The Cult — Fire Woman Mini CD Checkbook Thing

Here is something you don’t see every day: a mini CD by The Cult packaged in something similar to a checkbook cover. A mini CD should not be confused with the MiniDisc. This little guy will play in most older CD players, but I’m scared to stick into the side of this iMac without an adapter. And I haven’t seen one of those adapter rings in years.

I don’t know if we paid for this, I hope not, but it’s on Beggar’s Banquet which probably means we bought it for the record store we had at the time. I was long over The Cult when this came out in 1989, but the cool package must have convinced to keep it. That’s not working now though. I think this is only the second time the disc has been out of the cover, and some of the ink stuck to the plastic.

There are three songs: “Fire Woman,” the big hit from the Sonic Temple record; “Automatic Blues,” a fun riff rocker that’s awfully similar to Zeppelin’s “Black Dog” (I was toggling between the two and Mary didn’t realize they were different); “Messin’ up the Blues,” an acoustic blues shout out to every American roots rock musician you can think of. That last one is painfully long and cheesy even by The Cult standards.

The dope on Fire Woman.
All about the mini CD

Various — Back From the Grave Volume One

I would keep this one for the sleeve art alone. The music is fun too. I said everything I can think of about this series when I posted Volume 4, one year ago this week. The most well-known song on Back From the Grave Volume One (1985), to me at least, is probably “That’s the Bag I’m In” by The Fabs. It’s also the rockin’est. On the back the artists’ names are written “Fabs”, “Jujus”, “Rats,” etc. Because everyone of them is a “The” name! Those were The days.

I’ve never met a girl who can be my friend
The only money I’ve got is Chinese yen (some currency confusion there – TS)
They’ll probably drop the bomb the day my ship comes in
I want a steady girl who could be tall and thin
That’s bag I’m in!

The Fabs

Back From the Grave at Wikipedia

The Bambi Slam — Self-titled

I really don’t know much about The Bambi Slam. My brother and I got this as a promo when (1988) we had record store. There was some buzz about this band at the time (is it just the one guy, Roy?) but I haven’t heard much about them, or him, since. Maybe I’m out of touch because he, or they, are still making music. Sounds like a less interesting version of Jesus and Mary Chain, but more hard rock. They, or he, describe their, or his, new stuff as “hard rock” and “techno.”

“Outa My Head” on the Bambi Slam MySpace page is from this record.

A-ha. Trouser Press explains it all, and they back up my Jesus and Mary Chain comparison.

Adam and the Ants — Prince Charming

Yes! Let us celebrate these fancy pirates. I am certain if more people would run this look on the street today that the world would be a better place. But it takes real men to wear makeup, puffy shirts, and curtains for pants. And there just aren’t that many left.

Calling all available backup! Jeff? Kilwag? I know you’re out there. Cover me. I’m going in. This is a great record. That’s despite the frequently self-referential lyrics. The music on Prince Charming (1981) is as fresh and weird as the costumes worn by Adam and the Ants. The album opens with the giant-sounding “Scorpios,” complete with brass horns and a house-shaking drum fill near the end that makes me want to yell “Ant Power!” It sounds like the Hawaii 5-0 theme meets salsa music meets pirate rock. Other favorites include “Picasso Visita el Planeta de los Simios” and of course the super hit “Stand and Deliver.” There is also a “hidden” track, after a long pause at the end of the album, called “The Lost Hawaiians.”

I don’t know where I got this one, but you can see from the wear on the cover that back in the day it was in heavy rotation. Ant music for ant people!

Etched in the run off margins (can’t etch an MP3):
Side 1: HAVE YOU FOUND
Side 2: THE LOST HAWAIIANS

Wikipedia article

Gearhead Magazine #10 Single: Hellacopters and Rocket From the Crypt

Hellacopters! Rocket From the Crypt! When I’m having a good day these bands are part of the imaginary soundtrack of my life. I can’t get enough roots rock/punk rock. This 1999 double band single, Hellacopters’ “Crimson Ballroom” and Rocket From the Crypt’s “Delorean,” was put out by Gearhead Magazine, and included with issue #10. In my fantasy life Gearhead is the “lifestyle” magazine.

This record is a seven inch vinyl disk to be played at 45 revolutions per minute. I’ve included a pic of the vinyl so the kids can see what I’m talking about. I’m doing it all for the kids.

The Hellacopters
Rocket From The Crypt
Gearhead Magazine covers

Jane’s Addiction — Nothing’s Shocking

“This album is 20 years old! That’s craz-”

“You’re 41 years old. You forget that.”

Thanks for the reminder, Mary. It still sounds fresh! That’s why it’s hard to believe it’s this old, not because I’m senile.

Who doesn’t love this record? If you bought it right when it was released you were probably a hipster, maybe you still are, even in your 40s. That’s because this was the major label debut for Jane’s Addiction and pretty much only fans of their first record were waiting for it to hit. At the time my brother and I had record store and a number of our regulars were excited to get their hands on Nothing’s Shocking. I know I was, being a hipster and all. The album opening pretty ditty “Up the Beach” was the perfect spacey, ethereal set up for the flat out rocking “Ocean Size” that followed it. The rest of the album is just as good, and of course it also contains what I suppose was their biggest hit, the studio version of “Jane Says.”

And check out that ticket stub. I got to see Jane’s Addiction a couple months later, with Iggy freakin’ Pop(!) for a whopping ten bucks. Yeah, I remember that too. It was a great show and the crowd was definitely there for both bands. Navarro’s shredding was even more impressive in person. No rock star silliness, just full on rocking. And it was good. Amen.

Nothing’s Shocking at Wikipedia

Wish I was ocean size
They cannot move you
No one tries
No one pulls you
Out from your hole
Like a tooth aching in a jawbone

feedtime — Shovel

According to Wikipedia Shovel (1986) was feedtime’s most critically acclaimed record, which makes me think I need to go spin it again. I enjoy a little primitive noise rock once in a while, even now that I’m elderly. But this just didn’t do it for me today. There were a couple riffs that held my attention, a few great songs, and some occasional moments where they reminded me of Head of David. Still, I don’t think this one will stay in the collection.

For the concerned grammarians in the house I want to point out that the proper spelling of feedtime is with a lowercase f.

feedtime at Wikipedia

Young Gods — T.V. Sky

I don’t know where I got T.V. Sky (1992) by The Young Gods, but it’s always been a favorite. These guys can be called “industrial” but the sound on this record is really more hard rock or metal with plenty of sampling, loops and tricky time signatures. I love the whole thing, even the 20 minute Doors-y “Summer Eyes.” My favorite is the album opener, “Our House.” The lyrics sound like something from Sesame Street, maybe because these guys are ESL. But they’re perfect juxtaposed with the minimal and ultra-heavy jackhammer riff that finally kicks in for the last minute of the song, after two minutes of almost ambient loops, with when singer Franz Treichler yells “Hey Friends!”

Another great song is “The Night Dance.” Listen for the deft sampling and looping of Guns and Roses’ “Welcome to the Jungle” guitar riff.

Fans include The Edge (U2) and David Bowie.(?) Those geezers are cooler than I thought.

From the looks of it they’ve gone acoustic more recently. You can check the acoustic version of “Our House” at the Young Gods’ MySpace page.

YoungGods.com
Young Gods at Wikipedia

Our house… is a house… that moves…
Just like the ocean, just like the ocean, just like the ocean
Hey friends!
If you wanna come by
It’s easy to find, it’s easy to find
Hey friends!
It’s front of the sky, it’s in front of the sky

Henry Mancini — The Pink Panther

There’s just something about the early 1960s high society aesthetic, at least how it’s portrayed in movies of the time, that speaks to me. Modern, hip, glamorous and sleek, it’s a big part of the fun of watching The Pink Panther, early James Bond flicks, and other films from this time. A few years later, things started getting weird, heavy and psychedelic in movies and music. Not that there isn’t plenty of great art from the late ’60s. The cars, clothes, interiors, the jokes, the actors, and of course the music, all make this one of my favorite movies.

The Pink Panther was released in 1963. I got this soundtrack only a few years ago. I’ve always loved Henry Mancini’s score and “The Pink Panther Theme” has to be one of the swingingest jams ever. You probably have heard so much that you don’t even pay attention to it now. But you should. It’s a tiny music masterpiece, full of perfect punctuations as it steadily builds the layers of orchestration, and then sneaks off into the distance, but ends with one last exclamation point. Tears the roof off in less than three minutes!

Yeah Yeah Yeahs — Fever to Tell

These kids make a big sound for a small band, a three piece with drums, guitars and vocals. Folks that bought this record for the pretty hit “Maps” probably got a little more rocking than they bargained for. Fever to Tell is chockablock with heavy songs propelled by slamming drums, titanic guitar riffs, and some cathartic vocals by Karen O. This album came out in 2003, and unfortunately I haven’t kept up with the band. Listening again makes me regret it. My favorite song is “Man” which it features the title lyric “Fever to Tell.”

Yeah Yeah Yeahs “Maps” video
Wikipedia article