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R.E.M., Dead Letter Office, 1987 on IRS Records

Divded into a “Post” side and a “Script” side, this was one of my favorite R.E.M. releases of the 80s, with the unofficial subtitle from the rear cover:…

Modern English, After the Snow, 1982 on Sire

This was Modern English’s second album, following Mesh & Lace, and had the massive hit “I Melt With You” which I think was so iconic in the early…

Various Artists, Footloose: Original Soundtrack of the Paramount Motion Picture, 1984 on Columbia

So in 1984 I’d have thought myself too cool for the Footloose soundtrack: Kenny Logins and Deniece Williams? But I also would have secretly loved it (as I…

INXS, Listen Like Thieves, 1985 on Atlantic

This was INXS’ fifth studio album, but had their first US breakthrough hit with “What You Need.” Recorded at Rhinoceros in Sydney and produced by Chris Thomas. Includes…

Dead or Alive, Youthquake, 1985 on Epic

Dead or Alive sometimes get put in the one hit wonder category, based on the massive success of “You Spin Me Round” but this is really a great…

R.E.M., Green, 1988 on Warner Bros.

R.E.M.’s sixth studio album, which came out my freshman year of college – I believe the last time I saw them live was on the Green tour at…

R.E.M., reckoning, 1984 on IRS

R.E.M.’s second full length LP (following Murmur – Chronic Town was just an EP) and the best album titled Reckoning to come out in the 80s (the second…

Eddie Harris & Les McCann, Second Movement, 1971 on Atlantic

Follow-up to the massively successful Swiss Movement (“Compared to What”), recorded at Atlantic Studios. Harris and McCann are joined by Cornell Dupree, James Rowser, Donald Dean, and Bernard…

Bronski Beat, Truthdate Doubledare, 1986 on MCA Records

This was Bronski Beat’s second full lengthy, after the mega success of The Age of Consent – and the first after Jimmy Somerville departed (to form the Communards)….

R.E.M., Document, 1987 on IRS Records

Their last full-length on IRS before making the jump to Warner Bros, capping really a perfect run from 1982 (Chronic Town) to 1987. The “No. 5” on the…

Spandau Ballet, True, 1983 on Chrysalis

Spandau Ballet’s third album and major breakout – with Steve Norman on Sax adding to the New Romantic sound. The title single was unavoidable in the early 80s,…

Thompson Twins, In the Name of Love, 1982 on Arista

This was the first Thompson Twins album in the US – a compilation of two tracks from 1981’s A Product Of . . . (their debut album in…

UB40, Self-Titled, 1988 on A&M

Ub40’s eighth studio album, released in the US on A&M (It was on DEP International in the UK). Includes the Dusty Springfield cover “Breakfast In Bed” with Chrissie…

Herb Ellis, At Montreux, 1980 on Concord Jazz (CJ-116)

Recorded live by Mountain Studios at the Montreux Jazz Festival, Montreux, Switzerland July 1979. With: Produced by Carl Jefferson, who founded Concord Records (as well as the Concord…

Art Farmer, The Many Faces of Art Farmer, Scepter Records, 1964

My copy (as you can see from the images) is an UpFront records reissue from the 70s, retitled as just Art Farmer. UpFront was a sublabel of Springboard…

Leonard Cohen, Songs of Leonard Cohen, 1968 on Columbia

You don’t often find Leonard Cohen LPs in record stores as people tend to hold on to them to the end. Even if you haven’t had a turntable…

Nancy Sinatra, How Does That Grab You?, 1966 on Reprise

Another Lee Hazlewood produced mid-sixties Nancy Sinatra record – this was the followup to Boots – on Reprise. It didn’t do as well as Boots, but did reach…

Nancy Sinatra, Movin’ With Nancy, 1967 on Reprise

Full subtitle: The Soundtrack from Her Television Special with Special Guests Dean Martin, Lee Hazlewood, and a very close Relative. The “very close relative,” of course, would be…

Stray Cats, Stray Cats / Pin Up, 1981 on Arista

This was their debut album – after forming in NY they moved to the UK and this was first released there in early 1981. It wasn’t released in…

Talking Heads, Stop Making Sense, 1984 on Sire

It’s hard to overstate how critical this album and movie were – the impact on live music films, the impact on shows themselves (in staging and effects) and…