Tag: Beverly Coin & Jewel
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Dylan, Dylan, 1973 on Columbia
This was the album Columbia famously released without Dylan’s authorization after he signed with Asylum Records. (He would release Planet Waves and Before the Flood on Asylum before returning to Columbia, who later reissued both). In short these are outtakes from the Self Portrait and New Morning sessions widely considered part of Dylan’s inconsistent early…
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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: “We do sountracks, a virtuous compost, Being a Compendium Of Oddities Collared and B-sides compiled.” “Voice of Harold” was a completely different vocal improvised over the track…
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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 80s. Doesn’t always fare well in reviews – Melt With You is definitely the stand out on the album, but I actually really like the whole thing.…
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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 do now unashamedly): the title track, Let’s Hear It For The Boy, Holding Out For A Hero, Dancing In The Sheets, and Almost Paradise. My copy via…
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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 “This Time” and “Listen Like Thieves” which are also great. My copy via Beverly Coin & Jewelry in Beverly MA.
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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 record. I had the 12″ single of “You Spin Me Round (Like A Record)” when it came out, but didn’t find the full LP until recently –…
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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 Boston Garden in April of ’89. Some of my fellow R.E.M. fans going back to Chronic Town, Murmur, and Reckoning felt like Green was the one where…
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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 best being the Grateful Dead’s acoustic Reckoning). To be fair there isn’t really an R.E.M. album I don’t love, but this is one of my favorites –…
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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 Purdie. Doesn’t quite live up to Swiss Movement but it’s a great early seventies jazz LP My copy via Beverly Coin & Jewelry in Beverly MA
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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). “Hit That Perfect Beat” was the big single. Despite Somerville’s departure (he was replaced by John Foster), it’s much in the same vein. I still really like…
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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 cover and opposite table of contents on the rear refers to this being the fifth album. (I love many of the albums after the move to the…
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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, and got overplayed but it’s really a wonderful album to play through. My copy via Beverly Coin & Jewel
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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 the UK) and 8 tracks from their followup 1982 album Set. Set was produced by Steve Lillywhite and had Alannah Currie replacing Jane Shorter who was on…
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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 Hynde. At this point they were mega stars, not the early political unknown band I’d loved in the early 80s, but I still think this album sounds…
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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 Summer Festival in Concord CA) and sold it in 1994. My copy via Beverly Coin & Jewel.
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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 International out of New Jersey, which reissued lots of compilation jazz and blues records from artists originally released on other labels (some are advertised on the rear…
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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 in years you’re reluctant to give these up. Cohen is one of those artists I came to a bit later in life but feels like he’s always…
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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 #41 on the Billboard charts in the US and #17 in the UK. Arrangements by Billy Strange (who also arranged Boots). There’s some parts of this followup…