#academyrecords — Public Fediverse posts

Depeche Mode, People Are People, 1984 on Sire / Mute

Compilation album for North America put out by Sire in 1984, pulling the title track single and a combination of album cuts, and b-sides. This song was such a key to the soundtrack of my life in the early 80s: “People are people so why should it be / you and I should get along so awfully.” I still sing along word for word when it comes on First Wave.

It also included the 7-minute plus “Everything Counts (In Larger Amounts)” from the 12″ single of that song. I’m still fleshing out my Depeche Mode collection but they can be hard to find in original pressings.

My copy—via Academy Records in NYC—is a 1980s Specialty pressing with the E A S T around the spindle and the “tm” under the Sire logo.

Bob Dylan, Shadow Kingdom, 2023 on Columbia / Legacy

This is Dylan’s 40th (!!) studio album and is also technically a soundtrack to Alma Har’el’s film of the same name: Shadow Kingdom: The Early Songs of Bob Dylan

https://www.youtube.com/watch?v=wWWpMb5ORg8

Great album whether you are a Dylan die-hard and life long fan (as I am) or just discovering him.

My copy—via Academy Records in NYC—is a three-sided vinyl version (fourth side etched – see image below) for the US market.

Abbey Lincoln, Golden Lady, 1981 on Inner City

Originally issued by Blue Marge in France under the name Painted Lady (Abbey Lincoln in Paris), the first US issue was on Inner City Records under the name Golden Lady. Aminata Moseka, the name she adopted in the mid seventies, also appears in a parenthetical on the cover, along with Archie Shepp who accompanies her.

Recorded in Paris in 1980.

My copy—via Academy Records in NYC—is a 1981 release pressed by Hub-Servall and mastered at Europadisk.

Abbey Lincoln, Golden Lady, 1981 on Inner City

Originally issued by Blue Marge in France under the name Painted Lady (Abbey Lincoln in Paris), the first US issue was on Inner City Records under the name Golden Lady. Aminata Moseka, the name she adopted in the mid seventies, also appears in a parenthetical on the cover, along with Archie Shepp who accompanies her.

Recorded in Paris in 1980.

My copy—via Academy Records in NYC—is a 1981 release pressed by Hub-Servall and mastered at Europadisk.

Abbey Lincoln, Golden Lady, 1981 on Inner City

Originally issued by Blue Marge in France under the name Painted Lady (Abbey Lincoln in Paris), the first US issue was on Inner City Records under the name Golden Lady. Aminata Moseka, the name she adopted in the mid seventies, also appears in a parenthetical on the cover, along with Archie Shepp who accompanies her.

Recorded in Paris in 1980.

My copy—via Academy Records in NYC—is a 1981 release pressed by Hub-Servall and mastered at Europadisk.

Abbey Lincoln, Golden Lady, 1981 on Inner City

Originally issued by Blue Marge in France under the name Painted Lady (Abbey Lincoln in Paris), the first US issue was on Inner City Records under the name Golden Lady. Aminata Moseka, the name she adopted in the mid seventies, also appears in a parenthetical on the cover, along with Archie Shepp who accompanies her.

Recorded in Paris in 1980.

My copy—via Academy Records in NYC—is a 1981 release pressed by Hub-Servall and mastered at Europadisk.

Abbey Lincoln, Golden Lady, 1981 on Inner City

Originally issued by Blue Marge in France under the name Painted Lady (Abbey Lincoln in Paris), the first US issue was on Inner City Records under the name Golden Lady. Aminata Moseka, the name she adopted in the mid seventies, also appears in a parenthetical on the cover, along with Archie Shepp who accompanies her.

Recorded in Paris in 1980.

My copy—via Academy Records in NYC—is a 1981 release pressed by Hub-Servall and mastered at Europadisk.

Joe Jackson’s Jumpin’ Jive, Jumpin’ Jive, 1981 on A&M

Joe Jackson always seemed to me a bit like someone out of the wrong time – though I loved his new wave / new romantic era and azz inflected records, on this one he went full on 1940s, covering songs from the swing and jump blues era.

Some people feel like it is a gimmick album or a throwaway, but I really enjoy it – it may be done a bit tongue in cheek but these are musicians (Jackson included) who love this music and take it seriously.

My copy—via Academy Records in NYC—is a Terre Haute pressing from the early 80s.

Joe Jackson’s Jumpin’ Jive, Jumpin’ Jive, 1981 on A&M

Joe Jackson always seemed to me a bit like someone out of the wrong time – though I loved his new wave / new romantic era and azz inflected records, on this one he went full on 1940s, covering songs from the swing and jump blues era.

Some people feel like it is a gimmick album or a throwaway, but I really enjoy it – it may be done a bit tongue in cheek but these are musicians (Jackson included) who love this music and take it seriously.

My copy—via Academy Records in NYC—is a Terre Haute pressing from the early 80s.

Joe Jackson’s Jumpin’ Jive, Jumpin’ Jive, 1981 on A&M

Joe Jackson always seemed to me a bit like someone out of the wrong time – though I loved his new wave / new romantic era and azz inflected records, on this one he went full on 1940s, covering songs from the swing and jump blues era.

Some people feel like it is a gimmick album or a throwaway, but I really enjoy it – it may be done a bit tongue in cheek but these are musicians (Jackson included) who love this music and take it seriously.

My copy—via Academy Records in NYC—is a Terre Haute pressing from the early 80s.

Joe Jackson’s Jumpin’ Jive, Jumpin’ Jive, 1981 on A&M

Joe Jackson always seemed to me a bit like someone out of the wrong time – though I loved his new wave / new romantic era and azz inflected records, on this one he went full on 1940s, covering songs from the swing and jump blues era.

Some people feel like it is a gimmick album or a throwaway, but I really enjoy it – it may be done a bit tongue in cheek but these are musicians (Jackson included) who love this music and take it seriously.

My copy—via Academy Records in NYC—is a Terre Haute pressing from the early 80s.

Joe Jackson’s Jumpin’ Jive, Jumpin’ Jive, 1981 on A&M

Joe Jackson always seemed to me a bit like someone out of the wrong time – though I loved his new wave / new romantic era and azz inflected records, on this one he went full on 1940s, covering songs from the swing and jump blues era.

Some people feel like it is a gimmick album or a throwaway, but I really enjoy it – it may be done a bit tongue in cheek but these are musicians (Jackson included) who love this music and take it seriously.

My copy—via Academy Records in NYC—is a Terre Haute pressing from the early 80s.

Love, Forever Changes, 1967 on Elektra

Iconic later sixties album from Arthur Lee and co. This would be their third and final album in the original lineup. The track “Alone Again Or” (with the refrain “And I will be alone again tonight my dear”) has been used in a number of films and was covered by The Damned on 1986’s Anything.

If you only know the single, well worth checking out the whole album – it’s current revalued reputation is well deserved.

My copy—via Academy Records in NYC—is a 2012 reissue by Rhino pressed at Optimal GmbH, which sounds fantastic.

Love, Forever Changes, 1967 on Elektra

Iconic later sixties album from Arthur Lee and co. This would be their third and final album in the original lineup. The track “Alone Again Or” (with the refrain “And I will be alone again tonight my dear”) has been used in a number of films and was covered by The Damned on 1986’s Anything.

If you only know the single, well worth checking out the whole album – it’s current revalued reputation is well deserved.

My copy—via Academy Records in NYC—is a 2012 reissue by Rhino pressed at Optimal GmbH, which sounds fantastic.

Love, Forever Changes, 1967 on Elektra

Iconic later sixties album from Arthur Lee and co. This would be their third and final album in the original lineup. The track “Alone Again Or” (with the refrain “And I will be alone again tonight my dear”) has been used in a number of films and was covered by The Damned on 1986’s Anything.

If you only know the single, well worth checking out the whole album – it’s current revalued reputation is well deserved.

My copy—via Academy Records in NYC—is a 2012 reissue by Rhino pressed at Optimal GmbH, which sounds fantastic.

Bob Marley and the Wailers, Shakedown, 1979 on ALA

This was originally released in August 1971 with the title The Best of the Wailers on Beverley’s Records – but it is not a greatest hits album. It was recorded in 1970 with Leslie Kong and has been reissued many times with many different labels. Here it is called Shakedown on the cover and Shake Down on the labels.

This was the fourth studio album by the Wailers.

ALA was a label co-founded by Lou Drozen in LA, who also founded Laff records. The credit here says it is “leased to ALA Records & Tapes by San Juan Record & Tape Club LTD” – which is a Michael Chernow company that does license a lot of back catalog recordings including Marley.

My copy via Academy Records in NYC doesn’t carry a date of release but seems to be from 1979.

Bob Marley and the Wailers, Shakedown, 1979 on ALA

This was originally released in August 1971 with the title The Best of the Wailers on Beverley’s Records – but it is not a greatest hits album. It was recorded in 1970 with Leslie Kong and has been reissued many times with many different labels. Here it is called Shakedown on the cover and Shake Down on the labels.

This was the fourth studio album by the Wailers.

ALA was a label co-founded by Lou Drozen in LA, who also founded Laff records. The credit here says it is “leased to ALA Records & Tapes by San Juan Record & Tape Club LTD” – which is a Michael Chernow company that does license a lot of back catalog recordings including Marley.

My copy via Academy Records in NYC doesn’t carry a date of release but seems to be from 1979.

Bob Marley and the Wailers, Shakedown, 1979 on ALA

This was originally released in August 1971 with the title The Best of the Wailers on Beverley’s Records – but it is not a greatest hits album. It was recorded in 1970 with Leslie Kong and has been reissued many times with many different labels. Here it is called Shakedown on the cover and Shake Down on the labels.

This was the fourth studio album by the Wailers.

ALA was a label co-founded by Lou Drozen in LA, who also founded Laff records. The credit here says it is “leased to ALA Records & Tapes by San Juan Record & Tape Club LTD” – which is a Michael Chernow company that does license a lot of back catalog recordings including Marley.

My copy via Academy Records in NYC doesn’t carry a date of release but seems to be from 1979.

Bob Marley and the Wailers, Shakedown, 1979 on ALA

This was originally released in August 1971 with the title The Best of the Wailers on Beverley’s Records – but it is not a greatest hits album. It was recorded in 1970 with Leslie Kong and has been reissued many times with many different labels. Here it is called Shakedown on the cover and Shake Down on the labels.

This was the fourth studio album by the Wailers.

ALA was a label co-founded by Lou Drozen in LA, who also founded Laff records. The credit here says it is “leased to ALA Records & Tapes by San Juan Record & Tape Club LTD” – which is a Michael Chernow company that does license a lot of back catalog recordings including Marley.

My copy via Academy Records in NYC doesn’t carry a date of release but seems to be from 1979.

Bob Marley and the Wailers, Shakedown, 1979 on ALA

This was originally released in August 1971 with the title The Best of the Wailers on Beverley’s Records – but it is not a greatest hits album. It was recorded in 1970 with Leslie Kong and has been reissued many times with many different labels. Here it is called Shakedown on the cover and Shake Down on the labels.

This was the fourth studio album by the Wailers.

ALA was a label co-founded by Lou Drozen in LA, who also founded Laff records. The credit here says it is “leased to ALA Records & Tapes by San Juan Record & Tape Club LTD” – which is a Michael Chernow company that does license a lot of back catalog recordings including Marley.

My copy via Academy Records in NYC doesn’t carry a date of release but seems to be from 1979.

Lloyd Cole and the Commotions, Mainstream, 1987 on Capitol

Third and last studio LP under the name Lloyd Cole and the Commotions, released by Polydor in the UK and Capitol in the US. Fared better in the UK than in the US, where it failed to chart.

One track produced by Stewart Copeland, the rest by Ian Stanley. Well worth a listen if you liked Rattlesnakes or other Lloyd Cole.

My copy—via Academy Records in NYC—is an Allied pressing with Specialty metalwork on purple Capitol labels (and the original custom inner liner).

Harold Vick, Steppin’ Out!, 1963 on Blue Note

Debut album from Harold Vick (as a leader), recorded Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey, with a wonderful supporting cast: Blue Mitchell, Grant Green, John Patton, and Ben Dixon.

Vick would also go on to play with folks like King Curtis and Aretha Franklin, and passed in 1987. Great album of early 60s Blue Note jazz.

My copy—via Academy Records in NYC—is the Blue Note Tone Poet reissue from 2022.

Lucinda Williams, Stories from a Rock N Roll Heart, 2023 on Highway 20 Records

Lucinda Williams just keeps putting out great music, including this 15th studio LP of original material (alongside the jukebox series of cover albums).

She’s joined by Bruce Springsteen and Patty Scialfa on two tracks and Tommy Stinson, Angel Olsen and Margo Price on one each (among other guests).

My copy—via Academy Records in NYC—is the standard black vinyl pressing with a gatefold sleeve.

Grandmaster Melle Mel and the Furious Five, Piano, 1989 on New Day Records

After the split between Grandmaster Flash and Melle Mel, Mel took the “Grandmaster” role and continued with the Furious Five splitting. On this record the Furious Five include Cowboy, Scorpio, Rahiem, and Kidd Creole (credited as Kid Creole), but no Flash.

The Furious Five with Flash did reunite in 1988 for On the Strength, on Elektra – so not sure what the state of the relationship was when this came out in 1989. Can’t find much about New Day Records either, other than it existed something like 1989-1993.

My copy—via Academy Records in NYC—is an 80s pressing on New Day labels.

Sonny Terry & Brownie McGhee, Midnight Special, 1977 on Fantasy

This 2xLP release is a reissue of two earlier albums: 1960’s Blues & Folk (sides 1 and 2) and 1961’s Blues All Around My Head (sides 3 and 4). Fantasy often put out these reissues as double LPs, as the earlier blues artists were being rediscovered again – good way to get the earlier material.

My copy via Academy Records in New York, NY, with a “Demonstration Only” stamp on the back cover, on late 70s Fantasy labels.

Dave Van Ronk and The Hudson, Dave Van Ronk and The Hudson Dusters, 1967 on Verve Forecast

The Hudson Dusters were Dave Woods, Ed Gregory, and Rick Henderson – Phillip Namanworth also appears here as “Pot” on the rear cover. They took their name from an early 20th century NY gang.

Picked this up on a lark because I enjoy Dave Van Ronk – no idea how rare or common it is. Includes covers of “Chelsea Morning” and “Both Sides Now” from Joni Mitchell. Very 1967 – almost a Monkees vibe – but I dig it.

My copy—via Academy Records in NYC—is an MGM Records pressing .

The Decemberists, The Crane Wife, 2006 on Capitol

his was the band’s fourth studio LP, and the first on Capitol Records. Production by Tucker Martine and Chris Walla. This album is one I could just leave on repeat for hours (and sometimes do).

Definitely one of my top 20 albums of all time.

My copy via Academy Records in NYC is a 2006 2xLP pressing.

#2000s #2006 #AcademyRecords #Capitol #ChrisWalla #ColinMeloy #Decemberists #NYC #TuckerMartine #vinyl #vinylcollection #vinylfinds

Flight of the Conchords, Flight of the Conchords, 2008 on Sub Pop

The soundtrack to Jermaine Clement and Bret McKenzie’s brilliant and hilarious show about two New Zealand musicians trying to make it in the states.

They’d previously released an EP – “The Distant Future” – and would go on to issue another album (“I Told You I Was Freaky”) and a double LP live special (“Live In London”) on Subpop.

My copy via Academy Records in NYC

#2000s #2008 #AcademyRecords #BretMcKenzie #FlightOfTheConchords #JermaineClement #NYC #SubPop #vinyl #vinylcollection #vinylfinds

Billy Bragg, Bloke on Bloke, 1997 on Cooking Vinyl

Seven songs from the William Bloke sessions, released as a limited edition “mini-album.” Johnny Marr joins on “The Boy Done Good” and gets co-writing credit. Also included is a cover of “Never Had No One Ever” and two remixes by Moodswings.

Worth the price of admission just for the Johnny Marr track and The Smiths cover, but really not a bad track on this EP.

My copy – via Academy Records in NYC – is the 2024 Record Store Day reissue on blue-orange split vinyl.

#AcademyRecords #JohnnyMarr #Moodswings #TheSmiths #vinyl #vinylcollection #vinylfinds

Sia, 1000 Forms of Fear, 2014 on Monkey Puzzle / RCA

I first heard (at least consciously) Sia on the beautiful “I Go To Sleep” from her appearance on KCRW’s Morning Becomes Eclectic in 2006, which then appeared on Sounds Eclectic – The Covers Project in 2007. (I also now know she was a massive fan of the reality TV show Survivor, appearing on some of the reunion live shows and giving her own awards to contestants).

This was her sixth studio LP with a ton of recognizable songs on it, kicking off with “Chandelier.” Guests include The Weeknd and Diplo. It was during this album’s promotional tour that she stopped showing her face in videos and TV performances.

My copy, via Academy Records in NYC, is a Nashville Record Pressing copy from 2014, with a 4-page lyric sheet and “Made in the USA sticker on shrink.

#2010s #2014 #AcademyRecords #MonkeyPuzzleRecords #NYC #Pop #RCA #Sia #vinyl #vinylcollection #vinylfinds

Wilco, A.M., 1995 on Sire / Reprise

Wilco emerged out of the breakup of Uncle Tupelo (some of the band remaining with Jeff Tweedy as Wilco, some with Jay Farrar as Son Volt). This was their first album under the name Wilco.

Wilco is identified as Jeff Tweedy, John Stirratt, Ken Coomer, and Max Johnston – but guest performers include Lloyd Maines, Daniel Corrigan (who would be replaced by Jay Bennett), and Brian Henneman. Recording was at Easley Recording in Memphis.

My copy (via Academy Records in NYC) is a 2018 reissue “deluxe edition” on 2xLPs with eight bonus tracks across sides 3 and 4.

#1990s #1995 #2018 #AcademyRecords #AltCountry #BrianHennemen #DanielCorrigan #DeluxeEdition #EasleyRecording #JohnStirratt #KenCoomer #LloydMaines #MaxJohnston #NYC #Reissue #Reprise #Sire #vinyl #vinylcollection #vinylfinds #Wilco

Icicle Works, Icicle Works, 1984 on Arista / Beggars Banquet

In the UK (and elsewhere) this was credited to The Icicle Works and was on Beggars Banquet, but in the US it was titled just Icicle Works (no “the”) and was on Arista.

Either way this was their self-titled debut album and included their biggest hit, which—like the album—was titled differently in the US. Most regions knew it as “Birds Fly (Whisper to a Scream)” where in the US it was called “Whisper to a Scream (Birds Fly).”

Icicle Works came out of Liverpool, formed by Chris Layhe, Ian McNabb, and Chris Sharrock. If you’ve only known the single, well worth checking out the full LP. In my collection Via Academy Records in NYC.

#1980s #AcademyRecords #Arista #BeggarsBanquet #ChrisLayhe #ChrisSharrock #IcicleWorks #Liverpool #NYC #TheIcicleWorks #vinyl #vinylcollection #vinylfinds

A Tribe Called Quest, The Love Movement, 1998 on Jive

Fifth studio album from Tribe, and the last released before Phife Dawg died in 2016 from complications related to diabetes. Tribe announced they were disbanding a month before the album was released.

Guests include Busta Rhymes, Redman, Mos Def, Leaders of the New School and Kid Hood. Production by The Ummah (which included Q-Tip and Ali Shaheed Muhammad with Jay Dee) and Tribe.

My copy, via Academy Records in NYC, is a 2023 reissue on 3 LPs.

#1990s #1998 #AcademyRecords #AliShaheedMuhammad #BustaRhymes #HipHop #JiveRecords #MosDef #NYC #QTip #TribeCalledQuest #vinyl #vinylcollection #vinylfinds

Fleshtones, Roman Gods, 1981 on IRS Records

Debut album from Queens New York’s own The Fleshtones (credited as just Fleshtones here). This included the song – “Shadow-line (to J. Conrad)” – that was included in Urgh, a Music War!. Artwork by Carl Grasso. Produced by Richard Mazda and recorded (mostly) in New York at Skyline Studios.

I.R.S. was one of my favorite labels in the 80s – lots of great stuff they put out, especially in the first half of the decade.

My copy, via Academy Records in NYC, is a 1981 pressing – and includes an offer to get an I.R.S. Records t-shirt for $7 plus $1.50 in shipping – wonder how long they honored that deal.

#1980s #1981 #AcademyRecords #BillMilhizer #Fleshtones #GordonSpaeth #IRSRecords #JanMarekPakulski #JohnWeiss #KeithStreng #NYC #PeterZaremba #vinyl #vinylcollection #vinylfinds

Sonny Clark Trio, Sonny Clark Trio, 1958 on Blue Note

Sonny Clark with Paul Chambers on bass and Philly Joe Jones on drums – recorded by Rudy Van Gelder in 1957 in Hackensack. Liner notes by Leonard Feather, cover designed by Reid Miles.

Love these renditions of “I Didn’t Know What Time It Was” and “Two Bass Hit” – and the “I’ll Remember April” with just Clark solo on piano is wonderful too. Classic Blue Note jazz – you can’t go wrong.

My copy (via Academy Records in NYC) is from the Blue Note Tone Poet Series, mastered for vinyl by Kevin Gray.

#1950s #1958 #AcademyRecords #BlueNote #jazz #KevinGray #NYC #PaulChambers #PhillyJoeJones #RudyVanGelder #SonnyClark #SonnyClarkTrio #TonePoet #vinyl #vinylcollection #vinylfinds

The Rave-Ups, Chance, 1990 on Epic

The Rave-Ups are likely best known as the band in Pretty in Pink. (Molly Ringwald’s sister Beth was in a relationship with Jimmer Podrasky, and Ringwald brought John Hughes to see the band).

This was their third and last studio album of the first go ’round (they put out a new album in 2022 on Omnivore). The single “Respectfully King of Rain” got some MTV airplay at the time but was not a major hit. They had a sound I really liked but never quite connected with a bigger audience.

My copy, via Academy Records in NYC, is a 1990 pressing in great shape despite a “cutout” hole punch in the upper left.

#1990 #1990s #AcademyRecords #JimmyPodrasky #JohnHughes #MollyRingwald #NYC #PrettyInPink #RaveUps #vinyl #vinylcollection #vinylfinds

The Rave-Ups, Chance, 1990 on Epic

The Rave-Ups are likely best known as the band in Pretty in Pink. (Molly Ringwald’s sister Beth was in a relationship with Jimmer Podrasky, and Ringwald brought John Hughes to see the band).

This was their third and last studio album of the first go ’round (they put out a new album in 2022 on Omnivore). The single “Respectfully King of Rain” got some MTV airplay at the time but was not a major hit. They had a sound I really liked but never quite connected with a bigger audience.

My copy, via Academy Records in NYC, is a 1990 pressing in great shape despite a “cutout” hole punch in the upper left.

#1990 #1990s #AcademyRecords #JimmyPodrasky #JohnHughes #MollyRingwald #NYC #PrettyInPink #RaveUps #vinyl #vinylcollection #vinylfinds

The Rave-Ups, Chance, 1990 on Epic

The Rave-Ups are likely best known as the band in Pretty in Pink. (Molly Ringwald’s sister Beth was in a relationship with Jimmer Podrasky, and Ringwald brought John Hughes to see the band).

This was their third and last studio album of the first go ’round (they put out a new album in 2022 on Omnivore). The single “Respectfully King of Rain” got some MTV airplay at the time but was not a major hit. They had a sound I really liked but never quite connected with a bigger audience.

My copy, via Academy Records in NYC, is a 1990 pressing in great shape despite a “cutout” hole punch in the upper left.

#1990 #1990s #AcademyRecords #JimmyPodrasky #JohnHughes #MollyRingwald #NYC #PrettyInPink #RaveUps #vinyl #vinylcollection #vinylfinds

Squeeze, East Side Story, 1981 on A&M

Squeeze’s fourth studio LP, between 1980’s Argybargy and 1982’s Sweets from a Stranger. This was the first album after Jools Holland departed, replaced by Paul Carrack, who provided lead vocals on “Tempted.”

Produced by Elvis Costello and Roger Bechirian, except for “In Quintessence” which was produced by Dave Edmunds.

My copy, via Academy Records in NYC, is a 1981 Terre Haute pressing (note the “Y” code to the left of the side markers on the labels).

#1980s #1981 #AM #AcademyRecords #DaveEdmunds #ElvisCostello #NYC #Pop #Rock #RogerBechirian #Squeeze #vinyl #vinylcollection #vinylfinds

Cat Power, Jukebox, 2008 on Matador

Eighth studio album from Cat Power, mostly covers with two originals mixed in.

Pretty eclectic selection of tunes to cover, from Kander & Ebb’s “New York” through Hank Williams and The Highwaymen, to Dylan, Janis Joplin, and Joni Mitchell – plus Billie Holiday’s “Don’t Explain.”

Chan Marshall is joined by Erik Paparazzi, Jim White, Judah Bauer, Teenie Hodges, Matt Sweeney, and Gregg Foreman, with guest Spooner Oldham, who cowrote “Woman Left Lonely.”

My copy via Academy Records in NYC

#AcademyRecords #CatPower #ChanMarshall #GreggForeman #JimWhite #JudahBauer #Matador #MattSweeney #NYC #SpoonerOldham #TeenieHodges #vinyl #vinylcollection #vinylfinds

Fleshtones, Up Front, 1980 on I.R.S. Records

First EP Fleshtones issued, before the release of Roman Gods. Fleshtones were Bill Milhizer, Jan Marek Pakulski, Keith Streng, and Peter Zaremba. Miles Copeland signed them to IRS Records, and got them on Urgh! A Music War.

Zaremba may be better known to some as the host of I.R.S. Records Presents the Cutting Edge on MTV from 1984-1987, before 120 Minutes.

My copy via Academy Records in NYC

#1980 #1980s #AcademyRecords #BillMilhizer #Fleshtones #IRSRecords #JanMarekPakulski #KeithStreng #MilesCopeland #NYC #PeterZaremba #vinyl #vinylcollection #vinylfinds

Beat Surrender, Foundation, 1985 on Shake Records

Beat Surrender (this one at least – there are many things by that name including the Jam’s last single) was a Boston band made up of Paul Souza, Jackson White, David Matthews, and Ted Lyon. Check out that 1985 look on the back cover!

Paul Souza went on to be in The Velveteen Playboys and Meliah Rage, and Jackson White went on to be in the Molly Maguires, Buster (with Phoebe Bridgers), and the Chris White Experience (with Chris White of The Zombies).

My copy via Academy Records in NYC

#1980s #1985 #AcademyRecords #BeatSurrender #Boston #DavidMatthews #JacksonWhite #NYC #TedLyon #vinyl #vinylcollection #vinylfinds

Bessie Smith, Any Woman’s Blues, 1970 on Columbia

This is was the second in a series of five 2xLP releases on Columbia in 1970-1972 that covered Smith’s recordings for the label.

These recordings were made between September 1923 and March 1930, all recorded in New York. Piano by Fletcher Henderson, Clarence Williams, Irving Johns, James Price Johnson, and Jimmy Jones. Other musicians include Don Redman (clarinet), Eddie Lang (guitar), Garvin Bushnell (alto sax, clarinet, soprano sax), Ed Allen (cornet), Arville Harris (tenor sax), Cyrus St. Clair (tuba), Charlie Green (trombone), and Louis Bacon (trumpet).

Technical restoration by Larry Hiller and liner notes by Chris Albertson (author of Bessie).

Great set of early Bessie Smith recordings in mono.

My copy, via Academy Records in NYC, is a 1970 pressing

#1920s #1930 #1970 #1970s #AcademyRecords #ArvilleHarris #BessieSmith #CharlieGreen #ClarenceWilliams #Columbia #CyrusStClair #DonRedman #EdAllen #EddieLang #FletcherHenderson #GarvinBushnell #IrvingJohns #JamesPriceJohnson #JimmyJones #LarryHiller #NYC #vinyl #vinylcollection #vinylfinds

The Time, The Time (Self-Titled), 1981 on Warner Bros.

This was the debut LP from Morris Day and co, though they started playing together in the early seventies under different names. The band here still includes Jimmy Jam and Terry Lewis, who went on to become a well-known producing duo, and guitarist Jesse Johnson who made some solo releases.

While most folks know The Time from their appearance in Purple Rain and the hits that came out of that, I love this earlier record.

My copy via Academy Records in NYC

#1980s #1981 #AcademyRecords #JesseJohnson #JimmyJam #Minneapols #MorrisDay #NYC #TerryLewis #TheTime #vinyl #vinylcollection #vinylfinds #WarnerBrothers

The Time, The Time (Self-Titled), 1981 on Warner Bros.

This was the debut LP from Morris Day and co, though they started playing together in the early seventies under different names. The band here still includes Jimmy Jam and Terry Lewis, who went on to become a well-known producing duo, and guitarist Jesse Johnson who made some solo releases.

While most folks know The Time from their appearance in Purple Rain and the hits that came out of that, I love this earlier record.

My copy via Academy Records in NYC

#1980s #1981 #AcademyRecords #JesseJohnson #JimmyJam #Minneapols #MorrisDay #NYC #TerryLewis #TheTime #vinyl #vinylcollection #vinylfinds #WarnerBrothers

The Time, The Time (Self-Titled), 1981 on Warner Bros.

This was the debut LP from Morris Day and co, though they started playing together in the early seventies under different names. The band here still includes Jimmy Jam and Terry Lewis, who went on to become a well-known producing duo, and guitarist Jesse Johnson who made some solo releases.

While most folks know The Time from their appearance in Purple Rain and the hits that came out of that, I love this earlier record.

My copy via Academy Records in NYC

#1980s #1981 #AcademyRecords #JesseJohnson #JimmyJam #Minneapols #MorrisDay #NYC #TerryLewis #TheTime #vinyl #vinylcollection #vinylfinds #WarnerBrothers

The Time, The Time (Self-Titled), 1981 on Warner Bros.

This was the debut LP from Morris Day and co, though they started playing together in the early seventies under different names. The band here still includes Jimmy Jam and Terry Lewis, who went on to become a well-known producing duo, and guitarist Jesse Johnson who made some solo releases.

While most folks know The Time from their appearance in Purple Rain and the hits that came out of that, I love this earlier record.

My copy via Academy Records in NYC

#1980s #1981 #AcademyRecords #JesseJohnson #JimmyJam #Minneapols #MorrisDay #NYC #TerryLewis #TheTime #vinyl #vinylcollection #vinylfinds #WarnerBrothers

The March Violets, Electric Shades, 1985 on Relativity

The March Violets, Electric Shades, 1985 on Relativity

Tom Ashton, Cleo Murray, Loz Elliott, Simon Denbigh – great 80s goth out of Leeds UK

Via Academy Records

#1980s #1985 #AcademyRecords #MarchViolets #NYC #RelativityRecords #vinyl #vinylcollection #vinylfinds