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cdroulette-let there be rock

Let There Be Rock is an album by Australian hard rock band AC/DC. It was the band’s third internationally released studio album and the fourth to be released in Australia. All songs were written by Angus YoungMalcolm Young and Bon Scott. It was originally released on 21 March 1977 in Australia on the Albert Productions label. A modified international edition was released on 25 July 1977 on Atlantic Records.

By 1977, AC/DC had become extremely successful in their native Australia and had also achieved a degree of popularity in the U.K. and Europe, largely on the strength of their pulverizing live show. However, Atlantic Records in the United States had rejected the band’s third album Dirty Deeds Done Dirt Cheap, feeling the production was not up to par, and the band, which had yet to tour America, returned to Albert Studios in Sydney to record another album. From the beginning, it appears they intended to make a statement, with guitarist Angus Young telling VH1‘s Behind the Music in 2000, “Me and Malcolm said, ‘Well, we really want a lot of guitars,’ you know? Big guitars.” The band’s first album released in Australia, High Voltage, had contained glam-rock elements, while their ensuing releases had been recorded piecemeal as the group toured incessantly and were also altered for international release. Let There Be Rock, on the other hand, was recorded in one go and represented a major evolution in the band’s sound, with many critics and fans citing it as the first true AC/DC album; in his book Highway to Hell: The Life and Times of AC/DC Legend Bon Scott, author Clinton Walker observes, “Let There Be Rock was the first fully rounded AC/DC album. The band had finally found itself.”

Let There Be Rock was produced by the production team of George Young and Harry Vanda, who had been at the helm of the band’s previous albums (George is the older brother of Angus and Malcolm). According to Murray Engelheart’s band memoir AC/DC: Maximum Rock & Roll, the album was completed in roughly a two week time frame and featured a new approach to recording:

Malcolm had noticed that some rock acts, particularly those on the American stadium circuit, had realized the power to be had in slightly longer songs and tapping into extended solos and general guitar hijinks…the temptation to show the competition – the emerging punks on one hand and American soft rock on the other – how rock and roll was really done was too much…The studio set-up at Albert’s was perfect for what was planned. All the amps were in the same room as the drums, which were positioned in the corner. The guitar sound spilt over into the vocal and drum microphones so a perfect precision recording was difficult, but that was part of the charm.

The result was a sonic assault that was far beyond anything the band had produced before in the studio. The band replicates its live sound, with literally explosive results; as recounted in Clifton Walker’s Highway to Hell, one of the most oft-repeated stories concerning AC/DC’s studio methods emanates from these sessions: Angus’s smoking amp during the recording of the title track. As he was overdubbing the guitar solo, his amp began to fuse out and smoke began to fill the studio. George Young gestured wildly from behind the desk to keep going. “There was no way,” Walker quotes the producer, “we were going to stop a shit-hot performance for a technical reason like amps blowing up!” In a 1991 interview with Guitar World, Angus recalled, “The album on which we got to do the most guitar stuff was probably Let There Be Rock. Throughout that album, there are many guitar solos and many breaks. I really like some of them very much. The song “Let There Be Rock” was unusual for me. I remember my brother, George, saying in the studio, ‘C’mon Ang, let’s get something different here’…I had great deal of fun on that whole album. On the last track, I remember the amp blowing up at the end. I said, ‘Hey, the speakers are going!’ You could see it in the studio, there was all this smoke and sparks, and the valves were glowing. He kept yelling at me, ‘Keep playing, keep playing!'”

According to AC/DC: Maximum Rock & Roll, singer Bon Scott wrote the lyrics to the song ‘Let There Be Rock’ in an office at Albert’s with the help of a Bible from a nearby bookstore. The song provides an encapsulated, fictionalized version of the history of rock ‘n’ roll. Building on a line from the Chuck Berry song “Roll Over Beethoven“: “… tell Tchaikovsky the news”, “Let There Be Rock” reveals that Tchaikovsky did in fact receive the message and subsequently shared it with the masses, resulting in the rise of rock ‘n’ roll. Following rock’s birth, rock bands appeared everywhere, musicians found fame (while businesses made money off their efforts), and millions of people learned how to play electric guitar. The third and final verse speaks of a “42-decibel” rock band playing good, loud music in an establishment called “The Shaking Hand.” This is usually changed to “92-decibel” in live versions of the song. In addition, light is correctly introduced before sound, unlike on the studio version. After the final verse, the song ends with an extended solo by Angus, which consists mainly of fast picking, string bends, and hammer-ons. A music video for “Let There Be Rock” was filmed in July 1977 in the Surry Hills Kirk Gallery church and featured Bon ScottAngus YoungMalcolm YoungPhil Rudd, and Cliff Williams, who replaced Mark Evans as the band’s bassist shortly after the Let There Be Rock album was released. This marked one of Williams’ first public appearances with AC/DC. Scott was dressed as a priest and the rest of the band as altar boys, with Angus Young wearing a halo prop on his head. Towards the end of the video it shows Angus, and the rest of the band jamming while he goes off on the guitar. In an alternate ending of the video, the colors are morphed and the camera zooms in on the stained glass window. According to an interview with the Young brothers, Bon Scott injured himself in the final jump from the podium. “Let There Be Rock” was also released as a single in 1978, with a live version of the Let There Be Rock album track “Dog Eat Dog” as the B-side, which had been recorded in concert in Glasgow on 30 April 1978. When AC/DC was inducted into the Rock and Roll Hall of Fame in 2003, Scott’s replacement Brian Johnson quoted the song “Let There Be Rock” in the band’s acceptance speech.

“Whole Lotta Rosie” is about an obese Tasmanian woman named Rosie, with whom the singer Scott had a one night stand at the Freeway Gardens Motel in North Melbourne.[2] In addition to pointing out the woman’s size, the singer finds her to be one of the most talented lovers he’s ever experienced. The song’s first verse reveals Rosie’s substantial physical measurements (42″-39″-56″), and that she weighs nineteen stone (266 pounds/approximately 120 kilograms). On the Live from the Atlantic Studios disc, however, Scott describes the titular woman as “…a Tasmanian devil …weighs 305 pounds …,” a measurement that differs from the “19 stone” lyric (305 lb being 21 st 11 lb). In 1998, speaking to Vox magazine, Angus Young remembered:

We’d been in Tasmania and after the show [Bon Scott] said he was going to check out a few clubs. He said he’d got about 100 yards down the street when he heard this yell: ‘Hey! Bon!’ He looked around and saw this leg and thought: ‘Oh well!’ From what he said, there was this Rosie woman and a friend of hers. They were plying him with drinks and Rosie said to him: ‘This month I’ve slept with 28 famous people,’ and Bon went: ‘Oh yeah?!’ Anyway, in the morning he said he woke up pinned against the wall, he said he opened one eye and saw her lean over to her friend and whisper: ’29!’ There’s very few people who’ll go out and write a song about a big fat lady, but Bon said it was worthy.

The song’s main riff was also featured on an earlier recording with different lyrics, titled “Dirty Eyes”, which saw official release on Volts, part of the Bonfire box set. “Dirty Eyes” features a different chord progression in the chorus and does not contain the “band duel” featured in “Rosie.” In AC/DC: Maximum Rock & Roll, Malcolm Young is quoted, “We were always big fans of early rock and roll, like Elvis and ‘Heartbreak Hotel,’ things like that – the stop-and-start things, the dynamics. If anything, for ‘Whole Lotta Rosie’ we were looking for a feel like Little Richard, a good steamin’ rock feel, and see what we could lay on top with the guitars. It evoked that, but you’re just looking for the vibe, what’s exciting, and that’s what we were listening to. Simple to put together, but still around like a classic.”

According to the 1994 Bon Scott biography Highway to Hell, the album’s opening track “Go Down” was inspired by “supergroupie” Ruby Lips.

“Overdose,” which features an extended introduction that showcases the symbiotic guitar relationship between the Young brothers, was inspired by a woman named Judy King. The lyrics equate a man overdosing on a woman like an addict would overdose on drugs, with Scott singing, “You’re a habit I don’t want to break.” Whether or not the song had any meaning beyond the metaphor is subject to speculation; by all accounts, Scott was a hard drinker and indulged in drugs. In 2013, keyboardist John Bisset of Fraternity (Scott’s band before AC/DC) told Uncut‘s Peter Watts “We were drinkers. We got into marijuana, mescaline and mushrooms, but alcohol was the mainstay…He drank heaps. He drank until he could barely stand. But he always remained the same person.” According to Jesse Fink’s book The Youngs: The Brothers Who Built AC/DC, former bassist Mark Evans reveals that Scott overdosed on heroin in 1975 and was nearly fired from the band: “There were some doubts about Bon at that stage. He’d had a problem or he’d had an OD very early on. It was just a dabble…Bon made a bad decision. It was only one bad decision. From what I was led to believe and came to believe, it was a very, very isolated incident.”

“Dog Eat Dog,” a song about humanity’s cut throat nature, was released as a single in Australia, and included the non-album track “Carry Me Home” on the B-side, which was later released on Backtracks. The band would perform the single frequently in concert, as well as the album tracks “Hell Ain’t a Bad Place to Be” and “Bad Boy Boogie,” the latter accompanying Angus Young’s infamous striptease routine.

The original vinyl version of the album released for international markets contained the same track list as the original Australian release but Atlantic Records removed the racy song “Crabsody In Blue” (about the problems of crabs) from later pressings of the international version. It was subsequently replaced with a shortened version of the song “Problem Child” from the Australian version of the album Dirty Deeds Done Dirt Cheap, which was originally released in September 1976. “Crabsody In Blue” was later released on the box set Backtracks.

Eduardo Rivadavia of AllMusic enthuses, “Let There Be Rock sees AC/DC’s religious-like respect for the simple art of making rock & roll brought to its logical conclusion: a veritable gospel to the glory of rock, canonized here in hymn-like worship. The near-epic title track to what is widely regarded as the best Bon Scott-era album, the song is a holy testimony, bringing good news to all those who believe in the healing power of rock & roll – amen! Oh yeah, it also kicks unholy ass!” David Fricke of Rolling Stone wrote of the album in a 2008 cover story, “AC/DC’s early albums were perfectly frenetic, but inconsistent. Their second U.S. LP was almost all killer. Scott sings ‘Bad Boy Boogie’ and ‘Problem Child’ like he’s the enfant terrible…Angus’ solos are true white heat.” Amazon.com calls the LP “a break from the early ‘novelty’ approach to songwriting and a move to the more focused album-oriented view that the band would perfect.” In 2006, AC/DC biographer Murray Engleheart wrote that Let There Be Rock “elevated AC/DC to the status of an album band, something that had previously been the exclusive domain of the likes of the StonesThe Who and Led Zeppelin.” In 2000, Angus Young recalled to Guitar World that producer Mutt Lange once told him “of all the many albums we’d done with my brother George and his partner, Harry Vanda, the one Mutt wished he would have done, where he was envious of George, was Let There Be Rock.”

1. “Go Down” (5:20 for vinyl) 5:33
2. Dog Eat Dog 3:35
3. Let There Be Rock 6:07
4. “Bad Boy Boogie” 4:28
5. “Overdose” 6:09
6. “Crabsody in Blue” 4:45
7. “Hell Ain’t a Bad Place to Be” 4:15
8. Whole Lotta Rosie 5:22

 

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The soundtrack to James Cameron’s sci-fi thriller classic The Terminator will receive a new vinyl reissue as part of the next installment in Nicolas Winding Refn’s Refn Presents series through Milan Records.

The out of-print soundtrack will be remastered and arranged for the first time in the original sequence composer Brad Fiedel intended. Like the rest of the records in the series — it also comes with some incredible artwork.

Take a look at it in the slideshow above and revisit FACT’s interview with Refn about the curated series and his lifelong obsession with vinyl.

 

Source: FACT

the-dancehall-record-stores-of-nyc_04-1-665x400

After 40 years in the 45s business, ‘Crazy’ Jerry Weber has decided to pack it in. The man behind Jerry’s Records is selling his 750,000-strong collection of 7″s for total of $75,000. That’s 10 cents each.

Thankfully the gigantic collection has some level of organisation, with the records divided into five separate sections. The first two groups are non-specialist (rock, soul, pop, country) used records, alphabetised by artist and filed with name cards. These sections account for around 540,000 records.

The third group also spans the genre spectrum, but this batch of 100,000 are unplayed 45s in their original factory sleeves. These records were acquired ten years ago when a store closed.

65,000 rarities, promo items, and basically expensive gems make up the fourth section; whilst the final section sounds quite stressful – 60,000 completely unsorted, odd records.

The price is fixed and the entire collection must go in one sale. With typically crazy logic though, Jerry is still buying 45s until a deal is sealed. In a statement on Facebook, he writes:

“Although I am trying to sell my 45 collection (40 years worth of records). I am still selling (and buying) 45s every day. There will be new records every week until someone actually buys them.”

 

Source: The Vinyl Factory.

 

Whole-Foods-Vinyl-665x400

As Urban Outfitters, Gap and Whole Foods themselves have already proved, record shops needn’t just be record shops. Although it’s been a couple of year since Whole Foods announced it would stock vinyl alongside other organic produce, a new initiative from the retailer wants to bring independent record shops under its wing too.

Setting up independent suppliers and vendors in its 365 stores, Whole Foods has launched a Friends of 365 project to identify independent retailers to sell ‘produce’ those stores. Among the food and drinks, fashion and services they’re after: record shops and tattoo parlours.

Just as Gap announced this week that its Oxford Street store would play host to Clapton’s Lion Coffee & Records pop-up, so it seems Whole Foods are keen to harness the credible pulling power of independent businesses to entice younger people into their stores.

At the other end of the supermarket spectrum both Tesco and Aldi have both trialled selling vinyl in the last six months.

 

Photo: Whole Foods / Story: Bloomberg

Springsteen Memoir

Bruce Springsteen has written a memoir and plans on releasing it later this year.

Born to Run has been acquired by Simon & Schuster who have announced a September 27 release date. The initial release will be in hardback, ebook and audio editions.

According to the press release for the book, Springsteen started writing the book in 2009 after the band played at the Super Bowl Halftime Show and has been working on it for the last seven years. “In Born to Run, Mr. Springsteen describes growing up in Freehold, New Jersey amid the “poetry, danger, and darkness” that fueled his imagination. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song “Born to Run” reveals more than we previously realized.”

Jonathan Karp of Simon & Schuster said “This is the book we’ve been hoping for. Readers will see their own lives in Bruce Springsteen’s extraordinary story, just as we recognize ourselves in his songs.”

Springsteen said of the writing process “Writing about yourself is a funny business but in a project like this, the writer has made one promise, to show the reader his mind. In these pages, I’ve tried to do this.”

Simon & Schuster, who previously published Springsteen’s book Outlaw Pete, acquired the rights for the book in United States, United Kingdom, Canada, Australia, and India. Editions Albin Michel have the rights in France; Mondadori in Italy; Heyne in Germany; Natur & Kultur in Sweden; Spectrum in the Netherlands; Politkens in Denmark; Cappelen Damn in Norway; Otava in Finland; and Penguin Random in Spain.

 

Source: VVN

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Here’s your weekly reminder of what’s coming up this weekend in the world of Record fairs.

Friday
12th RUTHERGLEN – Rutherglen Exchange Shopping Centre, 212-218 Main St G73 2LS – Allander Record Fairs

Saturday
13th BEDFORD – Harpur Suite, Harpur Street MK40 1LE – vip-24.com
13th KENDAL – Parish Hall. Kirkland (A6) LA9 5AD – premierfairs.co.uk
13th LEAMINGTON – Town Hall, Parade CV32 4AT – www.vinylbank.co.uk
13th LONDON – Old Spitalfields Market, Commercial Street, E1 – Eric 0207 247 8556 or 07969 456230
13th NEWCASTLE – Northumbria University, Rutherford Hall, Ellison Place – Ian Morley
13th RUTHERGLEN – Rutherglen Exchange Shopping Centre, 212-218 Main St G73 2LS – Allander Record Fairs
13th SUTTON-IN-ASHFIELD – St Joseph’s Church Hall, Forest Street NG17 1DA – Ian 01623 757730

Sunday
14th BEXHILL – Bexhill Rowing Social Club, Channel View East TN40 1JU – Tony 07933397736
14th BRIGHTON – Brighton Centre, Syndicate Wing, Russell Rd BN1 2DX – Vinylman
14th DONCASTER – The Dome, Leisure Park DN4 7PD – premierfairs.co.uk
14th KIRKCALDY – Windsor Hotel – Allander Record Fairs
14th RAINHAM – Mark Social Club – Recollect Record & Music Fairs 01227 506368 or 07715635152
14th READING – Rivermead Leisure Centre, Richfield Ave RG1 8EQ – USR Fairs
14th SOUTHEND – West Leigh School, Ronald Hill Grove Leigh On Sea SS9 2JB – Southend Fair

abba singles

The Singles: The First Ten Years is a double compilation album by the Swedish pop group ABBA, released in 1982.

1982 was ABBA’s final year together as a group. They had originally intended to record a new studio album, like they had done almost every year since they first came together. But as the four members felt the energy run out of the group, they shelved these plans and instead decided to release a double album collection of their singles from 1972 to 1982.

The album contained most of the band’s hit singles from their ten years together as recording artists, and included two new tracks: “The Day Before You Came” and “Under Attack“. The Singles: The First Ten Years was released on CD but was deleted in the late 1980s. In 2001, the album was replaced by The Definitive CollectionThe Singles: The First Ten Years does not include non-UK singles such as “Honey, Honey“, “Eagle” or “When All Is Said and Done“, and it also excludes several of ABBA’s UK single hits including the 1974 remix of “Ring Ring”, “Angeleyes“, “Head over Heels“, and the 12” single hit “Lay All Your Love on Me“. The album features a 3:58 edited version of “The Name of the Game” instead of the full 4:51 version; this edit (which omits the second verse) was released as a promotional single in the USA in 1977, and was mistakenly included on this compilation.

All songs written by Benny Andersson and Björn Ulvaeus, except where noted.

Disc 01

Side A

  1. Ring Ring” (written by B. Andersson, S. Anderson, B. Ulvaeus, N. Sedaka, P. Cody) – 3:04
  2. Waterloo” (written by B. Andersson, S. Anderson, B. Ulvaeus)
  3. So Long” – 3:05
  4. I Do, I Do, I Do, I Do, I Do” (written by B. Andersson, S. Anderson, B. Ulvaeus) – 3:16
  5. SOS” (written by B. Andersson, S. Anderson, B. Ulvaeus) – 3:22
  6. Mamma Mia” (written by B. Andersson, S. Anderson, B. Ulvaeus) – 3:31
  7. Fernando” – 4:12

Side B

  1. Dancing Queen” (written by B. Andersson, S. Anderson, B. Ulvaeus) – 3:50
  2. Money, Money, Money” – 3:06
  3. Knowing Me, Knowing You” (written by B. Andersson, S. Anderson, B. Ulvaeus) – 4:02
  4. The Name of the Game” (written by B. Andersson, S. Anderson, B. Ulvaeus) – 3:58 (edited version)
  5. Take a Chance on Me” – 4:06
  6. Summer Night City” – 3:34

Disc 02

Side A

  1. Chiquitita” – 5:26
  2. Does Your Mother Know” – 3:14
  3. Voulez-Vous” – 5:08
  4. Gimme! Gimme! Gimme! (A Man After Midnight)” – 4:49
  5. I Have a Dream” – 4:44

Side B

  1. The Winner Takes It All” – 4:55
  2. Super Trouper” – 4:13
  3. One of Us” – 3:55
  4. The Day Before You Came” – 5:50
  5. Under Attack” – 3:47

Reviews

Rolling Stone: “This twenty-three song collection (singles plus two new cuts) confirms what a lucky few in the US have known for some time – ABBA is the greatest pop band of the last ten years. There are more infectious melodies, grabby hooks, and danceable drum beats on one side of this two-disc set than in most artists’ entire catalogs… The Singles provides an ideal introduction to this talented and highly influential band”.

Los Angeles Times: “Special-merit release… ABBA create seductive, richly emotional records that put openly sentimental melodies against a nagging instrumental tension…The group’s best tracks are mini – masterpieces of the pop form.”

New Musical Express: “This isn’t the entire history of pop over the last ten years, but its documentation of the group who altered the course of pop more than anyone else – anyone – is flawless… It resulted in a seam of unbroken, highly individual pop music that in lifespan terms is still unmatched by any rival…”

New York Times: “Abba – The Singles” is a testament to the unstoppable power of the catchy tune”

dirty deeds

Dirty Deeds Done Dirt Cheap is an album by Australian hard rock band AC/DC. It was the band’s second internationally released studio album and the third to be released in Australia. All songs were written by Angus Young, Malcolm Young and Bon Scott.

AC/DC began recording what would become Dirty Deeds Done Dirt Cheap in January 1976 at Albert Studios with Harry Vanda and George Young (older brother of guitarists Malcolm and Angus) producing. In April, the band went on their first tour of the U.K. where “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)” was released as a single. According to the book AC/DC: Maximum Rock & Roll, Vanda and Young traveled to the U.K. to record several songs with the band at Vineland Studios for a scheduled EP, which was eventually scrapped. One of these songs, “Love at First Feel,” would surface on the international Dirty Deeds release while the others, “Carry Me Home” and “Dirty Eyes,” would remain unreleased, the latter being reworked into “Whole Lotta Rosie” on 1977’s Let There Be Rock. A song titled “I’m a Rebel” was recorded at Maschener Studios as well with music and lyrics written by Angus and Malcolm Young’s older brother, Alex Young. This song was never released by AC/DC and remains in Albert Productions’ vaults. German band Accept later released it as a single and named their second album after the song. In September, High Voltage was released in the United States but, hampered by visa problems and a disinterested Atlantic Records label in the United States, the band returned to Australia to finish their third album.

The title track would become one of the band’s most famous songs, with the narrator inviting people experiencing problems to either call him on 36-24-36, an actual phone number in Australia at the time, or visit him at his home, at which point he will perform assorted unsavoury acts to resolve said problems. Situations in which he offers assistance include those involving lewd high school headmasters and significant others who are either adulterous or who persistently find fault with their partners. The term “Dirty Deeds Done Dirt Cheap” is an homage to the cartoon Beany and Cecil, which Angus watched when he was a child. One of the cartoon’s characters was named Dishonest John, and carried a business card that read, “Dirty Deeds Done Dirt Cheap. Holidays, Sundays and Special Rates.” In 1981, after the album was released in the U.S., Norman and Marilyn White of Libertyville, Illinois filed a $250,000 lawsuit in Lake County, Illinois Circuit Court against Atlantic Records and its distributors because, they alleged, their telephone number was included in the song, resulting in hundreds of prank phone calls. Their attorney told the Chicago Tribune that the song’s 36-24-36 digits were followed by what to his clients sounded like an “8,” thus creating the couple’s phone number.

Another fan-favorite from the album is “Ride On.” Atypically for an AC/DC song, it has a sad, slow blues feel and features Scott’s reflective lyrics and restrained, soulful delivery. The lyrics concern a man ruminating on the mistakes he has made in a relationship while drinking. It has frequently been cited as one of AC/DC’s best songs. The track is also significant for Angus Young’s guitar solo. AC/DC biographer Murray Engleheart observes in his 2006 band memoir, “Overall, Dirty Deeds Done Dirt Cheap was rougher than T.N.T. and highlighted the difficulties of recording between increasingly demanding touring commitments. Song’s like ‘Ain’t No Fun,’ ‘RIP,’ ‘Jailbreak,’ and particularly the lonely resignation of ‘Ride On,’ were almost character studies of Bon and had a sense of impatience…breaking free and just plain loneliness.” “Ride On” was covered by the French band Trust on their self-titled 1979 debut album after supporting AC/DC in Paris, France in the fall of 1978. Bon Scott jammed the song with Trust at Scorpio Sound Studios in London, England on February 13, 1980, six days before his death. A recording of it would later surface on the Bon Scott Forever Volume 1 bootleg. In an interview with Anthony O’Grady of RAM in August, 1976, Scott stated that “Ride On” was “about a guy who gets pissed around by chicks…can’t find what he wants.” In the same 1976 RAM interview, Scott revealed that “Squealer” (which includes another blistering solo from Young) was about a sexual encounter with a virgin. In concert, Scott would often introduce “Problem Child” as being about Angus. “Ain’t No Fun (Waiting ‘Round to be a Millionaire)” is one of the few AC/DC songs that has cursing, with Scott shouting on the fade, “Hey Howard, how ya doin’, my next door neighbour? Get your fuckin’ jumbo jet off my airport!”

A modified international edition was released on Atlantic Records on 17 December 1976, but Atlantic Records in America rejected it, unhappy with its vocals and production. According to bassist Mark Evans, the band’s manager Michael Browning told him he assumed Bon Scott would be fired as a result. As biographer Murray Engleheart observes in his book AC/DC: Maximum Rock & Roll, the band had not even toured the States yet, a market the band longed to conquer:

The tough rock acts only got what little airwave attention they did because they’d built up a fanbase through years on the road. AC/DC hadn’t had the opportunity to marshal troops through touring the U.S., and at the time there was no way something as raw and gritty as Dirty Deeds was going to make it onto American radio playlists by itself. It was a brutally simple catch-22 …Americans were said to have trouble understanding Bon, and if the people working with the band couldn’t make out the lyrics, how was his voice going to work on the all-important U.S. radio networks?

In hindsight, these concerns seem preposterous, considering that the LP, finally released in the States in March 1981, would go on to become the second highest-selling Bon Scott album…and is considered one of the band’s classics. Following the American success of Highway to Hell in late 1979, copies of the album began to appear as imports in the US. Some of these imports were the original Australian edition on Albert Productions; however, Atlantic also pressed the international version in Australia, and many of these copies were also exported to the US. Strong demand for both import versions (in the wake of the even greater success of Back in Black) eventually led the US division of Atlantic to finally authorize an official US release in April 1981, which went straight to #3 on the Billboard album charts. The international release does contain significant alterations from the original album, however, with “Jailbreak” (which had preceded the LP’s release in Australia and the U.K.) and “R.I.P. (Rock in Peace)” jettisoned in favor of “Rocker” (from the 1975 Australian edition of T.N.T.), “Big Balls” and “Love at First Feel.” “Jailbreak” did not see a release in the United States, Canada, and Japan until October 1984 as part of the international ’74 Jailbreak EP. A promo-only single, with “Show Business” as its B-side, was released to radio stations in the US at the time. “Love at First Feel” is one of only two tracks from international AC/DC albums not available on the band’s Australian albums (the other is “Cold Hearted Man“, released on European pressings of Powerage); however, “Love at First Feel” was released in Australia as a single in January 1977, with “Problem Child” as its B-side, which peaked in the Kent Music Report Singles Chart Top 100. The international release of Dirty Deeds also contains “Big Balls,” one of the band’s most infamous compositions, that finds Scott, a deceptively clever lyricist, using double entendres by using ballroom and costume parties to obviously reference his own testicles. AC/DC had mined this territory before on “The Jack” and would again later on songs like “Given the Dog a Bone”, but “Big Balls” could be their funniest attempt at sexual innuendo, although the song was controversial in its day and drew the ire of some critics who mistook the band’s sense of humor. Dirty Deeds Done Dirt Cheapalso led to more AC/DC appearances on Australia’s Countdown music programme, following those in support of High Voltage and T.N.T. These appearances included a live performance of the album’s title track, as well as a music video for “Jailbreak”.

Two songs on the international album were edited from the full-length versions on the original Australian album. The full-length “Dirty Deeds…” has the title of the song chanted four times, starting at 3:09, but on the edited version the chant is heard only twice. “Ain’t No Fun…” lasted 7:29 on the Australian album but was faded out early to 6:57 on the international version. This means they trim off the Chuck Berry licks and title chanting to the end. The uncut versions of both songs were released on the 2009 box set Backtracks. On the original version of “Rocker”, included on the Australian T.N.T. album, the song lasts 2:55 and cuts out abruptly as the guitar riff hits its peak. Conversely, all international editions of the “Dirty Deeds” album have a slightly shorter version where the song fades out at 2:50 before the cut. “Squealer” appears to be longer by thirteen seconds on the international version; this is due to it having a bumper of silence at the end, as it is the final track on the record. “Ride On” has a four-second difference (longer on the international version) which appears to be from a minor speed issue, although the last guitar slide can be heard better on the shorter Australian version.

Dirty Deeds Done Dirt Cheap has been certified 6x platinum both in Australia and in the US, selling at least six million copies, becoming the third-highest selling album by AC/DC in the US after Highway to Hell (7x platinum) and Back in Black (22x platinum). Allmusic gives the album five out of five stars and proclaims “it captured the seething malevolence of Bon Scott…encouraged by the maniacal riffs of Angus and Malcolm Young” and that there was a “real sense of danger to this record.” Greg Kot of Rolling Stone states: “The guitars of brothers Angus and Malcolm Young bark at each other, Phil Rudd swings the beat even as he’s pulverizing his kick drum, and Scott brings the raunch ‘n’ wail. The subject matter is standard-issue rock rebellion; Scott pauses only once to briefly contemplate the consequences of his night stalking in “Ride On.'”

Side one
No. Title Length
1. “Dirty Deeds Done Dirt Cheap” 3:52
2. Love at First Feel 3:12
3. “Big Balls” 2:38
4. “Rocker” 2:50
5. “Problem Child” 5:46
Side two
No. Title Length
1. “There’s Gonna Be Some Rockin'” 3:18
2. “Ain’t No Fun (Waiting ‘Round to Be a Millionaire)” 6:54
3. Ride On 5:53
4. “Squealer”

Here_At_Last_Bee_Gees_Live

‘Here at Last Bee Gees Live’ is the sixteenth album and the first live album by the Bee Gees. It was released in May 1977. It reached No. 8 in the US, No. 8 in Australia, No. 1 in New Zealand and No. 2 in Spain, and sold 4.6 million copies worldwide.

Here at Last was the first official live recording released by the Bee Gees, though many bootlegs have existed throughout the years of earlier performances. The concert was filmed and a TV special was planned, but after reviewing the footage the Bee Gees were unhappy with the quality of the video and to this day it has not been released. A single from the concert, “Edge of the Universe”, was released in Canada and the US where it hit No. 16 and No. 26, respectively, on the singles charts. A promo single with “Lonely Days” live was released in the US but did not chart.

Side one

  1. I’ve Gotta Get a Message to You” – 4:02
  2. Love So Right” – 4:47
  3. Edge of the Universe” (Barry Gibb/Robin Gibb) – 5:15
  4. Come on Over” (Barry Gibb/Robin Gibb) – 3:25
  5. “Can’t Keep a Good Man Down” – 4:47

Side two

  1. Medley – 19:56
    1. New York Mining Disaster 1941” (Barry Gibb/Robin Gibb) – 2:16
    2. Run to Me” / “World” – 2:33
    3. Holiday” / “I Can’t See Nobody” / “I Started a Joke” / “Massachusetts” – 7:14
    4. How Can You Mend a Broken Heart?” (Barry Gibb/Robin Gibb) – 3:45
    5. To Love Somebody” (Barry Gibb/Robin Gibb) – 4:08

Side three

  1. You Should Be Dancing” – 9:22
  2. Boogie Child” – 5:02
  3. “Down the Road” (Barry Gibb, Robin Gibb) – 4:32
  4. Words” – 4:19

Side four

  1. Wind of Change” (Barry Gibb, Robin Gibb) – 4:42
  2. Nights on Broadway” – 4:41
  3. Jive Talkin’” – 5:03
  4. Lonely Days” – 4:12

All compositions by Barry, Robin & Maurice Gibb except where noted.

Bee Gees
Bee Gees Band
Additional musicians
  • Geoff Westley – keyboards
  • Joey Murcia – guitar
  • Joe Lala – percussion
The Boneroo Horns
  • Peter Graves
  • Whit Sidener
  • Ken Faulk
  • Peter Ballin
  • Jeff Kievit
  • Stan Webb

oye

Relations between the independent music community and Record Store Day have soured over the last few years. Indie labels frustrated by the manufacturing backlogs that constipate pressing plants for six months of the year with major label RSD orders, which, are often not worth the wax they’re pressed on.

Last year indie labels Sonic Cathedral and Howling Owl pulled out publicly, forcing the event organisers to state “To make it clear, the purpose of Record Store Day is not to promote independent labels. It is to promote independent record shops (the clue is in the name).”

Now however, even that aim seems to have been lost in the negative fug that’s descended on Record Store Day once more ahead of their ninth annual event on April 16th.

Berlin’s OYE Records is one of Europe’s most prominent record retailers. They have two shops in the German capital, oversee a thriving online business and are central to the city’s independent music scene.

Having played along in recent years, OYE partner Markus Lindner announced today that OYE stores would not take part in 2016, explaining that although responsible for many good things – including increasing awareness of independent shops – RSD has developed in a way that no longer sits comfortably with OYE’s objectives.

He gave The Vinyl Factory five reasons why:

1. There are too many releases on that single day, which represent more work and higher costs than make it worthwhile.

2. The smaller labels with which we work closely the rest of the year are finding it harder and harder to press records in time, largely due to RSD backlog.

3. The releases aren’t really in line with what we sell, particularly since the majors jumped on RSD to release, what are to our mind, unnecessary reissues.

4. I’ve tried for years, without success, to speak with the organisers of RSD to go through the catalogue together to pick out only the most interesting releases.

5. Every day is record store day.

While Record Store Day is still touted as a lucrative day for shops – in some cases the most lucrative of the year – Markus also explained that given expenditure, costs of extra staff, the small runs of popular releases and the fact that returns are not allowed, it’s far from a financial no brainer to take part.

Last year a trio of local shops in Peckham opted to shun the RSD circus in favour of promoting home-grown releases, but now that some bigger stores may be getting involved, the very substance and viability of the event is in doubt. OYE Records will almost certainly not be the last.

 

Source: The Vinyl Factory.

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