#rhino records

[itsallmadonnasfault]

ANGEL

#Madonna #1985 #Angel #Like A Virgin #Billboard #Top 5 #Rhino Records #Spotify #2024 #Celebration Tour #Madonna 1985 #Queen Of Pop

[garadinervi]

The Art Ensemble of Chicago: Four Evenings of Great Black Music, The Studio, Los Angeles, CA. From: Individual Collective: A Conversation with Senga Nengudi, by Allie Tepper, «Living Collections Catalogue», Walker Art Center, Minneapolis, MN, 2019

#graphic design #typography #art #music #flyer #poster #art ensemble of chicago #rhino records #senga nengudi #allie tepper #walker art center #1970s #1980s #2010s

[disease]

The Rhino Brothers Present the World's Worst Records: Volumes 1 & 2 are a series of compilation albums released by Rhino Records in 1983 & 1985. They purport to compile the worst music ever recorded and feature mostly novelty songs, parodies and cover versions of popular songs, performed very poorly (though in many cases, intentionally so, either as a novelty or as a joke). The original first volume included an airsickness bag and a warning that the album 'may cause internal discomfort.' Full track lists include...

VOLUME 1 [1983]: 1. "The Crusher" (The Novas) 2. "Big Girls Don't Cry" (Edith Massey and The Eggs) 3. "I Want My Baby Back" (Jimmy Cross) 4. "I Like" (Heathen Dan) 5. "Kazooed on Klassics" (The Temple City Kazoo Orchestra) 6. "Fluffy" (Gloria Balsam) 7. "Paralyzed" (Legendary Stardust Cowboy) 8. "I Wanna Be Your Dog" (The Seven Stooges) 9. "Boogie Woogie Amputee" (Barnes and Barnes) 10. "Kinko the Clown" (Ogden Edsl) 11. "Umbassa and the Dragon" (The Turtles) 12. "Ugly" (Johnny Meeskite) 13. "Surfin' Tragedy" (The Breakers) 14. "Young at Heart" (Wild Man Fischer) [YOUTUBE: FULL ALBUM]

VOLUME 2 [1985]: 1. "Downtown" (Mrs. Miller) 2. "K'nish Doctor" (Mickey Katz) 3. "Party in My Pants" (Barnes and Barnes) 4. "Foreign Novelty Smash" (The Credibility Gap) 5. "Nag" (The Halos) 6. "Who Hid the Halibut on the Poop Deck" (Yogi Yorgesson) 7. "Goodbye Sam" (Shad O'Shea) 8. "Just a Big Ego" (Bob Rivers and Zip) 9. "Candy Rapper" (Bird & MacDonald/"Sticky Fingers") 10. "Hands" (Debbie Dawn) 11. "Baseball Card Lover" (Rockin' Richie Ray) 12. "Fudd on the Hill" (Little Roger and the Goosebumps) 13. "Split Level Head" (Napoleon XIV) 14. "Teenage Enema Nurses in Bondage" (Killer Pussy) 15. "The Troggs Tapes" (The Troggs)

#music history #compilation #cringe #weird #80s #rhino records #music #u

[weneverlearn]

Mary Weiss, me; outside Magnetic Field, Brooklyn, 2008 (photographer unknown)

Mary Weiss, R.I.P.

It was 2005, and I'd lived in NYC for less than a year. I somehow finagled my way into a listening party for the incredible new Rhino Records box set, One Kiss Can Lead to Another: Girl Group Sounds Lost & Found. It was at some small event space in midtown, I don't remember what it was called. Cool joint though...

I felt a bit overwhelmed in this packed room of esteemed scenesters, aging industry big wigs, and the incredible original performers from the box set they were able to round up and sing a few songs.

Luckily the ever-fun couple of Miriam Linna and Billy Miller (Norton Records) were there, scanning the room with eyes as wide as anyone's, and the two introduced me to a few heps, like Richard Gottehrer -- the amazing producer/songwriter who sprung form the Brill Building and ultimately produced some of my faves, like Richard Hell, the Go-Gos, and Marshall Crenshaw, among many.

Then I saw Sune Rose Wagner, singer/guitarist of the Raveonettes, one of my newer faves of the moment, and he was crying. I'd interviewed him over the phone a couple years earlier for a Cleveland mag, so I re-introduced myself and asked what was wrong. We hugged. He said that earlier in the week they'd played and had all of their instruments stolen afterwards, and he was so distraught he was thinking about quitting music. I told him no way, maybe they'll find the stuff, etc... He kind of perked up, and then once the women started singing with a live band, his teary eyes started shining from the glow of the stage taking over the pretty dark room. These women -- and I can't remember which acts they came from, but they were all on the box set -- were resplendent in glittering dresses, hair done big, and smiles wider than 5th Avenue.

I saw Billy and Miriam again, and they were chatting with Mary Weiss lead vox/face of the Shangri-Las -- arguably one of the top three acts of the whole mid-60s "girl group" scene. I was introduced quickly, but I let them get at their convo as I assumed the Norton nabobs knew Mary from way back.

However, Billy comes up to me later and tells me he had never met her before, that she was his first female musical star crush, and he absolutely sounded like a 16-year old trying to cram his melting heart back into his chest. I was pretty floored myself -- I always loved the Shangri-Las from first hearing them slip out of oldies stations growing up to when I first started diving into girl group sounds as a record-amasing teen. They, the Ronettes, and Darlene Love were the cream of the dreamy crop in my book.

The whole night was not unlike making your way through a Shangri-Las compilation: every emotion possible heaving up and down, surrounded by sounds lilting, swelling, crumbling, but always with that Big Beat bubbling, ready to shove you out of the sadness...

After the news of Mary Weiss' sad passing yesterday, of course many acknowledged her teen stardom of the mid-60s; the influence of the Shangri-Las' street-tough image and emotions on the New York Dolls (who used Shangri-Las producer, Shadow Morton, for their second album) and much of the early new wave of the mid-70s; the respect of her keeping a singing career going through the years, and the glorious third act she had in the late 2000s with the help of Norton Records and the great album, Dangerous Game, where Weiss, in excellent voice, was backed by the rulers of garage pop of that era, the Reigning Sound.

No, it wasn't some top 10 album, but it just oozed with a kind of vintage-to-ever cool that is so rarely captured in a "comeback." (And it definitely got her press and new young fans.)

In fact I think that album, and especially that incredible Rhino box set, brought back that '60s malt shop-meets-back-alley girl group ouvre to a whole new generation.

This was not front page news. Nevertheless loads of acts like King Khan & BBQ, Peach Kelli Pop, Shannon & the Clams, Hunx and His Punx, the Vivian Girls, Baby Shakes, Black Lips, A Giant Dog, and even the re-emergence of Nikki Corvette and Ronnie Spector to the stage brought the cloud-bound reverb and scruffy riffs of vintage girl groups back to prominence in the underground garage rock scene. And again, due to their sounds and looks, the Shangri-Las and the Ronettes were the template.

It has since dawned on me many times that Mary Weiss -- and the Shangri-Las as a whole -- have a nearly singular place in R'n'R history. Considering the admittedly limited catalog of songs, their outsized influence has spread from radio hits in the '60s to the underground proto-punk not ten years later; to the CBGB scene; early '80s new wave and power pop shadow-pep (like Blondie, Go-Gos, and many more); Aerosmith covered "(Remember) Walking in the Sand," and others of the big coif/high dramatics of hair metal had some Shangri-Las DNA in the hair spray; from transgressive filmmakers like John Waters to drag queen blueprints; to 2000s female neo-soul hitmakers -- arising at the same time as the aforementioned garage pop underbelly -- and even up to the recent talk/sing busted romance stylings of mega-popsters like Taylor Swift.

I saw Weiss at a couple shows over the next year or so. She was always so excited and grateful for all the accolades and thanks people laid on her. She played a remarkable show in Brooklyn that Lee Greenfeld booked, at the Atlantic Antic street fest in September, 2007 -- right outside Greenfeld's madly-missed club, Magnetic Field. We felt the Antic gig would be the first of many, but there were just a few more local gigs, if memory serves.

Somewhere in 2008, at an A-Bones / Yo La Tengo show at Magnetic Field, I chatted with Weiss for a bit afterwards. I can't express enough how inspiring was her love of music and hanging out at a small bar with a bunch of music obsessives knocking back cheap beers. At the 1 a.m. chime, she kissed my cheek, I laid one on her's, I walked home, and I will assume that if there is a Heaven, that moment should get me into the meetings where they discuss how to improve Heaven. It's a cinch it's improved today.

Variety obituary here.

From obituary:

The group’s tough-but-vulnerable New York City teen image was genuine. “Overall, the girl groups had very sweet images, except for the Ronettes and the Shangri-Las, who had a tougher, harder attitude,” Greenwich told the website Spectropop in an undated interview. “By today’s standards, they were as innocent as the day is long. Back then, they seemed to have a street toughness, but with a lot of vulnerability. Mary Weiss [had] the sweetest long straight hair, an angelic face, and then this nasal voice comes out, and this attitude — the best of both worlds.

“In the beginning, we did not get along,” she continued. “They were kind of crude, with their gestures and language and chewing gum and the stockings ripped up their leg. We would say, ‘Not nice, you must be ladies,’ and they would say, ‘We don’t want to be ladies.'”

From Chapter 33 of The Downtown Pop Underground — order online, or from a local independent bookstore

THE SHANGRI-LAS’ INFLUENCE ON PUNK LOCATION Brill Building The Shangri-Las were one of the common musical denominators that Blondie shared, and Clem Burke explained the Shangri-La’s proto-punk appeal: “They had their black leather vests and their tight black leather pants, and they sang ‘Give Him a Great Big Kiss.’ They sang about dirty fingernails, wavy hair, and leather jackets, and things like that.” The Shangri-Las cast a long shadow over glam and punk rock. The New York Dolls’ “Looking for a Kiss” borrowed the spoken word intro from their “Give Him a Great Big Kiss,” and another Dolls song, “Trash,” copped the campy “How do you call your lover boy?” line from “Love Is Strange,” a catchy 1956 hit by Mickey & Sylvia. The group’s final album, Too Much Too Soon, was produced by Shadow Morton, who had crafted the girl group classics “Leader of the Pack” and “Remember (Walking in the Sand)” for the Shangri-Las. As Burke recalled, “Bubblegum rock was part of the roots of the New York music scene. Some of the old-school guys like Richard Gottehrer or Marty Thau—who had some money and success in pop music—they understood the music because they were coming from that Brill Building mentality.” Thau was the New York Dolls’ first manager before McLaren took the job, and he had previously made a living as a record promoter for late 1960s bubblegum groups the 1910 Fruitgum Company (“Simon Says”) and the Ohio Express (“Yummy Yummy Yummy”). Thau recorded the Ramones’ first demos and released Suicide’s debut album on his independent label Red Star, and also formed the production company Instant Records with the old-school industry hit maker Richard Gottehrer. “Richie was part of that whole Brill Building rock thing,” Leon said, “which had a lot of nostalgia for us because we grew up with it on the radio when we were kids.”

#mary weiss #shangri-las #girl groups #rhino records #norton records #new york dolls #60s pop #reigning sound #leader of the pack #brooklyn #Youtube #blondie #punk influences #Queens #queens nyc

[thatwritererinoriordan]

#tina turner #queen of rock 'n' roll #boxed set #rhino records #physical media

[archeolatry]

Okay: this is THEE most LA, THEE most 80s, THEE most Rhino Records thing I have ever seen. If you're not an LA native, you may not realize how absolutely vital KROQ was to the absolute fucking ecosystem of not just Los Angeles, but the entire music industry. The first wave of Gen-Xers were becoming tweens and teens right as KROQ was really taking off. Basically, if you could get semi-regular play on KROQ you could almost guarantee someone's allowance was going to buying your record. Sherman Oaks --half a mile from the Sherman Oaks Galleria!-- was the suburb where yuppies with 80s money fled to buy/build bigger houses; it was 90% families, middle class or above (and usually white as hell). Rhino Records --first as a store, then as a label-- were so absolutely mold-breaking and insane that I have zero doubt that there were actual inflatable love dolls floating near the ceiling of that record store. Seriously, there's a documentary from 2012 about how insane they were as a company. Please enjoy a this 90 second sample.

I found this on eBay and I don't need it, but I absolutely want it in some kind of museum.

#i'm a part time sparks blog now #rhino records #vintage la #sparks band #be quiet an old hipster is speaking #we used to have a music industry

[odk-2]

The Cars - Moving in Stereo (1978) Greg Hawkes / Ric Ocasek from: “The Cars” (LP) "The Cars: Deluxe Edition" (CD1)

New Wave | Synth-Rock

JukeHostUK (left click = "play") (320kbps)

Personnel: Benjamin Orr: Lead Vocals / Bass Ric Ocasek: Rhythm Guitar Greg Hawkes: Keyboards Elliot Easton: Lead Guitar David Robinson: Drums

Produced by Roy Thomas Baker

Recorded: @ AIR Studios in London, England UK February, 1978

Released: on June 6, 1978

Elektra Records

The Cars: Deluxe Edition Released: on March 20, 1999

Rhino Records

#The Cars #New Wave #Moving in Stereo #Synth-Rock #1970's #Ric Ocasek #Greg Hawkes #Elektra Records #Roy Thomas Baker #Benjamin Orr #Rhino Records #Ben Orr

[kdo-three]

Eddie C. Campbell - Santa's Messin' with the Kid (1977) Eddie C. Campbell from: "Eddie C. Campbell: King of the Jungle" (Album) "Santa's Messin' with the Kid" / "King of the Jungle" (Single) "Blue Yule: Christmas Blues and R&B Classics" (1991 Compilation)

Blues | Christmas

JukeHostUK (left click = play) (320kbps)

Personnel: Eddie C. Campbell: Vocals / Guitar Lafayette Leake: Piano Carey Bell: Harmonica Bob Stroger: Bass Clifton James: Drums

Produced by Steve Wisner

Recorded: @ Sound Studios in Chicago, Illinois USA 1977

Album Released: 1977 Mr. Blues Records 1996 CD Reissue: Rooster Blues Records

Single Released: 1985 Rooster Blues Records

Compilation Released 1991 Rhino Records

#Eddie C. Campbell #Blues #Christmas #1970's #Santa's Messin' with the Kid #Lafayette Leake #Carey Bell #Rhino Records

[bobdylan-n-jonimitchell]

Rhino to reissue “For The Roses” on vinyl for 50th Anniversary

“I introduced myself to her and the second or third thing I said was, “Your album, “For The Roses” is one of my all-time favorite records by anybody!” She squeezed my arm and said, “Y’know, everyone talks about "Blue” but "For The Roses” is my favorite.”—Fuzzbee Morse on meeting Joni Mitchell

#Joni Mitchell #For The Roses #50th Anniversary #Rhino #Rhino Records #Vinyl Reissue #Fuzzbee Morse #Quote #For The Roses (1972)

[itsallmadonnasfault]

Celebration – 4LP set

2024 repress of the 2009 ‘Celebration’ greatest hits album on 180g vinyl featuring 34 remastered Madonna hits + the then newly recorded ‘Celebration’ and ‘Revolver’.

Rhino.com

#Madonna #2009 #Celebration #4lp set #Celebration vinyl #Mr. Brainwash #reissue #2024 #Madonna 2024 #Madonna 2009 #Rhino Records #Queen of Pop

[garadinervi]

Twin Peaks (Limited Event Series Original Soundtrack), Various Artists, Rhino Records, 2017

#graphic design #music #music album #soundtrack #vinyl #cd #cover #twin peaks #angelo badalamenti #david lynch #julee cruise #rhino records #2010s

[mywifeleftme]

240: Various Artists // The Golden Turkey Album: The Best Songs from the Worst Movies

The Golden Turkey Album: The Best Songs from the Worst Movies Various Artists 1985, Rhino

Early Rhino Records was a grand old place for musical perverts thanks to its steady stream of novelty compilations like the Dr. Demento albums and Teenage Tragedy, which collected ‘50s and ‘60s songs about kids dying in automobile accidents (there were a lot of those, it turns out). The Golden Turkey Album: The Best Songs from the Worst Movies is from square in the label’s whacko prime and it’s exactly what it says on the label. These 16 tracks culled from trashy exploitation films like Eegah! (1962), Rat Pfink a Boo Boo (1964), and Santa Claus Conquers the Martians (1964) range from Confederate bluegrass to saloon music performed by a group of little people, though the majority are cornball rock ‘n’ roll numbers. On balance, it’s a highly listenable record, full of amateurish, nakedly trend-chasing but ultimately charming recordings that spark the same bewildered laughter as the films from which they derive.

As we march through the tracklist, remember at all times that I am sitting alone on the couch in my apartment wearing a frayed housecoat. Okay, let’s go.

Side One

Trevor Duncan — “Grip of the Law”

Side one opens, as indeed it must, with the blaring opening title theme from Ed Wood’s deathless groaner Plan Nine From Outer Space (1959). Duncan, an Englishman, was a prolific composer for film and television, but “Grip of the Law” wasn’t written for Wood’s opus, which lacked the budget to commission an original score. Duncan’s piece rather was cribbed for the film by one of Wood’s collaborators—which explains why in contrast to everything else about the film, it’s a perfectly competent piece of bombastic orchestral horror/thriller music

The Five Blobs — “Beware of the Blob”

1958’s Steve McQueen vehicle The Blob tracks the very, very slow slugtrail of destruction wrought by a ball of alien red Jell-O, and it’s probably fair to say it peaks with its opening credits and this incongruous “Tequila”/cocktail music-esque number penned by a young Burt Bacharach and Mack David (the elder brother of Burt's future writing partner Hal David). It doesn’t rise to the level of a good Esquivel! track, let alone Bacharach’s own later work, but it’s very dumb and goes on my Halloween playlist every year.

Arch Hall Jr. — “Valerie”

The first of three Arch Hall Jr. tracks on the compilation, which tells you the Rhino guys figured they had a little find on their hands. Hall Jr. was a genuinely talented singer and guitarist with an enormous dome who resembled Jesse Plemons (Todd Alquist from Breaking Bad) or perhaps a wax museum James Cagney. His father, filmmaker Arch Hall Sr., clearly hoped to turn the 16-year-old into an Elvis Presley-esque acting and singing double threat, and featured him in a series of screamingly bad early ‘60s B-movies. “Valerie” is a twinkling, whistling ballad drawn from 1962’s Eegah!, a film which sees the 7’2 Richard Kiel (later Jaws in the James Bond series) as a horny caveman who wants to rail a teenage girl named Roxie whom Hall Jr.’s character is dating. As someone who loves sock-hop dream music and throwing metaphors in a blender (“vitamins are good they say / and so’s a calorie / but I feel like a tiger / on one kiss from Valerie”), I think this one’s pretty great!

Carol Kay & the Stone Tones — “Shook Out of Shape”

Coming in hot from The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (1964), billed as “The First Horror Movie Musical,” “Shook Out of Shape” puts me in my mind of a Wanda Jackson or a Patsy Cline in a rock mood. Perfectly acceptable beach party music, though it has less of that wonderful offness about it than most anything else here.

Bobby and Benny Belew — “Lonesome”

This is more like it. 12-year-old Texan twins sing close harmony rockabilly from 1957’s Rock, Baby—Rock It! one of a million chintzy attempts to cash in on the rock ‘n’ roll craze that looks like it was shot for $10 (in today’s money). The performances (which some kind soul has cut free of the film’s narrative) by a string of never-were stars generally rip (check out Johnny Carroll, and also whoever’s playing guitar for Preacher Smith & the Deacons, goddamn!), but the Belew Twins were definitely the right choice for this comp. Kids singing adult music basically always comes with the scent of some sweating, overambitious father clenching his fists in the wings. Delish.

The Pleasant Valley Boys — “Robert E. Lee Broke His Musket on His Knee”

From the seminal hicksploitation film Two Thousand Maniacs (1964), we have straight up and down rural car chase bluegrass concerning the eventual return of the South; the horrible shrieking of a crazed Robert E. Lee; and the sucking chest wounds of Stonewall Jackson. The slapping sound? Oh, don’t mind me, I’m just tapping away on the big vein in my arm.

Some adults and some kids — “We’re the Lemon Grove Kids”

Described in the liner notes as a “grating jingle,” this minute-or-so number served as the theme song for a series of Bowery Boys knock-off short films directed by Ray Dennis Steckler, who also gave us The Incredibly Strange Creatures and Rat Pfink a Boo Boo (see side 2 of this LP). Both grating and a jingle.

Arch Hall Jr. — “Vickie”

More Hall Jr., hailing like “Valerie” from Eegah!, also like “Valerie” sung to his character’s girlfriend whose name is Roxie. The songs are similar, but this one is dweebier.

Side Two

Milton Delugg & the Little Eskimos — “Hooray for Santa Claus”

This review didn't need to be this long, but with band names like this, and movies like Santa Claus Conquers the Martians (1964) I don’t see how I can stop. A thoroughly unbearable twist-style song sung by a chorus of children who pronounce it out S-A-N-T-A but say it “Santy.”

Arch Hill Jr. — “Yes, I Will”

Yet another one from Arch, this time from 1962’s Wild Guitar. “Yes, I Will” is kind of pubby rock, and it’s perfectly fine, but there are much better numbers from this one—chalk me up as a “Twist Fever” guy personally. Wild Guitar is very in the Elvis teen idol-movie mode—ironically though the best performance of Hall Jr.’s short career would come the following year in Jamis Landis’s brutish The Sadist, in which Hall plays a psychopathic killer based on Charles Starkweather!

Johnnie Fern — “Hey, Look Out! (I Want to Make Love to You)”

1938’s The Terror of Tiny Town is a Western with a cast entirely composed of little people. It will not shock you to learn the movie did not originate from an urge to improve representation of little people in film, but rather from a joke producer Jed Buell overheard. According to the liners the song is sung by someone named Johnnie Fern, but in the film it’s presented as the voice of Nita Krebs, a dancehall girl doing a kind of Marlene Dietrich femme fatale shtick. It’s a treacly Vaudeville-ish ballad sung in a very, very high pitch, and I love it. Sending this one out to my girlfriend, to whom I am hornily disposed and who also is quite short.

Dr. Frederick Kopp — “The Dance Hall Twist”

Yet another twist number (from 1964’s monster flick The Creeping Terror). Not much to say about it, likely included here because it immediately precedes this unforgettable sequence:

Dr. Frederick Kopp — “She Left Me Lonely”

A vaguely Latin-flavoured country ballad from the same film featuring the indelible chorus, “she left me lonely / she left me sad / but still I am happy / in fact I am glad,” the liner notes quote the classically trained Dr. "Not a" Kopp as “feeling dirty” to have written the song, which apparently took him 15 minutes or so.

Harold "Duke" Lloyd with Page Cavanaugh and His Trio — “Special Date”

Before kicking off this number from 1958’s Frankenstein’s Daughter, the Duke sends “Special Date” out to anyone in the audience on a special date, which is like dedicating a song called “Having Sex” to anyone currently having sex or “Eating Food” to anyone actively eating food.

Ron Haydock & the Boppers — “Rat Pfink”

Ray Dennis Steckler’s Rat Pfink a Boo Boo (1966) is a straight crime movie for the first 40 minutes before abruptly becoming a parody of the Batman television series and ending with a rockabilly barbecue party. Sung by Ron Haydock, who plays the titular Batman knockoff, the Gene Vincent-y “Rat Pfink” is damned solid stuff.

Ron Haydock & the Boppers — “Big Boss A-Go-Go Party”

Same artist, same movie, same scene, not quite as vigorous as “Rat Pfink” but you gotta think Lux Interior of the Cramps must’ve loved this shit.

That’s it? That’s all the turkey? Thank you Rhino, thank you directors of trash movies and performers of trash music, thank you dear reader for sticking around.

240/365

#ed wood #plan 9 from outer space #arch hall jr #rat pfink a boo boo #frankenstein's daughter #mst3k #mystery science theater 3000 #ray dennis steckler #the terror of tiny town #two thousand maniacs #santa claus conquers the martians #rhino records #the blob #horror movies #burt bacharach #mack david #music review #vinyl record #novelty music #'50s music #'60s music #'30s music #dr demento

[bandcampsnoop]

9/25/23.

This is a bit of a cheater post. I really wanted to post the newly remixed and remastered version of The Replacements' "Tim" just released by Rhino Records. There isn't a version of "Tim: Let It Bleed Edition" on Bandcamp - but I listened on YouTube.

Pitchfork reviewed it and gave it a 10. I am not usually all that enthused by remix/remasters but this is nothing short of genuis. I don't think I ever thought of "Tim" as my favorite, and now it is. The songs were always good, but now they sound exceptional.

I always thought of The Replacements (Minneapolis, Minnesota) as a band who must have been influenced by The Rolling Stones - and look what they named this version of Tim. Of course, Alex Chilton/Big Star were a huge influence and so were The Beatles (I mean..."Let It Be").

But actually, "Songs for Slim" is quite an enjoyable EP of covers. New West Records issued this on vinyl back in 2013.

#The Replacements #Minneapolis #Minnesota #Rhino Records #New West Records #The Rolling Stones #Alex Chilton #Big Star #The Beatles #Bandcamp

[yuritestikov]

⚡🤔⚡

#Deftones #tshirts #Rhino Records #cats #Chino Moreno #new metal #nu metal #alternative metal

[morffyne]

#MC5 #1969 #Rhino Records

[odk-2]

Television - See No Evil (1977) Tom Verlaine from: "Marquee Moon" (LP)

Punk | Art Punk

JukeHostUK (left click = play) (320kbps)

Personnel: Tom Verlaine: Lead Vocals / Guitar / Keyboards Richard Lloyd: Lead Guitar / Backing Vocals Fred Smith: Bass / Backing Vocals Billy Ficca: Drums

Produced by Andy Johns / Tom Verlaine

Recorded: @ A & R Recording (Studio 3) (Jack Arnold and Phil Ramone) in New York City, New York USA September, 1976

Released: February 8, 1977

Elektra Records Rhino Records (2003 CD Reissue)

#See No Evil #Tom Verlaine #Marquee Moon #Art Punk #1970's #Elektra Records #Rhino Records