Not Dead Yet – Liam Hayes and Plush


Happy first day of Daylight Savings Time. I love this day. Likely due to my, ummm, dislike of winter. Okay, I hate winter. And yes, I do realize that I live in California, thereby relegating my whining to the level of ridiculousness. Whatever. I’m just super psyched that there is way more sun and a lot less rain in my near future. Hooray for me.

So, roll out of bed this morning and my better half is scheduled for an hour workout and I’m scheduled for, well, absolutely nothing. I do need to feed birds and cats, clean up the kitchen and maybe generally tidy up a bit. But I need a soundtrack to do all that. So what do I grab on this bright sunshiny first day of (in my mind) spring – a 15-year-old downcast set of piano ballads by Liam Hayes, otherwise known (or not) as Plush. Been meaning to pull this one out for a few weeks now, and this morning the event actually went down. It sounds as good as it ever has. And it’s moments like these that make me wonder why I spend all that time looking for new music when so much great shit already lives in my house, in one form or another.

But it also got me wondering – whatever happened to that dude. Via the wonder of the internets, I now know – he’s still making music. Had no idea. In my defense, it’s easy to lose track of someone who takes a ten year break between albums. But certainly happy to hear he’s back, and currently can be heard in the background (and, to my understanding, foreground) of the new Roman Coppola film, “A Glimpse Inside The Mind Of Charles Swan III.” He composed the soundtrack. And this is four years removed from a 2009 record that I just now know exists – “Bright Penny.” So yeah, two entirely new body of works to absorb.

I’ve spent a little time this morning playing songs off of both releases and I’m happy to report that there hasn’t been any seismic shifts in Hayes’ parlance. “Bright Penny” pretty much picks up where he left off ten years earlier, with another excellent batch of piano-centric chamber pop tunes. Really beautiful stuff. The new soundtrack finds even more of that, includes a trio or so of instrumentals, which I’m sure works perfectly within the context of a film, but also holds up surprisingly well as stand-alone tracks. Also dig the full-on band vamps, occasionally approximating something some would some would maybe reference as “rock.” But then there’s a song entitled “Rock & Roll” that is the least rock thing on the record.

If the interest is simply overwhelming, it looks like you can dial up all of this stuff on Spotify. Trying to suss it all out tho can be a challenge, as the material is listed under “Plush,” Liam Hayes & Plush” or simply  “Liam Hayes.” And there’s a bunch of Plush things that ain’t Plush. Or, at least, the good Plush. Ugh. (Spotify’s lousy search functionality remains, umm, lousy) Definitely worth checking out. Says me. I’m gonna have to buy those two albums I don’t currently own. I’m old-school like that.

So, a belated welcome back Mr. Hayes. Er, Plush. Or whatever it is that you call yourself these days. I’m just glad to see your name attached to new music. Because I missed you.

Hefty Postal Increase For International Buyers


I hate everything about this post. Above all, I hate that it’s factual. I also hate that I have to write about it. And I’m pretty sure I’m gonna hate the repercussions. On several levels. Whining aside, there is a pretty brutal USPS rate hike taking effect on Monday. While just about all facets of service are touched by this restructure, a very large percentage of the increase will be borne by overseas buyers using First Class International, now known as “First Class Package International Service.” Under this umbrella are your CD’s, your 7″ singles, your LP’s. And, as of Monday, all will be more expensive to ship internationally. In regards to smaller packages that would house items such as CD’s or 7″ singles, likely prohibitively so.

Let’s put some numbers on this. For Europe, Eastern Asia and Australia, pretty much every LP package I ship is either 20 or 22 ounces. And that two ounces makes a difference, as today my respective base cost for those two weights are $13.17 and 14.74. On Monday, those prices go up to $16.74 and $18.41. Yes, it blows. (BTW, anyone who says that they can ship an LP to Europe for under a pound is either seriously under-protecting the album or is lying about the weight of the package) But it gets worse. Let’s say you live in the UK and want to order a CD from me. Today it would typically cost no more than $6.12. Come Monday it will be $11.48! Seriously. Same pricing schematic would apply to 7″ singles. And none of these take any packaging costs into consideration.

It’s not much better for our neighbors to the north. A LP to Canada for 20 or 24 ounces was $6.60 or $7.45; now going to $10.76 or $12.02. In regards to CDs and 7″ singles, what would be a $5 cost will now graduate to $9. Ugh.

Dude, all of  this is seriously f’d up. And it really blows my mind that this is what the USPS has to resort to in order to remain an ongoing entity. And I like the USPS. A lot. But man, I have to reassess my position as I truly feel that small business is getting hammered here. And yes, I am speaking from somewhat of a selfish viewpoint. But even putting aside boutique retailers (which you shouldn’t), the impact on artists and artisans or, really, any creative type who strikes out their own and succeeds through nothing but their own innovation and sheer will (and maybe a little help from their friends), is truly hurt by these price changes.

I suppose I should mention that there is one slight upside. And it’s an upgrade that helps lessen the sting of the overall upcharge on a LP shipment, and that is tracking service, which will now be included in this new pricing structure. My understanding is that, as of Monday, a tracking number will be included on all First Class packages to Canada. So, while my shipping charge for a 20 ounce package to Canada will move from $8.50 to $12.00, at least you’re getting a little something for that xtra $3.50. Previously, tracking numbers were only offered on Priority or Express International Mail, which was around $25. However, the timing of the rollout of this new feature to other countries is still unknown, but the xtra $2-$4 that it will now cost to send a LP to Europe should be offset by having a tracking number for that parcel as Priority Mail to Europe for a package more than 1 lb and less than 2 was previously more than $40.

I suppose vinyl sellers can hope the impact is minimal. But across the spectrum of folks in America who sell stuff to folks overseas, I can’t help but think the overall impact will be pretty significant. At least when it comes to smaller packages that will see shipping costs doubled. If you ship a butt-load of stuff everyday, you’ll likely be able to work out a reduced shipping framework and maybe lessen the blow. But if you are a mom and/or pop, grandma and/or grandpa, sister and/or brother, husband and/or wife operation, this new postal order can’t help to not put some level of crimp in your business.

As for other services, I think most of the domestic shipping hikes are innocent enough for me to absorb. But again, this is what most small sellers will do. And, of course, to some extent, pay for it. I think Priority rates may tweak up a bit, but I rarely receive a request for Priority service in the states, so that seems like a rather negligible aspect.

So hey, apologies to the rest of the world. If ordering via platforms like Musicstack, Gemm or Discogs, please know I will weigh every package before updating the order with a shipping quote in an effort to get the customer the best rate possible. Okay, it’s now come time to go to all those sites and tweak my shipping costs. Ack.

No Easy Way Down: The Return Of Rain Parade


I’m honestly not sure how it all started. The way I reference things, I suppose it began with the Blurt Online news piece last June that mentioned Bobby Sutliffe, one-half of the great on-again, off-again southern jangle pop duo The Windbreakers, was involved in a super nasty auto accident that left him in a very messed-up state – “broken wrists, broken back, and a head injury.” And likely some other stuff as well. (As far as I know, the recovery continues and I just read something today that leads me to believe that Sutliffe may actually be involved in his own tribute/benefit show later this month. If that’s true, that’s righteous.)

Fast forward to this past September and a new Blurt entry – not only was there a benefit record in works (spear-headed by *other* Windbreaker Tim Lee), there was also a benefit concert being organized for January 19th (as in two weeks from now) at The Earl in Atlanta. And, seemingly out of nowhere, this – the show would be headlined by long-dormant Paisley Undergrounders Rain Parade, which would make it the band’s first live show in more than 25 years. I remember reading that and thinking “uh, what?” Rain Parade? Really? Knowing how these kinda scenarios can sometimes break, I immediately wondered if Rain Parade was “Rain Parade.”

Well, Rain Parade is indeed Rain Parade. Close enough, anyway. I mean you really didn’t expect David Roback to return, did you? Good. Founding members Steven Roback and Matt Piucci are still there, as is guitarist John Thoman, who came on board just after the band issued the “Explosions In The Glass Palace” EP. The group is currently rounded out by music historian/reissue producer/musician Alec Palao, handling keyboard and maracas duties (as well as some occasional bass), and Game Theory’s Gil Ray, who can now be found behind the drum kit. Oh, and there was another dude whose name I can’t recall. Or find. Sorry, man. You were good, and I did like your hair.

As it now turns out, that January gig in Atlanta will not be the band’s first in 25 years. No, that “first gig” took place a few weeks ago in a very low-key warm-up show at Cafe DuNord in San Francisco (where the band is now based). It was probably a month or so ago when I was checking out some upcoming Bay Area shows that I ran across a gig listing for a semi-obscure 60’s-era Bay Area-based mod-pop band, Powder. The Bang was noted as opening, and then, listed below them as “special guest” was Rain Parade. Hmmm. A couple weeks later Rain Parade was moved up to the middle slot and accompanying text referenced that the band would be performing “Explosions In The Glass Palace” in its (twenty-something-minute) entirety, along with some other stuff. Okay, it’s on. And I’m in.

A quick preface regarding the bands bookending Rain Parade. The Bang is a girl-group tribute thing. Lots of covers. Lots of scripted girl-group moves. I’m sure you can envision what transpired. Although your version probably didn’t have a dude on guitar that nailed the whole 60’s garage fuzz thing. Yeah, he had pedals and he wasn’t afraid to use them. The lazy shorthand on Powder is an Americanized version of the Pretty Things. But you know, without all that great music. That said, they were good. Very good, even. Oh yeah, and they used to be Sonny & Cher’s band back in the day. No shit. So yeah, they’re cool. And apparently recording a new record.

Rain Parade opened with “You Are My Friend,” and proceeded – in order – through the first four tracks off the five-song Explosions… EP. (Hey…what happened to “No Easy Way Down?”) The band then backed up an album, knocking off three songs from Emergency Third Rail Power Trip – “1 Hour 1/2 Ago,” “This Can’t Be Today” and “What She’s Done To Your Mind.” The last quarter of the set bounced all over the place – from Crashing Dream favorite “Depending On You” to Emergency’s “Kaleidoscope” before ending with an epic, wait for it, “No Easy Way Down.” Oh, it’s not over? The band returned for a brief Piucci Christmas original before calling it a reunion.

So, how did it sound? Well, generally, pretty damn good. If there was something to nitpick over, it would be the vocals. But rare is the vocalist that can still sing with the range and dynamics he/she did 25 years ago. And it’s not certainly not like Rain Parade was ever lauded for its vocals. Musically, I thought it sounded pretty spot-on. I love the guitars. (Cue Homer-ish drool) When Piucci and Thoman go on one of their many extended duel jams, it was as warm and fuzzy as you would hope it tobe. But those Roback-voiced washes of dream-pop provided a nice counterpoint to the Horse-y groove. Oh, and Ray kills it on the drums.

The beauty of living in 2013 is that you can actually hear AND see that entire Rain Parade set on youtube. And the quality doesn’t suck. Just search Rain Parade 12/20/12 and there you have it. If nothing else, watch “No Easy Way Down” over here.




Welcome to 2013 (and a quick look back at 2012)


Howdy. And top of the new year to you and yours. I seriously low-keyed the end of our recently departed twelve-month cycle, a purposeful attempt to stay away from social media type interaction and a mixed-success attempt to relate to what was happening around me in real life. Yeah, not my comfort zone. But it was, unexpectedly, comforting. And I’m gonna ride that as far in to 2013 as I can.

Robyn Hitchcock recently uttered a sequence of words that sums up a cursory glance at my fave records of the past year – “Rock and Roll is an old man’s game now, so I’m staying in it.” Indeed. I mean, not that all these guys are “old” (sorry, Ian), but they sure as hell ain’t kids. All released some great music in 2012. Once again, while I did feel I put a modicum of  effort into keeping up with the current, I still don’t feel like I listened to anywhere near the amount of new music that I sometimes feel I should. Nor did I feel I gave certain records the attention that they may have deserved (note to self: go back and spend some time with that new Bob Mould record).

The list is littered with artists I have long admired, and somewhat amazingly (at least to me), still hold in the highest regard. The fact that Ian Hunter has spent the last decade riding one helluva late career arc is inspiring. On the other hand, I am saddened that one of my all-time favorites groups, The Soundtrack Of Our Lives, have called it a day after 15(ish) years. Can’t tell you how much I love that band. My crush on Chuck Prophet (okay, his music) extends further back than that, from the very first Green On Red EP. His newest – Temple Beautiful –  may be his bestest. And his shows in 2012 (think I saw five, yes?) were stellar. Yes, every one.

I rarely take the time these years to even make the attempt to cobble together a list. Total laziness on my part. And when I do take the time, it’s very unusual for me to single out one record during the course of any given year as the “best” thing I heard. But it’s not every year Michael Rank releases a record. And man, did the former Snatches Of Pink mainman quietly unleash a corker of a self-released two-disc set early in 2012. Remember when artists would work through all their physical, emotional and spiritual baggage by channeling all that pain into a bunch of songs that eventually reveal themselves to cohese into an epic body of work? Barely, right? This is totally that. It will leave a mark. Or two. But it is so, so, so good. Sorry, I meant great. Musically and lyrically raw. And real. And intense. And cathartic. And beautiful.

It’s hard for me to verbally quantify my adoration for this record. It’s basically a twangier version of Snatches, with elements that, back in the day, you may have never expected to appear on a Rank record. Some high and lonesome mandolin here, some soulful pedal steel over there. And then there’s the elements you do look forward to – pounding drums over yonder and, down that dirt road, a blast of roaring guitar. The playing is on point, the production is minimal and the album is the best of Rank’s career. Believe it. And feel free to (almost) freely find out for yourself over at his Bandcamp page, where you can download the record for the always-popular “name your price” or buy the beautifully packaged two disc set for $7. There’s also links to youtube videos for “Kin” and “On The Bleed”, both taken from the full-length. Oh, and there are also free downloads available for ALL of the early Snatches titles, including the previously promo-only EP “Deader Than You’ll Ever Be,” recorded all the way back in 1990 at CBGB’s.

Okay, below are thirteen records. I liked ’em. I played all of them a lot. I think I liked them more than the other thirteen records I heard this year. Inevitably, next week I’ll remember something that isn’t mentioned here. And if I can remember, I’ll pass it along. Oh yeah, Rank has a new record in the can. And I can’t wait to hear it. We may just be doing this all over again this time next year.


  • Michael Rank & Stag – Kin
  • Chuck Prophet – Temple Beautiful
  • Ian Hunter – When I’m President
  • Brendan Benson – What Kind Of World
  • Matthew E.White – Big Inner
  • Soundtrack Of Our Lives – Throw It To The Universe
  • King Tuff – King Tuff
  • Red Kross – Researching The Blues
  • Neil Young & Crazy Horse – Psychedelic Pill
  • Mmoss- Only Children
  • Spanish Moss – Kelp
  • Shoes – Ignition
  • Donnie & Joe Emerson- Dreamin’ Wild

Bruce Springsteen, King Tuff, Rock And Roll


Howdy. How was your weekend? Mine was filled with rain and rock & roll. Wet and wooly. The rock provided a pretty sweet book-end to a soggy few days in NorCal, with a show on Friday night and another on Sunday, two gigs that could have not been more different from each other in many respects.

First up…Bruce. Ummm, Springsteen. Man, it had been a while. I’ve never been a huge Bruce guy. Not sure why, really. I was admittedly a little late to that party, as “Born To Run” was my entry  point. And, based on my love for the true epicness of that album, I remember going back to the earlier stuff and, well, just not quite getting it on the same scale. But man, did I LOVE “Darkness On The Edge Of Town.” A lot. But oddly, it didn’t really change my perspective on the earlier catalog.

And then drops “Born In The USA.” Massive. Admittedly, and likely wrongly, just couldn’t get on board. I just think the cumulative bombast of it all – it was simply hard to get away from that record for a while – just turned me off. It wasn’t him. It was me. I semi-recoiled at the ridiculous largeness of that record’s success. Didn’t say it was right, but it was what it was. And that’s pretty much how it remained. Never loving anything, never disliking anything. But always reserving respect for the man and his music.

And that is why I went to see him in 1988 at the Dean Dome in Chapel Hill, NC. I had never seen Bruce. I heard – repeatedly – every record he released during those ten years, but had never seen the guy live. I’m sorry, that was very un-rock & roll of me. I felt the need for redemption. But ya know what, I can’t say that it converted me to believer status. I enjoyed it. I may have even marveled. In fact, I’m sure I did. But it never took hold over me. Never settled in.

Forward another fifteen years in which I had listened to less Bruce than I did in the previous ten. Again, always cognizant of what he’s doing, but never generating enough self-interest to carve out the time for more than the cursory listen. But I still felt the pull to go see him one more time. Because, well, and seriously trying to not to sound precious here, but…I thought I owed it to myself. And to Bruce.

While the music hasn’t had the emotional pull on me that it obviously has on millions of others, I love the man. I love his passion. I love his love for his fans. And his band. And rock and roll. And, damn, his country. And, as a result of that last part, I admire the balls it takes to potentially risk alienating large numbers of fans to stand up for what one truly believes in. What’s not fucking awesome about that? (I suppose it helps to be in agreement with his politics. Check.)

So, upon hearing all the great reviews from this past tour, especially the crazy marathon gigs he was doing in Europe over the summer, I told my friend Steven that if he was going to the next Springsteen show, I was in. Of course he was going to the next Springsteen show. And, well, so was I.

Last Friday night. Oakland Arena. God, I hate arenas. I mean, mostly. There are a bunch of constants – the sound is always gonna suck. However, people watching rules. And I’m (mostly) sincere about that – yeah, there’s always a person or three to goof on, but I never tire of seeing people just lost in his/her/their respective vibe. That moment where you look over and see someone deeply invested in the now, the music. That’s cool. Really cool. And that’s a lot of what you see at a Springsteen show. (I mean, except for that woman in front of us who I swear spent 4/5 of the show messing with her phone. I’ll never get that.)

I once again enjoyed the show. Even got a little misty-eyed a couple of times. Yeah, the power of rock and roll will occasionally catch me off guard. Sincerity kicks my ass every time. And the bond that Bruce has with his audience is a truly beautiful thing. Kinda stunning, honestly, in these times. I don’t feel part of that. But I really love that.

As for the music, where do you start with a Bruce show? It was relatively “short”, a touch over three hours. Having previously declared my love for the album, I was thrilled to get four songs “Darkness…”, as well as “Because The Night.” “Thunder Road” is always sweet to hear. And hey, it’s the holidays, so time to bust out “Santa Claus Is Coming To Town.” Certainly okey-dokey by me. And a bunch of more recent stuff that I may or may not have known. As a casual fan, I found it to be an eclectic and generally enjoyable show.

This Sacramento to Oakland jaunt, which included a stop at Zachary’s Pizza and  an interlude with Bart from El Cerrito to the venue (and back), clocked in at eleven hours. Okay, rounding up by maybe 15 minutes. And yes, we were leisurely.

This past Sunday night was a totally different vibe – King Tuff was playing Bows & Arrows in Sacramento, which maybe could accommodate 200 people. If they were all skinny indie kids. (Which, of course, they were).

Bows is about ten minutes from my house. I left at 8:40, arrived around 8:50, gotta beer (I can now personally endorse Napa Smith’s Bonfire Imperial Porter…at least on tap) and carved out a space for myself somewhat behind the tallish girl wearing a backpack (ugh) and next to the goofy guy who felt the need to both wear his hoodie up for the entire show and rudely push his way is front of other, and more polite, rock & roll attendees.

Anyway. Band hits the stage at 9pm, jams a 45 minute set of glammy power-pop and I’m out the door and home by 10. Nice. Would have been even nicer if the sound for King Tuff was, umm, tough. Or even tight. I think Bruce sounded better in a basketball area that Tuff did in a tiny art collective. Such is the nature of music venues in Sacramento. You can only go to where the show is being played. That is, if you want to see the show.

And if you can leave your house, drive to a venue, have a beer, get rocked, and return home within 90 minutes, that’s a good evening. And something that would never happen on the night of a Springsteen show.

The Return Of Akron, Ohio’s Clone Records

I receive email updates from a slew of retailers, all based on either personal interest or sussing out potential “opportunities.” Earlier this year, those two avenues intersected when an email rolled in from the folks at Permanent Records (stores in Chicago & LA). It was an alert touting original new old stock was once again available from Clone Records, a tiny late 70’s/early 80’s indie label based in Akron, Ohio. Mostly 7″ singles. Couple LP’s. Not reissues, not boots. OG pressings.

Yes, I understand there are already questions. What is “new old” stock? What the f@#k is Clone Records? Where is Akron, Ohio? All legitimate inquiries, I suppose. I mean, I assume by now everyone in the states knows where Ohio is located, if not individual cities inside of that state. In regards to new old stock, you will occasionally trip across that reference is various selling listings and generally refers to an original pressing that’s been idly sitting in a store or warehouse somewhere, likely for years, before being uncovered and retailed (I personally enjoy the slight surreality of flipping across a record in a store that you just know has been sitting there since, say, 1986).

As for Clone Records, there is probably no real reason you would be aware of the label unless you were either living in the midwest at that time, or were you were simply dialed into what was a very exciting time musically in America, with great regional scenes popping up all over the states. And one of those scenes, believe it or not, was Akron. Home to Chrissie Hynde. And Devo. And not far at all from Cleveland, where Pere Ubu and the Dead Boys were doing their respective things during the same time. So yeah, a pretty fertile and fairly out-there bubble of genre-pushing artists.

Also part of that scene were the Bizarros. One of those bands that had the dubious distinction of being extremely influential to the scene and the sounds, but not the recipient of more tangible touchstones like, for instance, sales. In fact, the Bizarros were the first Akron band in that scene signed to a major. Well, a subsidiary imprint of Mercury, Blank Records. Blank was initially created by Cliff Burnstein (who later went on to be a principal in the might management firm, Q Prime) to sign Pere Ubu. If I’m not mistaken, also issued some Yello Records as well, no? So yeah, lots of cool shit that never sold.

Anyhoo, Bizarros sadly got sucked into one of those label cock-ups that are never favorable to the artist, and a couple of years went by between the time the band finished recording what was to be their Blank debut and the actual release of the album, which eventually came out on Mercury. Two years later, Bizzaros and Clone mainman Nick Nicholis shut it all down. The Bizarros broke up and Clone Records, which had only released a dozen or so records by that time, folded. That was 1981.

More than 30 years later, Permanent Records owner Lance Barresi hears from a former customer that Square Records in Akron is selling original copies of old Clone stock. Nicholis, still living in Akron, was selling off old stock that had been living in his mom’s basement for three decades – copy by copy. Baressi tracks down Nicholis, a deal is struck and suddenly Permanent becomes the almost-exclusive seller of Clone ‘s back catalog.

Much of it is gone, though there are still titles to be found on the store’s website, and I’ll link to that in a minute. The Bizzaros singles are indeed history, as are a couple of other titles I purchased from Permanent at the time. And as of right now, those 7″ singles are now available via my Musicstack and Gemm stores, as well as Discogs, and are detailed below…

Ground zero for Clone Records. Literally, as the catalog number is CL 000. Actually a 1978 re-release of the band’s four-track debut 7″, previously issued two years earlier on the even smaller Gorilla Records. Side one – “Lady Doubonette”, “I Bizzaro”; Side two – “Without Reason” and “Nova.” Spins at 33 & 1/3 revolutions. Generic white sleeve. Semi-angular rock, Gang Of Four and early Alice Cooper come to mind. $20.

CL 002. Three tracks – “Laser Boys” and “It Hurts, Janey” on the A-side and “New Order” on the flip. 45rpm in a picture sleeve, big center hole. $30.

CL 008. Pretty dang rare slice of power pop, though likely not as rare as the red wax, red-sleeved version that was limited to 200. More or (likely) less. While these are reportedly all new old stock, this looks to be lightly played. Or just a not great pressing. Either would be unsurprising. 45rpm in a picture sleeve, big center hole. $30.

CL 009. Methinks this must be the rarest of all the Clone stuff. And probably my favorite. Wimpy lo-fi bedroom pop (in a good way!), musically backed by the Bizarros. A seriously tough one to find out there, especially in this kinda condition. Beautiful. 45rpm in a picture sleeve, big center hole. $30.

CL 012. Another Akron band that was swept up by a major and released one record, “Contents Dislodged During Shipment”, that now lives on in perpetuity in $1 bins across this land. Not a bad record at all. Tin Huey also featured the horn-blowing of one Ralph Carney, who went on to release a number of solo albums and carved out a nice little life as a regular sideman to Tom Waits. This 1980 single was released after that major label debacle and is way poppy. And way good. 45rpm in a picture sleeve (corner bumps and light ring-wear), big center hole. $10.

Okay, kids, that’s it for Clone. But if you care to know more, here’s some links to help you in your quest for arcane knowledge…

Here is an April piece in the Chicago Reader regarding the Permanent/Clone story, including an interview with Baressi…

If you you would like to listen to an interview Baressi conducted with Clone owner Nicholis, head here…

And if you would like to peep which Clone titles Permanent still has in stock, here you go…

George Harrison – Electronic Sound LP (Zapple Records ST-3358)

Yep, George Harrison beat Paul McCartney to the shadowy world of EDM by decades. Who woulda thunk? Okay, so not so much EDM as simply “electronic.” Back when that word alone was sufficient in describing such a release as “electronic” in any form at that time was going to be a fairly primitive affair. It’s far less Skrillex and more AFX Twin. Uh, kinda.

Basically, it’s Harrison twiddling knobs on two side-long compositions, with “No Time Or Space” (recorded in California with another electronic pioneer, Bernie Krause) being the less musical of the two. For me, it’s the better of the two pieces, but I have a high tolerance for lo-fi moog doodles. Oh, and btw, just so you know, “No Time Or Space” is credited on both the inner and label as being on side two. It is actually on side one, while “Under The Mersey Wall” is actually the side two cut. For what that’s worth. Also maybe worth knowing? Harrison also did the artwork.

Just posted up on the eBay for a reasonable $40. Jacket is VG+, with a touch of ringwear; original inner is in killer shape, and the vinyl is VG++. In excellent shape, but not quite near mint. Play-graded.