The Cure // Seventeen Seconds 🥀🥀 Another Post-punk banger! Seventeen Seconds is The Cures second studio album from 1980. This album reminds me of not only my childhood but also being a teen. Dance around with my “Goth friends” like @onkitonki and @cilleberd 🧛🏻♀️🤣 Fun fact: I tried to be “Goth” for like a week - I even shaved off my eyebrows to get those really thin painted on brows 🙈 But after a week I realised that I was way to goofy and wild to just stand and look ice cold and even dance cool 🙈. After all I did dance like Iggy back then. So it was kinda hard to adapt. And most important, I was and still am really bad at having a”resting bitchface” to be a proper goth. 🤣 But the music and friends never left my me or my heart👌🖤 This is one of my favorit Cure albums! Which The Cure album is your favorit? #thecure#seventeenseconds#vinyloftheday#vinyl#vinylcollection#vinylcollector#vinyllover#vinyladdict#vinylclub#recordcollector#recordcollecting#recordcollection#postpunk#gothrock#1980#aforest #thesmellofcigarettesandlipstick
GIZMOS - Never Mind the Sex Pistols... EP When one thinks of the ‘real’ first-wave punk rock groups, disdain for the UK bands that jumped on the phrase a little later is almost a definitive characteristic. The likes of Ramones, Real Kids and midwestern pioneers the Gizmos had little time for safety pins, green hair, or vomiting on airline staff. That makes it all the more surprising the third Gizmos 7” flies defiantly in the face of such sentiment. With an almost completely new lineup, the Bloomington crew unabashedly embraces UK77, and this six-track effort is the result. The cultural position is a ways off the Dictators/junk culture garage of ‘76 but, more importantly, the quick, concise songs are rough yet hooky in just the right amounts. I traded a few LPs for this 1978 OG, and I don’t at all regret it. #thegizmos#punk#punkrock#americanpunk#gulcherrecords#recordcollecting
It's #newwavewednesday brought to us by @celerah! I cannot, unfortunately, meet this week's challenge for a new wave compilation. I don't have any. But, I do have this great copy of The Psychodelic Furs' self-titled debut album, with the NA album cover art. That's gotta count for something 😋.
@vinyl_gurl, @midnite_ryan, @ravenflow, @steve4042, @vinyl_and_hooch and I have all banded together to look like a band. But not just any band! Nah uh! Blondie is what we were after. Pitchfork, NME, Rolling Stone, 5/6 college newspapers and that guy with the black skinny jeans, who stands in the back of shows and has his eyes closed when he nods to the music, have all declared this to be the greatest Blondie cover band ever! That's quite an accomplishment for a group who has only covered the cover of one Blondie album. Regardless, we'll take that compliment. Thanks to the incredible genius of the incredible and genius @vinyl_gurl, this collaboration came together like one of those heist movies.
Giving Grace Jones' "Slave to the Rhythm" my first ever spin. I picked up this copy, which is in super amazing shape, last week. I've never listened to the whole album before, so I better go make up for lost time.
The Velvet Underground - The Velvet Underground (MGM, 1969). Closet mix of the Velvet’s third (and objectively best - fight me) LP. Perfect listen for low key Sunday trapped in the house. Original US pressing.
Despite what vicious, slanderous rumors may be circling out there on the internets, I do not in fact hate Christmas. Is Halloween better in every way? Duh. But do I switch gears and look forward to the Christmas season once November 1st hits? Yes! Do I get my Halloween decorations put away before December 1st? Errr, no, I don't. But the Christmas lights have been strung up in heart for a month, and that's what truly counts. 💁🏻♀️ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Since @the_whites_albums is challenging the vinyl community to share their favorite holiday albums and movies throughout December, I thought I would kick off my contribution with one of the first Christmas records I remember loving. Now that I think of it, having grown up surrounded by contemporary country and pop radio, this is one of the earliest examples of "older" music catching my ear. Since then, new favorites have knocked it down a few pegs, but I can't imagine a future where it's completely fallen off my favorites list. For example, a few years ago, I scored this copy for 99¢ at a Salvation Army thrift store, and you better believe I was excited to find it. 🎄
X-RAY SPEX - Oh Bondage Up Yours b/w I Am A Cliche 45 One of the stone classic early UK punk singles, this ‘77 debut was among the first things I heard after the obvious Clash, Pistols and Jam records, and still sounds every bit as wild and fresh now as it did in 1985. Essential grip for any record collection. #xrayspex#uk77#polystyrene#punk45#punkrock#punkrecords#recordcollecting
Bruce Palmer’s ‘The Cycle Is Complete’ was released in 1970. This is the only solo album by the Canadian born former Buffalo Springfield bassist. Palmer was forced to leave the Buffalo Springfield largely due to multiple legal issues, including numerous drug charges, deportation from the US & (after sneaking back into the States disguised as a business man) driving without a license. In 1979 he would also play bass for CSN&Y before being replaced by Greg Reeves after just two weeks. Bruce was approached by Verve Records in 1970 to record a solo album. This was a surprise to Palmer as he had only ever written one song. With the help of several members of the California psych-folk ban Kaleidoscope, Canadian keyboardist Ed Roth, conga player Danny Ray (AKA Big Black) & a former pre-Springfield bandmate named Rick Matthews (who would eventually become a “Super Freak” after change his name to Rick James) on scat singing & percussion (Palmer, Matthews & Neil Young were all members of the Toronto band The Mynah Birds), Palmer would turn in an album of four improvised tracks. The album was a total commercial flop & Bruce would basically disappear for the music business until 1982 when he would join Neil Young on his ’Trans’ album & the tour that followed. * Musically speaking, I think this record has almost a Dr. John-jazz-voodoo kind of feel to it, but without the vocals. Very mellow & a little bit creepy. * This is another unofficial reissue from Akarma (2003). * * * #brucepalmer#thecycleiscomplete#1970#psychedelicrock#vinylporn#vinyllove#vinyljunky#vinylgram#vinylingclub#vinylcollection#recordcollection#recordcollecting#instavinyl#vinylcommunity#vinylcollecting#vinylrecords#vinylalbums#vintagerecords#ilovevinyl#vinylfreak#vinylcollectionpost#nowspinning#onmyturntable
Two shots of Bowie + one shot of Marty = ??? Happy #greatesthitsthursday everyone! How are we doing this week? How about that weather? Too hot? Too cold? Too wet? Too much wildfire? How's work going? How's that new thing working out? How's the family? How's the bus been this week? Wasn't that show great? Got your flu shot yet? Don't want to forget that. . . . Join in the fun each Thursday and show some love to greatest hits albums by posting a pic of a greatest hits album that you enjoy with the #greatesthitsthursday hashtag. Be sure to tag me so that I can share your picture in my stories (assuming that your account is public).
The Cure – Kiss Me, Kiss Me, Kiss Me (1987) . I’ll tell you what is just like heaven – this album! Almost 80 minutes of rich, atmospheric engrossing soundscapes ranging from the existential malaise of tracks like “The Kiss”, “Torture”, and “How Beautiful You are”, to perfect pop songs such as “Why Can’t I Be You?” There aren’t a huge number of straight up love songs in the Cure’s back catalogue, although they start to pop up in higher frequency from this album on, but “Just Like Heaven” is the kind of tribute you’d expect for Smith’s relationship with his Wife Mary, which has lasted for almost a whole half century so far. It’s just perfect. . This is the kind of album you can really get lost in with so many amazing moments, like, for example, “One More Time” which is a beautiful slice of dream pop that sends you up into clouds just to float around for a while and luxuriate. Smith said that there are lots of different versions of the Cure on this album, and if you don’t like one of them, don’t worry there will be another coming along in a moment. But it doesn’t sound like a disparate collection of different bands. No matter the atmosphere of the song, it’s clearly unified by Gallup’s chugging bass and Smith’s amazing and increasingly wild voice. I don’t like the last couple of tracks quite as much as the rest of the album, but apart from that it’s certainly one that is near enough to perfection. . Rating 9.8