Dan Behar and co’s 13th studio album with John Collins, Joshua Wells, David Carsell, Nicolas Bragg, Ted Bois, and JP Carter.
Was number 30 on Pitchfork’s 50 Best of 2022.
My copy is the Vinyl Me Please edition on gray vinyl with black spatter.
Tag: vinylcollection
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Katie Webster, The Swamp Boogie Queen, 1988 on Alligator Records
Webster started out as a session musician behind lots of Louisiana artists but then came back as a solo artist in the 1980s. This was her first album as a leader with distribution in the US on Alligator Records.
Guests include The Memphis Horns, Kim Wilson, Robert Cray, and Bonnie Raitt. Great album.
My copy is the 2025 Vinyl Me Please reissue cut by Ryan Smith at Sterling and pressed at GZ Media.
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Bobby Hutcherson, Montara, 1975 on Blue Note
Vibraphonist Bobby Hutcherson’s ~13th album on Blue Note – west coast Latin jazz. Recorded in LA (Record Plant) in August 1975 and produced by Dale Oehler. Hutcherson passed in 2016.
My copy is part of the Vinyl Me Please Anthology The Story of Blue Note Records (2024 edition) which reproduces the mid-70s Blue Note labels.
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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
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.
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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.
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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.
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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.
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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.
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Wayne Shorter, Schizophrenia, 1969 on Blue Note
Eleventh Wayne Shorter album, with Herbie Hancock, Curtis Fuller, Ron Carter, James Spaulding, and Joe Chambers. Recorded by Rudy Van Gelder, with Francis Wolff producing.
This is transitional between post-bop and free jazz – looser and closer to the edge than my normal taste, but worth a listen for anyone interested in post-bop or Shorter and Hancock.
My copy as part of the Story of Blue Note Records VMP Anthology, which was reissued in 2024.
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The Replacements, The Pleasure’s All Yours: Pleased to Meet Me Outtakes & Alternates, 2021 on Sire
Released as part of Record Store Day 2021, these are outtakes and alternate versions of songs from Pleased To Meet Me released on vinyl for the first time.
Some (most?) of these tracks have been released elsewhere: the expanded CD edition of Pleased To Meet Me or the All for Nothing / Nothing for All 2xCD compilation. Nice to get them on a vinyl release.
My copy via Academy Records in NYC.
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Elvis Costello, My Aim Is True, 1977 on Columbia
Costello’s debut album, coming roaring out of the gate with a new mix of punk, rockabilly, new wave, and British pub rock. Produced by Nick Lowe and recorded in Islington, London. Out on Stiff Records originally in the UK, then Columbia in the US.
The original US version added “Watching the Detectives” but this version follows the original UK tracklist and cover (well, with the yellow background front cover, not the early black & white).
My copy—direct from the merch table at an Elvis Costello / Steve Nieve show—is a 2015 reissue on 180g vinyl by UMe on Columbia-style labels with “Costello” where Columbia would have been.
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Lou Donaldson, The Natural Soul, 1963 on Blue Note
Another album from the excellent Story of Blue Note Records VMP Anthology, this came five years after Blues Walk, and features Grant Green, John Patton, Ben Dixon, and Tommy Turrentine (brother of Stanley).
Recorded by Rudy Van Gelder in his Englewood Cliffs NJ studio and produced by Alfred Lion.
My copy is part of the 2024 reissue of the 2019 Vinyl Me Please Anthology.
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Dexter Gordon, Dexter Calling, 1962 on Blue Note
Released in mono in 1961 and in stereo in 1962, this was Gordon’s second album on Blue Note, following quickly after Doin’ Allright and five years after Daddy Plays the Horn.
Recorded by Rudy Van Gelder at his studio in Englewood Cliffs, NJ. Gordon is joined by Paul Chambers, Philly Joe Jones, and Kenny Drew. Liner notes by Leonard Feather, produced by Alfred Lion.
My copy is from the VMP Anthology The Story of Blue Note Records, which was first issued in 2019 and then reissued in 2024 – my copy is from that second edition.
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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).
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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.
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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.
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The Wailers, Burnin’, 1973 on Island
Sixth LP from Marley and the Wailers, recorded at the same time as Catch a Fire. The front cover credits The Wailers, but this modern reissue credits Bob Marley & The Wailers on the labels.
This was the last album before Marley, Peter Tosh, and Bunny Wailer all pursued solo careers.
What a fantastic album, opening with “Get Up, Stand Up” and including “I Shot the Sheriff” as well as “Small Axe.” A definite must-have.
My copy—via uDiscover—is a 2024 gatefold reissue with Tuff Gong. Island, and Universal logos on the labels, pressed at MPO.
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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.
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Natalie Merchant, Keep Your Courage, 2023 on Nonesuch
Merchant’s first collection of new work since 2014’s self-titled album – in between she did some releases of new versions of existing songs.
I love everything Natalie Merchant touches – she’s a great singer, songwriter, performer, and all around human. A model for the independent artist who keeps her ability to do what she wants
My copy—direct from Barnes & Noble—is the “B&N Exclusive” version on transparent gold vinyl. (These are available from other retailers outside the US, but exclusive in the US).
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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.
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