The Power Station was formed in 1984 and consisted of Andy Taylor and John Taylor of Duran Duran with Tony Thompson of Chic and singer Robert Palmer. When Robert Palmer quit the group in mid-1985, Michael Des Barres was recruited as the lead singer. The band folded in late 1985 as the members turned to other projects. The band reunited in 1995 with its original members. The group worked together on writing and arranging a new album, however, personal issues forced bassist John Taylor to withdraw from the project and leave the band before any recording took place. Producer Bernard Edwards (Chic bassist) stepped in to become the Power Station's bassist and new fourth member, playing all bass parts on the album "Living in Fear" (1996). Bernard Edwards died of pneumonia in April, 1996 and the group disbanded permanently in 1997.
This is a pretty good record. I'm too tired to say anything else.
I was once near Portishead. We were in Bristol, and I recall seeing a directional sign pointing to Portishead, but I can't remember if we went near the place. In any case, I saw the sign and exclaimed something like "Hey! Portishead!" This is a cool record.
Some people have reported a lot of issues with the vinyl version like pops and kicks and warping. My copy is quite good and this is doubly impressive, since I paid $9.99 for my copy.
Of course, when you have Bowie on your side, good things might happen. This was a huge record for Pop, and I think his most successful.
The collection included a cover of Johnny O'Keefe's "Wild One" (here titled "Real Wild Child (Wild One)" and three original songs co-written with ex-Sex Pistols guitarist Steve Jones. The remaining tracks were co-written by Bowie, who also produced the album with David Richards but, unlike his previous work with Pop, The Idiot and Lust for Life (both 1977), did not play any instruments. Bowie biographer David Buckley has reported that Pop "virtually disowned" the record, calling it "a Bowie album in all but name". It has never been specified what tracks on the album, if any, originated during the sessions of Bowie's 1984 album Tonight (that album's co-producer, Hugh Padgham, has recalled that Bowie and Pop collaborated on some songs that Bowie ultimately rejected for inclusion on Tonight). [source]
The Teenage Head cover version of Wild One is much much better, IMHO.
Charlotte Robinson of PopMatters called it "a bizarre train wreck of an album". Mark Deming of AllMusic wrote "Part of Iggy Pop's unique sort of integrity is that the man doesn't seem to know how to sell out, even when he tries, and Party, one of the strangest albums of his career, is living proof." [source]
Yeah, it's sad. Just check out this video.
Somewhat bizarrely, my copy is from Germany, even though it was pressed in Canada and the USA. I paid under $3. Even that may have been too much.
To me, this record is slightly better than the previous one. The songs really connected with me, both lyrically and musically. There are so many great tracks, like Wrapped Around Your Finger, King of Pain, the title tracks. I was never enraptured by Every Breath You Take, though I recognize that it is good. I don't think that the police were ever as popular as they were with this record. Biggest band in the world? Maybe.
I should have mentioned this with the last record: "The album's title was inspired by Arthur Koestler's The Roots of Coincidence. Frontman Sting was an avid reader of Koestler, and also titled the Police's prior album Ghost in the Machine after one of his works." [source]
I think I have read every book by Koestler along with some biographies. I have an entire shelf of books by Koestler. I will argue that the Roots of Coincidence is dire, but the rest are great, especially Darkness at Noon.
Ghost in the Machine was the first Police album to feature heavy use of keyboards and horns. All three members played synths to varying extents: Sting used an Oberheim OB-Xa (although he can also be seen with the Prophet-10 and Minimoog in photos from Andy Summers’ I’ll Be Watching You book) while Summers used a Prophet-5 to blend with the high guitar melody on "Spirits In The Material World"and Copeland played a Roland RS-505 Paraphonic synth on songs like "Darkness" and "Rehumanize Yourself". Besides keyboards, the following twenty minutes of the record—"Hungry for You (J'aurais toujours faim de toi)" through "One World (Not Three)"—include many saxophone harmonies, while the opening to "Secret Journey" showcases the Roland GR-300 Guitar Synthesizer. [source]
So, in general there is some change -- or progression -- in sound. The first track I heard from this LP was Every Little Thing She Does is Magic, and I did not love it but it has grown on me. It was overplayed to be sure. This record as a classic. Side one alone is another masterclass.
OK, I will admit it: I thought that the Police were done when I heard De Do Do Do, De Da Da Da. I mean, WFT? The record was redeemed in my mind when I heard the whole thing. I resisted buying it, but when I did, it grew on me quickly. I think my fav tune on the LP is Driven to Tears.
But, here is something astounding: I had never seen the video for Don't Stand So Close to Me before today!
I still don't really like De Do Do Do, De Da Da Da.
This was the first Police record I bought. When it came out, there were no record stores in my home town. Occasionally, I would hitch a ride with my sister to a larger urban center to pick up records while she shopped for shoes and clothes. But, sometimes, I just asked her to stop at the record store to get me what I wanted. That's how I got this one, probably for $6 or $7.
Unbelievably, after I opened the record, I was disappointed to see that parts of the record were covered in some sort of while gluey material. An audible noise was present on each revolution on the platter. Who knew when she would be going back? Who knew where the receipt ended up? I tried to clean it, but nothing worked. I stuck with that copy for years, and I finally replaced it with a much better copy.
Allmusic, a site I read frequently, awarded 4.5 stars to the first record by the Police. The same reviewer gave this record only three stars. That's pure insanity and the review offers no explanation about what is so wrong with the record. The subsequent record is probably my favourite record by the band, but this would be a close second.
First Police record I heard: Reggatta de Blanc
Fav Police record: Zenyatta Mondatta
First Bob Dylan record I heard: Highway 61
Fav Dylan record: Blonde on Blonde
First Leonard Cohen record I heard: The Best of Leonard Cohen
Fav Cohen record: The Songs of Leonard Cohen
First Robert Palmer record I heard: Secrets
Fav Robert Palmer record: Riptide
First Genesis record I heard: Duke
Fav Genesis record: Selling England by the Pound
First Led Zeppelin record I heard: IV
Fav Zeppelin record: III
First XTC record I heard: Drums and Wires
Fav XTC record: Skylarking
First Black Sabbath record I heard: self-titled debut
Fav Black Sabbath record: Paranoid
First Smiths record I heard: self-titled debut
Fav Smiths record: The Queen is Dead
First Supertramp record I heard: Breakfast in America
Fav Supertamp record: Crime of the Century
First Tom Petty record I heard: Damn the Torpedoes
Fav Tom Petty record: Full Moon Fever
I could go on and on. In some cases, the two match up. I'm thinking about The Clash and Kate Bush here, but that's because my favs from those two are also their best.
By the way, I once had an argument about Stewart Copeland in which I argued that he should be listed on any definite list of top ten drummers. The other person disagreed, but this is the truth. He is an excellent drummer.
"The Police became globally popular in the late 1970s and early 1980s and
are generally regarded as one of the first new-wave groups to achieve
mainstream success, playing a style of rock influenced by punk, reggae,
and jazz. They are also considered one of the leaders of the Second
British Invasion of the U.S." [source]
Outlaws of Love? Is that the correct translation? Who knows for sure? I think the first Police song I ever heard was Message in a Bottle. The first Police record I owned was Reggatta de Blanc, an album I like better than this one. I might have heard Roxanne before Message in a Bottle, but I honestly cannot remember. Of course, Roxanne was used to great effect in 48 Hrs.
The only song I don't really like on this LP is Be My Girl - Sally. I liked it the first few times I heard it, but then it got boring. On the other hand, the rest of the tracks are top notch.
The Police were a very interesting band. With the fourth record, a change in sound is obvious but that didn't diminish my love for the the band. Stewart Copeland remains one of my favourite drummers of all time, after John Bonham.
From 2017, on red vinyl, we have three more cover versions:
Hannah Georges - Crown of Love Originally by Arcade Fire from the 2005 album Funeral, a 2016 Slaight Family Heritage Prize winner. Recorded at The Woodshed, Toronto, April 26, 2017. Hannah Georgas appears courtesy of Dine Alone Records.
Les Sœurs Boulay - Complainte pour Sainte-Catherine Originally recorded by Kate and Anna McGarrigle on the 1976 album Kate and Anna McGarrigle, a 2016 Slaight Family Heritage Prize winner. Réalisation, prise de son ("Studio PM"), mixage (Studio de l'Est) Les Sœurs Boulay appears courtesy of Dare To Care Records.
Little Scream - Anew Day Originally by Mary Margaret O'Hara from the 1988 album Miss America, a 2016 Slaight Family Heritage Prize winner. Produced [...] at Fixed Hinge in Stittsville, Ontario, April 28, 2017.
Originally recorded by Owen Pallett from the 2014 Short List album In Conflict. Recorded September 7 and 9, 2015 at Revolution Recording, Toronto, Ontario. Arkells appear courtesy of Universal Music Canada.
"Bittersweet Memories" Originally recorded by Feist on the 2012 Polaris winning album Metals. Recorded January 19, 2016 at New Scotland Yard, Dartmouth, Nova Scotia. Mastered... at Archive Mastering, Mineville, nova Scotia. Joel Plaskett appears coutesy of New Scotland Yard / Pheromone Recordings.
"Show Me The Place" Originally recorded by Leonard Cohen from the 2012 Long List album Old Ideas. Produced May 16, 2016... at The Hive, Toronto, Ontario.
This one is also a 10" record on blue vinyl. The best track, IMHO, is the last, the cover of Leonard Cohen's Show Me the Place.
"The Polaris Music Prize is a music award annually given to the best full-length Canadian album based on artistic merit, regardless of genre, sales, or record label." So, the Polaris Cover Sessions are a series of cover records."
This one is as 10" record, containing three cover versions:
1) Whitehorse covering Bones Of An Idol, originally recorded by the New Pornographers;
2) Great Lake Swimmers covering I'm A Mountain, originally recorded by Sarah Harmer;
3) Sarah Harmer covering Odessa, originally recorded by Caribou.
Here are the details from Discogs:
"Bones of An Idol" originally by The New Pornographers from the 2006 Short List album 'Twin Cinema.' Recorded July 9, 2014 at Revolution Recording, Toronto. Whitehorse appear courtesy of Six Shooter Records.
"I'm A Mountain" originally by Sarah Harmer from the 2006 Short List album 'I'm A Mountain.' Recorded July 9, 2014 at Revolution Recording, Toronto. Great Lake Swimmers appear courtesy of Nettwerk Productions Inc.
"Odessa" originally by Caribou from the 2010 Short List album 'Swim.' Recorded July 22, 2014 at Revolution Recording, Toronto. Sarah Harmer appears courtesy of Cold Snap Records.
By the way, this 10" record was pressed on orange vinyl. Many were given away free in local records stores. In some cases, you had to purchase a shortlisted records; in other cases, any purchase would do. I think my copy was free with no strings attached. I cannot find any of these cover versions on Youtube.
I recall being a little disappointed when I first heard this record. As Wikipedia notes, "Peace and Love continued the band's gradual departure from traditional Irish music." [source] That's the truth. This is arguably also true:
Shane MacGowan's potent appetite for alcohol was evident from the time the Pogues cut their first album, but by the time they got to work on Peace and Love in 1989, it was evident that he'd gone far past the point of enjoying a few pints (or many pints) and had sunk deep into drug and alcohol dependence. [source]
It's not bad, but I think I like the following record better.
On this 12" single, released after If I should Fall from Grace With God, contains two versions of Yeah Yeah Yeah Yeah Yeah and a tune called The Limerick Rake, a traditional tune. Yeah Yeah Yeah Yeah Yeah is a pretty good tune, though it sounds less Irish, if you ask me. That trend would continue on the next record.
They faked their way through 'Fairytale of New York'.
When the band stopped playing we howled out for more.
- Chicago Seemed Tired Last Night, The Hold Steady
I remember painting the living room in a condo I once lived in with this Pogues record (I mean CD) blasting from the speakers. The frenetic pace of this record is a good compliment to the act of painting. I felt that I could never tire, but I did, eventually, when the CD was over and I had to find something else to play.
Oddly, the first track I heard from this record is not on it! South Australia appears on the CD but not on the LP. I have both versions, so that's OK. I really liked that song, but I now view it as one of the weaker tracks on the album.
This record contains the greatest Christmas song ever. If you have never heard Fairytale of New York, do yourself a favour. Yes, yes, I know of the much later woke reactions to this song. Get over it!
Finally, Allmusic says this: "Brilliantly mixing passion, street smarts, and musical ambition, If I Should Fall from Grace with God is the best album the Pogues would ever make." [source] Agreed!
Poguetry in Motion, a four-track EP, was released February 24th, 1986. If you've seen The Wire, you've heard Body of an American, more than once. By the way, all four tracks from this EP were later added as bonus tracks on the expanded CD edition of Rum, Sodomy & the Lash.
Cait O'Riordan, the band's bass player and Elvis Costello's ex-wife, sings lead on Haunted. It's a good track. Shane takes lead vocals on Hot Dogs With Everything. The last track -- Junk Theme -- is an instrumental.
That's quite the title. I just discovered that there was a reissue in 2005 with bonus tracks. I have never heard those tunes. Here is something else I didn't know:
The album's title is taken from a quotation attributed[3] to Winston Churchill: "Don't talk to me about naval tradition. It's nothing but rum, sodomy, and the lash." The title was suggested by drummer Andrew Ranken, who said "it seemed to sum up life in our band". [source]
The Pogues were an English or Anglo-Irish Celtic punk band fronted by Shane MacGowan and others, founded in Kings Cross, London in 1982, as "Pogue Mahone" – the anglicisation of the Irish Gaelic póg mo thóin, meaning "kiss my arse".[18] The band reached international prominence in the 1980s and early 1990s, recording several hit albums and singles. MacGowan left the band in 1991 owing to drinking problems, but the band continued – first with Joe Strummer and then with Spider Stacy on vocals – before breaking up in 1996. The Pogues re-formed in late 2001, and played regularly across the UK and Ireland and on the US East Coast, until dissolving again in 2014. The group did not record any new material during this second incarnation.
Their politically tinged music was informed by MacGowan and Stacy's punk backgrounds, yet used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin and accordion. [source]
I love this band, though I did not follow them after Shane was replaced with Joe Strummer, despite being a massive fan of the Clash. Why Allmusic only awarded this record 3.5 stars is baffling.
I saw this film! I am certain that this record came for a thrift shop, meaning that I paid about $2 for it. That's a good deal. It as some classic tracks, such as: Smokey Robinson - Tracks Of My Tears, The Doors - Hello, I Love You, Jefferson Airplane - White Rabbit, Aretha Franklin - Respect, Otis Redding - (Sittin' On) The Dock Of The Bay, The Rascals - Groovin' and others.
Is the new wave? Is this top 40? I've read that there were glam rock and maybe punk, but I find the latter difficult to accept. I know nothing of this band after the second record was released. I am not crazy about this band -- I probably liked better back in the day -- and I don't think it aged well. On the other hand, I think I paid $1 for this out of pure nostalgia one day ages ago.
Plastic Bertrand is the pseudonym of Roger François Joure, a Belgian musician best known for one track on this album. That song is Ça Plane Pour Moi, or Everything's Cool For Me. Elton Motello, as we already know, recorded English lyrics to this tune, under the title Jet Boy, Jet Girl. This is cool.
This La La Land was released six years before the film of the same name. This is the second release from the band. I have the first one -- Parc Avenue -- on CD. Plants and Animals is an indie-rock band from Montreal. The album was longlisted for the 2010 Polaris Music Prize. It's pretty good.
Hey, I got this for half price, marked down from $40. I haven't removed the shrink-wrap yet, but I guess I should since this is a gatefold. This record sounds good to my ears. I a really enjoying these later Plant recordings. As much as I would love to see a reunited Zeppelin on tour, new music from Plant is probably better.
This is a 10" addendum to the Ceaseless Roar LP, I guess. It contains three live tracks, including the Whole Lotta Love (Medly). From Discogs:140gr Audiophile Pressing Record Store Day 2015 Exclusive Release, limited to 5000 copies. Three tracks recorded live during Robert Plant & the Sensational Space Shifters World Tour 2014.
The following is from a different show, but it give you the idea.
I have a number of other Robert Plant recordings on CD. These include Fate of Nations, the truly fantastic No Quarter (with Jimmy Page), Dreamland, Band of Joy, Raising Sand (with Alison Krauss). I might be forgetting something. This one was released under the heading Robert Plant And The Sensational Space Shifters. I have to say, yet again, that we need uniform entries in Discogs so that all Plant albums can be all unified under the heading Robert Plant.
As Discogs notes:
The front sleeve only lists "Robert Plant" as artist, however, the spine and labels show full artist name "Robert Plant And The Sensational Space Shifters"
You see the problem.
This is a double LP, though side four lacks music and, instead, has an etching. It also includes the full CD. This record is, quite seriously, truly phenomenal.
Truthfully, I haven't listened to this one very often, maybe once or twice? I was listening to so many other things, that I lost track of Plant. I'm not even sure I know how this record found its way into my collection. It seems to continue the sound of the previous record. I think I liked his earlier work better, as well as his later work.
I paid next to nothing for the LP, but I have seen it for crazy prices, I assume because it carries the date 1990, when vinyl was in its death throes.
Finally, a Robert Plant record that includes an appearance by Jimmy Page! Sadly, Page is limited to a couple of tracks, plus Plant uses some Zep samples. It seems that Plant was willing to remember Zeppelin, by borrowing some riffs. Could this be the best Plant solo record (up to this point)? Maybe it is.
I suppose this record carries forward the direction of the first two records. I think I liked the first two better. For some reason, I have the US pressing rather than the Canadian. By this time, I was listening to less classic rock and more post-punk/new wave. Still, I checked this out and I do like some of the tracks. Some people believe this to be his best record, but I prefer his first two records.
Oddly, the two mellow songs on this record engaged me the most. This might seem odd for someone who could never get enough of Jimmy Page's electrifying guitar work. But, Plant's voice and the mood of these two tracks really connected with me. Yes, Other Arms, Messin' With the Mekon, and Wreckless Love are also great. But Big Log and In the Mood really said something different, and I liked that.
The other thing worth noting is that these two track received heavy rotation on the various after-school video shows, so I saw them a lot. Maybe I have nostalgia for those shows and the videos.
Phil Collins contributes some excellent drumming here too.
I miss the Swan Sing labels. Man, I loved those labels when I was a kid. Of course, I always associate the Swan Song label with Zeppelin, but there were certainly other acts on this label. It was such a cool design, and probably the first label I recall looking at seriously. After Plant's first record, he started his own label and Swan Song had its swan song in 1983.
I was, and continue to be, a big Led Zeppelin fan. I loved everything they recorded. Sadly, I never got to see the band live because the last tour was cancelled by the untimely death of John Bonham. I'm not sure that I could have made it anyway, as I was a young kid and miles away from Toronto. I also probably didn't have enough money to buy a ticket.
Three years after the release of the last true LZ record, Robert Plant released his first solo record. I think expectations were running high. How could a solo Plant
record equal the greatness of Led Zeppelin? It seemed unlikely.
I remember listening intently, on my truly terrible single-speaker cassette player, when I heard Burning Down One Side on the radio. It wasn't Zeppelin, but I liked it. The voice, of course, reminded me of Zeppelin. I did not recognize the name Robbie Blunt, Plants's co-writer and guitarist on this record, but he had some moments.
All of the Phil Collins haters take note: Phil handles the drums on six of the eight tracks. If he's good enough for Plant, he should be good enough for you.
This is not as good as anything Zeppelin ever recorded, but I like it.
This record is pressed on double vinyl at 45RPM. Other versions have a bonus 7" single and/or CD. Alas, I have the standard 2xLP version. Honestly, despite owning this since it was released, I haven't listened to it that much. I suppose I should. My initial impressions were good. This record is easy to find at a fair price, by the way.
Dig for Fire, from Bossanova, is a cool track. This 12" single has Dig for Fire, Velvety (Instrumental Version), Winterlong, and Santo. Bossanova is not as good as Doolittle, but it's cool. Velouria was the better single, if you ask me.
Early reviews and chart performance of this record were mediocre, thought there are obviously some rave reviews. College radio really help to propel this into the mainstream. I think this is a remarkable record. Every track is a killer. There are tons of top shelf tracks.
My copy is an original US present, complete with the custom liner sleeve wth lyrics. Sadly, my copy is a bit rough around the edges, having been very well led. Currently, copies for sale on Discogs start at about $135.00! I'd say that mine is worth less, owing to the condition.
Check out the tracks on this record: Debaser, Wave of Mutilation, I Bleed, Here Comes Your Man, Monkey Gone to Heaven, Crackity Jones, La La Love You, There Goes My Gun, Gouge away, etc., etc., etc. It's an incredible list of tracks.
I do love this line from Wikipedia: "Francis is Pixies' primary songwriter; his often surreal lyrics cover offbeat subjects such as extraterrestrials, incest, and biblical violence." That is right on target. This statement is also true: "Their jarring pop sound influenced acts such as Nirvana, Radiohead, the Smashing Pumpkins and Weezer. Their popularity grew in the years after their break-up, leading to a 2004 reunion and sold-out world tours."
Come on Pilgrim was the first release from the Pixies, identified a an EP. It was later bundled with Surfer Rosa on CD. It's a very frightening cover image, to say the least.
I have a copy of the first and only Canadian pressing. It's hard to find, but I don't think it's crazy expensive. My three favourite tracks are Caribou, Nimrod's Son, and The Holiday Song. To summarize, this is killer. It was like a breath of fresh air and one of the best releases from 1987.
Well, I won't pretend to be a big fan of this LP. On the other hand, I paid $9.99 for a brand new sealed copy, which is a steal. It's really an ambient affair, and that's fine, as long as your are not expecting something else. It really does sound like Pink Floyd. On a sad note, this will obviously be the final cut from Point Floyd.
This is the 13th album fro Pink Floyd. It's not bad, though Allmusic gives it a miserly two out of five stars.
A David Gilmour solo album in all but name, heavily featuring the kind of atmospheric instrumental music and Gilmour guitar sound typical of the Floyd before the now-departed Roger Waters took over, but lacking Waters' unifying vision and lyrical ability. [source]
Well, The Final Cut was like a Roger Waters solo record, so this is fair enough. Perhaps the most amazing thing abut this record is the cover shot. This was before easy photo editing, so these are real beds! That's amazing and it was a lot of work.
The Final Cut was not so final after all. It may have been better titled as Roger's Last Cut, perhaps. In any case, I am not a huge fan of the LP. It's almost like a Waters solo record.
The Final Cut was the last Pink Floyd album to feature founding member Roger Waters, who departed from the band in 1985. It is also the only Pink Floyd album not to feature founding member and keyboardist Richard Wright, who left the band after the Wall sessions. The recording was plagued by conflict; guitarist David Gilmour felt many of the tracks were not worthy of inclusion, but Waters accused him of failing to contribute material himself. Drummer Nick Mason's contributions were mostly limited to sound effects. [source]
Well, OK, so it is not bad, but other PF record are better.
I was only passingly familiar with Pink Floyd when this record dropped. I knew a few PF tracks that were played on FM radio, and these were all from Wish You Were Here and Dark Side of the Moon. And then, The Wall arrived. I think everyone loved Another Brick in the Wall (Part 2), and I thought it was kind of cool, so I went out and bought a copy of the LP. In truth, I found the listening experience to be rather tough going and I found that, although I think I liked the record well enough, I didn't listen to it very often. I sold the record not too long after, which was a mistake. The funny thing is that I had the same experience with the CD version. One day, I saw a copy for a good price and decided to get it. I listened to it and found that, yes, it's a really good record, but I can't say that listening to it is enjoyable. I do love some tracks, like Mother, Run Like Hell, and Comfortably Numb. Others were good, but not so much fun. I found that I didn't really listen to the CD very often, though I kept my copy.
Some years ago, I saw a reasonably-priced vinyl copy in a used bin, and tried again. I listened to it twice, and never again. It's clearly not my favourite Pink Floyd Record. I like it but it just isn't the kind of record one throws on the turntable for a casual listen. You have to be all in. I do love the transition from The Happiest Days Of Our Lives to Another Brick in the Wall (Part 2).
I would place Animals in my top three PF records. I like it better than The Wall, even though I didn't even hear it until after I owned a copy of The Wall. Back in 1985 or 1986, some friends of mine went on a acid trip, and this was one of the record that they listened to. When I heard that report, I decided to track down a copy (an original Canadian pressing form 1977) and give it a listen. It was totally off my radar, I assume because it did not have a single, like Money or Wish You Were Here or Another Brick in the Wall. I was floored. I loved it immediately, though I gather the not all Pink Floyd fans love it.
At times, I think I like this record more that The Dark Side of the Moon. I love DSOTM, but this is a close second, and sometimes, it seems better. It was many years after I heard this record that I realized that Have a Cigar was sung by Roy Harper. I have no idea what I hadn't noticed before.
I have a Canadian CD from 1994 and an a Canadian vinyl pressing from 1975. The notes from Dicosgs state: "Released with an inner cardboard lyrics-sleeve and a postcard insert." Alas, I bought my copy used, and the postcard is long gone. Of course, in the early days, I listened to a tape that my friend, Pete loaned to me. He said that he was a closet Pink Floyd fan. I am not sure why he would have hidden that fact, but I am kind of a closet fan of Hall and Oates, so there's that.
Check this out, from Wikipedia, and scratch your head:
Wish You Were Here received mixed reviews from critics on its release, who found its music uninspiring and inferior to their previous work. It has retrospectively received critical acclaim, hailed as one of the greatest albums of all time, and was cited by keyboardist Richard Wright and guitarist David Gilmour as their favourite Pink Floyd album. It reached number one in the US and UK, and Harvest's parent company, EMI, was unable to keep up with the demand. Since then, the record has sold over 20 million copies.
And, this more specific idiocy:
On release, the album received mixed reviews. Ben Edmunds wrote in Rolling Stone that the band's "lackadaisical demeanor" leaves the subject of Barrett "unrealised; they give such a matter-of-fact reading of the goddamn thing that they might as well be singing about Roger Waters's brother-in-law getting a parking ticket." Edmunds concluded the band is "devoid" of the "sincere passion for their 'art'" that contemporary space rock acts purportedly have. Melody Maker's reviewer wrote: "From whichever direction one approaches Wish You Were Here, it still sounds unconvincing in its ponderous sincerity and displays a critical lack of imagination in all departments. [source]
What can anyone say about The Dark Side of the Moon that hasn't already been said? I am always astounded when I hear people say that they do not like this record. This LP is in my top two Floyd records. I can say that I have a near mint Canadian pressing from the 1980s, complete with stickers and posters. I purchased it in a record store in Guelph, but I can't recall which one. If you have never heard this, you are missing out.
My copy of the band's sixth LP is the Canadian fourth pressing. It contains some of my favourite Floyd tracks, like Fearless, San Tropez, and Echoes.
The album's title Meddle is a play on words: a medal, and to interfere. Storm Thorgerson of the art-design group Hipgnosis originally suggested a close-up shot of a baboon's anus for the album cover photograph. He was overruled by the band, who informed him via an intercontinental telephone call while on tour in Japan that they would rather have "an ear underwater". The cover image was photographed by Bob Dowling. The image represents an ear, underwater, collecting waves of sound (represented by ripples in the water). Thorgerson later expressed dissatisfaction with the cover, claiming it to be his least favourite Pink Floyd album sleeve: "I think Meddle is a much better album than its cover".Thorgerson's colleague Aubrey Powell shared his sentiments, saying: "Meddle was a mess. I hated that cover. I don't think we did them justice with that at all; it's half-hearted." The gatefold contains a group photograph of the band (Floyd's last until 1987's A Momentary Lapse of Reason). [source]
I agree that this cover is awful. The tunes are great, and much better than anything the band had released prior and loser to what came next.
A Nice Pair is a compilation album that collects Pink Floyd's first two records, those being The Piper at the Gates of Dawn and A Saucerful of Secrets. About the scandalous cover art:
The cover is by Hipgnosis, who designed many other Pink Floyd covers, and consists of four grids of nine small images including some proposed but previously unused album cover designs. Several images depict a well-known phrase or saying in the form of a visual pun; for instance, the centre right-hand panel on the front depicts "a fork in the road", while the bottom right represents "a fine kettle of fish". Another picture presents two puns on the album title: a nice pear, and an image of a woman's pair of breasts; the latter is censored with a black bar on some copies, while other US copies opted to cover it with a purple and white sticker over the shrink wrap. Initial copies had a picture of a Mr. W.R. Phang's dental surgery on the cover (a genuine business photographed in Hammersmith, west London), but Dr. Phang objected because NHS dentists were not permitted to advertise, and the picture was replaced with one of a gargling monk. US editions from the 1980s restored both the nudity and the W.R. Phang photo. The selection of band photos on the inside cover also varies, with some copies including a photo of a shirtless, disturbed-looking Syd Barrett from The Madcap Laughs cover photo session, while others replace it with a photo of a smiling Barrett sitting by a car. [source]
My copy is a Canadian pressing, and I would guess it's from the 1980s (but it might be an earlier copy), though Discogs does not have a date for mine. It has the restored images that had been censored by pecksniffs in the past.
This is really a good collection to have because early copies of the first two Floyd records -- even from the 1980s -- are a challenge to find for a good price and in reasonable condition. Of course, Dark Side of the Moon was released earlier in 1973, and it represented a radical departure in sound, moving away from psychedelia to a prog rock sound. So, this was kind of a call back to earlier days. I have to assume that the record label decided to cash in on the success of Dark Side of the Moon by releasing this compilation.
Wikipedia has a wealth of information bout this release, such as:
The release of Relics occurred because the band's record company, EMI, were concerned that they had gone into the studio to record what would become Meddle without any songs or ideas, effectively starting from scratch. This, combined with their ever-increasing touring schedule, made EMI realise that no new product would be released for some time, possibly not until well over a year after completing their previous album, Atom Heart Mother. In order to issue some more "product" for fans, they decided to release a budget priced LP on their Starline label, combining early singles, B-sides, album tracks and one unreleased song, "Biding My Time". The compilation contains material from the first three albums: The Piper at the Gates of Dawn, A Saucerful of Secrets and More. [source]
So, I guess for completists, this is important as it was the only way, until then at least, to have Biding My Time on vinyl. I do not love that song, but Relics is a really good collection of early material.
I have a 1981 Canadian pressing. You could probably find a copy of this pressing for $20-$25.
Atom Heart Mother is my least favourite PF record. I prefer side two. Somehow, I have an unofficial release, which I have to assume is sourced from a digital file. I guess this is what happens when you cannot wade through hundreds of releases on Discogs to try to figure out what version it is. It sounds OK, but I would rather have a real pressing.
Now, here is where I need to mention that I sold some of my record collection back in the day when CDs came onto the scene. I bought a few records as replacements in later years, but I am still angry with the decision to part with some of these records. My copy is a 1983 Canadian repressing.
From Wikipedia:
"The album's title supposedly comes from Cambridge slang for sex, commonly used by Pink Floyd friend and occasional roadie, Iain "Emo" Moore, who would say, "I'm going back to the house for some ummagumma". According to Moore, he made up the term himself." [source]
I had no idea. Also, from Wikipedia:
The first disc consists of live recordings from concerts at Mothers Club in Birmingham and the College of Commerce in Manchester that contained part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded at Abbey Road Studios. The artwork was designed by regular Floyd collaborators Hipgnosis and features a number of pictures of the band combined to give a Droste effect. It was the last album cover to feature the band.
From Discogs:
Pink Floyd's first release on Harvest Records. Originally released on October 25, 1969.
The First Disc (SHDW 1) is a Live Album. Sources of the original studio recordings: - A1 – "The Piper At The Gates Of Dawn" - A2 – "Point Me At The Sky" Single - Side B – "A Saucerful Of Secrets" (Total Duration: 39:15)
The Second Disc (SHDW 2) is a Studio Album. At 16 words, track C3 has the distinction of having the longest name ever carried by a Pink Floyd song. (Total Duration: 48:44)
Cover Design Trivia; - Album's cover utilizes infinity mirror effect. - The album, whose package is shown on cover (over the band's name) is MGM's Gigi - Original Cast Soundtrack Album (which was released 11 years earlier) was removed on US Vinyl Pressings.
My copy also has a black album jacket. I think this is better than the reviews suggest.
Oddly the title track on this 12" single is Sunny Day, when it should be Papa's Got a Brand New Pigbag. The latter song means a lot to me as it was once the the music for the TV show The New Music, which was my favourite show for years and years. I refused to go out on some nights, if it meant that I would miss the show. I also hated it if the house was noisy. I was glued to every word and I discovered a lot of new music through this show.
