Forever” EP promo (1991); “Leave Them All Behind” and “Twisterella” (both 1992). Bottom row, L to R: “Birdman” limited edition and “How Does It Feel to Feel” (both 1994); “Tomorrow’s Shore” EP (2018).
Don't show this picture to my future children, I'd go mad if they left records on the floor, it's only acceptable when achieving peak Instagram aesthetic.
Hypocrisy is fine if you do it in style
Francis Bebey „La Condition Masculine“ LP (Ozileka, France, 1976). Francis Bebey was a multi-instrumentalist, composer, poet, story-teller, musicologist, writer, journalist, and an icon and innovator of contemporary african music with a profound impact on the music scene of his homeland Cameroon. Over the course of his long and fruitful career he was very prolific releasing about 20 albums until his passing in 2001. Being a brave & fearless innovator all his life, unafraid of re-thinking as well as re-shaping the way he played instruments and adding in new ones when they served his expressionist needs, Bebey’s music was an eclectic mix of different influences taking his traditional African roots and fusing them with electronic elements. The results are clearly one of a kind sounding pretty much unlike anything else coming to my mind. When Bebey started delving deeply into electronic music around the mid 70s adding synthesizers, organs and all sorts of drum machines into his music, he created some of the most amazing music of his career. His constant use of the Sanza, an African thumb piano added an almost otherworldly pulse to his compositions that’s as enchanting as it is soothing and led to a deeply hypnotic and irresistible vibe. Lyrically songs like ‘Divorce Pygmee’ or the title track may seem slightly misogynistic at first listen - well, Bebey clearly liked to provoke his audience and was blessed with a special sense of humor that was often times controversial as well as confrontational. ‘La Condition Masculine’ may be the most definitive of Bebey’s 70s works and for me personally a wildly enthralling spin that amazes me everytime I put it on.