Championship Vinyl Shop

(5+5) dark black pearls. ROY HAMILTON - UNCHAINED MELODY 1955
Series dedicated to @[imasoulman]
Yes, because I like the risk....
When you play against the top-ranked team, a draw is already a good result! But even losing while playing openly is fine.... So if I can surprise the good Ima and maybe make him discover a little classic that slipped past him, it will be - for me - a nice win.
For everyone else (who aren't as encyclopedic as our man), I hope the listening experience is pleasant and that some beautiful discoveries can be made.
The first is Roy Hamilton, who wrote a ton of hits, but no one (or very few) knows him. Like this one that you all know from various, countless versions. He recorded it in 1955....
Actually, this one goes straight into #iladri what do you think @[G]?

Move On-Loggins & Messina-1974

"Loggins and Messina" was an American rock-pop group, formed by the duo Kenny Loggins on vocals, electric guitar, acoustic guitar, and harmonica, and Jim Messina on vocals, electric guitar, acoustic guitar, mandolin, and dobro.
They had great success in the early '70s.

After selling over 16,000,000 records, Loggins & Messina split in '76.

Loggins continued to successfully release singles tied to soundtracks in the '80s and was part of the band With Blue Sky Riders in recent years.

Messina, on the other hand, continued both as a solo artist and briefly joined Poco and Buffalo Springfield.

It's raining as the sky sends it...
What to do then with such crappy weather? Let me drop another one of my lists of 5!
Psychedelia from the other side of the world (1) the Speakers - Ninos ('68)
In the first list I shared, no one noticed a group, "Los Mac's" from Chile and their album "Kaleidoscope Man," which someone once defined as: "the Chilean Sgt. Pepper"!
Now, setting aside the awkward comparisons, it was thanks to that album that I had one of my cyclical crushes: the one on Latin American psychedelia from the '60s and '70s.
Well, I found some amazing stuff and a few really great albums, like this "En el maravilloso mundo de Ingeson" by The Speakers, from Colombia!
Tell me if this isn't a gem!

Heroin In Tahiti - Sartana
Record La-bel!
(The record labels that don't get the attention they deserve)

[02] Boring Machines
A truly Italian label, on the scene for 13 years, it was founded in 2006 with the intent to promote Italian productions that lack visibility, presenting itself with the significant subtitle as well as motto "In defense of boring music." The label primarily focuses on 'Italian Occult Psychedelia' (a term coined by journalist Antonio Ciarletta and venerated every year since 2013 at the Thalassa Festival in Rome), along with other niche genres from the Italian underground, far from the limelight. It has a dedicated propensity for artists who tackle themes related to melancholy and discomfort, favoring slow rhythms and altered reinterpretations of the song structure. As one would logically expect from an underground label that prioritizes quality, releases are predominantly on vinyl. Onga, the label's owner, said in an interview some time ago, "I am a supporter of substance over form," and the records reflect this perfectly in both cases. Naturally, the exorbitant costs of vinyl reduce the print run to around 50 pieces.

"I found it criminal that some musicians didn't have the support they deserved, and I believed that in Italy there were plenty of talented individuals to help break out of their cocoon and be exposed to a wider audience." This is what Onga said in 2015 when speaking about the reason that drove him to create the record label. Today, the perseverance to bring valid musical expressions to light remains the same as yesterday, thirteen years ago. Listening to the Boring Machines catalog is a must for any music lover; there are things that could accompany you for the rest of your life.
Written and not proofread.

The Heads - Thumbs
Reflections on the Discography of the Heads
The lengthy version of "Coogan's Bluff" gives a renewed shine to "Relaxing With," which is packed with psycho-stoner vibes that could knock the plaster off the walls—it's a really great album, no doubt about it. The thickness of the electrifying debut creates high expectations for the second album, "Everybody Knows We Got Nowhere" from 2000, which absolutely meets those expectations, and even exceeds them. It has a sound similar to the first work but more robust, with particular attention to production, which is definitely cleaner. "Coogan's Bluff" is a stunning suite, but the qualitative thickness of the tracks coupled with an underlying homogeneity makes this the highest peak of their career. "Thumbs" (one of my favorites) sounds like a track gifted by Bevis Frond. Paul Allen himself seems at times possessed by a resurrected Nick Saloman. All the premises are good, and with these conditions, you can only move forward. The third work, however, is the first slight step back. "Under Sided" is an honest album, with solid chapters like the opening "Dissonaut," which echoes the shoegaze of My Bloody Valentine’s "Isn't Anything," with the arabesque scenery set up by Simon Price's guitar in "Trilogy Part 3," but something is lost in the sound, which is more submissive and inclined to explore new horizons—a change that arrives with "33" (2004), divided into thirty delirious parts where tribal rhythms alternate with industrial-ambient scratches. The musical turning point is evident and is cemented with the two volumes of "Rituals From The Heads & The Big Naturals" (2007) created in collaboration with, indeed, The Big Naturals. Even in these grooves, there’s plenty of ambient with forays into free improvisation spread throughout the album. Between 2004 and 2007 (but also beyond), notable mentions include "Dead In The Water," a somersaulting and listless piece on a psycho-noir thread that's been reheated and consumed more times than can be counted over the past 40 years, and "Under The Stress Of A Headlong Dive," where, except for the final 14-minute suite "Creating The Eternal Now Is Always," they could have skipped the appointment without any regrets. The downward trajectory is now in free fall. "Irrepressible Heads" from 2008 is an album that is supposed to be intentionally lo-fi (and I love lo-fi), but in reality, it’s an album devoid of ideas, poorly executed, and sounds that way as well. The same judgment applies to the subsequent "Vertigo Swill" (2011), a miserable orgy of noise that even the cassette recorder my uncle gifted me for my first communion couldn’t have produced. Looking back, I would have never subjected myself to such torture. Which, the communion? Yes, but also the listening of the album.
The trend doesn’t change in "Enten-Eller" (subliminal message in the backward vocals in Either Part 2?) and "Inner Space Broadcasts Volume 1 Part 1." But sooner or later, everyone returns to their roots, everyone finds their way home, and that’s how in 2015 the album of redemption arrives.

GG Allin - No Rights (Acoustic)

His real name was Jesus Christ and he lived just over thirty-three years (specifically almost 37).

The older brother (just under three years older) Merle was unable to pronounce his name correctly and began calling him Jeje, which then became GG.

Before starting elementary school, their mother changed his name to Kevin Michael (you can guess why...).

Gigi loved the Beatles and the Rolling Stones (could it be because Gianni Morandi sang about him in '66? In hindsight, the hard judgment...).

As a teenager, he formed his first band, the "Little Sister's Date" (with the other older brother called Pinky), which lasted barely a year (nothing to do with a little dwarf, even though orally it resembles it...) the band, I mean.

In the mid-'80s, Gigi had become entirely dependent on heroin and alcohol, not to mention various other drugs which he happily abused.

One of his major idols was Hiram "Hank" King Williams, the legendary country singer-songwriter who died at just 30, three years before our Gigi was born, also lost to addiction. The last song released by Hank was "I'll Never Get Out Of This World Alive," but that's another story... and what a story!

The Fletcher Memorial Home - Pink Floyd
Holophonic sound is a recording and reproduction technique performed using a special microphone called an olofono, which allows sound to be reproduced in a way that is similar to how it is perceived by the human auditory system: sound is no longer perceived on the earcups of headphones or within the classic stereo field, but even outside the head, almost in the exact spatial coordinates of the recording. (wikipedia)
Well! There are only 4 albums recorded using this technique... in addition to The Final Cut, Roger Waters, The Pros and Cons of Hitch Hiking, Psychic TV, Dreams Less Sweet, Some Bizarre, and Gianni Togni (listen up) Stile Libero. All of them between 1982 and 1984... it makes me think that it didn't have much success, but I guarantee you, and anyone who has it can attest, that it sounds divine!

øjeRum - mine hænder i intet
Record La-bel!
(The record labels that don’t get the attention they deserve)

[01] Eilean Rec.
I’m kicking off this series of deep dives with Eilean Rec, a label that I hold particularly dear (by the way, Rockerilla talks about it in the latest issue). It was the ninth work of Danish artist Paw Grabowski, a.k.a. øjeRum (who later became my friend thanks to an intense correspondence!), titled Væv (my second review for Debaser) that introduced me to this independent French label. Eilean Rec. is a fantastic sonic experience born from an ambitious and original project: only 100 records, no more, no less, corresponding to one hundred points that form an ideal map embracing the five continents. The aforementioned one hundred points create a colorful mosaic marked by the color of the season of release. Four seasons for four colors: white for winter, green for spring, blue for summer, and yellow-orange-brown for autumn. Mathias Van Eecloo, the ingenious owner of the label, has paid particular attention to the visual aspect, making the booklets of the works true photographic books interconnected with the music. Electroacoustic, environmental experimentation, and neoclassicism are inscribed in the pedigree of Eilean Rec., which has made these genres its hallmark through careful, meticulous selection of artists and works. In a period where physical production is at historical lows, Eilean Rec. has adopted a brave (let's call it risky) nostalgia policy, a sentiment that combats every established, antiseptic commercial concept, and it has paid off: each work (with a maximum run of 120/200 copies) has sold like hotcakes. The latest releases even sold out in pre-sale. Publication number 100 will be unveiled by the end of the year, after which Eilean Rec. will close its doors for good, but Mr. Van Eecloo has other projects in the pipeline, and if these are the premises…
Useful links:
eilean records
Music | eilean rec.
…and my review if you have nothing to do! øjeRum - Væv - øjeRum - Recensione di JonatanCoe

GOIN' DOWN SLOW HOWLIN' WOLF

James Burke "St. Louis Jimmy" Oden was born in 1903 in Nashville, the most populous city in Tennessee. He began singing and playing the piano during his childhood. As a young man, he left home to go to St. Louis to play blues. At thirty, he moved with his friend Roosevelt Sykes, nicknamed "The Honeydripper" (also a pianist), to Chicago, where he was given the nickname "St. Louis Jimmy." He remains famous as a songwriter, including with this song recorded in '41 and covered by many artists, and that's it...

Covers & Lust (2)
Yes, the artworks of prog albums are beautiful... yes, some covers of the darkest psychedelia are fantastic, and so are certain colorful gems from the Italian '60s...
But the ones who, in my opinion, brought out the most enticing stuff are the Germans!
Take this: Walter Wegmüller-Tarot; a work on tarot cards, double album with the tarot cards included...
I'm loving it!
And the music?
Do I even need to say?
Walter Wegmuller - Tarot: "Die Welt"